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 I\
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H SHINDIG STARTS   W
TUESDAY, OCTOBER 21 §
^S and runs every Tuesday until f^j^
^S^^^SS" Cover is $6, doors open at 8 pm   ^^^^^^^^tt
p|p 27 new local bands compete for prizes
with jokes for beer, and CiTR djs to follow
SHiNDiG Is CiTR's annual battle of the bands and is moving to a new location:
The Hindenburg, 23 West Cordova in Gastown
I      „-.„,„„.,      CiTR
fiinDenburq X** »i,,|iM|sp ioi.9fm/citr.ca
9 ~ OWN YOUR FREQUENCY
^9 shindig
AMS Events
Backline Musician
Services
Band Merch Canada
Canadian Music
Week
Discorder Mint Records
Fader Master Studios     Music Waste
Rain City Recorders        Nimbus Recording
Thunderbird Radio
Hell
Vogville Recording
i
 ,
I
UPCOMING SHOWS
MSONICS pigl        1
THE EVAPORATORS, THE FUNTETIE)  ||
sliYOU 9HHIL. I(N0W PODCAST
2 SH6WS: 7PM (SOLD OUT) & 9:3DPM
H
liTffl
B
OI SKUft8»0C0UIHRY(6PM)&
pi
i
ooooooo
294 East Hastings Street
604.681.8915
DUIKUN imiSSEU FAMILY HOUR LIVE (9PM)
UNGlliWDANDTlD-M)B-ArS    ~
DANAVA
1
ELUVEITIE ^^^^^w
TYRVMETSATOLL ^^^^^M>   . #
THE GOLERS, OVER THE COALS, PYRAMIDION
THE GROWLERS        ^IT
THE GARDEN
Additional show listings, ticket sale Infos* videos and more:
WWW.RIGKSHAWTHEATRE.CQM
iiTffl
IB
1
1
LUCID AFTERLIFE chilled cu&ity,      h
CONTRASOUND, ELYSIUM ECHOS, MERIDIUS |p|j
THE HORRORS ^^ *"T
MOON DUO   '^^pl^^KiW^^iifc
SiFO^
JUNGLE ROT, PYREXIA, INTERNAL BLEEDING, & MORE
7TH ANNI&
OF PETER TOSH bounty hunter & bkenyan
GARY HUMAN H    I   '
kitten   ''SHlHj^l^^'''- m
HEJWYJISHIhALJMEQInyiithia,wi^
OF THE WASTE, NECK OF THE WOODS, & MORE fi
BEN ROGERS, COLLEEN RENNISON, THE WILD NORTH
|j http://facebook.com/RickshawTheat%
Pj ©rickshawtheatre [___J] ©rickshawtheatre CONTENTS
26   PRAIRIE CAT f      . f   «
Cary Pratt's work as Prairie Cat is full of
starry-eyed, silver-tongued indie pop jams,
with a healthy dose of run-it-up-the-flagpole
flair. Pratt shares the secrets behind his studio
wizardry, plays ghost hunter at the Vogue
Theatre, and reveals what went into his latest
and best LP, Who Knows Where to Begin?
44   PLAN 9 FROM THE WISE HALL
Already have plans for Halloween? Well, you
might want to reconsider them, as The Wise
Hall prepares for one of the year's spookiest
events— Plan 9 from The Wise (Halloween
Night Tribute Terror). With tribute bands The
Spasms, The Manglers, The Dirty Magazines,
and The Ramores all on deck, itll be a
Halloween for the ages.
48   SAM TUDOR    ; if|
The big city life of a modern-age student is
keeping singer-songwriter Sam Tudor on his
toes. However, a wintery escape to a cabin in
the woods was all it took for Tudor to recapture
the warmth of the hinterland on his new full-
length, The Modern New Year.      ||| |§||
52   LES CHAUSSETTES     ,      M^fi
If youVe caught hold of the recent surf-
rock craze and still haven't checked out Les
Chaussettes, then you're blowing it. Their
alluring vocal harmonies and lightly fuzzed
guitar licks are sure to make a dancer out of
anyone — and with a seven-inch on the way,
these gals are ready to let their trippy love-
ballads get even weirder
60   JOHNNY DE COURCY    |     f|g
The ever-colourful de Courcy is back with a
new set of songs and some profound perspective on music, art, and wearing women's clothing. With an album and a tour slated for next
month, get the jump on all your friends and
find out everything you need to know about the
man they call aJDC."
16   FILM STRIPPED! 100 LAYERS 11 BEIGE
13 :;VMItiriK *** * '*
1* ON THE AIRt f Hi TERRY PODCAST     •
*# «tAPI* SOUND-OFf
29  IN GOOD HUMOUR* RYAN Rill
31   UNDER RE VIEW'
S*   CALENDAR
3D;* REAL LIVE ACTION
66   PROGRAM GUIDE
ADVERTISE: Ad space for upcoming issues
can be booked by calling (604) 822-3017
ext. 3 or emailing advertising@citr.ca. Rates
available upon request.
CONTRIBUTE:. To submit words to Discorder,
please contact: editor.discorder@citr.ca. To
submit images, contact: artdirector.discorder®
tfa.ca
SUBSCRIBE: Send in a cheque for $20 to
#233-6138 SUB Blvd., Vancouver, B.C., V6T1Z1
with your address, and we will mail each issue
of Discorder right to your doorstep for a year.
DISTRIBUTE: To distribute Discorder in
your business, email distro.discorder@citr.ca
We are always looking for new friends.
DONATE: We are part of CiTR, a registered
non-profit, and accept donations so we can
provide you with the content you love. To donate
visit www.citr.ca/donate.
Writers: Curtis AuCoin,
Evan Brow, Robert
Catherall, Elliot Chan, Alex
de Boer, Fraser Dobbs,
Pyra Draculea, Max Hill,
Rohit Joseph, Catherine
Lee, Erica Leiren, Alex Lenz,
Luan Li, Daniel tins, Mason
Mcintosh, Mark PaulHus,
Keefer Pelech, Yasmine
Shemesh, Elijah Teed, Sam
Tudor, Kristian Voveris, Max
Wainwright, Stephen White
Photographers &
Illustrators: Yulia
Badayeva, Scott Beadle,
John C. Barry, Brandon
Cotter, AHsha Davidson,
Keet Geniza, Angela Krinn,
Sharon Ko, Brandon Lai,
James Mcbreen, Jenna
Milstrom, Naomi Nguyen,
Hana Pesut, Konstantin
Prodanovic, Alison Sadler,
Sam Tudour, Jon Vincent,
Jennie Wahll, Eleanor
Wearing
Cover: Illustration by Dana
Kearley
Editor: Jacey Gibb
Art Director: Sves Yeung
Under Review Editor:
Copy Editors: Robert
Official Tweeter:
Alex de Boer
Catherall, Alex de Boer
Joshua Gabert-Doyon
Real Live Action Editor:
Proofreaders:
CiTR Station Manaftr:
Robert Catherall
Alex de Boer, Ana Elena
Brenda Grunau
Web Editor:
Marcin Lasinski
Garza, Robert Catherall,
Erica Leiren
Publisher: Student Radio
Society of UBC
Ad Coordinator:
Ana Elena Garza
Calendar Listings:'
Sarah Cordingley
Accounts Manager   .
Corey Ratch
Student Uatont: Joshua
Gabert-Doyon
EDITORIAL CUTOFF: September 24,2014
©Discorder 2014 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 10,200. Discorder is published almost monthly by CiTR, which
can be heard at 101.9 FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock! Call the CiTR DJ line at (604) 822-2487,
CiTR's office at (604) 822-3017, email CiTR at stationmanager@citr.ca, or pick up a pen and write #233-6138 SUB Blvd., Vancouver, B.C., V6T1Z1, Canada. EDITOR'S NOTE
Welp, it's that time of year again.
With September hardly feeling
like it ever happened, we're onto
October — the month where new
and emerging local bands gear up
for CiTR's annual quasi battle-of-
the-bands, Shindig.
It   For those of you unfamiliar to
the fun, Shindig is a yearly music
competition organized by folks
at the station in collaboration
with other community members.
Applicants are judged on a
(minimum of) three-song demo
and are either entered into the
competition or can wallow in their
tears — at least, until next year.
Once Shindig is underway, three
bands convene every Tuesday to
play, with only one act a night
advancing to the next round; the
competition will be running for
nine weeks starting October 21,
but there will be a hiatus over
the Christmas break, leaving the
final nights until the New Year.
So why do I love Shindig?
While I'm relatively new to the
game — I attended a couple of
shows in 2013 and only made
the leap to regular attendee/
occasional judge in 2014 —
there's something about Shindig's
format and fans that make the
weekly ritual work. It's great
because: it's an excuse to hang
out with your friends every
Tuesday night; there's a new
lineup of music every week, a lot
of which you've probably never
heard of; and, if it's what you're
after, you get the cred of saying
you saw [insert up-and-coming
artist's name:] back before they  f||
were overplayed on The Peak.
Plus, admission only costs
about the same as a pint.
Despite the competitive nature
of Shindig, with its weekly voting
and eliminations, it never feels
that way. Sure, the bands want to
win but trumping everything else
is the desire to be a part of the   II
local music community. It's hard
EDITOR'S NOTE ILLUSTRATION BY SHARON KO
for newer bands to break into
the scene and these showcases
can really help with that.
It's not that Shindig's the
American Idol of Vancouver —
though even that comparison
on its own might be faulty,
considering I can name a grand
total of maybe two American Idol
winners. Whenever people try to
talk up Shindig, they namedrop
some of the now big names that
once competed (Japandroids,
You Say Party, yada yada) but..;
honestly I think it's misleading.
TheyVe just examples to show
you what Shindig is about:
taking bands who don't have
much of a following or need help
building a local buzz and giving
them an opportunity to do it.
I've had some great times at
Shindig and I've met some even
greater people. Whether it's the
overtly simplistic intermission
round of Jokes for Beer — the
name couldnt be more literal,
in that you tell a joke on stage
and get a free drink ticket — or
Seeing some of my favourite
bands for the first time, the
competition has it all. For those
of you competing, I wish all the
best to you and good luck; for
everyone else, start clearing your
Tuesday evening schedules.
So it goes, ]:M. \
Jacey Gibb
EDITOR'S NOTE STRICTLY THE BEST TAMBORINE HITS OF SEPTEMBER 2014
CITR 101.9 FM CHARTS
ARTIST
ALBUM
LABEL
1    TheB-Unes**   ;-Opening Band        tteekevDatf
Shimmering
Stars**
%   th#Shiloiii*+
4    Cool**
5    Dead Soft**
Bedrooms of the
Nation
The Shilohs
Self-Released
Light Organ
Best New Music       Self-Released
Dead Soft
6    White Lung*+ Deep Fantasy
Kingf isher Bluez
Domino
7 Monomyth*
8 Always*
9 Total Control
10 Pinner*
11 Brave Radar*
Saturnalia Regatta  Mint
Always
Polyvinyl
Typical System       1r_n Lung
Pinner
Self-Released
Message Centre      Fixture
12   Slow Learners*+     Grow on You
13 Ml*ens^
14 Cousins*
15 Catholic fiirls*
S^er«nentii> >
#arMen$i$ep0i>
The Halls Of
Wickwire
^ia Joined
Debt Offensive
Self-Reteasecl
Hand Drawn
Dracula
Self-Released *
16  The Flintettes**     Open Your Eyes        La Ti Da
IT Naomi Punk
18 Cowards**
19 Tanya Tatjatj'
Television Wan       Captured Tracks
jN^antpjbns     Se|f.Released
of Male Chastity      belt Ke,easea
-Animism
on   Naomi Shelton & the     A ..... ..
20   .    ln Cod Word
Gospel Queens
21  Diamond Version     01
Six Shooter
Daptone
Mute
22  Cold Specks4
23  ItokaOnly**
24  Cold Beat
Bodies At Bay Mute
Sex Money Moka      Urbnet
Over Me
25  Beedles//Pins*+     Shamebirds
Crime on the Moon
Dirtnap
ARTIST
ALBUM
LABEL
-*
. Sean Nicholas ••••
iefffiiili^lerlalf
JNjWto'*
27
Austra*
Habitat
Domino
J£
Swollen -,
ifdMHiw.O^r'
IHMHI
29
Eagulls
Eagulls
Dine Alone
p-<
••:^WIgfri^4«.
Vlpal^iow$(Hn«tN^ C
^iljHWM
31
Various*
Poncho Records
Compilation Vol. 1
Self-Released
1*!
Sentag**
$:Jen^f; \
\ Sett-Released
33
ooioo ||._
Gamel
Shock City
n
f0^"^;:>'S:^
,PNt\
tkUfkm'l.
35
Maria Minerva
Histrionic
Not Not Fun
36
SatoO^'-fc-'-::
Saoota
Hybridity Musi
37
Jpnsgrls*+
Circulation
Light Organ
*iJ::^ISBliil^'|.fc-::tk^ •i:!*<s_#:___i B
38 •__l____i___*-:-       A«eaf Fine Mess     Tonic
.. Jus Murderer** •
39  Anchoress**
40  Koban**
41   Sylvan Esse
Crime & Compass
Vide
Sylvan Esso
42 BadBadKo&ood*    III
File Under: Music
(Ftl:M) j
VHeyrdSen
Dine Alone
Pirates Blend
43   LNRDCROY*+
Much Less Normal    1080p
44 Michael Brock**; ' Scorpio EP
45  Swans
46 TV Freaks'
To Be Kind
Leeches
47   Sunny Pompeii**    Vinegar
WJ:?I$$*$$C'        Ras 111
49  Angela Ingiis**      Echo
SO  Owen Pallets
in Conflict
liybtfiflty Music
Young God
^90001.
Leisure Suite
,%«Me^sj8t>-
Self-Released
Secret^
'&%&®%£&&®:ty#l%:
CiTR's charts reflect what's been played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian and those marked (+) are local. Most of these excellent albums can be found at fine independent music stores across Vancouver. If you cant find
' them, give CiTR's music coordinator a shout at (604) 822-8733. Her name is Sarah Cordingley. If you ask nicety she'll tell you how to find them. Check out other great campus/community radio charts a) vww.earshot-onHne.com.
CHARTS 101.9fm/CITR.ca
WE HAVE AWESOME VOLUNTEER OPPORTUNITIES!
At CiTR lOi.gFM, UBCs community radio
station, you can be trained and participate in:
Sports broadcasting
Independent news journalism
The music industry
Arts journalism
On-air show hosting
Live sound and live radio
broadcasting
Digitization and archiving
Production for radio
Promotions and outreach
You can also volunteer for Discorder, CiTR's
own magazine, where you can:
• Contribute live show or album reviews
• Write feature stories about
Vancouver's music scene
• Contribute illustrations
• Take photographs, either of bands or
at concerts
And if all that wasn't enough for you.
CiTR offers work-study opportunities and
practicum placements for students(at UBC
and beyond) interested in a multitude of
fields. II WWW.F0XCABARET.COM
f] G_ Q FOXCADARET
THE FAMOUS
ART, MUSIC, DANCE,
INDEPENDENT CULTURE
NON-STOP
ENTERTAINMENT
2321 MAIN ST
EVENT HIGHLIGHTS -OCTOBER 2014
A pop-up arcade and
classic arcade games,
big screen Nintendo,
soundtracked by Jeremy
& Josh of Black Mountai
THE BOOM BOOMS
& CHIN INJElt$§f
Kin Music presents a double album
release party for two local favourites.
TUES !0C1
n i \m
GAZA BENEFIT ;g||
A night of music, comedy, dance (and more!),:
to raise money for children in Gaza.
IOCT
with The Librarian,
Calanialka & Michael Red
West Coast sound pioneer headlines
a night of electronic music and dance.
TOUGH AGE §   M
BlueprintLive presents upstart Toronto
punks with awesome local openers.
WRONG WAVE 2014
Unitt/Pitt presents the kick off event for
their annual music fest. Featuring a 20th
anniversary show by July 4th Toilet, with
local acts Death Prizm and Late Spring.
BAPP BATTLEZ
Watch some of Vancouver's best
comedians battle each other in high
concept no holds barred spit f ests!
HEAVY
GOLD        FIT
Golden era rap night with
Rhek, Arems and Marvel.
A good times hip hop
party in the hear
Mt Pleasant.
THE MOTOWN PARTY
Monthly soul night. Dance to old favourites
and rare grooves from Stevie Wonder, The
Supremes, Marvin Gaye, Jackson 5, & more.
GIALLO FILM NIGHT
Special Halloween screening of Italian Horror
and crime films presented by #FoxFilmClub.
Indie classics dance par.
The Smiths, New Order,
The Cure, Stone Roses,
and much more!
CHEBBYPOP |
Monthly drag show and dance party
featuring all things strip, sweat, glitter, and
grit. Hosted by Jane Smoker with resident
DJ Trevor Risk.
THURS | OCT 3?
THE HALLOWEEN
COVEBSSHOW
Vancouver's best bands play dress-up.
Featuring members of Nu Sensae, The
Courtneys, Shearing Pinx, B Lines, Weed,
Nervous Talk, Mode Moderne, Cascadia,
Escathons, Markus Naslund % More
FOX HALLOWEEN:
HEAVEN/HELL | m
The Lost Girls * Heaven DJs join forces to
transform the Fox into an inferno of fun. Live
performance followed by a dark dance party.
FOR FULL AND UP-TO-THE-MINUTE LISTINGS PLEASE VISIT: WWW.F0XCABARET.COM/CALENDAR
***
• **
IMUNUAY
OCIAL ; J.
50s/60s dance party with DJs Tyler Fedchuk,
Trevor Risk & Cam Dales. Cheap Drinks, Good Times!
THE SUHDAY SEBVICE
Vancouver's longest running Independent Comedy Night.
Doors 7:30 PM. Always a sell-out! *
NEW MUSIC
I
|l§|Nu $&&€*$ fcf,
ftiros Col.#CliV# (VttfttflHrtfj
Scott Dugmla
Leslie Gorcty.(to£#
}%35S$I
Canatfiar*
Heritage
carsadfen,''
Works by
JoW Luther Adams (us)
8am.fi Fried rich Haas (Austria/US)
Aiwea Lockwood (New Zealond/US)
Tristan.Muraif (Franca)
Michael O'Neill (Vancouver)
H11degard Westerkainp (Vsncoover)
j33I_
sire™
TICKETS S15/S3S
FESWAl PASSES $112
Available frsm fefe*ftpflfi»nick»rs.c_m
or 1.800.838.3006
ORPHEUM ANNEX
CIRS Oil  ]i       :*
2260 West ip/ij|
niwRui$]c.:OrQ
»
YIcitr FILM STRIPPED
by Catherine Lee
illustrations by Angela Krinn
100 Layers of Beige
starts out upbeat
enough. With "Bleacher
Lovinw by Victoria's Slam
Dunk playing in the
backgroui^J, residents of
Esquimalt and anyone
else who remembers
share their memories of
the graffiti tlfat once gave
life to the traiif tracks on
the border of Vic West
and Esquimalt.
"It was like a
playground. It was an
Untouched playground
for us to spray paint,
have fun with," says
Jules Uno, one of the
many interviewees who
appear in the film. The
colours, graffiti, and
art have since been
painted over. By the time
"Bleacher Lovinw comes
to an end, the walls
have become endless
stretches of unflattering
beige, surrounded
by overgrowth and
10
700 MV£/?$ 0£ ££/<?£ *
billboards felling apart. It;. ?M
"What happened?"
Everyone asks, "how did it J|
end?" Brief silence, before   ^iga-jp
the next track begins.
"I was inspired to make 100
Layers of Beige because I had   |||
heard friends of mine talking     ||
about the Trackside Gallery for   < ..■
years," director Kay Gallivan
explains. "I love local music, and
when I heard about the painting
over of this mile-long mural wall
that meant so much to so many|M
people, it reminded me of all-ages
venues that have been shut down
in every city I have lived. One
thing that drew me to the story
was the fact that nobody really
knew exactly why the Trackside
Gallery was painted over."
Gallivan attempts to answer
the question as best as she    %k
can, while also making it §y ||
clear that there really isn't a
satisfying answer. Documented
are the efforts of a community
organization, Rock Solid, to turn
around the tracks and create a
space for art, deeming what is
already on tjhe walls as vandalism
and signs of nighttime activity
— and the subsequent failure
of those efforts. There is also
the emergence of a mysterious
group called Esquimalt Together
Against Graffiti, faceless and
silent, responsible for the beige.
Throughout 100 Layers of
Beige, the relationship between
space and ownership arises again
and again. The walls were no
one's and therefore everyone's,
the artists say; however, there is
an invisible crowd, the concerned
members of the community
"I never saw
the wafl
before it wasl
Sainted over,
ut still to
this day if
pu go down
h$re9 tlfe
©US^fiaintf
multicoloured
Saint chips
re all over
the ground.
The wall was
repainted so
many times   4
over the
*#r§ tjift the
^     !ps
fi
amt c!
thick with
multicoloured
layers
who are working to keep the
walls beige, that clearly thinks
differently. A palpable class
tension is at play here. The
graffiti starts from the bottom
and takes a long time to build
up to the magnitude it hopes of
achieving. Neither the beige nor
the billboards do the same.
"I never saw the wall before it
was painted over," says Gallivan,
"but still to this day if you go
fOO LAYERS OP BEIGE
11 down there, the beige paint is
flaking off and multicoloured
paint chips are all over the
ground. The wall was repainted
so many times over the years
that the paint chips are really
thick with multicoloured layers."
While I enjoyed 100 Layers
of Beige |rnmensely, and do
empathize with the sentiments of
loss and displacement expressed
by those who loved thltwalls, I
do think the film treads a little
too lightly over the more serious
issues that may have had to do
with the removal, or the onset   p
of beige. There are always two
sides to an issue — and it would
hafe be%i interesting to hear
what the other side has to say.
Whether this was left out for
creative reasons or because no
one wanted to speak in favour
of the beige, I'm not sure.
In any case, 100 Layers of
Beige gives viewers a lot to think
about in terms of urban renewal
efforts and the idea of graffiti   .«
being considered as an art form. I
would like to take a look at these
scandalous layers of beige myself,
one day, to see how thickly the
paint has truly set on the walls.
If you want to watch 100   |^
Layers of Beige in all
its beigey glory, the full
documentary is now available
online at Visual Orgasm.com
12
700 LAYERS' OP BEIGE by Max Wainwright
photos by Ko
n8tantin Ptodanovic
Punk rock and authority don't
go together. I think about this as I
approach the ever-elusive venue,
333, to chat with its founder and
operator, Chris Merrell, who I find
outside painting over some graffiti.
"People think they're adding
to the space by doing this, but
it's really just a pain in the ass,"
Merrell explains as he leads
me inside. It's an attempt to
keep the venue in respectable
shape for the city — one of the
many struggles that come with
managing the punk-rock venue.
Unbeknownst to many (due
to its previous underground
status), 333 is a beloved East Van
hub of punk and arts culture.
Over the last year, it has proven
to be a confident and defiant
torchbearer against "No Fun City"
and its suffocating by-laws.
For those who need some
backstory on 333: Merrell began
using the space in October
2013 as a band space that also
hosted underground shows. In
April of this year, a visit from the
Vancouver Police Department
precipitated 333's temporary
hiatus. Relatively unphased by
the shutdown, Merrell's audacity
for the local arts inspired him
to bring the venue back — but
this time, legally. 333 reopened
with its own occupancy permit
as an art space that can
legally host all-ages shows.
"This is basically a DIY,
non-profit organization for all-
ages music," Merrell explains
over a beer and a smoke in
333's "concrete shell* concert
room. His words echo around
the former auto-body shop as
garage-punk jams, courtesy
of the Guulps, throb from the
wall behind. On the other side,
333 boasts a rehearsal space
333
13 as well as a full recording    M
studio. "My primary purpose
...is all-ages live music, but I
would describe myself as a big
supporter of the arts in general.
HI  "This space is open season!
for anyone who has a conceptual
art project that they think would
work in a basic warehouse space
... this space is your space. One f||
of my biggest interests [moving
forward] is diversifying the media."
Apart from serving as a home
for Vancouver's hardcore music
scene, 333 has also hosted     §
music videos shoots, dance
parties, and film screenings.
Arguably 333's biggest change
since obtaining its occupancy
permit, it's opened its doors to
the larger art community without
being smothered by the city.
§§   That said, hardcore shows
remain 333's specialty: "You've
14
333 got to find a space where it can
be loud, if you're like me," Merrell
explains. "I'm not going to filter
the kind of artistic content in my
space because it's quieter ... I've
got to have a space where a band
that plays a big Ampeg 4x10 at
full volume is allowed tq/do it."
Punk rock can on^ truly exist
in a punk venue and the unique
culture of a hardcore show is only
tolerated in spaces like MerreU's.
333 offers a place for people to blow
off steam, unmolested by bouncers
or surrounded by VPD squad cars.
punk music, but are feeling the
same social pressures that I've
recognized ... [but] I refuse to
submit to that... If you're going to
put a 'don't mosh' sign for hardcore
fans, a 'don't come' sign would
probably be more appropriate."
Merrell himself uses 333's   :fl||
space often as a member of the
bands Balance and Horhaus. His
understanding of both harcore
etiquette and legal discourse make
him the best ambassador for both
sides. Moving forward with the
all-ages permit, MerreU's biggest
"This space is open     ipi
season for anyone who
has .a conceptual art   1
project that they think
,would work in a basic,
warehouse space •••this
space is your space*9'
"We don't need to sacrifice
artistic integrity for safety ... but
I want to be clear here: we've got
a fairly safe space here. The most
unsafe thing you're going to find here
is people moshing to punk rock."
Ironically, this cultural freedom
comes at a cost. 333's challenge
of operating legitimately is that
the venue must recognize many
bureaucratic pressures that conflict
with hardcore culture. Merrell has
been to venues that are forced t&*
post signs saying 'no moshing' f|||ft|
;P)r fear of being held liable.
"I hate that," Merrell continues,
"and I don't hold it against the
person who operates the venue.
They're someone like me, who
is putting a concentrated effort
into trying to support hardcore
challenge is managing the paradox of
imposing even just a couple of rules,
so the venue can operate and serve
a culture that exists to break rules.
For a range of upcoming 333   Is:
shows, check out this month's
Discorder calendar on pages 36
and 37 ¥
333
15 f*.
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''\ promoters, musicians 8 twtm*^[
the eily^iiiost wott |f ||§|
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*10 STUDENTS; SENIORS
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Tickets + Info thsSinsmathequs.ea
w ON THE AIR
article and photo by Sam Tudor
Alternatively, the title for this
month's "On the Air" could
be "Sam Finally Recognizes
the Extent of CiTR's Diverse        |§
Programming." Just when I'd
started to know my way around
the psychedelic post-grunge
soundscape, I'm thrown into
different kinds of contemplation
by a conversation about the
muzzling of Canadian scientists.
The Terry Podcast, a weekly
30-minute documentary radio
show created by Gordon Katie and
Sam Fenn, facilitates this kind
of conversation. I sat down with
Katie and Fenn at the station to
talk about where their show fits in
the grand scheme of UBC's Terry
Project.
What is the Terry Project — as
a whole — and where does the
radio show fit in?
Fenn: There are three main
components to the Terry Project.
They put on a student speaker
series and the TEDx talks, but
the thing that Gordon and I spend
our time doing is the radio show
called the Terry Podcast. The
goal of the show is to take a big
idea generated from academia
and do investigative, non-fiction
journalism around that idea.
We're doing a five-part series on
drug policy in Vancouver right
now. We talk to researchers
throughout the piece to explain
these drug policy concepts —!
epidemiology, political science,
and public health research. But
then we actually go out and talk
to the drug users and people on
the street and try to tell the stories
about how those big ideas actually
impact people on the ground level.
Katie: In a way, The Four
Pillars [drug policy] series that
we're doing is a perfect illustration
of the kind of programming we're
trying to do because it's a piece
of policy that comes straight out
of the academy. It's study-based
implementation. We look at
how ideas that come out of the
academy actually affect lives.
How do professors respond to
being contacted for the show?
Fenn: Their response is
usually really effusive. They
appreciate that we can offer them
something more than a 20-second
media clip. We really want to
fully understand the research.
It's a bigger commitment for the
professor, but they appreciate it.
A common thing professors tell us
is that larger media outlets will
7-Ayf r£fl/?V PODCAST
17 just ask them the same question
over and over. When they finally
cave in and say something
a little more provocative but
a little less accurate, that
becomes the clip thatll end up
being played repeatedly on the
radio. I think they appreciate
getting away from that.
You're doing The Four Pillars
documentary in partnership
with independent BC
publication Tht Tyee. How did
that come to be? J|f
Katie: We were working on
interview has been edited and condensed for print
18
rA/£ r£/?/?v PODCAST $£$#£
'liMllifliitfi^
A^____^Kr»_f_____(r_
this documentary about drug
policy and this building in the
Downtown Eastside for a while.
But we got scooped: the story
ran in The Province before we
published it. When The Tyee
heard they said, "Forget the story,
just do a whole series on drug
policy" and I thought that was
a great idea. That's the beauty
of independent media: there
are no other organizations
like [CiTR and The Tyee] in
Vancouver that would give
us space to go wherever one
idea takes you. Here we can
think broadly, without having
to do things like daily new&
scoops and quick headlines.
You recently won a National
Community Radio Award.
Which aspect of your       JP
programming was that for?
Fenn: It was for a
documentary we made last
year called Sam Returns to
Historymaker. Historymaker
is a Pentecostal youth rally
that mixes a big concert with
radical Christianity. People
have pivotal experiences at
these things. They claim
to hear the voice of God,
they speak in tongues, they
receive prophecy, all this
crazy stuff. For a lot of these
people it becomes evidence
of the existence of God. I was
raised in a very Pentecostal
Christian denomination called
The Viney,y:d. I rationally don't
believe in God anymore, but I
remember these things happening
when I went as a kid that felt
completely real to me. So the  |m||
plan was to take a microphohe
and go through the experience
of this Christian conference
again, to see if I would be able
to resolve the tension between
my atheism and my memory.
We found all these modern kids
living in rural BC and realized
they were fascinating characters
in a really interesting subculture.
I think the reason why it won
the award was because it was
a place where most people
can't get into normally.
Where can you see the show
going from here?!! ■ -f|
Katie: I hope the show j||
becomes an example of the ways
in which academia can really
communicate to the general
public. If we can accomplish
that, then it can be an example |j|
to this university and to other
universities in the future.
Fenn and Katie are on CiTR
every other Thursday from 1
to 2 p.m. You can stream the
Four Pillars Revisited series at
The Tyee website or listen to
any of their previous podcasts
at http: / /www.terry.ubc.        M
ca/ category/ podcast/   V
7"Ay£ r£/?*V PODCAST
19 DISCORDER STAFF SOUND-OFF
WH Al r MUSICAL
ARTIST(S) WOULD
YOU LIKE TO
HAUNTED BY?
Yeah, we get it. You love Pumpkin
Spice, wearing sweaters, and
all that crap that comes around
every autumn, but can we
please get to what's important:
it's almost Halloween and you
either finished your costume
months ago or you're waiting
until October 30 for inspiration/
desperation to reeeeally strike.
Regardless of your wardrobe
situation, Halloween trumps a
lot of the other holidays because
you get that supernatural-scare
factor that days like Arbour Day
just don't have. To celebrate the
spookiness of October, we asked
the Discorder staff what musical
artist(s) they'd most like to be
haunted by.
Elliot Chan — Ariel Pink's
Haunted Graffiti X
On Halloween four years ago,
I was wandering the streets
with my droogs. At some point,
a drunkard jay-ran across the
street. He threatened to punch
each of my friends in the face
for knocking over a garbage can.
We pleaded not guilty and the
confrontation ended with a boozy,
yet emotional handshake. All
the while, Ariel Pink's Haunted
Graffiti's "Menopause Man" fi
was playing through my iPhone
speakers in my pocket.
Pyra Draculea — Johnny fl
Thunders '  . ,:|^S
Johnny Thunders is welcome
to come haunt me any time
he wishes. Based on my iMac
desktop photo and the posters on
my jamspace walls, some might
say he already does. However, I
have yet to have any visitations.
Let's see here: I know you leave
out milk and cookies to lure
Santa, but Thunders would
probably want something a
little more illegal than milk and
cookies.
Erica Leiren — Doris Day
Miss Day is still alive, of course
— may she live many more
years — but I'm thinking ahead to
the future. She's supernaturally
cheerful and was a triple-threat
20
sr4^ SOUND-OPP Ill
>-
D
O
z
I
o
<
z
>
00
5
0_
I-
co
during her long career, initially
as a band singer then a mdvie
star and finally hotelier. She
had a tough personal life, but
persevered cheerfully through all
obstacles, which is why I think
she'll make a wonderful ghost.
I plan to visit her quaint hotel
one day and anticipate that her
presence — whether on this
astral plane or the next — will
pervade the premises with her
lifelong fun-loving and kindly
spirit. . -Jf;-
Luan Li — Art Tatum j|-.
I would love to be haunted by
the prolific Art Tatum, whose
jazz piano imaginations set the
standard for jazz pianists for
generations. Not only was Tatum
outstanding in his technical
skills, but he was visionary
and futuristic in most of his
works. I can live with having
his astounding flourishes and
improvisations set as the eternal
background music to my life.
Mason Mcintosh — Jack White
It would have to be Jack White.
When I listen to him, I already
imagine White carrying a scythe
around, waiting for a reason to
sneak up on me when I'm in a
deep slumber. Also, with all of
his dark references to ancient
times and grim looking topics,
he's the scariest pale-skinned,
dark-haired character that
would haunt me sinisterly.
W^ SOUND^OPP
21 -tr.
Sam Tudor — Aaron Embry
As someone with a sort of
natural wimpiness, I'd probably
do my best to avoid the whole
haunting situation altogether.
However, if there's no choice
then I'm not going to go half-way.
Aaron Embry has a voice like
the eeriest of ghosts, and his
album Tiny Prayers seems like
the type of thing that would drift
from a window of the abandoned
mansion next door. No sleeping
would occur.
percussionist is absolutely nutso.
With his wild-eyed, devilish
appearance and capricious
temper, Ginger Baker's bent for
fear is only equaled by his fervid
drumming. His soul will forever
haunt rock 'n' roll. V
Max Wainwright — Ginger
Baker
Having recently seen Jay Bulger's
incredible documentary, Beware
of Mr. Baker, I feel compelled
to pick the titular subject. The
former Cream and Blind Faith
mmm
ILLUSTRATION BY KEET GENIZA
22
STVAA^ SOUND^OPP IN GOOD HUMOUR
written by Evan Brow    photos by Jennie Wahll
The alternative comedy scene
in Vancouver is alive, but
underrepresented — a splattered
map of venues and a finite crowd
supporting it all. There's a lot
of great creative work out there,
but it's hard to pack a show on
a regular basis. Ryan Beil is an
exception. As one of the founding
members of the improv group
The Sunday Service, the operator
of Little Mountain Gallery, and
a working actor around the city,
Beil is entrenched in the city's
comedic DNA.
First introduced to improv
by his Grade Seven teacher
Madame Tremblay, Beil's first
official pursuit into the form
was with the Canadian Improv
RYAN BEIL
23 Games; this is where he met Taz
VanRassel, his future co-founder
of The Sunday Service.       ft
After high school, Beil
sought a BFA in Acting at UBC.
He loved to be on-stage and
learned to appreciate comedy
through his study in theatre.
"I like fulfilling the technical
aspect of being an actor, which
is memorizing and holding an
audience's attention," says
Beil. "Those are the two things
that get me off the most. I love
being able to learn a show,
learn a part, and then it's in
me, and then being able to walk
on-stage and captivate people.
Because not everyone can. I
love having that many eyes and
affecting them in some way."
Since then, Beil has had
great success with his comedy.
The Sunday Service has over
20 Canadian Comedy Award
nominations and won Best
Improv Troupe in 2012; the
group packs its shows and even
formed the comedy school Blind
Tiger Comedy with Hip.Bang!,
another Vancouver improv group.
In November of 2013, Beil §
took on another challenge. He
became the operator of Little
Mountain Gallery, a small
theatre on 26th and Main.
TWO SUNDAY SERVICE MEMBERS
ON BEIL'S SENSE OF HUMOUR:
"It's like a bull in a china shop in a hurricane
in a tsunami in a holocaust in a earthquake
in a collapsing star in an event horizon in a
' taqueria." - Kevin Lee     ■ M. lit '■# I
"You know that scene in Romeo & Juliet
where Leonardo DiCaprio and Claire Danes
are looking at each through the goldfish j|
glass? That's Ryan all the time." - Caitlin
Howden U''■■« -: - ..   -'■■$&. -ft-/
m
24
RYAN BEIL "Little Mountain Gallery is a
space I've been working with and
loving," says Beil. "I took it over
when the previous runner moved
away and it's so important that
that space stays open. Because it's
so not Vancouver. It's this shitty
hole in the wall. You're scared you
might rip your pants when you sit
down ... Because not everything in
Vancduver can be or should be the
Donnelly Group. And it's affordable
to rent out for theatre and comedy
groups. It's this chameleon space.
It takes on the mood of whatever's
happening; It's a very special
little hole in the wall to me."
Beil's baby of a black box     S
building has created an eclectic
comedy underground. He has
selected and crafted a wide array
of shows to comprise the show's
lineup, from Jokes Please!, a
weekly stand-up showcase every
Thursday, to Bout Time, a team-
based competitive improv show, to
the crown jewel of Little Mountain
Gallery, Rapp Battlez Wezt Coazt.
"Rapp Battlez is two comedians
each as a character and then
those two characters old school
rap battle each other in two one-
minute founds in which they'll
diss the other character and build
themselves up," says Beil. "One
we had was Trasier Crane' versus
Ttelsey Grammer.' I just did one
in Toronto that was 'A Frantic Jf
Woman' versus *Her Horrible Son.'"
Rapp Battlez is an idea taken
from Toronto's Comedy Bar.
The format allows for character
comedy in an amped-up,
sensationalized lyrical smackdown.
"[Sunday Service member]
Aarori Read always does crazy
fucking shit," says Beil. "He's
rapped as 'A Couple Making Love
Under The Moon' or as 'A Dad Who
Just Fell Off The Dock.' So even
as specific as that will do fine."
Other Little Mountain Gallery
shows include Ring A Ding Dong
Dandy, a wrestling-themed comedy
show from Beil and Graham Clark;
the Panel Show of 1000 Topics,
ai British-inspired panel show of
random prompted discussion; and
the upcoming Weird Al Karaoke,
another show from the Comedy
Bar where comedians choose
songs and then write the parodies
to them. Little Mountain Gallery
has certainly become an important
part of Vancouver comedy and Beil
definitely believes it's important.
»*{ "I feel like there's enough
amazing shit happening in
Vancouver that if there could
be 'a place' where the diasporic,
independent sort of shows come
and cross-pollinate, then that
would be great," says Beil. "My
dream of dreams would be nonstop comedy every day of the week.
Something always happening;
something weird or crazy
happening. That'd be my dream.
But if that can't happen, then I
just want Little Mountain Gallery m
to stay open, as a weird little
shitty hole in the wall for arts."
As an improviser, Beil has
done quite well — but as a
comedy figure, he is fostering a
comedy scene that craves diverse
and imaginative performances.
And if it's appropriate to
i paraphrase Gandhi with regard
to the Vancouver comedy scene,
Ryan Beil is being the change
he wants to see in comedy.
To catch Beil in action, you can
check out The Sunday Service
performing every Sunday at
the Fox Cabaret. Alternatively,
if you want to check out one of
the shows Beil is responsible
for, might we suggest Rapp
Battlez, happening at the Little
Mountain Gallery on the last
Saturday of eve_ry month V
RYAN BEIL
25  written by Max Hill   illustration by Jenna Milstrom
photos by Hana Pesut
"I was really hesitant to put
something out with a cat name
in it. To tell you the truth, I    ft
don't even really like cats. I'm
not a big animal person." Cary
Pratt, humble and soft-spoken,
meets me in a cozy coffee shop
in the West End. It's pouring
outside, and I'm wearing nothing
over my button up shirt — rain
water drips to the floor as we sit
down. Swirling his Americano
in his hands, Pratt praises the
spot as one of the only shops in
the city to make a decent cup of
decaf; he rarely drinks caffeine.
You wouldn't know it to
listen to his records; Pratt's
work as Prairie Cat is practically
overflowing with jittery energy.
Under his feline moniker, Pratt
has released three full-length LPs
and one EP of hazy, washed-out
bubblegum pop, all with a healthy
dose of cynical detachment that's
fast becoming his trademark.
Who Knows Where to Begin? is
his latest release, and it's also
his strongest — there's a spirit of
almost childlike wonder to Pratt's
inventiveness in the studio and
unpretentious mastery of melody.
The Prairie Cat project is -
a far cry from Pratt's day job
as a studio drummer. "Going
into the studio as a drummer,
and playing on other people's
records, it's already kind of set
up. You don't really have a lot of
input," Pratt says. "If it's someone
else's record and I'm getting
paid just to be there, I'm not
going to go in and start playing
around with different ideas.
"I think this record and the
reason this project is the way
it is, is I get to have the time to
do that — whether it's good or
bad, whether it's a big mistake
or whether it sounds good — I'm
able to go in and try it, at least."'
Each of the LP's nine tracks
bear the markings of Pratt's
distinctive creative flair;. "Upright
Beast," written about the
frustration of riding Vancouver's
PRAIRIE CAT
27 overcrowded buses, is a goofy
slow jam full of spitfire orchestral
intermissions; earlier in the
record, Pratt stretches the tempo
of opener t(Who Knows Where
to Begin,79 like a rubber band,
only to have it snap back near
the song's end. Bonus track,
"On a Lamb," is the record's
black sheep, more electronic and
atmospheric than the previous
eight — it was recorded with
Steve 9ays of Hot Hot Heat. "We
just kind of hung out and mixed
it, and I decided to just throw
it on [the record]," Pratt says.
Apart from input from local
musicians, Pratt says a lot of the
record's improvisational spirit is
due to the level-headed guidance
of producer Ryan Dahle. "He just
brings this reassurance, and
this kind of mentorship that's
like: this is how records sire
made, this is how you should do
this," Pratt says; "Which is really
28
PRAIRIE CAT cool, because there are so many
choices, and with a guy like him
that's made so many records, he
really knows how to avoid those
dead ends and cul de sacs that
he's seen people go down before."
Who Knows Where to Begin?
is full of creative instrumentation
and charming piano playing, but
it's Pratt's dry vocal delivery and
disarming lyrics that really make
it come together. The record's
standout tracks centre around
the difficulties of interpersonal
relationships: album highlight
"Bad Storm" tells of taking refuge
at a friend's place to avoid the
fallout of a relationship gone sour.
According to Pratt, the
new record relies less on
autobiographical tales than his
previous releases, focussing
instead on the stories of others.
"Not writing from personal
experience is a new thing for
me, too," he notes. "Writing
as someone else, it's easier to
take on a different persona and
not have to be as careful."
What you're not hearing on
the record, though, is some of its
more supernatural influences;
according to Pratt, he was only
seconds away from recording the
rattles of a Vogue Theatre ghost.
"There's always that chance that
something's gonna happen when
you're there late at night. That
kind of open feeling, the different
atmosphere, it makes you play
different," he says. "The first
night I was there, I was recording
a piano on stage, and just had
my headphones on; I had turned
PRAIRIE CAT
29 ^^^»
mm
up the preamp, and you start to
hear the room a bit more, you     m
start to hear traffic outside.
"It's super late at night, and all
of a sudden, I hear this 'thump,
thump,' and it's two of the theatre
seats in the upper balcony, just
kind of lifting up. I was so close
to hitting record just before that.
I wish I'd gotten it on tape!" No
telling whether closer listens to
the record might reveal some
evidence of the supernatural.
Though Who Knows has more
than likely introduced plenty
of new listeners to the world of
Prairie Cat, Pratt isn't looking
forward to headlining festivals or
landing Rolling Stone cover stories.
"I've always tried to gear [Prairie
Cat] towards being a recording
project: being something people
can access if they want to hear
songs, but with no pressure to go
out and market it and sell it," he
says. "So much of music is having
to get on board with something;
with Prairie Cat, there's not too
much to get on board with."
Ultimately, he says, being
involved with other VancouverM
acts who're gaining mainstream
success is more than enough. "I
think there's kind of two worlds
I'm involved with, and they only
overlap a little bit. It's a venn
diagram," he says. "I still want
to keep it [Prairie Cat] in a space
where there's no expectations. I
With this project especially, it's
just like, I'm making some music
— I'm not the best singer, I'm not
the best piano player, I'm not even
the best drummer, but I'm trying
to make something from nothing.
It's not anything bigger or smaller
than that; it's just some songs." V
30
PRAIRIE CAT UNDER REVIEW
JPNSGRLS §
Circulation     M
(Light Organ ig
Records)
Once you let the needle
drop on JPNSGRLS'
debut LP, Circulation,
you'll need to devote
the duration of the
album to head-banging
and object-smashing
just to work off the energy
emanating from the record.
Based on their opening track,
"Smalls," JPNSGRLS don't seem
like the type of band to tolerate
a static, zombie-esque audience.
Vocalist Charlie Kerr hammers out
lyrics like, "Gimme entertainment
/ Like the shadows on the wall"
and "Let's makeout like lovers do
/ There's more to life than getting
used," hitting listeners with bold
commands. Things slow down just
a tad with "Brandon" and the title
track "Circulation." Each tune
contains Graham Serl's punchy
bass kicks paired with Oliver
Mann's complimentary power
chords and a driving bassline
from Chris McClelland — these
melodies work together to accent
slightly more somber lyrical tones.
The majority of Circulation's
tracks are fast and frenetic
in rhythm, arguably reaching
their zenith on
"Mushrooms" and
"David and Goliath."
These songs display
the synergy of
JPNSGRLS in
full force, with
drums, vocals,
and both guitars
riffing off each
MA&n
other in perfect harmony.
If there is any
complaint to be made
about Circulation, it's
that the album could
use a greater variety
in rhythmic pacing
and melody. For
example, "From The
East," "Tennis Shoes,"
"Southern Comforting,"
and "L-iughing Gas"
blend into each other a bit too
well, with similar pacing and
a relatively similar sound.
Overall, JPNSGIRLS are     *
off to a substantial start with
Circulation. The raw energy
and passion embedded in
Circulation's tracks suggests
that JPNSGRLS have a penchant
for powerful live performances
and will be a valuable addition
to Vancouver's music scene!
—Rohit Joseph   |p
Monomytji  _ |
Saturnalia Regalia!    §§
(Mint Records) !     .ffe %'
Hailing from Halifax, Monomyth
brings forth ah album that
soothes the soul and whets the
appetite for adventure. Saturnalia
Regalia! is the first album
that Monomyth has released
on Vancouver's Mint Records,
and this collaboration
is evident in the
album. Combining the
underground, stirf-rock
vibes of the West Coast
with the upbeat tempos
I and grungy lyrics of the
East Coast, Saturnalia
Regalia! is sure to invoke
UNDER REVIEW
31 a breadth of emotions in its'
listeners.
Saturnalia Regalia! provides
a miasma of thought-provoking
sentiments. While the overall feel
of the album is quite optimistic,
melancholic lyrics add an element
of deception. The second song
on the album, "Pac Ambition,"!
is written with soft, echoing
rhythms and a prominent bass
line. The lyrics, however, are
dripping with shades of sadness:
"And if I wasn't high / I'd
probably blow my brains out."
The best song on the album by
far is "Candleholder." A tune that
allows you to imagine yourself
escaping from the absurdities
of life, "Candleholder" is a soft
and easy song to listen to. With
relatable lyrics like, "You're the
path to nowhere / And I am
easily led," this familiar ballad
will leave listeners smiling.
Monomyth's new album
personifies their band's name
impeccably. As a term used §§
in literature, a monomyth is a
journey that an ordinary person
takes on their way to becoming
a hero. Saturnalia Regalia!
embodies the concept of a
journey; a journey through life,
with all of its ups and downs.
Iftf   Overall, Monomyth does ||
a stellar job of conveying
its unique view on life to its
listeners and ends the album's
journey on a positive note.
—Alex Lenz
Betray t
Let The Good
Times Die    ~||g
(Perfect Master      B
Records)
The title of Betrayers
premiere green-hued
LP, Let the Good Times
Die, is deceiving. The
S|lillltirf,^lK||
' Thin<.t4tf+:tt_»)<
13 psyched-out tunes are more
akin to the hip shaking blonde on
the album cover than the bleak
tagline.
This Edmonton quintet (who
recently added a sixth member)
boasts two drummers, a Farfisa
organ, and of course, a bass
and guitar. Backing vocals are
provided by fellow Edmontonians
The Lad Mags and Emily Rault.
Recorded with a vintage-style
production quality by Patrick
Michalak at Riverdale Recorders,
Let The Good Times Die is a slab
of luscious green wax that you
won't want to stop spinning.
Opening track "Spinnin
Wheel," drifts by on a bit
of a Jesus & Mary Chain
tangent — which is never a bad
thing —but Betrayers don't
typecast themselves that easily.
"Cherry Beach" picks up the
pace ever so slightly by starting
with a deep droning bass line.
Next comes a Stooges-inspired
keyboard riff, jangling guitar
chords, and some light vocals.
The album continues to
accelerate with "Ain't No Lie."
This tune is a full-out rocker with
a swinging beat and a buzzing
guitar solo. Hits like the hazy
cruiser "Do You Smoke?" and
the adorable duet "Song For
Sue" (featuring vocalist Travis
Sargent and drummer Scarlet
Welling-Yiannakoulias) keep
the fun rolling. Also not to be
ignored is the brilliant cover of
Laid Back's quirky '80s
hit "White Horse."      1|
fc Let The Good Times
Die is wonderfully
paced and chalked
full of other stand out
tracks. Most notable
is the forlorn ballad
"Born to Cry," where
singer Travis Sargent
pines; "Well you left
32
UNDER REVIEW town looking to make a new
start / I got your Rolling Stones
records and one bitter heart,"
and the ripper of a close, "Too
Much Fun." Needless to say, this
tune plays true to its name.
On Let The Good Times   j|
Die, Betrayers have compiled
a groovy, long player that is
a must listen for any fan of
*60s-steeped psych-garage.
—Mark PaulHus |
Pinner -It
# 1 Demo        It
(Independent)
Nothing about Pinner's
#1 Demo makes sense.
The guitar wailing on
"Sad Lamp" makes a
mockery of the idea of
being on-tempo, and
the bass sounds like it
was recorded into the
Fisher-Price cassette M
player of my youth — and maybe,
partly, that's why this completely
dumpy series of songs is filled
with so much genuine joy.
Volume levels, mixing queues,
and the presence (or lack thereof)
of audible percussion shifts
rapidly between takes; make sure
to turn your speakers down before
second-in "A Milli" blows them
apart. Pinner straddle the line of
reasonable lo-fi: sometimes it's
endearing, and other times (like
on the aforementioned track) it's
frustrating not being able to hear
things over the _J_|_._."'
noise. Eventually, *
the band's
nonchalant attitude
rubs off on listeners,
and the group's
particular kind of
fuzzy sweater-rock,
which bears a
striking likeness
to Vancouver's
Woolworm, becomes warm
and wonderful and endearing. ||
Hunting for the vocals amidst
weird guitar ramblings evolves
into a fun challenge, while getting
caught up in the ridiculousness of
some of the layered instruments
starts to seem like just another I
part of the Pinner experience.
Hearing the crisp British|§
Invasion guitar tones at the
start of tracks like "Dipper," ||-
their standout number, is a
great reminder that there are,
in fact, some clean
sounds going on
behind their songs.
Here, the vocals stand
out next to a simple
but captivating bass
hook, and the drums
have just the right
level of washy noise.
In a way, #2 Demo
seems like the wall
against which Pinner
have thrown a handful of darts,
and it's impressive to note that
more tracks stick than don't.
# 1 Demo is a scratchy hot
mess of fuzzy guitars, fuzzy
drums, and fuzzy vocals. Pinner
plays the kind of humble pop-rock
that's hard to get out of the back
of your head, whether you want
it there or not. Regardless if you
agree with their particular fidelity
aesthetic, you'll find yourself
hard-pressed to listen without
a gaping grin on your face.
—Fraser Dobbs
Tne skifo^s
(Light Organ Records™
This self-titled follow up
to last year's So Wild
exemplifies how The       fl|
Shilohs have refined their
'60s-influenced indie f
pop sound. The album's
UNDER REVIEW
33 12 tracks are wistfully themed
by nostalgia, regret, loss, and
heartbreak set to a backdrop of
shimmering sunshine-tinged rock
ft'roll. j/fm.-    'W
The Shilohs is
a soulful record
characterized by honest
lyrics^ soft, sweet vocal
harmonies, a dead
tight rhythm section,
and grooving guitars
that ooze with feeling
and attitude. The
outstandingly linear |lj
"Folks on Trains"   |
embodies a number of these
stylistic attributes. Its complex
sax section is particularly
effective as it gives way to a
rollicking electric piano boogie.
This track, paired with "Palm
Readers" makes for a particularly
high point on this already
exceptional collection of tunes.
The poignant "Porch Light"
encapsulates the overall feeling
of the record. A song themed
by loss of innocence and youth,
"Porch Light" is strikingly
human and identifiable. Its
motifs are enhanced by the
use of jingle-jangle guitars and
driving Spector-era drums.   mm
As the album continues,
listeners learn that not all is
sweet and laid back with The
Shilohs. "Strange Connections"
vocalizes feelings of frustration,
loneliness, and disappointment.
As this song unfolds, it briefly
explodes in a fuzzed-up rage
before regaining its composure
with a reassured swagger.
Featuring four individual
songwriters, across 12 tracks,
the ever-democratic Shilohs have
produced a very cohesive and
well-paced record. The Shilohs is
a record that wears its heart on
its sleeve with zero-pretentions.
Despite drawing heavy influence
from the musical cornerstones of
British Invasion rock and 1960s
American rock, the Shilohs have
succeeded in developing a sound
that is all their own.
—Stephen White
White Lung
Deep Fantasy
(Domino)
Though Deep 1.
Fantasy is probably
the first most
listeners will have
heard of Vancouver
punk-rock foursome White
Lung, the band wastes no time
with introductions — the LP's
opening track, "Drown with the
Monster," is its most vicious and
unrelenting. In fact, the crowd
recruited by Pitchfork's Best New
Music credentials, might mistake
this punk download for a heavy
metal record.
S; I And it doesnt let up' from    -|p
there. White Lung grinds
mercilessly through all 10 tracks
of Deep Fantasy's abbreviated
runtime without so much as a
pause for breath. The opening
track's metal aesthetic gives
way for a modernized take on
the snarly, take-no-prisoners
feminist punk of progenitors like
Babes in Toyland, Bikini Kill, and
Bratmobile. Frontwoman Mish
Way's lyrics cut to the chase,
shredding rape culture and beauty
standards into pieces, while
her bandmates do double-time,
squeezing power pop melodies
out of the record's pressurized,
diamond-in-the-rough production.
The addition of a fourth band
member for the recording of Deep
Fantasy — bassist Hether Fortune
of Wax Idols — helps flesh out the
group's sound, refining a fullness
that was missing from White
Lung's previous record, Sorry.
34
UNDER REVIEW Standiouts like "Face Down" and
"Lucky One" veer into territory
previously conquered by Courtney
Love and Hole. Elsewhere, like
on album centerpiece "I Believe
You," Way's anarcho-feminist
subtext turns unflinchingly to
text, and the group's barbed
wire sound gets even rougher
and harsher to compensate.
Though Deep Fantasy is only
about 23 minutes long, there's a
feeling of satisfaction that comes
with its succinct close. At its
current length, the LP feels like
one sustained, passionate, sweaty
live performance, and any more
would be exhausting for the band
and its listeners alike. Thankfully
for us, White Lung seem to have
no plans of slowing down in the
future, and Deep Fantasy's sucker
punch of brazen punk rock is sure
to endure plenty of repeat plays.
—Max Hill V
ILLUSTRATION BY KEET GENIZA
35 SUN
M
W
5
Grek Rekus
©333
6
Fink, Douglas Dare
© Biltmore Cabaret
*J__r_2_.   ^^^
\
j£g08P*s&
7
Uncle Acid and the
Deadbeats, Danava
@ Rickshaw Theatre
8
Bandwith: A Multimedia
Fundraiser
© Astorino's
Eluveitie, TYR, Metsatoll
©Rickshaw Theatre
MALK, Thee Ahs, Pink
Licorice
© Fox Cabaret
Constantines, Ladyhawk
© The Commodore Ballroom
12
The King Khan &BBQ Show
© Electric Owl
13
PUP, Tough Age
© Fox Cabaret
Wildcat! Wildcat!, White
Hinterland Sp?
© Media Club
14
15
Banks, Movement, Lil Silva
© Commodore Ballroom
19
The Horrors, Moon Duo
©Rickshaw Theatre
20
Bonobo, Dark Sky
@ Celebrities Nightclub
21
Odesza
© Venue
Tennis, Pure Bathing
Culture, The Shilohs
© Fortune Sound Club
22
Odesza
© Venue
Blitzen Trapper
© Biltmore Cabaret
M0, Holychild
©The Imperial
26
Metronomy, Dawn Golden
©The Imperial
Dry the River, Nathaniel
Rateliff
© Media Club
27
28
Alio Darlin1
©Electric Owl
29
GaryNuman
© Rickshaw Theatre ./"TH   . J|
2
TheSonics, The
Evaporators, The Flintettes
©Rickshaw Theatre
Yacht, White Fang   %
© Fortune Sound Club
9
Weed, Naomi Punk, Mass
Marriage
© Antisocial
Mutual Benefit, Julie Byrne
© Media Club
Less Than Jake, Big D and
the Kids Tablev
© Venue
16
Sonic Topographies -
Vancouver New Music
Festival- (Oct 16-19th)
Robert Francis and the
Night Tide, Ben Rogers
©Electric Owl
(CiTR & Discorder Sponsorship)
23
Nervous Talk, Line Traps,
Harsh Words
©333
The Rural Alberta
Advantage
© Commodore Ballroom
Dada Plan
© Biltmore Cabaret
30 Ii
Snakehips, Stwo, Ekali
© Fortune Sound Club
Cosmetics,//zoo, Weird
Candle, Sex Eye Make Up,
Mourning Coup
© Red Gate
Only Wolf, The Passenger,
Ian William Craig, C. Diab,
Rosen
© The Cobalt
TheeSatisfaction
© Electric Owl
10
Hermetic, Supermoon, Doug
Hoyer
© Electric Owl
The Drums, Beverly
© Fortune Sound Club
Face the Rail, Tubuloids,
SNOB
©333
17
Burning Ghats, Amnesian
© 333
Bad Channels
©The Cobalt
Speedy Ortiz, Ex-Hex
© Electric Owl
24
Soft Riot, //Zoo, Sur Une
Plage, Party Fears Two
© Grey Area
31
Halloween Covers Show
(with covers of Crass, Devo,
Urinals, Wipers, Guided by
Voices and more)
© Red Gate
SAT
4
Merchandise, Lower
© Biltmore Cabaret
The Body, Sandworm, Haggatha,
Ahna, Womankind
©The Astoria
The New Pornographers
© Commodore Ballroom
W
11 |||
The Growlers, The Garden
© Rickshaw Theatre.    \
Royal Canoe and Rubblebucket
©The Imperial
18
Dale Earnhardt Jr. Jr., Miniature
Tigers
© Biltmore Cabaret
Big Freedia $f|j
©The Cobalt
Tanya Tagaq, Severn Cullis-Suzuki
©Chan Centre
25
Betty Who
© Venue.
rrrrr
ILLUSTRATION BY ALISHA DAVIDSON CiTR
K>1.9fm/CITR.ca
UPCOMING
EVENTS
GET INVOLVED AT CITR
BECOME A RAD DJ
STOP IN FOR A STATION TOUR 1       c       gffi
■ .     .         ,,,. ..  CIID Sign up for our free digita mixing and
weekdays at noon, room 233 in the SUB. u0y,t JLu.-,, nrnnrJL m mi o
rm-ii JhHt_u_«L4t.»fnrmA»in_fl- - beatmatching program, DJ 101.9
Email volunteer@citr.ca for more info.
SHINDIG
CiTR's 13-week battle of the bands!
Shindig kicks off on Tuesday Oct 14 at the
Hindenburg (23 W Cordova in Gastown)
Cover is $6, doors open at 8pm
For more info, visit www.citr.ca/shindig
SPORTS
CiTR is the voice of varsity sports!
For the list of games and dates in October
that we cover, go to:
www.citr.ca/index.php/departments/
sports
DJ Basic
Oct 7 - 4pm & 7pm
Oct 14 - 4pm
Oct 18- 1pm & 7pm
Oct 21 - 4pm
0ct28-4pm, M
Nov 4 - 4pm
Drop-in DJ Skills
Oct 14 - 7pm
Oct 21 -4pm
Oct28-7pm
Nov 4 - 4pm
UPCOMING LIVE BROADCASTS
OCT 2
UBC Ideas Fair
An interactive exhibit for students to
provide input on outdoor activities they
would like to see happening in this area.
Students will vote on their preferred
activities as well as submit ideas.
11am - 1pm, outside the UBC Bookstore
OCT 16-19
Vancouver New Music Festival
CiTR hosts a live broadcast from the
Centre for Interactive Research on
Sustainability at UBC from 2pm - 6pm
on October 19. Artists include: Michael
O'Neill, John Luther Adams, Annea
Lockwood and Hildegard Westerkamp
Violent (Canada/Norway, 104 mins)
Best known as the drummer for Vancouver-based We
Are the City, Andrew Huculiak makes his directorial
debut with this beautiful, atmospheric film shot in Norway and inspired by the band's latest album. It stars
newcomer Dagny Backer Johnsen as a young woman
who, after enduring a catastrophic event, loses herself
in memories of the people who loved her most.
Tue. Sep 30,9:30 pm, Rio
Thu. Oct 2,4:00 pm, Rio
Fri. Oct 10,3:45 pm, SFU-GCA
PROUDLY SPONSORED BY llw !#MEP\
The Past Is a Grotesque Animal (USA, 79 mins)
As Of Montreal's madcap leader, Kevin Barnes' creativity stems from chaos, be it outlandish stage shows,
revolving bandmates or hairpin turns of musical direction. Recognizing that a definitive portrait of an artist
so mercurial simply isn't possible, Jason Miller instead
"evokes the frantic consciousness of Barnes, his compulsion to create and move on to the next thing... It's a
spiraling kaleidoscope..."—Boston Globe
Fri. Oct 3,9:00 pm, I'ntl Village 8 f§§ SEAL LIVE ACTION
Victory Square Block Party
2014 N HH
VICTORY SQUARE /
AUGUST 31
"Coming off the high of
their recent LP release,
Dead Soft poured through
a captivating collection
of overdrive-alternating
grunge rock. ... Guitarist
Nathaniel Epp's wicked
yowl was in great    |
form, although it was
disappointing to miss    -;|f|
out on the songs in Dead
Soft's repertoire sung by
bassist Keeley Rochon.
The band sat somewhere
in-between serious and "f§§
goofy, and even at their
grungiest the giant grins
from up on stage mellowed
each fuzzy guitar solo in
just the right way." J|
—Fraser Dobbs       J
*To read the rest of this j|$
review, head over to
www.discorder.ca        \
Art Bergmann / The
Courtneys / CR Avery
COMMODORE BALLROOM /
SEPTEMBER 6
It's been two decades since Art    J|
Bergmann, who once fronted early
Vancouver punk groups The K-Tels f|
and Young Canadians hasn't played
much in the last two decades. A kind
of homegrown Lou Reed, now hidden
away on a non-descript Alberta farm,
Bergmann enjoyed local acclaim
for his depth and poeticism but
was overlooked by the masses until
1995's What Fresh Hell Is This?
PHOTO BY BRANDON LAL
earned him a Juno in Alternative
Rock. Following this achievement
the Sony A&R bigwigs puzzlingly
cut Bergmann loose and he, along
with his recordings, fell into relative
obscurity.
The night's opening act, local
spoken-word artist CR Avery,
pulled a meagre crowd to tjie front
of the stage as he worked through
material both new and old. He
was nevertheless enthusiastic,
proclaiming "My friends, we read
poetry on a Saturday fuckm' night
*£4£ LIVE ACTION
39 at the Commodore," amidst fans '111
chanting "Art! Art! Art! Art! Art!"
with one unabashedly belting out
"Get off the stage... You suck!"
Iff  Not that I shared this
sentiment, but given the
balding ponytails and salt
and pepper headbangers, it ||
was impossible to argue with
the hordes of aging rockers II;
that grew up with Bergmann's
solo work, and probably even
Young Canadians, on heavy &
repeat in their cassette deck.
Female three-piece The
Courtneys fearlessly charmed
the crowd with their adorably
awkward anecdotes that prefaced
songs like "Insufficient Funds"
and the buzzing extended
single "Lost Boys" as they
effortlessly wove through their fc
set, mesmerizing the hundreds
standing before them. When
the chorus of "90210," finally &
came around, the West Coast
mantra "Slow down / Chill out
/ Breathe in / Breathe out"     If
seemed to be getting through §§i|l
to the impatient audience.
All bets were off though by
the time they had finished. The
crowd roared as the iconic rocker
and his five backing members
took the stage. It was undeniable
that Bergmann, who returned
last month with the four-song EP,
Songs For The Underclass, after
nearly 20 years of silence, had
earned this hometown greeting.
The scathing, and admittedly
extended, political statements
that embody his latest work,
including the two standout ,m
cuts, "Drones of Democracy*^
and "Company Store," was
requisite material on this night.
Over the two hour
performance — a commendable
feat for any performer, no less one
that can legally cash in on seniors'
discounts — clothes were thrown
off, technical difficulties were
worked through, mistakes were
made, and smoke breaks were
taken to deal with these mistakes.
Namely the extended opus,
"Drones of Democracy," whose
first failed attempt he apologized
for, while the second indulged in.a
krautrock breakdown whose drum
solo could easily have found a
home oil the Tago Mago sessions.
Throughout the night Paul
Rigby's mandolin accented
Bergmann's new, slower pace,
and at the crowd's request, the
Young Canadians' hit "Hawaii"
was played at nearly half-time
before the band finally closed ||
on the carefree "Bound For
Vegas" — played at full speed.
For a man who seemed
haunted, even tortured, by   ;■
how much he has to say about
the current, and future state
of affairs, the enigmatic figure
nevertheless maintained his
reputation as the local prince of
punk. For on this night, where   Ip
troop rallying newcomers were
juxtaposed with drawn out |§|
age-old hits, Bergmann's ideas
were delivered unapologetically,
and in a manner of extremes.
—Robert Catherall      fl
La Luz / Les Chaussettes
ELECTRIC OWL / SEPTEMBER 8
"Starting without warning, La Luz,
an all-female outfit from Seattle,
was 10 seconds into the fiery surf
licks of the Brainwash seven-inch
b-side "T.V. Dream" before the
blue velvet curtain had eveii been
drawn. Heads turned as audience
members quickly vied for a front
stage view. Weaving between
unassuming hits like "Big Big
Blood" through to the high energy
doo-wop of "Pink Slime," the ladies
pulled off four-part harmonies   |||
reminiscent of the Shangri-Las
40
*£4(. LIVE ACTION with ease. It was a skill that rang
through particularly clear on the
meandering "Clear Night Sky"
from last year's Damp Face EP."
—Robert Catherall
*To read the rest of this review,
head over to www.discorder.ca
Owen Pallett / Avi Buffalo / Foxes
In Fiction H
THE IMPERIAL/ SEPTEMBER 9
"Announcing, "Okay this one's
tough," Pallett launched into
"Song For Five & Six." A world
in five minutes, Pallett's loops of
plucked violin strings stepped
quickly in the empty spaces
in between one another. This
outlandish use of a classically
esteemed instrument was the crux
of his performance throughout the
night."
—Alex de Boer
*To read the rest of this review,
head over to www.discorder.ca
Prairie Cat
THE EMERALD / SEPTEMBER 11
"With a mop of curly hair and
a burgundy blazer, Prairie Cat  \
resembled a young Prince more
than a grassland-inhabiting
feline. After encouraging the
crowd to "get a drink and grab
a dance partner," he sat behind
his keyboard and jumped into
the bouncy title track of his new
release, Who Knows Where to
Begin?. The album — bright,
infectious, and wonderfully wry —
made for a joyful show and Prairie
Cat's performance was spirited."
—Yasmine Shemesh |||
*To read the rest of this review,
head over to www.discorder.ca
New Forms Festival, Thursday
SCIENCE WORLD / SEPTEMBER 18
"Watching Morton Subotnick     ■ ;j$j|
close the first part of the night    §|
was truly a treat. A veteran and
pioneer of experimental music,
he made full use of the theatre's
surround sound system, creating
an immersive 3D soundscape of
amorphous noises. A few times
I caught audience members,
including myself, turning their   |J|
heads instinctively in a futile
attempt to catch a glimpse of the
fleeting, whispery vocal samples
flying around the stereo field."
—Daniel Lins
"To read the rest of this review,
head over to www.discorder.ca
New Forms Festival, Friday
SCIENCE WORLD / SEPTEMBER 19
"The second floor acted as an
acid-techno den, brimming with
body heat and human energy.
Vancouver's own Lnrdcroy started
things off with a meditative,
bass-drenched live set featuring
mostly fresh and unreleased
material, channeling turn-of-      ft
the-century vibes reminiscent of
former Boards of Canada member,
Christ. Word on the street is
that his set was being recorded,
definitely something to look out
for.
The Vancouver takeover
continued with acid missionary
Cloudface, who played his
unique blend of modulated bass
loops and dense ambience for a
deeply immersed crowd dancing
beneath the atmospheric lighting.
Together, the two local artists
painted a very impressive picture
of the creative output emerging J||
from this city's underground
electronic music scene."
—Daniel Lins
*£4£ LIVE ACTION
41 *To read the rest of this review,
head over to www.discorder.ca
Temples / Wampire
VENUE/ SEPTEMBER 19
"Swirling red and blue paisley
projected from the overhead lights
and the stage was an atmospheric
cloud of smoke. The room, tinged
with pot, held an eclectic mix
of flower children, fangirls, and
aged rockers. It was 1967 — well,
really, it was Friday, September
19, 2014, but it certainly felt like
the Summer of Love had risen
again. Walking into Venue was
like taking a step back in time
and it was all for Temples, the
psychedelic English rock band
whose acid-washed debut, Sun
Structures, has been widely
lauded as one of the best of the
year; upon hearing them live, it's
an evaluation difficult to disagree
with."|r |l    I" J§
—Yasmine Shemesh
*To read the rest of this review,
head over to www.discorder.ca
New Forms Festival, Saturday
SCIENCE WORLD / SEPTEMBER 20
For a third day in a row,
Vancouver's Science World was
overtaken by hip-looking crowds
drawn by promises of audiovisual stimulation. Even based
on the line snaking around-the
centre's exterior before doors
opened, Saturday's early evening
performance was one of the most
anticipated yet.
Partially responsible for
the hubbub was bass producer
Area, whose mutilated strain of
experimental music established
him as the weird kid in the
world of hip-hop production.      ■
Accompanying the young
Venezuelan producer in the
double DJ booth was LA resident
Total Freedom, while Area's
roommate Jesse Kanda was
responsible for the visual material
taking over the projections
in the Omnimax dome.
As Area filled the hall with
crunchily skewed beats, the visual
performance did little to ease
viewers in, choosing instead to
hijack the audience's attention
with blurry underwater footage
featuring two largely overweight
and naked women prancing
in a swimming pool. While
the subject matter diversified
throughout the show, the focus
kept returning to objectified
bodies - and particularly, booty.
Presented through Kanda's
distorting lens, the effect was
a bold challenge to both the
fetishized and the stigmatized
ways that we perceive bodies.
Next up, under the banner
of Oneohtrix Point Never w&s
Daniel Lppatin, a very down-
to-earth looking guy wearing
a feline version of the internet
famous three wolf moon
t-shirt. His follow-up to the
arresting first show had a more
subtle approach, yet no less
penetrating effect. His abstracted
compositions were performed
synchronically with surreal
imagery provided by Nate Boyce.
The San Francisco-based
visual artist's work was a sort
of peregrination into computer
generated imaginary spaces that
managed to concoct a dream-like
hypnagogic effect, despite having
an obvious quality of video gamelike unreality. Guided by Lopatin's
soundscapes that ranged from the
nebulously ambient to rigid Philip
Glass-inspired arpeggiations,
the amorphous objects of
Boyce's virtual imagination came
together to form a surprisingly
42
/?£4£ LIVE ACTION graspable wordless narrative.
The transition to the late
night activities in the main floors
of the science centre was a great
opportunity for a humiliating third
visit to the McDonald's across
the street — sadly the only open
outlet within reasonable distance.
It was also a chance to be frisked
as invasively and with equal lack
of tact as the last time I had the
pleasure of being serviced by the
TSA. However, to come to terms
with my sense of indignation, I
conceded that having the contents
of my wallet thoroughly inspected
was a small price to pay for the
childhood fantasy of a night at the
museum that lay ahead of me —
albeit in a very grown-up form.
By the time I had returned,
the stage at the bottom of a
round atrium was already being
serviced by Berlin resident SVN
and his partner-in-crime Dynamo
Dreesen. The pair seemed to
approach their respective time
slots very casually and in effect
traded off for a back-to-back
session with an eclectic range
of understated dance music.
The duo's playful angle was
showcased as they came together
for a live set under the name
of their collaboration, Dresvn.
Manning their analog circuitry
and a reel-to-reel tape machine
featuring prominently, they
introduced themselves with a
lengthy swim in a sea of delay
that eventually gave way to their
idiosyncratic and somewhat
comic looping rhythms. That's
when things got yery seriously
loud. The mechanic jungle dance
sent an overwhelming amount
of kinetic energy through the
stage's wall of subwoofers,
which was too much for some at
first. It really felt like the sound
engineers' pushed the duo's warm
analog sounds to the very limits
of an enjoyable experience.
Meanwhile, the space upstairs
was completely reconstructed
from the previous nights' flexible
multi-stage area into one spacious
stage dedicated to bass music.
The space felt more relaxed and
fitting for the big-room sounds of
Toronto resident Deebs. As the
night went on, Scratcha DVA and
Wen stepped up to the visually
hypnotic stage, representing
the groundbreaking London
pirate radio station Rinse FM's
specialties in foot-heavy UK bass.
At the end of the night, the
downstairs space belonged to Finn
Johannsen who was entering his
third hour of keeping the floor
flexing without respite through
his unpredictable selections.
Among the eclectic melange of
cheeky synth pop and acid tinged
techno, a track from Vancouver's
own Aquarian Foundation found
its right place. Meanwhile,
Chicago's DJ Earl closed the night
upstairs with a workout of madly
uptempo bass-heavy juke. With
precision and skill, the DJ went
through energetic, hook-driven
tracks at a dazzling pace.
Three days of consistently
impressive programming amidst
the uniquely re-purposed
Science World's spacious halls,
panoramic waterfront patio, and
mind-game filled atrium made
for a sense of openness that felt
particularly special. Even though
this year's festival is the biggest
in New Forms' 14 years, to me
it made its mark by pushing the
boundaries of what's possible
both in technology and with the
spaces Vancouver has to offer.
—Kristian Voveris V
/?£4£ LIVE ACT/ON
43 i
]      A1
_^ 1     •
^ •TTT]
Fa
1 •
1
i
•
1 . 1
•J
II
written by Erica Leiren
illustration by Brandon Cotter on page 45 (opposite)
This Halloween, the dead
will walk again. ^^     : '.|§;..
On October 31, several
of the still-living remnants
of Vancouver's ^Os
alternative-music scene
will rouse themselves for
an autumnal fest. Itll be
a party to rattle the bones
and shake the rafters of the
Wise Hall until the noise |
carries right on up to that
mysterious region inhabited
by the likes of Lux Interior,
Joey Ramone, and all their
undead rocker friends.
"Plan 9 from The Wise"
is billed as a Halloween
Night Tribute Terror with
performances by The
Spasms (a Cramps cover
band), The Manglers
(Stranglers tribute), The
Dirty Magazines (Magazine
tribute), and The Ramores
(Ramones tribute). The
lineup promises to be very
entertaining, with an all-
star cast of members from
other bands of time past.
ffThe Plan 9 contingent
are quite experienced*
composed as they are, of
various members of multiple
late, great, lamented ban<
like The Enigmas, The
Debutantes, Go Four 3,
The Dilettantes, The Hip
Tvpe, Death Sentence,
Dirt, Cast of 1000's, SNFU,
Cadaver Dogs, INSEX,     §
Infradig, and others.
Things to watch for:   m
The Ramores — with
members of The Jolts,
Ballantynes, and Nervous
Talk — can be counted on to
rip up a fistful of Ramones
hits, including "Blitzkrieg
Bop," "I Wanna Be Sedated,"
"Rockaway Beach," and  f§
"Sheena is.a Punk Rocker."
Rumour has it they will ^^'mm^msc- llfE *T THE Wm& MS BETTE1 UI£ THAU NEVEI P«S80eT10HS ms.*?
ml
also be peeling off into more
obscure gems like "The KKK
Took My I3aby Away" and
"Go Mental."
The Dirty Magazines
promise a treat for all of you
alt-prog fans as they will
masterfully re-create sounds
of seminal late VOs/early^
'80s art-school punk gods,
Magazine. Never mind that
original frontman Howard
Devoto absconded from The
Buzzcocks with "Lipstick" to
re-create the song with new
lyrics as Magazine's "Shot by
Both Sides"; he's a genius,
and continued to prove it
with more classics like "The
Light Pours out of Me." This
is definitely one to look
forward to, with extremely
proficient and tasteful
players including Doug
Smith (Dirt, Piggy), Gary
Economy (Cast of 1000*s,
The New Black), Gordf
Badanic (The Debs, Go Four
3, TNB), Chris MacLeod
(Cast of 1000's, Jazzmanian
Devils), and Sean Stubbs   M
(SNFU, Rat Silo). Decay
46
PLAN 9 PROfy THE W/SE never sounded so good.
I last saw The Manglers
Eerform on a 2010 double-
ill with The Enigmas. That
particular gig was filmed by
legendary Spore's frontman
(and filthy-disgusting chick-
magnet) Danny "Schmanny"
Novak, and released earlier
this year to DVD as The
Enigmas: Live in Concert.
If you missed the Zulu
Records in-store earlier
this year, when Stranglers'
hear grimy, percolating
tar pit dirges like "Goo
Goo Muck," "Green Fuzz,"
and "Garbage Man," along
with more upbeat tunes
like "Domino" and "Surfin'
Bird." Poison Ivy (a.k.a. your
humble scribe) has been
known to toss eyeballs out
to the audience — don't  f§
duck, they're Purdy's
chocolate eyeballs — so
if you behave and don't
crowd the stage, 111 even
This Halloween, the dead
will walk again.
frontman Hugh Cornwell
took audience requests, you
can get your fix this way.
Expect to hear virtually
note-perfect versions of the
big hits: "Golden Brown,"
"Something Better Change,"
ty (And all
of the Night),   along with
nuggets Eke "Dead Los
Angeles" and "Duchess."
Band members bring solid
credentials to pull on the
depth and drive required
of this music. They include
Simon and Phil Addington,
currently SWANK, formerly
of MOEV and Family Plot,
as well as powerhouse  |
vocals from Doug Donut
of Vancouver's late
Eunk-annihilators Death
entence. Jenn C handles
the all-important keyboards.
The Spasms will evoke
the classic Cramps lineup
of Lux Interior, Poison Ivy
Rorschach, Brian Gregory,
and Nick Knox. Expect to
throw them underhand,
the easier for you to
catch one, my pretties.
Tickets for the event are
available for $15 a pop from
BoneRattle, Neptoon, Red
Cat, and Zulu Records. Kee
in mind that the show is 19+
only and the lineup, as rad as
it is, is subject to last-minute
changes V*
PLAN 9 PROly THE WISE
47  PIIMPmHRli
;%?5fe^.??.W^-^$Bi!w*y '"B&^flygV
written by Keefer Pelech photos by Yulia Badayeva
illustration by James McBreen
Even years later, singer-
songwriter Sam Tudor is still
adapting to big city life — in fact,
the tension between small-town
nostalgia and the supersaturated
Internet world form a major
theme on his upcoming release,
The Modern New Year. With his
second full-length on the way, I
sit down with Tudor in the CiTR
listening lounge to learn more
about his artistic journey so far
and his latest project.
A Vancouver transplant from
Big Lake, BC, Tudor's music
plays with the desire to escape
from modern trappings while    ij
simultaneously inspiring images
of the West Coast wilderness.
Acoustic backings and rougher
DIY recordings mean much of
his early work is reminiscent
of Iron & Wine's initial releases
— but Tudor has grown a lot
since his first two albums, each
serving as a stepping stone    J
towards his current sound.
Tudor recorded his first
two releases, Snail Mail (2011)
and Animals and Arson (2012),
while still in high school at
Williams Lake Secondary. Holing
himself up in the school's band
room storage closet with just a
microphone and a laptop. The
space — which Tudor dubbed
"The Cupboard" — allowed him
to fully explore his music.
"I sort of operate on my own
schedule. I get into this bubble
in my head of saying, 'Oh, it
has to be done,"' says Tudor,
"and then I kind of do that with
my physical environment as
well. Make it into a safe bubble
where I can just go to."
After the completion of Snail
Mail, Tudor would return to The
Cupboard with bigger aspirations.
The intention with Snail
Mail was to just be a musician.
In that album, I just learnt
how to do it. I learned all about
copywriting and licensing. Even
though it was a shitty album, I
had the groundwork for making
other things. So when I went
into Animals and Arson, I knew
I could do it. The intention
with Animals and Arson was to
make something much fuller."
Released in June 2012,
Animals and Arson was well-
received and even had songs
finding regular airplay on CBC
Radio. While the album led to
Tudor playing severed shows
and festivals, it wasnt until
the 2013-14 winter break that
he returned to recording.
49
SAhf TUDOR
i ••I'm really
scared, of    I     1
becoming .that
acoustic singer
songwriter
becoming the
W f^tliaiji
mgs
With the lessons from
his first two releases in tow, If
Tudor returned to Big Lake in
a three-week escape to leave
behind the big city to write and
record. This time around, Tudor
chose a new fortress of solitude
to bunker down in: an empty    ;.;|p
children's summer camp cabin.
The location would prove to be a
perfect setting for the crafting of
his new record, The Modern New
Year. The dichotomy between
big city life and its quieter |
surroundings can be found within
the album as a defining theme.
"A lot of the songs on the
album are about living in the age
that we live in right now. For me,
it was especially noticeable being
in a city and being in a really
urbanized area. I grew up in a
kid's camp in the middle of the
woods. It was weird for me having
to deal with that shift because
I've always wanted to be that
organic ^be-with-the-earth,' hippy
guy. But I'm not that guy here
in Vancouver at all, so it kind of
feels like a modern new year for
me. This is my modern new year."
The album also draws
upon inspiration from classic
sci-fi novels that warn of
dystopian futures.
H read a lot of really old
books about the future while
I was writing the album. The
books were old enough that
the future that they were
writing about is now. Seeing
all the similarities in all those
dystopian future books; seeing a
lot of similarities and then also
noticing all the differences and
realizing that we are living in this
antiquated idea of modern."
Recording The Modern New
Year had Tudor pair up with some
new collaborators and old friends
alike, including Brent Morton
of Drum & Bell Tower. Inviting
50
SAKl TUDOR iiii
'-'*>K*M«MWH->r">W'»>,-K.;->
I
other musicians to add to the
album allowed him to push his own
boundaries to favorable outcomes,
as Tudor explains: "Friends who I
really like and trust haye come in
and helped so much. It's pretty cool
that people can come in and give
their own things. I felt honoured."
On top of the gorgeous
arrangement of violin and trumpet
lines throughout the album —       «■■';'
provided by Tom Howell and Heather
Gunn, respectively — Tudor also
fleshed out the tracks with his
own addition of keys and banjo,
adding texture to his recordings.
"I'm really scared of becoming  \
that acoustic singer-songwriter
guy. I was always really scared of j
becoming the guy with an acoustic
guitar, singing about his feelings.
The album itself in my head needed
to be fully instrumented and the
focus shouldn't just be guitar and
singing, so I had to teach myself
all of these other instruments."
As a result, The Modern New
Year features layered songs with
rich vocals and warm melodies,
perfectly capturing the glow of
a welcoming winter refuge.
As Tudor prepares for the release
of his new album, he's already
thinking ahead to the future. In
promotion of The Modern New Year,
Tudor hopes to assemble a backing
band and bring the grandeur of the
songs to life onstage. The album has
Tudor stepping out into the world,
without losing his small town charm.
The artist has brought the cabin in
the woods with him as he continues
to set up shop within Vancouver's
bustling, modern music scene. V
51
.Q-aA-f  Tt/hCib  s
written by Curtis AuCoin
illustration by Alison Sadler (opposite)
photos by Eleanor Wearing
Try and find a better sensation
them kicking off your tattered
Chucks at the end of a hard
day's sunshine. It's all about
tossing your Girls in the Garage,
Vol. 1 vinyl on and letting those
slimy socks dance along dusty
hardwood as you munch from a
salad bowl full of chips. There's
not a lot that can beat drinking a
beer while your hips are thrusting
inside some acid-washed jean
shorts. Maybe we have different
ideas of bliss, but I'm pretty
certain the dreamy psyched-out
fuzz love band Les Chaussettes
knows what I'm talking about.
After just celebrating their
one-year bandiversary this past
summer, guitarists/vocalists
Jovana Golubovic and Bella
McKee, bassist/vocalist Maria
Turner, and drummer Alex Smith
have been ripping stages from
Rent Cheque at the Astoria to
their favourite "holiday" Music
Waste. Chilling with the band
(minus Srqith) in the courtyard
outside Golubovic's house,
we talk of drunken birthdays
kick-starting bands and how
the powers of the Internet led
to their upcoming release by
UK label Punk Fox Records.
As a cute pug named
Bolan — after Marc Bolan, of
course — scampers around us,
McKee shares the story of how
she pulled Turner, Golubovic,
and smother friend into the
basement 4t her birthday last
year to learn the cover "He's Not
There Anymore" by 60s girl group
The Chymes. The song is still a
part of their set to this day and
was just released as part of a
Napkin Records compilation.
"That was the first song I
ever played on bass," admits
Turner, "Bella just handed me
the instrument and was like
You're going to play this.'"
Despite the drunkenness of
their original take on the song, it
has evolved into a dark, surfed-
out love ballad with heartfelt
harmonies and fuz_$y tremolos.
Les Chaussettes have a sound
like a sexy punch to the face.
It's as if they shoved dreamy
bubble gum-pop, Link Wray's
psychedelia, and '60s garage into
a blender — then poured that
musical concoction into your ears
with the most genuinely sly mien.
It's nearly impossible not to twist
and shimmy in an epileptic state
when you hear their jiving tunes.
feWhile Les Chaussettes are the
kind of band who will play one
of their first shows in swimsuits
and make "Pugs not Drugs"
their motto, their casualness
shouldn't fool you — beneath that
53
i i-e% ^*» - * Tnnf'Th**"*- wmsmsmm!- 11
ii
m "It's funny 'cause that was
barely even a year ago and I
feel as though everything's |
changed so much already,
but that happens with every
band." 1.1"     I  Mil ■ f. M  .
charm lies some very impressive
songwriting. Their online
recordings, produced by Felix
Fung at Little Red Sounds, are
deeply alluring with sexy guitar
riffs, tripped-out synth antics, and
some punchy bass lines. Talking
to the girls aboiit the Little Red
sessions they seem hyped on the
recordings, despite their sound
having evolved since then.
"When we first started, we
were jamming at Little Red
because we didn't have a space
or anything. The recordings kind
of just came out of that and we're
stoked on them" Turner says.
"It's funny 'cause that was ||
barely even a year ago and I feel
as though everything's changed so
much already, but that happens
with every band," McKee finishes.
Two of these original tracks
are soon to be released on a
seven-inch sometime in late
October/early November by
Punk Fox Records; speaking
with the girls about the
upcoming release, they thought
it sounded almost too good to
be true, as McKee elaborates.
"Alex's other band, MAI^K, as
featured on some underground
UK podcast, which they didn't
even know about. Someone
eventually heard their song
and started looking into them. I
guess this guy found our name
alongside theirs on some little
shitty poster and came into
contact with us. Obviously we
were psyched that someone
wanted to put out a seven-inch,
but we kind of thought it was a
scam at first. Eventually it all
became really clear and ended
up getting total control over
the artwork. We recently did
a covershoot involving some
messily-eaten ice cream cake, so
it should turn out super rad." [
Not only are the gals
from Les Chaussettes ripping
musicians, they're also all aerial
arts circus performers. While
that and playing music may not
line up entirely, I'm told they're
working on incorporating the
splits and possibly some aerial
lifts into future Les Chaussettes
sets. Turner introduced both
McKee and Golubovic to circus
classes and now it's become
somewhat of a home away
from home for the girls.        J
"We've always wanted to
56
(.£$ CAV4(/$$£7T£$ ism
**"*Si
©Ss®
SPWs^1 somehow bring it in at the shows,
so we're practicing a few different
things," McKee explains.   :^^Hft
"There are four of us now,
so we're basically a full-fledged
stunting team. It's great,"
concludes Golubovic.
If Les Chaussettes are to begin
incorporating circus art into their
performances, it will be another
way of shaking those tedious
stereotypes that come with the
moniker of being an "almost girl-
group." For Les Chaussettes, that
novelty has long since worn-out.
"A lot of people end up
focussing solely on [the fact
that we're mostly women],"
says McKee. "I think it's kind of
ridiculous; we're just musicians."
And damn impressive
musicians at that. The girls
may seem no sweeter than The
Rofiettes, but they back that
look up by blasting some fuzz
into your face with harmonized
guitars and tight percussion.
At this point, Bolan has
long been scampering around,
drooling and getting into  m
everything. Continually met by
laughing and cute whimpering
remarks, this adorable bat-
looking pup obviously isn't
taking things too seriously; at
the same time, Les Chaussettes
i!§em rather nonchalant too.
"We're just hoping to keep
pushing things forward by
experimenting," explains McKee.
"It's obviously all fun and we're
super excited to keep creating
and getting weird with things."
Les Chaussettes are bound
to be our surfed-out saviours
for the impending rainy
season, so be sure to catch
their seven-inch release party
in the coming months. V
*££
m:
ILLUSTRATION BY KEET 6ENIZA
ifS CHAUSSETTES SFU's Vancity Office of
Community Engagement
FALL HIGHLIGHTS OCTOBER 20U
SFU S GOLDCORP CENTRE FOR THE ARTS
U9 W. HASTINGS ST.
sfuwoodwards.ca
TWITTER.C0M/@SFU_W
FACEB00K.COM/SFUW00DWARDS
Tuesday October 14    Taxi Casablanca Film Screening
Saturday October 18    Wrong Wave 20U: Art Rock? Reprise
Monday October 20    Dylan Robinson Public Lecture
Wednesday October 22    Red Skin, White Masks Panel
Monday October 29    Benjamin Bratton Public Lecture
Saturday-Sunday November 1-2    Heart of the City Festival
SFU
a
A WOODWARD'S
ILLUSTRATION BY KEET GENIZA
Broken Pencil presents
frstfcfljl of line culture and
For table registration*
programming and
advance tickets visit
lit arts CiTR HAS
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photos by Jon Vincent
"Art doesn't have to be a certain
way; it doesn't have to be perfect.
The beautiful thing about making
art is you can do whatever the
fuck you want."     .     ft
Johnny de Courcy is nothing
if not outspoken — and at this
point, he has every right to
be. At only 26, de Courcy has
accomplished a remarkable
amount as an artist. From
operating his own screen-printing
business to releasing what
will be his second solo album,
it's understandable why he
might be tired of being known
exclusively as "that guitar player
who was in Black Wizard."
In the threfe years since jt
leaving Black Wizard, de Courcy's
been as active as ever. In 2012,
he released his first solo record,
Johnny de Courcy and the Death
Rangers, which will be succeeded
next month by his second, Alien
Lake. However, his sophomore
effort didn't take an obvious
shape until part-way through
production. "Alien Lake wasn't a
concept I came up to the studio
with, it happened when we were
up there," de Courcy explains.
The end product came from
eight days spent in a Kelowna
studio where de Courcy and his
band recorded nearly the whole
piece live and walked away fl|
with a fully-fledged album.
But the songs, de Courcy
contends, are as far apart from
one another as they could be.
Despite having been played and
recorded by the same people in
such a short span of time, de
Courcy describes each song as   il
a representation of the many
splits in his personality.
Alien Lake certainly has
common threads between its 10
tracks that make it successful
and a great listen. The record is
ripe with dulcet melodies that
bear resemblance to the late
Elliott Smith, and groovy guitar
riffs that could have come straight
out of Laurel Canyon. Yet the
whole album growls with certain
instability, as bits of de Courcy's
identity battle each other for
their time in the spotlight. In
"Southern Plain," he's Johnny the
Family Man, reminiscing about
his mother making coffee and
the paintings of his father; in
"Steely Down," he's Johnny the
Monk, contemplating a Vipassana
meditation retreat during which
he did not speak for 10 days
and meditated for hours on end;
and in "Turkish Freakout!," he's
JOHNNY DE COURCY barely even comprehensible.
It all speaks to the type of
artist — and the type of performer
— de Courcy has grown into.
Over the years, de Courcy has
developed a reputation not only
for creating poignant pieces of
music, but also for putting on
engaging live acts. As an artist,
his philosophy is that it's just as
important for an audience to have
something to look at it is for. them
to have something to listen to.
"I'm really interested in
performance and drawing from
theatre and plays and musicals,"
says de Courcy. "People have
eyes, they also have ears: that's
why I like to dress up and give
performances. I want to give
62
JOHNNY DE COURCY "It's cool to do a live I l»Bt
representation of the album with
the band, and I really like doing!
that too, but I've been doing 1 I
that a lot for the past two years 1
front the last record. Now I just §
want to do something completely
different and completely out m
there." I       __Hi
people a visual representation as
well as an aural representation."
With Alien Lake nearly ready
for release, de Courcy has set
his sights on a solo tour — a
venture with its own share of
creativity and weirdness. The
tour, which kicked off last month
at POP Montreal, features de
Courcy alone on stage, without
the support of a live band behind
him. This unusual decision has
a bevy of reasons behind it,
including the way he originally
wrote and envisioned the new
songs, and his respect for
musicians like Bob Dylan who
are known (often notoriously) to
change the way their music sound
once they're in front of a crowd.
ijf   "It's cool to do a live JHHp    §£
representation of the album with
the band, and I really like doing
that too, but I've been doing
that a lot for the past two years
from the last record," de Courcy
posits. "Now I just want to do
something completely different
and completely out there."
Five years ago de Courcy
might have been more worried
about what people thought of
him and his ability as an artist,
but those insecurities have
dissipated with time. Fans not
receiving his one-man-show as
warmly as they would hearing
the songs as they sound on the
album is not something that
fazes him. The choice to dress
up and put on a persona is no
longer a mask to shield him from
scrutiny, but rather the call sign
of a confident performer, and it's
taking him further and further.
On top of what's already an
overflowing schedule, de Courcy is
soon to release his second music
video with local talent Owen
Ellis, and is also in the process of
writing a four-part musical, which
he's planning on performing at
the Lido over the course of four
weeks sometime in the near
future. The reason for all of this?
It's what de Courcy was made for.
"I first and foremost make
art for myself. I do it because
I can't not do it; I don't do it
because I'm trying to make
something for somebody else."
He pauses as he considers what
he wants to say next, and you
can almost see one personality
changing hands for another.
"It's like taking a shit," de
Courcy continues, "sometimes you
take a shit and it smells good, and
sometimes it smells fucking bad.
And that's what art is — it's an
expression, it's an excretion of all
the things you intake in your life."
Alien Lake will hit shelves    w
this November, courtesy of
Neptoon Records. Be sure
to pick up your copy at the
album release party, date and
location TBD. f
JOHNNY DE COURCY
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Bepi Crespan Presents... SUN 7am
Bepi Crespan Presents... CiTR's 24 Hours Of Radio Art in.a snack size format! Difficult music, harsh electronics, spoken word, cut-up/collage and
general Crespan© weirdness. Twitter: ©bepicrespan. Blog: bepicrespan.
blogspot.ca §£f
CLASSICAL
Classical Chaos SUN 9am
From the Ancient World to the 21st century, join host Marguerite in exploring
and celebrating classical music from around the world.
4'33" 1/3 s-r" •:/.ji^r ■ •■■'■* '- 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.
Alphabet Soup Alternating Wednesdays 11:30am
Alphabet Soup is a talk show which focuses on the writing of MFA Creative
Writing students at UBC. Topics include events happening in the program
and the Vancouver art scene while promoting the writers and the genre
which they are working in.
AstroTalk THU 3pm
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,
G-Bands, Syzygy's, Pulsars, Super Stars...
The Sector FRI 8am
A showcase about different non profits and the work they do, with in-depth
interviews with non-profit representatives about social justice, charities
and causes. Website: http-Vsectorpodcast.wordpress.com. Facebook.com/
SectorPodcast.Twitter.com/SectorPodcast s
Synchronicity MON 12pm
Join host Marie B and discuss spirituality, health and feeling good. Tune
in and tap into good vibrations that help you remember why you're here:
to have fun!
News 101 FRI 5pm
Vancouver's only live, volunteer-produced, student and community newscast.
Every week, we take a look back at the week's local, national and international news, as seen from a fully independent media perspective.
Queer FM Vancouver: Reloaded TUE 8am
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
Radio Free Thinker TUE 3pm
Promoting skepticism,,critical thinking and science, we examine popular extraordinary claims and subject them to critical analysis.
Terry Project Podcast Alternating Thursdays 1pm
There once was a project named Terry, That wanted to make people wary,
Of things going on In the world that are wrong without making it all seem
too scary.
All Ears Alternating Wednesdays 6pm
(Alternating with UBC Arts On Air.) All Ears is an advice radio program targeted to the UBC community. We try to answer your questions and address
topics sent via social media and over the phone. Interviews and segments
relating to campus life will be featured, all in our attempt to better our community and supply positive feedback.
Extraenvironmentalist WED 2pm
Exploring the mindset of an outsider looking in on Earth. Featuring interviews with leading thinkers in the area of sustainable economics and our
global ecological crisis.
Arts Report WED 5pm
Reviews, interviews and coverage of local arts (film, theatre, dance, visual and performance art, comedy, and more) by host Maegan Thomas and
the Arts Reporters, j
UBC Arts On Air WED 6pm
\m Nadel; UfiG Engtish, offers scintillating-profiles and unusual interviews
witn-membersof UBC Arts world. Tune-in forprograms,peoptetnd personalities in Art
Sexy In Van City WED 10pm
Your weekly .dose of education and entertainment in the realm of relationships and sexuality, sexyinvancity.com/category/sexy-in-vancity-radio.
End of the World News 9|    THU 8am
End of the World News is grooves and news from around the world, mashed
and crashed against the wall. Lauren, Adam and Graeme talk trash about
international events with caffeinated cartoon voices from the world press
and the dark net. The Big World Love Vibe: Roots & Beats, Funk & Soul,
Dubbed Vibes & Dyslexic Drum & Bass. The antidote to The Corporation.
Call in and we will put you on.
The Rockers Show
Reggae inna all styles and fashion.
SUN 12pm
ROOTS/ FOLK/ BLUES
Blood On The Saddle Alternating Sundays 3pm
Real cowshit-caught-in-yer-boots country.
Pacific Pickin' 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
CITR 101.9 PKf PROGRAM GUIDE
67 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.
Code Blue     1 Hf SAT 3pm
From backwoods delta low-down slide to urban harp honks, blues, and
blues roots with your hosts Jim, Andy, and Paul.
Email: codeblue@paulnorton.ca
SOUL / R&B
A program targeted to Ethiopian people that encourages education and personal development.
Radio Nezate FRI 10pm
A mix show with music and discussion in Tigrinya the language of Eritrea.
Asian Wave WED 4pm
Tune in to Asian Wave 101 to listen to some of the best music from the
Chinese language and Korean music industries, as well the latest news coming from the two entertainment powerhouses of the Asian pop scene. The
latest hits from established artists, rookies only just debuted, independent
artists and classic songs from both industries, can all be heard on Asian
Wave 101, as well as commentary, talk and artist spotlights of unsigned
Soulship Enterprise SAT 7pm      Canadian talent. Only on CiTR 101.9 FM.
A thematically oriented blend of classic funk, soul, f&b, jazz, and afrobeat
tunes, The Happy Hour has received great renown as the world's foremost G4E Alternating Tuesdays 12-2am
funky, jazzy, soulful, and delightfully awkward radio show hosted by people Vinyl mixes, exclusive local tunes, good vibes from around the world, a
named Robert Gorwa and/or Christopher Mylett Gordon Patrick Hunter III. thought and a dream or two. Reggae, House, Techno, Ambient, Dance Hall,
       Hip Hop, African, Psychedelic, Noise, Experimental, Eclectic.
ELECTRO / HIP HOP
—  Nasha Volna SAT 6pm
So Salacious TUE 11 pm News, arts, entertainment and music for the Russian community, local and
"So Salacious is a program featuring new urban and alter- abroad. Website: nashavolna.ca.
native music, sounds of beats, hip hop, dancehall, bass, in-   j      	
terviews, guest hosts and more every Tuesday at 11pm. Radio No Jikan Every last Friday of Month 7am
scads_international@yahoo.com We will be talking about anything and everything Japanese, accompanied
facebook-So Salacious" by well, Japanese music (no duh!).
Bootlegs & B-Sides                                           SUN 9pm African Rhyhms                                             FRI 7:30pm
Hosted by Doe Ran, tune in for the finest remixes from soul to dubstep and p Website: www.africanrhythmsradio.com
ghetto funk to electro swing. Nominated finalist for'Canadian college radio   -;'\
show of the year 2012' Pioneer DJ Stylus Awards. Soundcloud.com/dpe-ran Rhythmsindia                            Alternating Sundays 8pm
and search "Doe-Ran" on Facebook. Featuring a wide range of music from India, including popular music from
th_ 1930s to the present; Ghazals and Bhajans, Qawwalis, pop and re-
Crimes & Treasons                                           TUE 9pm gional language numbers.
Uncensored Hip-Hop & Trill ish. Hosted by Jamal Steeles, Trinidad
Jules & DJ Relly Rels. Website: http://crimesandtreasons.blogspot.ca.
Email: dj@crimesandtreasons.com.
The Leo Ramirez Show MON 4pm
The best of mix of Latin American music. Email: leoramirez@canada.com
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.
Give Em The Boot TUE 2pm
Sample the various flavours of Italian music from north to south, traditional
to modern on this bilingual show. Folk,, singer-songwriter, jazz and much
more. Un programma bilingue che esplora il mondo della musica italiana.
Website: http://giveemtheboot.wordpress.com. facebook.com/givetheboot.
Mantra SAT 5pm
An electic mix of electronic and acoustic beats and layers, chants and medicine song. Exploring the diversity of the worlds sacred sounds - traditional,
contemporary and futuristic. Email: mantraradioshow@gmail.com
WORLD
La Fiesta Alternating Sundays 3pm
Salsa, Bachata, Merengue, Latin House, and Reggaeton with your host Gspot DJ.
Shookshookta
DANCE / ELECTRONIC
The Copyright Experiment
   -V •	
SUN 10am      Techno Progressivo
THU 11pm
Alternating Sundays 8pm
68
CITR 101.9 Fly PH06RA^ GUIOE A mix of the latest house music, tech-house, prog-house and techno.  v ! |
                J      Spice of Life THU 2pm
Trancendance SUN 10pm Canadian progressive rock, including some of the Japanese
Hosted by DJ Smiley Mike and DJ Caddyshack, Trancendance has been and Russian scene.
broadcasting from Vancouver, B.C. since 2001. We favour Psytrance,	
Hard Trance and Epic Trance, but also play Acid Trance, Deep Trance, Samsquantch's Hideaway     j   Alternating Wednesdays 6:30pm
Hard Dance and even some Breakbeat. We also love a^good Classic All-Canadian music with a focus on indie-rock/pop.
Trance Anthem, especially if it's remixed. Current influences in- Email: anitabinder@hotmail.com.
elude Sander van Doom, Gareth Emery, Nick Sentience, Ovnimoon, Ace ||t|	
Ventura, Save the Robot, Liquid Soul and Astrix. Older influences include Parts Unknown MON 1pm
Union Jack, Carl Cox, Christopher Lawrence, Whoop! Records, Tidy Trax, An indie pop show since 1999, it's like a marshmallow sandwich: soft and
Platipus Records and Nukleuz. Email: djsmileymike @trancendance.net. sweet and best enjoyed when poked with a stick and held close to a fire.
Website: www.trancendance.net.  f	
 ■•■■>  :  The Cat's Pajams FRI 10am
Inside Out                                                         TUE 8pm The cat's pajamas: a phrase to describe something/someone super awe-
       some or cool. The Cat's Pajams: a super awesome and cool radio show tea-
Radio Zero                            H;                          FRI 2pm turing the latest and greatest indie pop, rock, fofi and more from Vancouver
An international mix of super-fresh weekend party jams from New Wave to and beyond!
foreign electro, baile, Bollywood, and whatever else.	
Website: www.radiozero.eom[ Chips 'n Dip Alternating Thursdays 1pm
  Dip in every second Thursday afternoon with host Hanna Fazio for the fresh-
Synaptic Sandwich 111111 SAT 9pm \   est local indie pop tracks and upcoming shows,
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 1230am
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.
L/LllO I lu
ROCK / POP / I NO
Canada Post-Rock Alternating Wednesdays 6:30pm
Formerly on CKXU, Canada-Post Rock now resides on the west coast but it's
still committed to the best in post-rock, drone, ambient, experimental, noise
and basically anything your host Pbone can put the word "post" infront of.
Transition State MON 12am
High quality music with a special guest interview from the
Pharmaceutical Sciences. Frank discussions and music that
can save the world
Shine On TUE 1pm
 j| .,:........ Connecting music and artists through a different theme each week
Crescendo                                                           SUN 6pm 1
Starting with some serene chill tracks at the beginning and building to the Soul Sandwich                                              THU 11am
INSANEST FACE MELTERS OF ALL TIMEEE, Crescendo will take you on a mu- A myriad of your favourite music tastes all cooked into one show. From Hip
sical magic carpet ride that you couldn't imagine in your wildest dreams. Hop to Indie rock to African jams, Ola will play through a whirlwind of dif-
Besides overselling his show, Jed will play an eclectic set list that builds ferent genres, each sandwiched between another. This perfect layering of
throughout the hour and features both old classics, and all the greatest yummy goodness will blow your mind. AND, it beats subway.
new tracks that the hipsters think they know about before anyone else does.          	
  The Shakespeare Show                                   WED 12pm
Dave Radio with Radio Dave                             FRI 12pm Dan Shakespeare is here with music for your ear. Kick back with gems of
Your noon-hour guide to what's happening in Music and Theatre in the previous years.
Vancouver. Lots of tunes and talk. ••■ •••
|  I  Up on the Roof                                                 FRI 9am
Discorder Radio                                                TUE 5pm Friday Mornings got you down? Climb Up On the Roof and wake up with
Discorder Magazine now has its own radio show! Join us to hear excerpts of Robin and Jake! Weekly segments include improvised crime-noir radio dra-
interviews, reviews and more! mas, trivia contents, on-air calls to Jake's older brother and MORE! We'll be
  spinning old classics; new favourites, and tots of ultra-fresh local bands!
Duncan's Donuts THU 12pm              •-•
Sweet treats from the pop undergrpund. Hosted by Duncan, sponsored by Breakfast With The Browns                               MON 8am
donuts. http://duncansdonuts.wordpress.com. Your favourite Brownsters, James and Peter, offer a savoury blend of the
CITR 101.9 PKj PROGRAM GUIDE
69 familiar and exotic in a blend of aural delights. on local and Canadian Artists.
Email: breakfastwiththebrowns@hotmail.com.       ftj	
••- : ;•- Nardwuar ||| FRI 3:30pm
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@nardwuar.com
(rock, pop, electronic) as well as garage and noise rock.	
 •'••    The Medicine Show FRI 11PM
The Morning After Show TUE 11:30am :         	
The Morning After Show with Oswaldo Perez every Tuesday at 11:30a.m. Randophonic SAT 11pm
Playing your favourite songs for 13 years. The morning after what? The morn- Randophonic is best thought of as an intraversal jukebox which has no coning after whatever you did last night. Eclectic show with live music, local cept of genre, style, political boundaries, or even space-time relevance. But
talent and music you won't hear anywhere else. it does know good sounds from bad. Lately, the program has been focused
 •• on Philip Random's All Vinyl Countdown + Apocalypse (the 1,111 greatest
• Stereoscopic Redoubt THU 7:30pm records you probably haven't heard). And we're not afraid of noise.
Experimental, radio'-art, sound collage, field recordings, etc.,Recommended
for the insane. Stranded FRI 6pm
-;■"  Join your host Matthew for a weekly mix of exciting sounds, past and pres-
Hans Von Kloss' Misery Hour WED 11pm ent, from his Australian homeland. And journey with him as he features fresh
Pretty much the best thing on radio. tunes and explores the alternative musical heritage of Canada.
Suburban Jungle 9 WED 8am The Vampire's Ball WED lam
Live from the Jungle Room, join radio host Jack Velvet for an eclectic mix Eclectic audio alchemy; the soundtrack for your transmutation. Rock, weird
of music, sound bites, information and inanity. Email: dj@jackvelvet.net. stuff, dark stuff, and whatever's banging around in the mind of maQLu this
 "M ::  week.thevampiresbaJI@gmail.comthevampiresballoncitr.com
Student Special Hour THU 4pm	
Various members of the CiTR's student executive sit in and host this blend Q | NE M AT IC
of music and banter about campus and community news, arts, and pop cul-  <	
ture. Drop-ins welcome! Exploding Head Movies MON 7pm
  Join gak as he explores music from the movies, tunes from television and
Are You Aware Alternating Thursdays 6pm any other cinematic source, along with atmospheric pieces, cutting edge
Celebrating the message behind the music: Profiling music and musicians new tracks and strange old goodies that could be used in a soundtrack to be.
that take the route of positive action over apathy.  —!	
Peanut Butter 'n' 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
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: auraltentacles@hotmail.com
It Ain't Easy Being Green FRI 12pm
CiTR has revived it's long-dormant beginner's show It Ain't Easy Being
Green! With the support of experienced programmers, this show offers fully-
trained CiTR members, especially students, the opportunity to get their feet
wet on the air mil
FemConcept FRI 1pm
Entirely Femcon music as well as spoken word content relevant to women's
issues (interviews with campus groups such as the Women's Center, SASC,
etc.). Musical genres include indie-rock, electronic, punk, with an emphasis
JAZZ
The Jazz Show MON 9pm
"Vancouver's longest running prime-time Jazz program. Hosted by
Gavin Walker. Features begin after the theme and spoken intro at 9pm.
Oct. 6: Ex-Coltrane drummer Elvin Jones in a rare recording with
brother Thad, tenor master Hank Mobley and recent South African expat Dollar Brand (aka Abdullah Ibrahim) on piano. "Midnight Walk".
Oct 13: As a birthday tribute to drummer Art Blakey and piano genius Thelonious Monk. "Thelonious Monk "with
Art Blakey's Jazz Messengers" An important classic.
Oct 20: Composer and innovator George Russell and his all-star orchestra and a portrait of New York city with "New York, New York".
Oct.27: One of the greatest and yet unrecognised voices of the alto saxophone, Sonny Criss. "Sonny Criss Plays Cole Porter" Unbridled mastery!"
Little Bit of Soul MON 5pm
Little Bit of Soul plays, primarily, old recordings of jazz, swing, big band,
blues, oldies and motown.
LITERACY / LANGUAGE
Simorgh THU 5pm
Simorgh Radio is devoted to the education and literacy for the Persian
70
CITR 101.9 Fkl PHOQRAht QUIDS speaking communities and those interested in connecting to Persian oral
and written literature. Simorgh takes you through a journey of ecological
sustainability evolving within cultural and social literacy. Simorgh the mythological multiplicity of tale-figures, lands-in as your mythological narrator
in the storyland; the contingent space of beings, connecting Persian peoples within and to Indigenous peoples.
MON 11am
Language to Language
Encouraging language fluency and cultural awareness.
DRAMA / POETRY
Skald's Hall FRI 9pm
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
Thunderbird Eye THU 3:30pm
Your weekly roundup of UBC Thunderbird sports action from on campus and
off with your host Wilson Wong.
PUNK
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.facebook.com-
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/generationannihilation..
LOUD
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 TUE 6pm
Punk rock and hardcore since 1989. Bands and guests from around the world.
ValLlN tLr\r\ I IVL
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 your agenda, your reveries.
DISCORDER MAGAZ
®Wmmm
mmmM:
CITH 101.9 Fty PftOff/MA-f GUIDE
71 OPEN 12-6 PM DAILY
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