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OCTOBER 2011 /THAT MAGAZINE FROM CiTR 101.9 FM
'PORTING VANCOUVER'S INO.EPEMDI NT MUSIC COMMUNTI
MELANIE COLES /THE HIGH MORS /W HOUSE / rUK
UNCLES
SHIMMERING STARS EDITOR'S NOTE
Five: that's how many times I've dressed up as a Teenage Mutant Ninja
Turtle for Halloween. But truthfully, the homemade costume has been used a
half-dozen times—the lime-coloured felt pullover was originally a Dr. Doom
costume up until my mom, ever the seamstress, sewed a pillow onto the back
as a makeshift turtle shell.
If you must know, I was Michelangelo, which you could tell by the M's heat-
glued to the comers of the outfit. Never mind that I wore a red bandana instead
of an orange one, or that my parents were absolutely against the idea of letting
their little idiot run around the neighbourhood with a set of nunchaku, I was
the team's official party dude from the ages of 7-9 and again at 22 ... and 28.
Of that last time, it was pretty tough getting all that forest green face paint out
of my beard, and it might've made at least a few people uncomfortable to see a
grown up using an outfit designed for a four-foot-tall child as a sleeveless crop
top, but whatever, I had fun. With the holiday quickly approaching, it's time
to think ofa new suit, lest I want to repeat the reptilian get up, or my twice-
recycled Aquaman outfit. If I do run out of time, though, does anyone want to
help me spray-paint a pitchfork gold to make it look like a kick-ass trident?
Clearly it's that time of year for ghouls and goblins, and I think a litde bit of
that is reflected in this month's Discorder. Cover stars Shimmering Stars, mind
you, are too sweet to play the devil's music, but if the '50s-inflected popsters
are stuck for costumes this year, they should seriously consider dressing up as
a trio of Teen Angels. Likewise, the quick-shifting prog-tinged pop of Ghost
House isn't necessarily the most suitable score for an apple-bobbing sockhop
in your garage or haunted mansion, but the band's return to form following a
lengthy hiatus suggests that oftentimes things do come back from the dead.
And with a vengeance!
Another fall tradition that always has the Discorder/CiTR team howling
in approval is our annual SHiNDiG event. FYI, the battle ofthe bands-style
competition is already underway. Even if you've missed the first few nights,
you still have plenty of chances to head on over to the Railway Club throughout
the rest ofthe season to check out some ofthe city's best up-and-coming acts,
some of whom you may have already read about in the magazine or online.
Really, we've got out plates full and our pockets stuffed with Kraft caramels.
Have a hell of an October, everybody.
Discorderly yours,
Gregory Adams
EDITOR
Gregory Adams
ART DIRECTOR
Lindsey Hampton
COPY EDITORS
Sarah Berman, Sarah Charrouf
Steve Louie
AD COORDINATOR
Maeaan Thomas
UNDER REVIEW EDITOR
Sarah Charrouf
RLA EDITOR
Steve Louie
CALENDAR LISTINGS
Hugo Noriega
ACCOUNTS MANAGER
Corey Ratch
OFFICIAL TWEETERS
Dorothy Neufeld
CITR STATION MANAGER
Brenda Grunau
PUBLISHER
Student Radio Society of UBC
STUDENT LIASONS
Zarah Cheng, Dorothy Neufeld
COVER
Robert Fouaere
I    WRITERS
i  ©Discorder 2011 by the Student Radio Society of the
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*    gmail.com. TABLE OF CONTENTS //
OCTOBER 2011
FLASH PALACE BY STEVE LOUIE
// FEATURES
// REGULARS
08 I SHIMMERING STARS
Shimmering Stars leader Rory McClure dishes on beers, buds and his band's
new album Violent Hearts.
12 / GHOST HOUSE
Following a brief hiatus and band member switch, Ghost House returns to
The Present Tense.
14 / YUKON BLONDE
With a new ride ready to hit the road, Yukon Blonde are hoping their new van
is just as reliable as their rockin' new EP, Fire//Wdter.
16" / THE HIGH DROPS
The High Drops are such sweethearts that they think "the B word" refers to
the Beatles. Cute.
18 / AUNTS & UNCLES
Baroque locals Aunts & Uncles deliver the deets on their eponymous EP and
the possibility of deliving into the dance realm as, um, "Dance & Funkles."
orJ/FILMSTRIPPED
07 / THE OVEREDUCATED GRUMBLER
10 / TEXTUALLY ACTIVE
11 / VENEWS
20 / CALENDAR/ JJ£t
22 /PROGRAM GUIDE
2 5  / ART PROJECT / MelanieColes
28 I UNDER REVIEW
31/REAL LIVE ACTION
38 I ON THE AIR/
39 I CHARTS f ml AGES SHOW //19+ BEER GARDEN (ID re
* 100 N, RENFREW ST. PNE GROUNDS, VANCOUVER // D«HJRSr#ffl * 11P
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136 W.CORDOVA ST I GASTOWN     fl /THECHARLESBAR      ii /THECHARLESBAR FILMED STRIPPED//
THE VIFFIS ALIVE WITH THE SOUND OF MUSIC
BY ZARAH CHENG
In almost every Hollywood movie that I watch, I can recognize at least
one actor—if not by name, then from a previous movie that I had seen
them in. If I'm really on point, I can name co-stars and what upcoming
project they'll be involved in within the next year. When I watch films at
the Vancouver International Film Festival, I recognize virtually no one. For
me, this is the most refreshing film experience that I could ask for.
Founded in 1982, VTFF has become one ofthe largest film festivals in North
America, screening films from 80 different countries. At this year's event
(running September 29 to October 14) a cinematic opus of sorts is prepared to
provoke, endear and shock audiences. From the Sundance favourite Circumstance,
directed by first time feature filmmaker Maryam Keshavarz, to The Ballad of
Genesis and Lady Jaye, an unsettling documentary about a couple striving for
"pandrogynous perfection through plastic surgery aimed to make each other
look like the other," this year's festival is bound to make even your humourless,
balding great Uncle Harold giddy.
With the menacing shadow of fall term courses looming over campus, I
graciously welcomed the chance to procrastinate for the sake of journalism.
Having screened several ofthe movies before the fest even began, these are
but a few whose showtimes are worth scrawling down in your genuine leather
moleskin notebook.
The Family Jams is a documentary by Kevin Barker chronicling a 2004 U.S.
tour featuring folk acts Devendra Banhart, Joanna Newsom and Vetiver. In it,
Barker explores the surreal experience of finding family among friends. This
topic becomes such a strong overarching theme in this film thatyou can'thelp
but to look atyour own relationships in order to search for your own meaning.
The stories shared by the artists involved are quirky, humorous and sometimes
pointless, but always nostalgic in the warmest of senses.
The title Family Jams is inspired by a ritual that the troupe partakes in at the
end of each show. Banhart likes to round up his friends (or, really, his musical
family) onto a stage with him as they collectively "jam." Grandmothers with
tambourines are most definitely invited. It's not about creating refined or
perfect music, it's about creating something raw and heartfelt with friends
and family. Banhart et al. create whimsically folksy music that makes you feel
quite simply, good, and Family Jams will do just the same.
Before watching The Girls in the Band, the extent of my jazz history didn't go
beyond the fact that my friend Kim once painted a canvas of Miles Davis. After
watching Judy Chaikin's documentary, I found myself tapping my feet to the
music ofthe International Sweethearts of Rhythm and was mesmerized by the
talent of jazz legends like Mary Ann McPartiand and Lil Hardin Armstrong.
This film is not just an intricate look into the struggle that women faced in a
world of music predominantly occupied by men, but it is also an empowering
story of how a group of strong-willed females dared to defy conventions and
surpass expectations. The Girls in the Band showcases the lives of women that
defined "girl power" well before the Supremes even knew how to stop in the
name of love.
Most musicians make the decision to focus on one instrument, with the
odd vocalist taking up guitar or grand piano. Andrew Bird, skillfully layering
harmonies of violin, guitar, and vocals simultaneously, is not one of these
musicians. Director Xan Aranda's Andrew Bird: Fever Year follows (surprise!) Bird
and his fearless band on an incredibly successful, though grueling, year-long
tour. This film has the longest clips of performance footage that I have ever seen
in a feature film. But really, watching Bird undertake instrument changes during
his often impromptu looped compositions is at the core of his ability to mystify.
Feuer Year delves into the musician's creative process as he writes hauntingly
beautiful violin melodies and continuously strives to recreate the feeling ofa
song in its most malleable state: when it's on the "edge of existence." Bird is
on a search for imperfection in a world fixated on perfection, and his results
are extraordinary. Aranda's piece is commendable for its honest portrayal of
an artist with relentless work ethic and an impeccable eye for detail.
With the wide array of films screening at VIFF this year, the overwhelming
task of deciding which ones to watch may seem daunting. But amid the fictional
plots of betrayal, exploitation and greed vying for your attention, a warm-hearted
documentary tinged with musical history might just be the necessary recess
thatyou need. The Family Jams, The Girls in the Band, and Andreu; Bird: Fever Year
are all phenomenal projects that may exist under the radar of your typical film
festival features. Nevertheless, their unparalleled visions into a secret world of
music will have you whistling and humming as you exit those theatre doors. THE OVEREDUCATED GRUMBLER//
WHY IS STA TUTORY RAPE ON TV SO SEXY?
BY TERRIS SCHNEIDER
I have a confession to make. I've been struggling with this addiction for a
while now and need to get it off my chest. I, Terris Schneider, am addicted
to watching teen shows.
I've seen every teen show you could possibly imagine—whether it be all
the CW shows (the new 90210, One Tree Hill, Gossip Girl), the embarrassing
ABC family lineup (Switched at Birth, Make It or Break It, Secret Life ofthe American
Teenager or The Lying Game. Yes, I watch all these), or MTV's new show Awkward
(which is surprisingly well written and not just a guilty pleasure). Then there's
the two most crack-like shows on television that I love to watch every time
they're on MuchMusic: Pretty Little Liars and Degrassi.
I've been watching Degrassi every day after school since the '80s version
appeared on Showcase. At precisely 3:30 p.m., I would watch characters like
Wheels, Snake and Joey struggle with the perils of adolescence. When Snake
found Caitlin's ex-boyfriend Claude's corpse in the bathroom stall after he
blew his brains out, I was there. I cried with them, laughed with them, I even
wore fedoras a la Joey Jeremiah. My obsession doesn't stop there. Not only
have I seen every single episode from the old Degrassi to the Next Generation (yes,
all the way up to Season 11), but I've watched all ofthe Degrassi made-for-TV
movies (School's Out, Degrassi Spring Break, Degrassi Goes Hollywood, Degrassi Takes
Manhattan). I am a Degrassi superfan no doubt. Even when I see Drake on TV,
all I can see is his wheelchair-confined character Jimmy.
But now, Degrassi has fallen into the trap of my least favorite, yet most
sexually arousing teen show plotline: the student/teacher relationship. My
problem with this trend in teen television? It's incredibly fucked up. What I
like about this plotline, however: It is incredibly hot. These mixed emotions
make me feel like Chris Hansen will show up on my doorstep at any second
to uncover my stash of lube, condoms and Bacardi Breezers.
This particular plot device also fulfills my teenage fantasies about the teacher
that stole my heart in high school with his dark wavy hair: Mr. Semeniuk. The
creepy thing was that he wasn't even my teacher, I just saw him one day passing
in the hall. My obsession grew, as it did with two of my friends, Dil and Kelsey.
We would eat outside during lunch breaks and stare into his portable so we
could lust after him—which is the actual extent that teenagers go with their
teacher crushes. This lusting from afar is more common. These shows where
the teens actually nail the teacher seems highly unlikely—not to mention
illegal. And yet, watching it unfold does something special to my lady parts.
I realize that TV is a fantasy world and things have to be a bit over-the-top
and unrealistic for it to be interesting. But no matter how compelling they
may be, I think these TV relationships send teens the wrong message. It's
essentially glorifying statutory rape and no one has pointed out how fucked
up that is. I've seen enough shows to know that this plotline is fairly common.
I've seen it most recently in Pretty Little Liars, Life Unexpected, and now, my poor,
treasured Degrassi.
Pretty Little Liars disturbs me the most out of all the student/teacher plot
lines—mostly because I'm really siding for this statutory rape clusterfuck.
This show follows this basic premise: "We met before I knew she was my
jailbait student, man!"
Here's how the Pretty Little Liars student/teacher plot first started (with a
bit of tweaking from me):
Enter Aria, a pretty petite girl with dark hair, killer eyebrows and great
fashion sense. (Good work stylists!) She is reading a book at the bar when
Ezra, a sexy, brooding Clark Kent figure approaches her.
Ezra: You're hot and you can read.
Aria: Well, I'm thinking about becoming an English major.
Ezra: This must mean you're in college! Let's make out in the bathroom.
[Making out ensues in the bathroom.]
The next day, as Aria is sitting in her English class, she finds out her new
English teacher is, who else, Ezra!
Ezra yells "Oh, crap." (No one else in the class thinks this is weird).
They both talk about it and decide it would be best for them not to be
together. But then circumstances bring them together, and they can't be
without each other.
This leads to the other screwed up premise: "Well, she looks and acts
mature, so this must make it okay." Eventually, Ezra teaches at the town college
and isn't her teacher anymore, which has a way of justifying the relationship
for them and the viewer.
Listen guys: This is still not okay. Even if the actress is over 18, the
character is not.
I will say that the show does highlight how fucked up it is through the
mother character and her disapproval of student/teacher relationships, but
the internal emotional reaction and outcome that people want is for things
to work out for these two lovebirds (at least it is for me. Again, I must be a
pervert.) Because of this, any criticism of them essentially fails.
So if there are any teens reading this, please do nottry to date or sleep with
your teacher crush. It's going to end in humiliation and disaster, and won't
result in the sexy scenario that makes my vagina tingle while watching absurd
amounts of teen television on MuchMusic. $1 BYJENNESIA PEDRI
PHOTO BY ROBERT FOUGERE
m MY EXPERIENCE IS ANY INDICA TION, TWO YEARS OF
FLOATING'INlTHEPOST-UNIVERSITYVOID IS ENOUGH
TO SCARE THE SHIT OUTOFYOi
-RORYMcCLURE
September 16th: the basement ofthe Waldorf Hotel is packed
for the release of Shimmering Stars debut album, Violent
Hearts. The faux-tiki decor ofthe venue, like the band's early
pop-inspired tunes, appears to have come from a different
time. A bartender who strikingly resembles Buddy Holly
takes my order. Drink in hand, I dance the night away.
Eight days earlier, I met with the band's frontman Rory
McClure for a drink at the Railway Club. Arriving for our
meeting after class on UBC's campus, where he's a newly
enrolled student, he takes a hard look at what's on tap
before haying a seat and ordering a beer. Putting down his bag, he casually
mentions, "I don't have a place to live pjht now," and then says something
about a rat infestation. Despite having recently returned from a European tour,
being in the midst of "trying to find a new place to live, figuring out student
loan shit, starting new courses" and prepping for the impending release of
Violent Hearts, he doesn't seem too stressed.
"It feels great," he says of his hectic schedule. Most students would say
this with a heavy sarcasm, but McClure's actually pleased. "Ifmy experience is
any indication," he offers, "two years of floating in the post-university void is
enough to scare the shit out of you or, like, inspire you to move in a completely
different direction."
Over the next hour, he tells me about the direction his musical career has
taken, from Shimmering Stars' early days to his relationship with his bandmates,
drummer Andrew Dergousoff and bassist Brent Sasaki.
Before Shimmering Stars, they were just three boys growing up in Merritt,
BC, a city three hours east of Vancouver with a population of roughly 7,000.
Having known each other since they were young, McClure explains that their
common bonds included "making fanzines, indie music, skateboarding,
punk-rock and drinking 40s of Olde English."
Years after each made the move from their small town to Vancouver, they're
, still drinking beer together, only now they're touring Europe and playing
shows while they do it. Fittingly, one ofthe highlights of Europe was touring
the breweries of Brussels, home to the suds-sawy McClure's favourite beer:
Cantillon. He carries on for a few minutes, thoughtfully describing the brewing
process ofthe brand before getting back to the topic at hand: his band.
Things weren't always as gratifying for the three-piece, who first teamed
up as Bedrooms ofthe Nation (a Pierre Trudeau reference that McClure admits
only some Canadians understood), whose more abrasive indie style contrasted
the poppy, '50s and '6os-inspired sounds of Shimmering Stars. The band failed
to make it beyond the local scene.
Though Bedrooms ofthe Nation was initially their focus, McClure recorded
some songs on his own as Shimmering Stars, amongst them an Everly Brothers
cover and "I'm Gonna Try." Soon after putting the tracks on MySpace, he was
contacted by a blogger in London about sharing his music. Following the initial
online exposure, they linked up with European label Almost Musique and
Seattle-based imprint Hardly Art, with both of whom they've issued Violent Hearts.
The album's simple arrangements and pleasant harmonies are frequently
compared to the Everly Brothers and Del Shannon, but McClure tells me
"that's only a third of it." When I ask about their other influences, he vaguely
references "an amalgamation of songs on FM radio that I heard growing up."
He chalks up the album's darker sounds, tracks like "Believe" and "Did I Lose
You," to the influence ofthe Beach Boys album Pet Sounds and the more sombre
work of Phil Spector.
The album has been criticized for its production quality, recorded in
McClure's parents' garage in Kamloops, B.C., where a gaudy painting ofa
dragon, a working traffic light and strings of chill pepper lights take the place
of acoustic foam wedges and soundproof booths. But like the earliest rock 'n'
roll records, Violent Hearts is all about the songs, the melodies and lyrics— not
audio sheen.
The simplicity ofthe album matches the band's uncomplicated demeanour.
Despite fitting in with the current climate of retro-minded indie acts,
Shimmering Stars' style came quite by accident.
"People are always surprised that we're not a bunch of flaming hipsters,"
McClure says with a laugh. "Apparently we've tapped into some trend completely
unwittingly, but we're just, like|pretty uncool people."
Cool or not, one thing is for sure: the trio are more conscious about their
melodies than their image, just like their influences. Ofthe Beach Boys,
McClure said:" [they] looked like a bunch of fucking losers and that's of great
consolation to me. Image has nothing to do witiVitahd, like, that guy [Brian
Wilson] wrote Pet Sounds, so who gives a shit?" He delivers this statement
with conviction. "If you're not writing good songs, lyrics and melodies then
you're missing the point." TEXTUALLY ACTIVE //
FRESH AT TWENTY:
THE ORAL HISTORY OF MINT RECORDS
BY KAITLIN FONTANA /ECW PRESS
BY SARAH CHARROUF
Fresh at Twenty: The Oral History of Mint Records is a collection of stories
and interviews focusing on the history of local imprint Mint Records.
Compiled and introduced by Kaitlin Fontana, Fresh at Twenty gives perspective on Vancouver's musical past. Begun in 1991 by Bill Baker and
Randy Iwata, Mint has released records from the likes ofthe Evaporators, Neko Case, Kellarissa and the New Pornographers, among others. Ofthe
label, Fontana writes: "with Sub Pop as their model and the early '90s scene
as their inspiration, Bill and Randy naturally gravitated toward those acts that
sounded like the bands on Sub Pop." Baker and Iwata searched CiTR's annual
competition SHiNDiG for alternative bands—their first discovery being with
the four-piece rock band Windwalker. The band didn't fit with the Sub Pop
style; the truth was that Vancouver's bands were adding their own style to the
popular genres ofthe day. Fresh At Twenty documents this trend, with Mint's
signees ranging from punk to cuddlecore to indie-pop. Though SHiNDiG was a
favorite place to find local bands, Mint Records also put their attention on acts
east of B.C. (Huevos Rancheros, Duotang), while the influence of California
pop-punk culminated in a brief merger with Lookout! Records.
Presented as an oral history, the book naturally reads like a conversation.
Fontana contextualizes and allows the bands and the label to do all the talking.
Her voice is heard only through the brief introductions every couple of pages—
questions are omitted and only answers are given. Band members reminisce
on page as they would at the bar. Vancouver power-poppers The Smugglers,
for instance, talk unabashedly about the time they took cuddlecore outfit Cub
out on tour with them. As it turned out, people loved Cub (maybe more than
they liked The Smugglers). As Smugglers' drummer Bryce Dunn putit, "here's
three cute girls playing in a band, singing about candy and kitty cats and
sunshine and lollipops. How can people not enjoy this?" Smugglers vocalist
Grant Lawrence also recalls a confrontation where he saw a fan "pointing
to a Smugglers shirt," when Robyn Iwata from Cub, who was guarding the
merch table at the time, started shaking her head no, and held up one of her
own shirts instead. And the person bought the Cub shirt! It turned out to be a
total misunderstanding, but there was a lot of fighting, tears and accusations
that the three girls were more sinister than they appeared.
Fontana also pays a brief homage to Gob, who declined to be interviewed
for the book. Mint released their Too Late...No Friends CD back in 1995, and
apparently these guys were just brats. They came from small town Langley,
B.C., and since they sounded just a bit like Green Day, Baker and Iwata knew
they'd do well. Each day Gob spent on tour with the Queers, the New Hampshire
punk vets would leave complaints about their B.C. tourmates on the Mint
Records answering machine. "Itwas always something they'd done, like they
had stolen something from a radio station, or they were throwing rotten fruit
at people," Baker recalls in the book.
From early acts like Windwalker and Gob, to their current roster, including
the Pack A.D. and Hot Panda, this niche scrapbook of conversations tells the
story of Mint as a whole, depicting the scene in Vancouver and the independent
music world at large. Twenty years and 147 records later, Mint survives.
10
GENEROUSLY SPONSORED BY
The Family Jams (USA, 81 min.)
In 2004, Devendra Banhart,
Joanna Newsom and Vetiver
toured together, sharing their singular strains of "freak folk" in
intimate venues. Kevin Barker's
charmingly lo-.fi documentary
offers an insider's view of this
"significant moment for culture"
and also serves as a testament to
communal creativity.        <FAMil>
Thu. Sep 29,8:45pm, Granville 7
Wed. Oct 5,4:15pm, Vogue
Tue. Oct 11, 9:30pm, Granville 7
Andrew Bird: Fever Year
(USA, 81 min.)
The wonderful singer/songwriter/
multi-instrumentalist Andrew Bird
takes his band on a triumphant but
gruelling year on the road. Xan
Aranda's intimate tour doc depicts
an artist pushing both his creative
and physical limits. Owen Pailett
fans take note! <ANDRfc>
Sat. Oct 8, 9:30pm, Granville 7
Mon. Oct 10, 4:00pm,
Vancity Theatre
Fri. Oct 14,11:00am,
Vancity Theatre
The Ballad of Genesis and
Lady Jaye (USA/France, 70 min.)
Marie Losier's alternately charming and moving documentary captures the domestic and professional lives of performance artists Lady
Jaye and Genesis P-Orridge, a couple who tried for "pandrogynous"
perfection through plastic surgery
aimed to make each look like
the other. Winner, Caligari Film
Prize; Teddy Award: Documentary,
Forum, Berlin 2011. <BALLA>
Thu. Sep 29,4:20pm, Granville 7
Thu. Oct 6, 7:00pm,
Vancity Theatre
Fri. Oct 7, 8:45pm, Granville 7
Inni: Sigur Ros
(Iceland/ UK/ Canada, 75 min.)
Following on 2007's successful
Hemta, this is Sigur Ros second
live film and it shows them again
as mesmerizing performers at the
peaks of their abilities. Director
Vincent Morriset weaves ten years
of archival material into his ethe-
, real live footage. Inni, he says,
"leaves room for all those beautiful
images come to our minds when
we listen to their music."    <INNIS>
Thu. Oct 6, 9:45pm, Vogue
Sat. Oct 8, 4:20pm, Granville 7
Michel Petrucciani
(France, 103 min.)
While diminutive in stature, late
jazz pianist Michel Petrucciani
was a monumental talent.
Afflicted by brittle bone disease,
Petrucciani constantly risked
injury with his frenetic playing
style. Yet, as Michael Radford's
candid tribute reveals, the hedonistic musician was as powerless
to resist his muse as he was his
many vices. <MiCHE>
Fri. Sep 30,4:00pm, Vogue
Sun. Oct 2, 6:45pm, Granville 7
Fri. Oct 14, 6:45pm, Granville 7 VENEWS//
HANG THE DJ
BY MEL ZEE
It gets tiring after a while to watch bands play to apathetic crowds. Especially when the same crowd suddenly develops enthusiasm for the DJ
set between bands. It happens at way too many shows these days. Often
the bands aren't there at all and it's just a full-on dance party. Instead of
intermittent feigned interest at the acts onstage, the crowd's excitement
lasts all night I don't know aboutyou, but I get tired of hearing "Blue Monday"
and "Rock Lobster." I mean, they're great songs and Hove them, but come on...
really? Five nights a week? Instead of watching rad live bands people would
rather hear '8os hits and vogue for photographers who'll (fingers crossed)
put their bleary-eyed picture up on Facebook? I can't help but find that bleak
and totally uninspiring.
A few years ago, shows were shows and dance parties were dance parties.
Now, they're one and the same. Is it because promoters know that people don't
really care about bands so they book hybrid shows with DJs to make more
money? If that's the case, I guess it's good for the bands to get more exposure
and money to put towards touring or recording, but is this weird Granville-
esque crowd really who they want to be exposed to? Are these shows really
about seeing live music or are they more about being seen?
East Van is probably going to get a Roxy-style nightclub soon. I honestly
wouldn't doubt it It would just be on some "hip" comer like Carrall and Hastings.
Yeah, it'd really fit in there and would be "good for the neighbourhood." I heard
someone say that about the Waldorf and it made me laugh out loud. Thank
God places like the Alf House still exist.
I don't mean to be a big downer, really. It's just that when DJ nights become
more popular than bands who actually spend time and energy crafting songs
and pouring their hearts into making music, it kinda bums me out. I'd rather
go to a show with a crowd of six people who genuinely care about the music
than be trampled by a hundred people who think that Beyonce is a feminist or
that "The Real Slim Shady" is a classic.
It seems to me that, more often than not, people are partaking in things
because they are funny and not because they actually care about them. And
that's kinda what I'm reminded of when DJs are put on pedestals. Shouldn't
we all be more concerned with bigger, more meaningful things in life than
dressing up, getting drunk, snorting coke off a toilet paper dispenser and
doing the running man? Are irony and fun being valued higher than creativity
and thinking critically? Or am I just being really goth?
I get it, though—dance parties are fun. For real, they are. It's just that
Vancouver has so much more to offer than good coke and Madonna/Kanye
West mash-ups. There's more to life than wearing $200 high-waisted jean
shorts and grinding with a guy with a newly shaved John Waters moustache.
There are so many amazing, inspiring bands in this city but often, unless they're
sandwiched in with at least two DJs playing Michael Jackson songs that people
can pretend to moonwalk to, few people hear them. Maybe it's just easier to
host DJ nights. I mean, if you can't inspire people to appreciate live music,
you can at least inspire them to procreate with "Back That Azz Up", right?
[Ed. Mel Zee hosts the monthly Junkyard night at Pat's Pub, where you're more likely
to see a punk band than hear a Mystikal song]
^
Presented by:
shindig
THEHIVE
October 2011 Schedule
Tuesday October 4
Pranatricks/Sleuth/Weekday Yalesale
Tuesday October 11
Fist Full O' Snacks/The Radii/Tassels
Tuesday October 18
The Godspot/Honourary MD/Philoceraptor
Tuesday October 25
Fathoms/Matt Paxton/Rec Centre
All shows at The Railway Club.
http://shindig.citr.ca
£3&Ga@
BAND MERCH
CANADA n_
BY CAIL JUDY
ILLUSTRATION BY LINDSEY HAMPTON WE KEPT HEARING WN'T BREAK UP THAT BAND! WE
LIKE THAT BAND.' IT WAS REALLY ENCOURAGING,,
—JESSE GANDER
As if trying to make up for the lackluster summer here in
Vancouver, the afternoon sun beats down with fierce conviction when I meet up Jesse Gander, singer/pianist for the
ferociously upbeat Ghost House, at Guelph Park. The glowing weather matches the singer's genial disposition. With
the good weather ready to bid us farewell, it's fortunate we
have the group's new album, The Present Tense, to keep the
positive energy flowing during the looming winter months.
Ghost House "is an intensive, high-energy listen," says Gander. Opening track
"Recreational" delivers on this promise with an invigorating burst of piano,
as the vocalist croons about "summer turning into autumn." The tune feels
appropriate, given the timing of our meeting.
Back in 2006, Ghost House released Departures, a record that received
much acclaim for its bold, angular song structures, unabashed pop influence
and improvisational musicianship. "The first album was definitely more ofa
collaborative effort," says Gander. Ghost House followed up their debut with
a set of four EPs featuring interconnecting artwork. However, in 2009 Ghost
House went on hiatus. After building up all that momentum, why the recess?
The reason was simple: Gander needed a break. Before the hiatus, Gander
had one of his most prolific songwriting periods, penning over 45 songs for
the outfit. Impressive as that is, it was a bit overwhelming for the performer.
"I wanted.to put the band on hold for a year," he explains. "I play in four bands
and I was running out of ideas for things to play on the piano."
Ghost House boasts an impressive line-up of scene veterans. Gander is
the Chief Recording Engineer at The Hive and currently plays in spaced-out
country outfit Cloudsplitter and the punky Previous Tenants; Guitarist Katie
Lapi, who previously played with Gander in Operation Makeout, also sings
for Safety Show; bassist Steve Matheson played in WPP and Fun 100. Rhythm
guitarist Sarah Jane Truman and drummer Paul Patko are recent additions to
the group, both having played in the rhythmically complex math-rock band
Owl Drugs. "Paul Patko is one of my oldest friends in the world," says Gander,
dating his musical partnership with the percussionist to the early '90s. "I knew
I couldn't have Paul in the band without asking [Sarah Jane] because I hadn't
seen enough of either of them lately, so I said, 'let's make it a five-piece.'"
Even though Ghost House took a leave of absence from the local scene,
the demand continued for their live show. "We put the band back together
just three months ago," he says. "People around town were bugging us to
play again. We kept hearing 'Don't break up that band! We like that band.' It
was really encouraging."
Despite the layover, the band has retained their penchant for odd time
shifts and melodic overdubs. "Thermostat" jumps out at the listener with its
frantic piano riffs and Gander's euphonious vocals. It's a tight pop song with
a pro-Vancouver message. "That song is about going out and having fun in the
wintertime, like going to see a local show," Gander enthuses about the tune.
'"You work at six in the morning? Let's go out anyways!'" The last line outlines
his position clearly: "In this city there's so much to do." No Fun City? No way.
"Footprint," meanwhile, takes the listener to unexpected places. On
it, Gander sings about "evolution on the loose" as dissonant piano notes
occasionally dart into the otherwise straight-ahead pop song. Like many tracks
on the album, it's filled to the brim with instrumentation. There's a constant
onslaught of skittering guitar and Gander's ferocious keywork—it oftentimes
sounds like he's jogging on his piano.
As the principal songwriter, Gander has a unique approach to creating
and learning the riffs that make up the foundation ofa Ghost House song:He
sits down at his piano and plays whatever strikes him. "Sometimes I'll just
start noodling," he confirms, explaining he records his ideas and composes
rough song sketches in ProTools. "I'll find one part within my own solo and
start looping that. I compose it all electronically and teach myself how to play
it [on the piano]."
Every band members brings their own particular skill-set to the table,
informing the act's mixture of pop, complex guitar work and aggressive
melodies. "[Patko and Truman] come from a crazy math-rock background,"
says Gander. "Katie brings the pop on the vocal level. She is also an unorthodox
guitar player. Put all that together and you have our sound: a little preciseness,
a little math-rocky element to the rhythm section, some pop played with punk
energy and Katie's crazy shit." Along with her colourful contributions on the
guitar, Lapi shares vocal duties with Gander, and takes the lead on "Old You"
and "Animal Waltz."
Lapi is also a talented graphic designer and has crafted the artwork for
every Ghost House record.
The cover of The Present Tense shows a group of animals on a bus drinking
coffee, listening to music and reading the news. "I wanted to show animals
stressed out, "says Gander. "The whole premise ofthe album is looking at
where we as human beings sit in society with instincts intact. In a society that's
evolving so rapidly, how are we going to adapt?"
Despite some ominous lyrical overtones, the overall positive energy of The
Present Tense gives me hope that, as long as we have a set of headphones on,
we're going to be okay.
13 14 BY FRASER DOBBS
ILLUSTRATION BY PETER KOMIEROWSKI
When I sat down with local rockists Yukon Blonde at the
cozy Our Town Cafe on Broadway, I wasn't exactly sure
what to expect The band, mind you, wasn't hard to
find—frontman/guitarist Jeff Innes and bassist John
Jeffrey have the kind of long hair you might expect of
metal enthusiasts. Seated together with guitarist Brandon Scott, finding something to talk about was easy.
Between the newly released Fire//Wdter EP and their massive fall tour, the group
had plenty on their minds.
Though originally formed in Kelowna as Alphababy, the band kind of fell
apart after three years under that name. "We lost two members at the time, we
crashed our van... we knew we needed a change," Innes explains. "We decided
to throw away all our old material. We reformed." Rising like a phoenix from the
ashes, Innes, Scott, and drummer Graham Jones emerged as Yukon Blonde and
completed the transformation by moving to Vancouver in 2009, where they've
since made a name for themselves playing genre-less, feel-good anthems.
Alternately described as alt-country, pop and '6os retro rock, it's hard to
peg what exactly makes Yukon Blonde so much fun to listen to, or how exactly
to describe them to friends. "We listen to everything," Innes says. As the trio
lists off bands like the Kinks, New Order and Stereolab, it's easy to see that
they've got a lot of listening material to potentially take influence from. While
there's a little too much surfy slide guitar to confuse anything off Fire//Wdter
with the Brit Invasion, the EP still delivers a sucker punch of good songwriting.
A warm up for their next full-length, which should be released early next year,
the mini-set shows what the band can do when faced with ample recording
time and multiple recording tracks to play with. The extra studio flair proved
to be a change of pace compared to last year's self-titled album, which was
recorded live-to-tape in a single session.
"It was necessary" pipes Jeffrey of their new overdub-intensive attitude,
particularly evident in "Choices" and its carefully-sculpted echoing guitar
introduction; later in the same track, melodies that vibrate back and forth
between the left and right speaker add a haunting touch. The meticulous
attention to detail given to all four of Fire//Water's tracks add depth to the
recordings, with beautifully-delivered lyrics floating above a combination of both
clean and overdriven guitar riffs. Titular tracks "Fire" and "Water" aren't quite
as concerned with duality as one might think, but both brim with full-bodied,
reverb-laden harmonies ofthe vocal and instrumental kind. "Fire" particularly
stands out for having one ofthe best harmonica solos on a record this year.
But even as we talked about the new EP, it's obvious Yukon Blonde are ready
to focus on their next full-length album. Recorded at the same time as Fire//
Water, the as-of-yet-unnamed LP will push the band in a decidedly different
direction. "It's weirder, faster, funner," Innes says with a sinister smile on his
face—as if he were caught with his hand in the cookie jar." [The songs] aren't
as safe." Although hesitant to lay out the specifics, Scott did drop one hint:
"lots of synths. Tons of [them]."
The quartet are also excited about hitting the road—Yukon Blonde is
a touring band and to call anywhere "home" for too long doesn't sit well
with any of them. But the obvious anticipation for their journey isn't solely
thanks to the locales they'll be visiting, even though their trip will take them
to Newfoundland and back, then through the United States. The band is also
pumped thanks to their new set ofwheels.
"We just got a new van!" Scott says, announcing the words like a flashy
salesman. The glint of joy in his eyes is obvious and sincere, though. Innes is
thrilled too: "We've always been dogging it in these ghetto vans, since Alphababy
days... we're gonna keep [this one] real clean."
While the group offers up some interesting, not to mention horrifying,
stories of their old ride, the "up-and-coming metal band from Kelowna" that
they sold it to probably wouldn't want to hear about them in print "It'll get
them to where they need to go," Jeffrey assures me. How much further beyond
that is up to the gods ofthe Trans-Canada Highway. As for Yukon Blonde,
they just have to worry about not drinking too much Fire//Wdter on their way
to the East Coast
Though currently on a North American tour, Yukon Blonde return to Vancouver to
play the Biltmore on November 10 before heading back on the road.
15 THE HIGH DROPS
BYCAIL
ILLUSTRATION BY TYLER CRICH
I
t's not often a band captures your heart right out ofthe gate; but the High
Drops will. Born out ofa friendship between a couple of skateboarders-
turned-musicians, the High Drops are comprised ofMitch Charron (guitar)
Alexi Baris (vocals/guitar), Jen Smyth (drums/vocals) and Max Osburn
(bass). They are, in this writer's opinion, one of Vancouver's best new
bands. Their self-tided EP boasts five songs that are diverse both in sound
and scope. "Dying on the Vine" is a hazy, *70s-era jam that builds on a fantastic,
slow-burning guitar riff; it's so damn smooth. "Street Girl," meanwhile, grips
you by the throat via Baris' Eric Burdon-esque vocals and thundering drums.
Discorder recendy sat down with Baris, Charron and Smyth at Reno's Cafe on
Main Street to discuss the EP while listening to some classics on the jukebox.
Discorder: Let's start with the genesis ofthe High Drops.
Alexi BariS: Well, Mitch and I have been friends for ten years. We used to
skateboard downtown and we were roommates. We both bought guitars at
the same time.
Mitch Charron: [Our passion for skateboarding] turned into the passion of music.
Jl
MC: Eventually we decided we wanted to get electric guitars and write songs
on those. And then we convinced Jen to get drums. It was just guitars and
drums for four months.
AB: Jen never played drums before. I convinced her to buy a drum kit and that's
how we started the band. Jen Smyth: [laughs] The rhythm section was *makes farting noise* [at first].
D: Alexi, you're the primary singer?
AB: Jen and I sing. We've been incorporating her to sing more than just harmonies [in the new songs we're writing].
D: How would you describe the High Drops' sound?
AB: That's a hard question. For me, it's just rock 'n' roll. It's the only way it
makes sense to me.
JS: Our music makes me happy.
MC: When I write a song, I don't want it to sound like the last one I came up
with. I want to be genre-less.
D: What bands have influenced your sound?
MC: It's constandy changing.
AB: We all really like the Velvet Underground a lot.
MC: Velvet Underground is one that will never, ever go away. For me, I like Cass
McCombs, John Cale, Kevin Ayers...
JS: You don't want to say it but you kind of have to. The "B word"?
D: Beach Boys?
JS: Beades.
MC gets up and puts on The Hollies' "Just One Look" on the jukebox.
D: What I like about your band is the variance in each song. It's not just
straight-up garage-rock.
AB: That's the thing we really enjoy doing, being able to play different kinds
of music. We don't stick to one thing.
JS: It's important to play loud and also play quiet It's important and challenging if you're playing loud [to also] tone things down. You can hear every litde
thing and you're more conscious of playing well. You can't hide your mistakes.
D: Describe how you guys wrote "Dying On the Vine." That's an amazing song.
MC: We were at my house and we were just playing guitars. All the stuff we do
starts out very basic and simple.
AB: That song is about someone that comes from a dysfunctional background
and turns to heroin and prostitution for their means to life. That's what the
song is really about.
MC: I came up with the lick and wrote the majority ofthe words. Alexi put
"dying on the vine" in there.
AB: It was one ofthe first songs we wrote.
MC: It's takes awhile for [one of our songs] to become what it is, maybe a week
from the initial idea to being finished.
D: What's going on with your new EP?
AB: You can download it right now on Bandcamp for free.
MC: We're releasing it on tape in October through Green Burrito.
JS: We've got another album's worth of material ready to go.
D: I have to ask, where did your band name come from?
MC: (grins) Lack ofa better name.
AB: That was the hardest thing for us, thinking ofa name that wasn't taken.
[The High Drops] was the name we all agreed on.
JS: There were a lot of vetoes.
MC: The name doesn't really have any effect on our music. We don't want to
show people we're a certain type of band by our name. We're ambiguous.
D: It sticks in your head.
MC: And we didn't hate it.
fm f uny
|L iBl  I  A
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themintbook.ca
npiuadii im UUtiii VHI
gourdmmsatMWRecords^
■    ,      "attitude and deRveru" - Quick Before It Melts       ? /
/ M BY MAEGAN THOMAS
ILLUSTRATION BY MERIDA ANDERSON
T
AuHTS^UMCLtS
here is a place were acerbic meets precious, and there lives baroque
string-shredding locals Aunts & Uncles. Made up of SSRIs' Joseph Hi-
rabayashi, Adrienne LaBelle (formerly of Barcelona Chair) and Daniel
Ruiz (formerly ofLike Animals Again), the trio's eponymous debut EP
plays like a soundtrack to an Elizabethan dance filled with tweeking
courtiers. In general, the release showcases guitarist Hirabayashi's
appealingly caustic vocals, LaBelle's plaintive violin and percussionist Ruiz's
sweedy aggressive skins, not to mention his glockenspiel. Closing track "Yet to
Relent," meanwhile, cleanses the palette—darker than it's four companion pieces,
it features LaBelle on the mic and belies listener expectations with its humble
ukulele. Discorder caught up with LaBelle and Ruiz over brunch at Rhizome to
talk about about the EP, touring and how they view the Vancouver music scene.
18
u WE'RE TAKING
ON FINE MIST-
WRITE THAT DOWN.
—ADRIENNE LABELLE
Discorder: What does this EP say about Aunts & Uncles?
Daniel RuiZ: Ideally, when we started recording, we wanted to do a full album...
Adrienne LaBelle: Yeah, this is the "Side A" of what we were going to release
as a full n-song album. We've gone through a bunch of phases. It was supposed to be an acoustic band, or have the capability of doing so. [Daniel's]
kick drum used to be an empty suitcase, so we could get to gigs on the bus.
We could be able to just play wherever and that's totally changed a lot. It's
not that we couldn't still do it, but we'd have to rearrange thing 'cause we've
written our songs differently.
* DJSCOrder: You guys just got off a grueling tour. Any standout nights?
DR: This guy approached me [after a show at Wunderbar in Edmonton] and
[said], "Monday night we have a noise night, wanna play it?" And I was like,
"yeah!" Adrienne playing noise? She can do it, Joe can do it, I can do it. Sign
us in... [It was at a] super rad venue [Bohemia], super cool people.
AL: I had just bought a delay pedal the day before, so that came in handy for
the noise set I used to do Fake Jazz Wednesdays when I was in [the Barcelona
Chair] and did the Cobalt Fake Jazz noise set, so I'm getting back to my roots,
my public performance roots.... It was fun and we'd never really done that
before as a group—maybe you'll hear more wacky noise experiments from us.
Discorder: Awesome. And maybe some dance music? There's a dearth right
now in Vancouver.
AL: There's Fine Mist. We're taking on Fine Mist—write that down.
Discorder: You could do a battle ofthe bands.
AL: We'd go on as Dance & Uncles. There's one song [of ours] ...it has a straight
ahead beat and it could turn into a dance, so every now and then Daniel starts
playing on the high hat like it's a dance mix.
Discorder: What's a fun dance pun for Uncles?
AL: Dance & Funkles?
DR: We've done all sorts of pairs - [When Joe and I] played Cafe Deux Soleil
with Wintermitts, we were "Uncles."
Discorder: Do you have some take on what a "Vancouver band" is? When you
go outside Vancouver or Canada, what discerns us?
DR: Vancouver has a really broad spectrum. It's really hard to pick and point
what Vancouver bands sound like because there are so many different styles.
AL: It's less ofa sound than an ethic. Most ofthe bands that we know and
play with put things out themselves and put together shows themselves and
promote themselves. Like, Safe Amp: [Ryan McCormick] started a non-profit
to try and [create] venues because we have so many venues shutting down that
we have to do it ourselves. We're trying to play music, and it's like...venues are
shutting down left and right and we're trying to work it out any way we can.
Discorder: I was at your 2009 CiTR SHiNDiG show and now listening to the
album, you can tell there has been progression in your sound and presence. Is
that something you've been working on, or has it come naturally?
DR: Well, both actually. When we go to rehearsal, we have a really good practice
method. We'll practice one segment and make sure it's something we are all
comfortable with, and try to add more detail to it But at the same time, things
just come naturally. We have the idea for a section of song, but [Adrienne will]
say "Can I just do this because it's easier?" and we'll be, like, "Cool. Yeah, do
that." Then Adrienne can sing something over top.
Discorder: Besides more recording, what else is coming up for you guys?
DR: We're planning a tour in early November, also Western Canada. Maybe
another week-long tour. We did three live songs [for local music blog] Tasty
Ears; we did three tunes and an interview with them. That should be coming
out soon. We were actually thinking about doing a show with Bleating Hearts
and Wintermitts.
Discorder: You've shared the stage with some amazing bands, from locals
Dan Mangan and Ladyhawk to Denmark's Efterklang. What bands are on
your wishlist?
DR: Owen Pailett; He is an inspiration to me. I was listening to him one night
and this one riff, I was like, "I gotta do something like that" Ifs there, the
orchestration.
AL: I'm small scale. I could say David Bowie or something crazy, butthatwould
be weird. It sounds cheesy but I like the journey. All ofa sudden we were playing with Efterklang, this band from Denmark. I'd heard of them but I hadn't
listened to them and I really liked them. Same thing with [Montreal's] the
Luyas. I don't have dream shows, I like the shows that come together and are
amazing and you feel warm and fuzzy. I guess it would be a great time to play
with some big band who I have all their albums, but I'm way more stoked on
doing great tiny things in tiny pockets.
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DISCORDER SUGGESTS LISTENING TO CiTR ONLINE AT WWW.CiTR.CA EVERY DAY.
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The Saddle
(Hoots)
CiTRGhostMix
Classical Chaos
(Classical)
Shookshookta (Talk)
The Rockers Show
(Reggae)
Shake
A Tail
Feather
' (Soul/
R&B)
Chips I Queer FM
(Pop) (talk)
Rhythms I  Techno
(World)   Progressivo
Bootlegs &B-Sides
(Dance/Electronic)
Transcendance.
(Dance)
CiTRGhostMix
CiTR Ghost Mix
Breakfast With The
Browns (Eclectic)
Ska-T's Scenic Drive
Synchronicity
(Talk)
Parts Unknown (Pop)
Mantis Cabinet
(Eclectic)
The Rib (Eclectic)
Wings (Talk) | Prof (Talk)
Radio Freethinker
(Talk)
Thunderbird Eye (sports)
Sore Throats, Clapping Hands (Rogue.
Folk, Indie S/S)
Exploding Head
Movies
(Cinematic)
The Jazz Show (Jazz)
Canada Post-Rock
(Rock)
CiTRGhostMix
Pacific Pickin' (Roots)
Sounds of Africa
(World)
Queer FM Arts Xtra
(Talk)
Morning After Show
(Eclectic)
What Pink Sounds
Like (eclectic)
Give 'Em the Boot
(World)
Wener's BBQ (Talk)
Flex Your Head
(Hardcore)
Inside Out
(Dance)
Crimes And Treasons
(Hip-hop)
CabaRadio (Talk)
CiTR Ghost Mix
Suburban Jungl
(Eclectic)
Pop Drones
(Eclectic)
Student Special Hour
(Eclectic)
The Green Majority
(Talk)
Democracy Now (Talk)
Rumbletone Radio A
Go Go
Arts Report (Talk)
R.*OC'    Ttesmftti
squantch
Folk Oasis (Roots)
Sexy In Van City
(Talk)
Hans Kloss Misery
Hour (Hans Kloss)
■    •     ,
CiTRGhostMix
CiTRGhostMix
CiTR Ghost Mix
End ofthe World
News (Talk)
Sweet And Hot (Jazz)
Duncan's Donuts
I Eclectic*) **
We All Fall Down
(Punk)
Japanese Musicquest
(Talk)
The Barn Burner
(Eclectic)
Are You Aware
(Eclectic)
Stereoscopic Redoubt
(Experimental)
Live From Thunderbird
Radio Hell (Live)
Funk My Life
(Soul/Dance)
Aural Tentacles
(Eclectic)
H
CiTRGhostMix
Friday Sunrise
(Eclectic)
Alternative Radio
(Talk)
$M&& Easy Being
Green (Eclectic)
Gee eration Annihilation
Hugo
(Eclectic)
Radio Zero (Dance)
Nardwuar Presents
(Nardwuar)
News 101 (Talk)
The Leo Ramirez Show
(World)
Stranded
(Eclectic)
African Rhythms
(World)
The Bassment
(Dance/Electronic)
The Vampire's Bs
(Industrial)
■HHHII
CiTRGhostMix
CiTRGhostMix
The Saturday Edge
(Roots)
Power Chord
(Metal)
Code Blue (Roots)
Nasha Volna (World)
Synaptic Sandwich
(Dance/Electronic/
Eclectic)''
Randophonic
(Eclectic)
CiTRGhostMix
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I 22 SUNDAY
CLASSICAL CHAOS
(Classical) g-ioam
From the Ancient World to
the 21st century, join host
Marguerite in exploring and
celebrating classical music
from around the world.
SH00KSH00KTA
(Talk) ioam-i2pm
A program targeted to
Ethiopian people that
encourages education and
personal development.
THE ROCKERS SHOW
(Reggae) i2-3pm
Reggae inna all styles and
fashion.
BLOOD OH THE SADDLE
(Roots) 3-5pm
Alternating Sundays
Real cowshit-caught-in-yer-
boots country.
SHAKE A TAIL FEATHER
(Soul/R&B) 3-5pm
Alternating Sundays
The finest in classic soul
and rhythm & blues
from the late '50s to the
early '70s, including lesser
known artists, regional hits
and lost soul gems.
CHIPS WITH EVERYTHING
(Pop) 5-6pm
Alternating Sundays
British pop music from all
decades. International pop
(Japanese, French, Swedish, British, US, etc.), '60s
soundtracks and lounge.
QUEER FM QMUNITY (TALK)
(Talk) 5-6pm
Alternatina Sundays
An expose of the arts &
culture scene in the LGBTQ
community.
QUEER FM ARTS XTRA
(Talk) 6-8pm
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
RHYTHMSINDIA
(World) 8-9pm
Alternating Sundays
Featuring a wide range of
music from India, including popular music from
the 1930s to the present;
Ghazals and Bhajans,
Qawwalis, pop and regional
language numbers.
TECHNO PROGRESSIVO
(Dance) 8-gpm
Alternatina Sundays
A mix ofthe latest house
music, tech-house, prog-
house and techno.
BOOTLEGS & B-SIDES
(Dance/Electronic) 9-iopm
TRANCENDANCE
(Dance) iopm-i2am
Join us in practicing the
ancient art of rising above
common ideas as your host
DJ Smiley Mike lays down the
latest trance cuts.
trancendance@
hotmail.com
MONDAY
BREAKFAST WITH THE BROWNS
(Eclectic) 8-nam
Your favourite Brownsters,
James and Peter, offer a
savoury blend ofthe familiar and exotic in a blend of
aural delights.
breakfastwiththebrowns@
hotmail.com
SKA-T'S SCENIC DRIVE
(Ska) iiam-i2pm
SYNCHRONICITY
(Talk) i2-i:oopm
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! This is not your average
spirituality show.
PARTS UNKNOWN
(Pop) i-3pm
An indie pop show since
1999, it's like a marshmal-
low sandwich: soft and
sweet and best enjoyed
when poked with a stick
and held close to a fire.
MANTIS CABINET
(Eclectic) 3-4pm
THE RIB
(Eclectic) 4-5pm
Explore the avant-garde
world of music with host
Robyn Jacob on the Rib.
From new electronic and
experimental music to
improvised jazz and new
classical! So weird it will
Drum great Philly Joe Jones
north to south, traditional
blow your mind!
and "Blues For Dracula".
to modern on this bilingual
svhow. Un programma
NEWS 101
CANADA POST-ROCK
bilingue che esplora il
(Talk) 5-6pm
(Rock) i2-i:ooam
mondo della musica etnica
Vancouver's only live,
Formerly on CKXU, Canada
italiana.
volunteer-produced,
Post-Rock now resides on
givetheboot@gmail.com
student and community
the west coast but it's still
http://giveemtheboot.
newscast. Every week, we
committed to the best in
wordpress.com
take a look back at the
post-rock, drone, ambient,
week's local, national and
experimental, noise and
WINGS
international news, as seen
basically anything your host
(Talk) 3-3:30pm
from a fully independent
Pbone can put the word
Alternatina Tuesdays
media perspective.
"post" in front of. Stay up,
tune in, zone out. If you
PROF TALK
SORE THROATS, CLAPPING
had a radio show, Pbone
(Talk) 3-3:30pm
HANDS
would probably listen to
Alternating Tuesdays
(Rope Folk, indie S/S)
your show.
Bringing UBC's professors
6-7:3opm
on air to talk about current/
Lyric Driven, Campfire
TUESDAY
past events at the local and
Inspired: new and old tunes
international level. Aiming
from singer / songwriters
PACIFIC PICKIN'
to provide a space for fac
with an emphasis on Ca
(Roots) 6-8am
ulty and doctoral level stu
nadian music. Tune in for
Bluegrass, old-time music,
dents to engage in dialogue
live acts, ticket giveaways,
and its derivatives with Ar
and share their current
interviews and talk, but
thur and the lovely Andrea
research, and to provide a
mostly it's just music.
Berman.
space for interdisciplinary
Find us on Facebook!
pacificpickin@yahoo.com
thinking. Interviews with
professors from a variety of
EXPLODING HEAD MOVIES
SOUNDS OF AFRICA
disciplines.
(Cinematic) 7:30-9pm
(World) 8-9:3oam
http://ubcproftalk.
Join gak as he explores
Showcasing music, current
wordpress.com
music from the movies,
affairs & news from across
proftalk@gmail.com
tunes from television and
the African continent and
any other cinematic source,
the diaspora, you will learn
RADIO FREETHINKER
along with atmospheric
all about beat and rhythm
(Talk) 3:30-4:3opm
pieces, cutting edge new
and it will certainly kick-
Promoting skepticism, criti
tracks and strange old
start your day.
cal thinking and science, we
goodies that could be used
examine popular extraor
in a soundtrack to be. The
QUEER FM ARTS XTRA
dinary claims and subject
spotlight swings widely to
(Talk) 9:30-io:3oam
them to critical analysis.
encompass composers,
The real world is a beautiful
genres and other categories,
MORNING AFTER SHOW
and fascinating place and
but all in the name of dis
(Eclectic) ii:3oam-ipm
we want people to see it
covery and ironclad whimsy.
An eclectic mix of Canadian
through the lens of reality
indie with rock, experimen
as opposed to superstition.
THE JAZZ SHOW
tal, world, reggae, punk
(Jazz) 9pm-i2am
and ska from Canada, Latin
THUNDERBIRD EYE
Vancouver's longest
America and Europe. The
(Sports) 4:30-5pm
running prime-time jazz
Morning After Show has
Your weekly roundup of UBC
program. Hosted by Gavin
local bands playing live on
Thunderbird sports action
Walker. Features at npm.
the Morning After Sessions.
from on campus and off with
Oct. 3: Celebrating the
Hosted by OswaldO Perez
your host Wilson Wong.
birthday ofthe Chicago
Cabrera.
saxophone legend Von Free
WENER'S BBQ
man. His first major disc:
WHAT PINK SOUNDS LIKE
(Talk) 5-6pm
"Doin'It Right Now!"
(eclectic) i-2pm
Join Daryl Wener and the
Oct 10: Another birthday,
Celebrating women in
CiTR Sports Department as
another legend: "Theloni
music and media who truly
they breakdown everything
ous Monk and His Quartet
kick ass. The hour features
you need to know about UBC
at The Newport Jazz Fest
women artists and bands
sports.
1959" newly discovered!
with female musicians. Join
Oct. 17: Another side
host Ashly Kissman as she
FLEX YOUR HEAD
of Charles Mingus who
increases feminist content
(Hardcore) 6-8pm
sings and plays piano.
on the airwaves one song
Punk rock and hardcore
Bluesy, funky and dirty: "Oh
Yeah"!"
at a time.
since 1989. Bands and guests
from around the world.
Oct. 24: Brand new! Sonny
GIVE'EM THE BOOT
Rollins: "Road Shows
(World) 2-3pm
INSIDE OUT
Volume 2".
Sample the various flavours
(Dance) 8-9pm
Oct 31: It's Halloween!
of Italian folk music from
23 CRIMES & TREASONS
(Hip-hop) 9-npm
crimesandtreasons@gmail.
CABARADIO
fTalk) npm-i2:3oam
For the world of Cabaret.
Tune in for interviews,
skits, musical guests and
more. It's Radio with sass!
WEDNESDAY
SUBURBANJUN6LE
(Eclectic) 8-ioam
Live from the Jungle Room,
join radio host Jack Velvet
for an eclectic mix of music,
sound bites, information and
inanity. Not to be missed!
dj@jackvelvet.net
POP DRONES
(Eclectic) io-n:3oam
STUDENT SPECIAL HOUR
(Eclectic) n:30-ipm
With a student special,
you always get more than
what you pay for. Various
members ofthe CiTR's
student executive sit in and
host this blend of music
and banter about campus
and community news, arts
and pop culture. Its random
and fun - good 'ol campus
radio! Drop ins welcome!
THE GREEN MAJORITY
(Talk) i-2pm
Canada's only environmental news hour, syndicated by
CIUT 89.5 FM Toronto or
www.greenmajority.ca.
DEMOCRACY NOW
fTalk) 2-3pm
ARTS REPORT
fTalk) 5-6pm
REEL TO REAL
fTalk) 6-6:3opm
Alternatina Wednesdays
Movie reviews and criti-
DISCORDER RADIO
fTalk) 6-6:3opm
Alternating Wednesdays
Discorder Magazine now
has its own radio show!
Join us to hear excerpts of
feature interviews, charts,
concert calendar picks and
other exciting morsels! For
more info, visit discorder.ca.
SAMSQUANTCH'S
HIDEAWAY
(Eclectic) 6:30-8pm
Alternatina Wednesdays
All-Canadian music with a
focus on indie-rock/pop.
anitabinder@hotmail.com
SHAMELESS
(Eclectic) 6:30-8pm
Alternatina Wednesdays
Dedicated to giving local
music acts a crack at some
airplay. When not playing
the PR shtick, you can
hear some faves you never
knew you liked.
FOLK OASIS
(Roots) 8-iopm
Two hours of eclectic folk/
roots music, with a big emphasis on our local scene.
C'mon in! A kumbaya-free
zone since 1997.
folkoasis@gmail.com
SEXY IN VAN CITY
fTalk) 10-iipm
Your weekly dose of education and entertainment in
the realm of relationships
and sexuality.
sexyinvancity.com/category/
sexy-in-vancity-radio
HANS KLOSS'MISERY HOUR
(Hans Kloss) npm-iam
Pretty much the best thing
on radio.
THURSDAY
END OF THE WORLD NEWS
(Talk) 8-ioam
SWEET AND HOT
(Jazz) ioam-i2pm
Sweet dance music and hot
jazz from the 1920s, '30s
and '40s.
DUNCAN'S DONUTS
(Eclectic) 12-ipm
Sweet treats from the pop
underground. Hosted by
Duncan, sponsored by
donuts.
duncansdonuts.
wordpress.com
WE ALL FALL DOWN
(Punk) i-2pm
Punk rock, indie pop and
whatever else I deem worthy. Hosted by a closet nerd,
www.weallfalldowncitr.
blogspotca
INK STUDS
fTalk) 2-3pm
Underground and indie
comix. Each week, we interview a different creator to
get their unique perspective
on comix and discuss their
upcoming works.
JAPANESE MUSICQUEST
(Talk) 3-3:3opm
Syndicated from CJLY
Kootenay Co-op Radio in
Nelson, B.C.
THE BARN BURNER
(Eclectic) 5-6pm
The greasier side of rock
*n' roll, rhythm *n' blues,
and country... Crack a beer,
order some BBQ, and get
your boogie on.
ARE YOU AWARE
(Eclectic) 6-7:3opm
Celebrating the message
behind the music: Profiling
music and musicians that
take the route of positive
action over apathy.
STEREOSCOPIC REDOUBT
(Experimental) 7:3o-9pm
LIVE FROM THUNDERBIRD
RADIO HELL
(Live Music) 9-npm
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.
FUNK MY LIFE
(Soul/Dance) npm-i2am
Grooving out tunes with a
bit of soul and a lot of funk,
from the birth of rhythm and
blues to the golden age of
motown, to contemporary
dance remixes of classic soul
hits. We explore Brasilian
funk, Japanese breakbeat anthems, the British motown
remix scene, Canadian soul
and disco that your parents
probably made out to and the
classics of American soul.
Soul in the City's Oker hosts
with guests to bring that
extra bounce to your step.
www.funkmylife.com
AURAL TENTACLES
(Eclectic) i2-6am
It could be global, trance,
spoken word, rock, the
unusual and the weird, or it
could be something different Hosted by DJ Pierre.
auraltentacles@hotmail.com
FRIDAY
FRIDAY SUNRISE
(Eclectic) 7:30-9am
An eclectic mix of indie
rock, hip-hop and reggae to
bring you up with the sun.
ALTERNATIVE RADIO
fTalk) 9-io:ooam
Hosted by David Barsamian.
IT AIN'T EASY BEING GREEN
(Eclectic)i2-ipm
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.
Try out a new show idea,
share a playlist, read a radio
drama. We want you!
HUGO
(Eclectic) i-2pm
RADIO ZERO
(Dance) 2-3:30pm
An international mix of
super-fresh weekend party
jams from New Wave to
foreign electro, baile, Bollywood and whatever else.
www.radiozero.com
NARDWUAR
(Nardwuar) 3:30-5pm
Join Nardwuar the Human
Serviette for Clam Chowder
flavoured entertainment.
Doot doola doot doo...doot
doo!
nardwuar@nardwuar.com
NEWS 101
fTalk) 5-6pm
See Monday for description.
STRANDED
(Eclectic) 6-7:30pm
Join your host Matthew for
a weekly mix of exciting
sounds, past and present,
from his Australian homeland. And journey with him
as he features fresh tunes
and explores the alternative
musical heritage of Canada.
AFRICAN RHYHMS
(World) 7:3o-9pm
www.africanrhythmsradio.
THEBASSMENT
(Dance/Electronic) 9-io:30pm
The Bassment is Vancouver's only bass driven radio
show on air. I play picks
from all the bass driven
genres like Glitch, Dubstep,
Drum and Bass, Ghetto
Funk, Crunk, Breaks and
UK Funky, while focusing
on Canadian talent and
highlighting Vancouver DJs,
producers and the parties
they throw.
THE VAMPIRE'S BALL
(Industrial) i2-4am
Industrial, electro, noise,
experimental and synth-
based music, thevampires-
ball@gmail.com thevam-
piresbalioncitr.com
SATURDAY
THE SATURDAY EDGE
(Roots) 8am-i2pm
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!
steveedge3@mac.c0m
GENERATION ANNIHILATION
(Punk) 12-ipm
A fine mix of streetpunk
and old-school hardcore
backed by band interviews,
guest speakers and social
commentary.
crashnburnradio@yahoo.ca
generationannihilation.com
POWER CHORD
(Metal) i-3pm
Vancouver's longest running metal show. If you're
into music that's on the
heavier/darker side ofthe
spectrum, then you'll like
it Sonic assault provided by
Geoff, Marcia and Andy.
CODE BLUE
(Roots) 3-spm
From backwoods delta
low-down slide to urban
harp honks, blues and blues
roots with your hosts Jim,
Andy and Paul.
codeblue@buddy-system.org
THE LEO RAMIREZ SHOW
(World) 5-6pm
The best of mix of Latin
American music.
leoramirez@canada.com
NASHAVOLNA
(World) 6-7pm
News, arts, entertainment
and music for the Russian
community, local and
abroad.
nashavolna.ca
SYNAPTIC SANDWICH
(Dance/Electronic) 9-npm
If you like everything from
electro/techno/trance/8-bit
music/retro '80s this is the
show for you!
www.synapticsandwich.net
RANDOPHONIC
(Eclectic) npm-iam
Randophonic is best
thought of as an intraversal
jukebox programmed by
a vast alien living intelligence system which has
no concept of genre, style,
nation states or even space-
time relevance. But it does
know good sounds from
bad. Randophonic plays the
good stuff.
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27 UNDER REVIEW
ACRES OF LIONS
COLLECTIONS
(Cordova Bay Records)
Acres of Lions, a Victoria based pop-
rock unit generating huge buzz across
B.C., are back with their second set
of melodic sing-along anthems, Collections. The follow up to their 2009
debut Working sees the band building
upon their emo roots. JeffKalesn-
ikofPs confident yet sensitive vocals
are brought to the forefront ofthe
mix; the guitar work of both Kalesn-
ikoff and Tyson Yerex providing backing to the melodic hooks that anchor
each ofthe songs. "Reaction," the first
single from the album, is, to put it in
layman's terms, catchy as hell. The
gang vocals and snapping fingers,
mixed with an energetic and upbeat
guitar riff, remind this writer ofthe
Beades-esque pop stylings of Sloan.
One drawback to the songwriting however is the bleeding heart lyrics, which, to be fair, are essentially
characteristic ofthe entire emo genre.
The album insert is filled with lines
like "My heart still beats like a drum
/ When I hear you sing your sorrows /
To an empty room" ("Like A Drum").
Despite the sincerity of their delivery,
these lyrics are quite cringeworthy.
Regardless, the group has a lot
going for them. They clearly have a
good ear for infectious, radio-friendly
songwriting and, judging the album as
a whole, appear determined to win over
j new fans. If emo inflected pop-rock
is your thing, give Collections a listen.
—-James Olson
B-MONSTER
AT LARGE
(Zeebaholst Records)
There's no need to clean up or presumptuously perfect your sound,
certainly not when you're B-Monster.
Instead, you're loud, reckless, and
into rock 'n' roll for the music (and
maybe the sex and drugs). For that
reason, At Large is an amicable record
that just oozes substance—a short
romp through a chaotic candyland.
The band have a special aptitude at
taking filthy guitar tones and pounding percussion, and creating fantastic
tunes reminiscent ofthe heyday of
'70s punk. From "Soft Flesh For The
Dungeon Ofthe Damned" to "Critical
Love Condition," At Large is a streamlined and well-written cacophony that
will cater to even the most disparate
tastes with its catchy riffs and sing-
along vocals—despite them being
hard to decipher at times.
At Large is wicked. It's vulgar, it's
simple and awesome.
—Kamil Krawczyk
DIRTY BEACHES/ELA ORLEANS
DOUBLE FEATURE
(Might jpeqpty
Double Feature plays like the soundtrack
to a David Lynch movie. On one side
you have what sounds like an amphet-
amine-fiieled night ride through a
worn-down city. The Yakuza are at
every turn demanding protection
money; the bored looking woman
on the back of your chopper coolly
smokes tailor-mades and rolls her
eyes at danger. For some reason, Elvis haunts these parts. Dirty Beaches'
Alex Zhang Hungtai is the guy behind
these odd and bluesy, lo-fi surf tunes
that sound as if they were piped in
through an old coffee tin half-buried
in the backyard. The six songs on
this section of Double Feature are bits
that didn't make it onto Hungtai's
recently released full-length Badlands,
but they work just as well as a mini-
album here.
On the other side ofthe record,
a woman sits alone in her studio
playing sad piano dirges into the
night. Regret and hope fill the air,
mingling with a waft of bad incense
meant to cover up the ever-present
smell of weed. Streamers and plastic cups half-filled with red wine
cover every available surface, remnants of a masquerade party from
the night before. For some reason,
Nico's ghost haunts her room. This
is Brooklyn's Ela Orleans. Blending
neo-folk and beach baroque, Orleans' songs are richer in sound that
Dirty Beaches, but go hand-in-hand
with Hungtai's distant strumming
and dangerous ghost-Elvis snarl.
Both sound like movie soundtracks.
At first, the music was difficult to
get my head around but after a few
turns it began to sink in, kind of
like watching a foreign art film and
learning the language as it unfolds.
Double Feature is definitely a different
but worthy experience.
—Nathan Pike
JON ALLAN HENRY
QUIET BLUES
(jftdejpendent)
Listening to Quiet Blues, the debut
full-length from Vancouver's Jon Allan Henry, is like taking a trip in a
time-travelling DeLorean to a '60s
folk-fest: most of his songs sound
like they were written by Bob Dylan.
This is a good thing.
Quiet Blues is steeped in the Americana roots of folk-legends like the
aforementioned Robert Zimmerman,
Lead Belly and Johnny Cash. Henry
fingerpicks his way through an album
of sparse, woeful tunes that leave you
feeling wistful for days gone by.
Quiet Blues features nine lean tracks,
each one relying on Henry's skillful guitar work and sharp voice. He
keeps things interesting by mixing
guitar styles, alternating between
traditional folk melodies and heavy
finger-picking riffs. If you're out of
a job, you'll find a kindred spirit in
Henry, who mines the depths of being unemployed for inspiration. On
"Coming Around," he sings about
needing to be used for a greater purpose ("Oh, I'm not just a fixture on
your shelf/ To be taken down or used
up by yourself").
On "Ghosts," Henry strums a tight
little riff that wouldn't be out of place
on Music From Big Pink. His voice is
high and throaty, reminiscent of Kris-
28 dan Matsson from the Tallest Man
On Earth. At times his voice cracks,
pushing his register while trying to
keep it full. He uses it to great effect
on "Ghosts," bringing life to the lyrics ("Now she's trotting on edges /
Of his winter pain / Her tears blur
the starlight / Where he's gazing
again") through pained inflections.
He stresses his voice while the guitar
melody clops along, reinforcing the
horse imagery.
Ultimately, Quiet Blues is the encapsulation of an emerging songwriter
who is finding his footing as he seeks
to blaze his own path.
—Cailjudy
PHILOCERAPTOR
THE DEEPEST V
(Independent)
Local trio Philoceraptor are showing
a new, more rhythmic side of their
garage-rock selves on their new EP,
The Deepest V. The first track, "Hey
Champion," is driven by an intricate
beat from drummer Phil Jette, allowing the band's two guitarists—Justin
Penney and Steve Mann—to take a
breather. This works surprisingly
well for a band that's known for being more brash than balanced.
The new three-song EP can be
downloaded for free from their Bandcamp site. Actually, "EP" might be a
bit of a misnomer, as the release has
has only one new song ("Hey Champion") paired with a remaster ofthe
previously-released track "PYT" and
a remix of "Hey Champion" by locals
Oh No! Yoko. The remix's dance-floor
beat and cut-up vocals make it sound
like a whole new song, however.
The only really troubling part of
the new dance-rock sound is the lack
of bass. Of course they can do without
the instrument—Japandroids and the
Black Keys, for example, have done
just fine without it, but both those
bands fill the bass frequency with
a huge guitar sound. Philoceraptor
don't really do that, and ifs never been
more noticeable than now.
The lead track is easily worth the
price of admission, so head over to
their site and have a listen. And if you
like it, their onstage energy can be
experienced at CiTR's SHiNDiG on
October 18.
-—Jeremy Stothers
SNAKY SNAKES
GLOWING
(Independent?
Shaky Snakes, aka Ian Johnston, is
Vancouver's newest chillwaver. He
spent a decent chunk ofthe summer
crafting washed-out electronic music
from his apartment He's now put the
feeling of those sunny days and warm
nights into music just in time for the
autumn rain.
The five-song Glowing EP—his first
release—opens slowly with "Ozone
Exciter," which is like what Boards
of Canada might sound like if they
were high on opiates. Gradually, it
gets more exciting. It peaks twice with
"Hold On To Yr Rock N Roll," a spacious dance song that moves exceptionally well, inviting the listener to
move with it The second peak is closing track "Seventeen," which features
a catchy hook and a tight rhythm.
Overall, he'd fit nicely on a concert
bill with fellow local Teen Daze.
What Johnston does best is play
with space—the less is more approach—and his songs benefit from
long rests between melodic hooks.
Every beat, every word, every keyboard
stroke has space around it Nothing
fights for the listener's attention, so
the listening experience is quite relaxing. Actually, it's almost too relaxing; around the third time listening
through the EP I started nodding off...
but itwas a nice feeling.
This EP has a good mix of restraint
and rhythm, especially considering
it is Johnston's first It's available on
Shaky Snakes' Bandcamp website on j
a pay-what-you-want basis. Thanks I
to Shaky Snakes, we can keep that !
summer feeling going while the leaves
are changing.
—Jeremy Stothers
THESTRUSfiLERS
ASTRA PER ASPERA
(Independent)
The Latin phrase "Astra Per Aspera" \
loosely translates into "through
adversity to the stars" or the more j
gritty "from the mud to the stars." j
This bold and determined acclama- j
tion makes a great title for a collec- \
tion of punk songs by a lot as tena- j
cious as Vancouver's The Strugglers. !
The ancient mantra is aggressive yet j
hopeful, much hke The Stragglers' I
music. And it should be noted, it
seems there is more than likely an j
intellectual at work here too, making j
reference to Herman Hesse's Beneath j
the Wheel, where the phrase is used by i
the Headmaster to demean the main
character's dedication to music.
Astra Per Aspera is punk rock at it's j
finest The eleven tracks offered up I
mirror the set list The Strugglers have
been busily blasting out all over town |
the past few months. To some, the !
group's music may sound typical and j
unoriginal, but a refined ear can easily j
deduce what sets The Strugglers apart
from the masses.
Along with the eight originals on
Astra Per Aspera, however, there are i
three carefully chosen covers: the Mis- j
fits' "Horror Business," Bad Brains'
"Pay To Cum" and Blitz's "New Age."
Originals like "Anthem" and "Leaf
Blower," meanwhile, merge their obvious influences to create their own
distinct sound, placing themselves
at the intersection of classic English
street punk and original North American hardcore. The result is fast and
furious, with songs playing out both
aggressive and fun.
Despite the bookish title, the
Strugglers completely lack pretense.
They are a group of friends playing I
music and having a good time, in the
process drawing the audience to the
party. Astra Per Aspera is like a contraband roman candle shoved into the
mud, sending vibrant balls of fire and
lighting up the East Van sky.
—MarkPaulHus
SUNNY POMPEII
BREAKFAST OF CHAMPIGNONS
(trtitpmdmt)
Though still a budding young band,
the cheekily titled Breakfast of Champignons EP represents the first 18
months or so of Sunny Pompeii's'
dynasty. As it stands, the Vancouver
quartet have been ripening graciously
into the sunny climes of psychedelia-
soaked pop.
The five songs on Champignons
share a rather radiant disposition that
sparkles with a relaxed and laid-back
pop affection that fans ofthe High
Llamas or the Sea and Cake could
easily approximate and appreciate.
Amiable and nostalgic mini-anthems
like "The Death of Death" bring a bucolic glow to neo-psych chestnuts like
layered vocals, gliding guitars and
uplifting orchestral embellishments.
"Who Knows Who Knows" advances more ELO-style searching in |
the warm atmospheric waters of art I
rock. "6 & 5" wanders off in cham- I
ber pop directions with an indie rock I
proclivity that would well suit the
Elephant 6 roster most favourably. I
In fact, "Feeled" has an inescapable I
Olivia Tremor Control air to it, with I
ifs jazzy guitar variations and lo-fi lay.  |
As an introduction to their musical [
mettle, this EP is a brief and breezy I
batter thafs sweet in most of the f
right places. Ifs an easy and rewarding listen, one that is smooth, earnest
and unpretentious. It doesn't come
across as overly elaborate or snippy
(which can't be said for some E6 artists who share a comparable sound)
but it does appear a little anaemic in
places ("Spacey B" sounds like a by-
the-numbers Sam Prekop B-side). All
told, Breakfast 0/Champianons is one
meal that shouldn't be skipped over.
It might even become a dietary staple.
—Shane Scott-Travis
29 I 1 (ocfreefor station members) I
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People's Co-op
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Audiopile
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319 W Hastings St.
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Chinese Garden
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578 Carrall St.
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Clothing Inc
3607 W Broadway
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Banyen Books
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Red Cat Records
UBC Bookstore
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Highlife Records
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Baru Cafe
The Eatery
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The Regional
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Hitz Boutique
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316 W Cordova St.
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2418 Main St.
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Zoo Zhop
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citr.ca FRANKLINFEST
September $ \ Nathan Pike's Place
Every year, Nathan Pike pours his
heart and soul into a day-long musical festival known as Franklinfest.
Named after the street his home faces
and held in his frontyard, the eventof-
fered up a series of sounds that echoed
throughout industrial East Van.
The Gende Infidels didn't let the
relentless sun slow their fierce and
energetic prog-folk performance.
Guitarist Edwin Bond usually comes
packing ten to twelve instruments
in different tunings, but the day's
shorter set required only a "stripped-
down" four — but each was used to
great effect, with the group turning
traditional folk into a mathy and complicated sound. The Gentle Infidels i
didn't need pedals or amplifiers to I
capture the crowd's attention.
The Hunnies, playing their second show ever, served up'60s all-girl j
pop laced with the kind of nectar that
permeates floral wallpaper and retro ]
lampshades. While the band still \
I needs a lot of practice before being a j
I   cohesive musical project, their feel- 1
good songs still found a way to set the
perfect mood as the sun fell in front of
them. The only disappointing part of
their performance was learning that
their bassist was married.
"Work our day jobs, then rock 'n'
roll all night!" I might be paraphrasing, but this is definitely the prevailing
and defining attitude ofthe Belushis.
While their passionate, all-about-
the-music performance might come
across as cheesy as performed by a
younger crew, the Belushis have had
a long time to hone their trade, and
it showed. If you can cite Spinal Tap
as an influence, their set went was
cranked as close to eleven as possible,
with insane guitar solos zooming \
across the yard and frontman/bass-
ist Ferdy Belland pointing menacingly
into the crowd.
The Creaking Planks were perhaps
the most perfect fit for the day's fes- j
tivities—baroque, zany and just a j
little silly, the jug band ofthe damned
thoroughly impressed with their per- j
formance. Those unfamiliar with the !
Creaking Planks were gleefully sur- I
prised to absorb set-standard covers  J
of Britney Spears and Nine Inch Nails.
Vincent Parker made sure that I
wouldn't refer to him as a DJ in my
review—and to his credit, not a single
record was touched or scratched in the
ensuing electronica set that capped
the evening. "Electronic Maestro" was
the preferred term, and it fits — Parker sculpted incredibly organic tunes
that implemented other instruments
than his laptop and some digital toys.
People dance maniacally behind him
until his last encore wound down.
Even as the PA was packed up and
tired feet made their way home, there
was a steady and heavy clamouring for
more, more, more. Maybe next year.
—Fraser Dobbs
BORN GOLD / BLOOD DIAMONDS
§pt|NDAZE
September 4 / The Electric Owl
I can think of few better ways to say
goodbye to a sweet summer than with5
a sweaty, Sunday night dance party.  I
Lucky for me, the tantalizing triple
threat of Born Gold, Blood Diamonds
and Teen Daze at the Electric Owl was
more than willing to oblige.
By the time I arrived, Teen Daze
was already neck deep into his signature hazy club thumpers, providing a
lucid atmosphere to the venue. Unfortunately, the place was neither crowded
nor drunk enough to effectively capitalize upon the prime soundtrack being
supplied and all ofthe good tunes were
mostly put to waste.
Thankfully, by the time Blood
Diamonds took over, the crowd
was approaching a satisfying level
of sloshedness and the one-man
band acted like a beacon, drawing
cautious hipster moths towards the
flame. Though his stage presence
wasn't that captivating, the constant
stream of dance beats flowing into the
audience provided reason enough for
nearly everybody to indulge in a little
bit of their own fancy footwork. Blood j
Diamonds had been the one name on I
the bill that I wasn't familiar with, but ;
by the time he wrapped up his Vet t
was left greedy for more.
At last, the main course of Born
Gold was served, with the Edmonton trio storming the stage clad in   \
the kind of shiny silver short shorts   j
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MORE INFO AT WWW.FLEMISHEYE.COM I that an astronaut booty dancer would
I wear. Without hesitation, the crowd |
was immediately immersed into a
I realm of hypnotizing lights and cha- I
J otic sounds. The real fun began when
I  "Lawn Knives" started up. Everyone,
I as if an unspoken understanding existed, instantly started to jump and
I flail. The theatrics were once again 1
brought up a notch during the follow up" Wombstone," which included I
two members simultaneously clash- I
ing snow shovels to match the beat j
of the song. The traditionally popular
"Boring Horror" came in hot pursuit.
Before going any further, Born j
I Gold's Cecil Frena let the crowd know
I  that the next song would be the last of
the evening. Apparendy the band has |
I  made a habit of performing only brief
I sedists and I felt a tinge of resentment 1
j at how rapidly the last six songs had
flown by. Fortunately, Frena is a dirty
liar and the mayhem continued past the
I previously provided expiration date.
"Alabaster Bodyworlds," a fresh j
number off the soon-to-be-released j
Bodysongs, was the first of their pair j
I of encore tracks. To mark the oc-
j casion, one ofthe members began
I feeding a blue camping tarp into the
I  crowd, causing everyone to immedi- i
ately start whipping it around like it
were a parachute. The picture perfect
I Pixie's cover of "Where Is My Mind" \
acted as the climax to what could only
be described as "an experience." The
1 slick layer of sweat that coated my
body as I emerged from the Electric
Owl was a vivid reminder of just how
I incredible the last forty minutes had
been. My only complaint is that Born
Gold didn't play until the end of time.
I —JaceyGibb
PS I LOVE YOU/BALKANS/
PHILOCERAPTOR
Early on, Paul Saulnier of PS I Love
You skulked around the Electric Owl
I with his head hung low, his eyes occa-
j  sionally glancing at the bleakly seated
j attendees during openers Philocerap-
I  tor's set. A stream of sudsy orbs emit-
ted from a Hello Kitty bubble machine ]
that sat onstage during the band's j
I  confusingly high-energy/low impact \
gig. One member, a George Michael
look-alike, flailed around as though
fire ants flooded the stage during the
trio's squelchy set. Focusing on piercing, overly repetitive guitar riffs and
boy-band harmonies, Philoceraptor
couldn't quite get it together.
Atlanta, GA-based outfit Balkans
proved to be an effing gem. I don't
know if the stand-offish crowd was
in a stupor or still recovering from
the opening act, but there was surprisingly little visible reaction to this
thoroughly solid set. The foursome,
meanwhile, delivered a summer-rock
set of dreamy vocals and dynamic
drumming. Bassist Woody Shortridge
furled over his instrument while vocalist/guitarist Frankie Broyles wailed
passionately. No attitude, no guff, just
super catchy, vaguely punkish, hate-
to-have-missed-it splendour. Their
tune "Troubled and Done" was especially noteworthy.
A small clique jostled from their
seats to stand up front for PS I Love
You, whose singer/guitarist Saulnier
brandished an impressive double-
neck guitar and a fine haircut. The
duo started up slowly, with much
ethereality, but gradually they built up
momentum. And volume. Crushingly
loud, Saulnier's six-string drowned
out all but the most piercing vocal
yelps, even overpowering drummer
Benjamin Nelson's all-business percussive work.
After a few ear-slaughtering numbers, the sound guy reluctantly and
apologetically requested Saulnier
turn down his guitar. A bit miffed
perhaps, the musician obliged as
a favour to the club. Soon enough,
though, he was wowing the audience
again with his fast and fancy hammer-
ons, his tongue stabbing outwards in
concentration like a kindergartner
connecting-the-dots. Nelson thrashed
on with decidedly less emotion. Once
audible, Saulnier's unique vocals
came through with heartbreaking
vulnerability, and veered with wonder
and helplessness—an interesting and
effective juxtaposition with the crunch
and rumble of PS I Love You's fast and
nasty riffs.
Nearing the end ofthe night, PS
I Love You tossed the dog its bone, !
blazing through their single "Face- I
love," and then got the hell off the !
stage. Reappearing moments later to
play a noisy encore, the Kingston, ON I
band left a couple audience members |
brimming with danced-out satisfac- ]
tion and everyone else with a big old j
ringing in their ears.
—Cali Travis
NEW FORMS FESTIVAL: DAY ONE   |
September 9 /The Waldorf
This weekend of September 9-11 saw |
the impressive transformation of East I
Hastings' Waldorf Hotel into a thriv- I
ing hotbed of electronic music and |
arts as the city's daring experimental ]
music institution, New Forms Festi- i
val, entered it's nth year.
Any passerby should have been I
immediately tipped off by the light j
displays projected on the facades of
the hotel as well as on the warehouse
across the street. With the lights playing with the geometry ofthe buildings
outside, I was welcomed into a very 1
unusual experience.
The subaqueous, eerie sound-
scapes of local emerging producer
Filip Gorecki subtly flowed in through j
the nebulous, faux-celestially lit tiki
bar, beginning the night's sonic
trip through ambience. While the
crowds were still assembling, a dozen
bystanders stood entranced by the
echo and whisper-laden sounds in the
bar's semi-circular space. The room
eventually gave way to the travelling
sounds of Vancouver synth-artist
Joshua Stevenson, playing under the
moniker Magneticring, whose deep
gothic flavours were masterfully crafted through his analogue equipment.
The ambient treat in the tiki bar
was just a warm-up though. As the :
synthscapes under the bar's starry
dome were winding down, local experimental artists Resorts took to
the stage in the cabaret downstairs.
Through their innovative use of wind
instruments and samples, the trio concocted a deeply flowing mix of minimal
house beats that kept the crowd in subdued but perpetual motion.
Then things got dirty, as Jeremy
"Ayro" Ellis brought out an array of
infectious hip-hop beats cut and re- \
cut through his masterful use of twin
samplers. The Detroit-representing |
prodigy lightheartedly contrasted his I
sharp communication through elec- j
tronics with his soulful attempts at !
singing. By this point resisting dancing was not an option.
Meanwhile, back upstairs, the
richly layered sounds of L.A. producer
TAKE, aka Sweatson Klank, were constructing and deconstructing themselves, fusing influences ranging
from jazz to dubstep and beyond,
all driven by hip-hop beats that kept
the restaurant-turned-dance floor
wildly bouncing.
As the time started moving into
the early a.m.'s, a smiling Irishman
by the name of Mike Slott charged the
restaurant stage with a cosmic synthesis of very loosely hip-hop based
dance beats, while downstairs, NY-
based DJs Justin Carter and Eamon
Harkin, notorious for their parties as
Mister Saturday Night, spun a kicking
set of deep-house drawing from the
schools of Chicago and New York.
Their streaming, four-on-the-floor
beats kept the room alive until the
lights were turned on.
With at least five hours of unstoppable sounds and rhythms being played, and with the perpetual
knowledge that so much was happening in other rooms just steps away, I
felt like I couldn't keep up with all
that the festival had to offer. It was
definitely exhausting. Frankly, there
wasn't enough of me to take in all
that New Forms had to offer in one
night, but the sensory overload I did
get was enough to bring me back the
next night It left me very excited about
the future ofthe festival.
—Christian Voveris
NEW FORMS FESTIVAL: OAY TWO
September 10 / TheWaldoff
I've always felt people who think Vancouver is intrinsically boring are unre-
sourceful chachis who are much more
comfortable shopping atMetrotown
and clubbing on the Granville strip
than, well, doing genuinely interesting things. Still, it is odd that a city
that started out as a seedy saloon town
34 has such retrograde liquor laws. Unfortunately, that's meant that in recent
history, dynamic off-the-grid venues \
have had to fly under City Hall's radar
until ultimately being shut down by
the police. Enter the renovated Waldorf Hotel, the crown jewel ofthe
emerging Hastings-Sunrise nexus
(also including the Perch, El Barrio, \
and the Princeton Pub, among others). The Waldorf contains several
interconnected bars and a restaurant, |
all of which were opened up to host j
the New Forms Festival. This meant j
that at any given time on this particu- \
lar Saturday night, there were three or |
four different performances going on. !
It was impossible to catch every act,
but I did try.
Teen Daze's cosmic, atmospheric
tracks were mesmerizing, albeit un- j
derappreciated by the still gathering crowd. Flash Palace's textured \
soundscapes sent ripples across |
the dancefloor (beautiful tracks like \
"Seventy Lives" can be heard on their \
Bandcamp page). Chicago DJ Andres i
Ordonez, aka Specter's, poppy house '
music, meanwhile, would have fit in ;
much better at some terrible Gran- ;
ville Street night club that I would |
never go to.
While the Makeover combined su- \
pet fun, '80s rhythmic sensibility with \
dancey, fine-tuned turntablism, ravey j
Ottawa crew A Tribe Called Red was \
too boring for a supposedly cutting- \
edge event like New Forms. Marcellus !
Pittman played some even more bor- j
ing acid house, or some such genre j
of music that belongs under the used \
Kleenex at the bottom ofthe dustbin |
of music history.
Local virtuosic spunk-poppers !
MT-40 closed the house down with j
a sonorous wall of melodic synth \
punk that got the few of us who were I
still hanging around at 3 am hopping \
around euphorically. Despite the en- j
ergetic closing set, overall Saturday i
night was a mixed bag.
It's worth mentioning that the sec- 1
ond floor ofthe hotel housed a fasci- I
nating art exhibit curated by Instant !
Coffee's Jen Paparano. The highlight j
was undoubtedly a hotel room docu- j
menting Scott Kildall and Nathaniel i
Stern's performance art "Wikipedia
art" page on Wikipedia. Check out
http://wikipediaart.org/ for details.
—Dan Adleman
THE OH WELLS /CREAKIIi
PUNKS
September 11 / AGRO Cafi
Had you been a tourist down on
Granville Island earlier this month,
you may have noticed quite a bit of
activity as part ofthe 2011 Vancouver
International Fringe Festival. Maybe
you accidentally found yourself taking
in one ofthe many fine performances
around the Island, or talking to one of
the many volunteers who would have
happily guided you towards something cool. Or perhaps you found
yourself getting silently hammered
at the AGRO Cafe Fringe bar as self
proclaimed "jug band ofthe damned"
Creaking Planks tore through their
usual assortment of crazy cover songs
and oddly rousing originals.
Driven by the menacing Blackbeard
Squeezebox, the usually 8-10 member
outfit pared themselves down to five
for this performance. The whittled-
down group of folk-freaks still got
a few folks up onto their fancy dancing feet, though, injecting charm into
the audience's hearts via accordion-
laced interpretations of modern songs
played in an old timey way. Think "Insane in the Brain" with an old school
oompa edge. Their always popular
take on Nine Inch Nails' "Closer"
will have you wanting to hug like a
teddy bear instead of fucking like an
animal. Regular staples ofthe Fringe,
Creaking Planks are a not-to-miss
experience and seemingly with each
gig, their gang of fleet-footed fans
grows larger.
I was going to bike home after the
Planks' performance, but I'd heard
that a fun group called the Oh Wells
were about to play next. I'm sure
glad that I stuck around, because I
discovered a new favourite local band.
From White Rock, BC and headed by
pianist Sarah Jickling, the Oh Wells
are indie pop with the edges extra-
softened by adorably strong hooks.
Under a lovely canopy of trees, the Oh
Wells delivered round after round of
cheerily awkward love songs that referenced Harry Potter, playing outside,
averting eyes and shameless gushing. Well, maybe the gushing was my
own, but itwas well-intentioned and
not without good reason. With a first
place SHiNDiG win under their belt
from last year and a top 20 spot on
this year's PEAK Performance Project,
it's clear that there is something to
their songs that we can all relate to.
I'd say the perfect evening was made
better on the post-gig bike ride home
rememberance of Jickling's "Go out
go out go out go out go outsiiiiide"
ringing between my ears.
—Nathan Pike
mm/ VALLEYS
September 23 / The Media Club
The air was charged in the cozy-cool
compass ofthe Media Club for this
double-bill of Montreal-based performers playing Vancouver as part of
the Olio Festival.
Nicely though perhaps nervously
lighting the way for the eventide was
Valleys, an airy pubescent three-piece
with noisy shoegaze predilections.
At best, their set fleetingly captured
or strove for Kevin Shields summits,
their occasional breathy boy/girl vocals and swirling sounds making like
My Bloody Valentine. Alas, their shyness marred their show. With their
backs frequently to the crowd and
their faces hidden under their hair,
itwas difficult to be engaged by their
facile fooling around.
When Suuns (pronounced "soons")
shirked to the stage it was clear they
owned the room. With an undeniable
reptilian dazzle, frontman Ben Shemie
controlled the crowd amidst heaps of
visual flash and sonic flair. A pell mell
faux-Krautrock pastiche, Suuns issued
abiding evidence of worshipping at the
altar ofNeu! and Can inside a hypnotic
and spacey prog rock stencil.
The slow build up on choice
cuts like "Up Past the Nursery" and
"Arena" masterfully detailed how
the rise and release of tension—via
thrown together dissonance, rhythmic changes, echoes and sonic reverberations—can creep feverishly into
their songs, haunting them like garish I
ghosts. Shemie outdid the band's eeri- !
ness, adding a sinister personage as j
he whispered and cooed into the mic,
his languid movements aping insect
and sometimes alien theatrics.
Standout songs (and there were
many) included detached and anxious anthems "Sweet Nothing" and \
"Gaze." It was at peaks such as this
where it might be easy, I imagine, for
a strange band with an oddly spelled I
moniker to be too clever for their own !
good. But there is, however, a fervency \
and a sexy glow to Suuns' cleverness I
and skills—like finding love in the |
back seat ofa souped up and kitted- j
outT-bird. Suuns sizzle.
—Shane Scott-Trains
Vancouver's
Community
Driven
Concert Listings
Search listings by:
http://Li«eWan.c
"  /Venue
" /Band
" /Musician
" /Promoter 1 ™
L0
m-
"Cheap Eats^lUtf Peeps,
m Pit ION THE AIR
INTERVIEW AND PHOTO OV ROBERT FOUGERE
MM
It Ain't Easy Being  Green  &  The
Student  Special
CiTRhas a long and decorated history of providing savvy listeners refuge from
commercial radio. The station has been broadcasting from the sacred heart of
UBC's Student Union Building since 1969. Over the decades, music has changed
and people have come and gone, but the station's mandate has remained
the same: CiTR is a student-run, community-supported organization. Grace
McRae-Okine is the current president of CiTR's volunteer-run student executive
and one ofthe rotating voices of two new student exec-hosted CiTR shows, It
Ain't Easy Being Green and the Student Special, designed to increase student
involvement and minimize the time it takes for new volunteers to get on the air.
Discorder: How many episodes of The Student Special have aired so far?
Grace: It's been running for about two months. It's about eight or ten [episodes]
in. It's still pretty fresh. It just got a name.
D: What sort of music gets played on the show?
G: There's a definite focus on [what's] local or new.
D: If you had to choose, what would you say is your all-time favourite album?
G: It would be Prince's Purple Rain, because the first time I saw the movie my
mind [was] blown and my heart was stolen.
D: Ofthe rotating cast of student executives that host the shows, has there
been a best host or guest so far?
G: My personal vote for best host would be [CiTR Sponsorship Coordinator
and Business Manager] Hugo Noriega. If you count the number of times he
says rad or awesome...It's positively infectious. It definitely makes me smile
when he's on-air.
D: What's been the most memorable on-air moment so far?
38
G: I think all the memorable moments are when voices will show up [on-air]
as kids walk into the room. It's like listening to us meet up and hang out in
a room for an hour.
D: What does the future hold for the Student Special and It's Not Easy Being
Green?
G: The future holds so much. They're supposed to be ever-evolving shows.
The executive comes and goes and there will always be fresh new people at the
station. Hopefully every time you listen it changes a little bit. Five years from
now I hope it's totally different and we have a totally different executive and
lots of brand new kids trying to get on-air. That'd be nice.
D: What is the wait time for getting your own show these days?
G: I'd say you could get your own show within a month of training to getting
your demo in and getting some feedback. You could be filling-in as soon as
you finish your training, which takes a week. It's quick and easy.
The Student Special Hour airs Wednesdays from 11:30 a.m.-i p.m., while It Ain't Easy
Being Green airs Friday from 12-1 p.m. //CiTR 101.9 FM CHARTS
STRICTLY THE DOPEST HITZ OF SEPTEMBER
#
ARTIST	
ALBUM
LABEL
#
ARTIST
ALBUM
_1J1EL__
1
Myths*+
Myths
Independent
26
Brilliant Colors
Again and Again
Slumberland
2
Aunts & Uncles*+
Aunts & Uncles
Independent
27
Doomeastvan*+
Songs In The Key Of
Death
Independent
3
Eleanor Fried-
berger
Last Summer
Merge
28
Fruit Bats
Tripper
Sub Pop
4
41st8cHome*+
Raised by Wolves
Independent
29
Milk Maid
Yucca
Fat Cat
5
Apollo Ghosts*+
Money Has No
Heart
Geographing
30
R.E.M.
Lifes Rich Pageant
(reissue)
Capitol/I.R.S.
6
B-Lines*+
B-Lines
Nominal
31
Various*+
CiTR Pop Alliance
Mint/CiTR 101.9
FM
745
Library Voices*
Summer Of Lust
Nevado
32
Battles
Gloss Drop
Warp
8
Austra*
Feel It Break
Paper Bag
33
Needles//Pins*+
"Drop It" b/w "Kali-
fornia Korner"
Scumbuzz
9
SunWizard*+
Positively 4th
Avenue
Light Organ
Records
34
Las Kellies
Kellies
Fire
10
Wooden Shjips
West
Thrill Jockey
35
Chad VanGaalen*
Diaper Island
Flemish Eye
11
Babysitter*+
Tape IV
Independent
36
April Verch*
That's How We Run
Slab Town
12
SafetyShow*+
O'burro!
Independent
37
The High Drops*+
The High Drops
Independent
13
Weed*+
"With Drug" b/w
"Eighty"
Cruisin' USA
38
Tim Gerwing
Chikatetsu
Independent
14
Gillian Welch
The Harrow and
the Harvest
Acony
39
Synthcake*+
Musicophilia
Independent
15
The Pack A.D.*+
Unpersons
Mint
40
Koban*+
Koban EP
The Broadway To
Boundary
16
Dog Day*
Deformer
FunDog
41
3 Inches Of
Blood*+
Anthems For The
Victorious
Century Media
17
Peace*+
My Face
Pop Echo
42
Basketball*+
Maw
The Broadway To
Boundary
18
Aim Low*
Foulards EP
Independent
43
Whitehorse*
Whitehorse
Six Shooter
19
Arctic Monkeys*
Suck It And See
Domino
44
Louise Burns*+
Mellow Drama
Light Organ
Records
20
LoveCuts*+
Love Cuts
Nominal
45
Grace Jones
Hurricane
Pias
21
Indian Wars*+
Walk Around The
Park
Bachelor
46
Neil Young*
International Harvesters: A Treasure
Reprise
22
Brian Eno and
Rick Holland
Drums Between the
Bells
Warp
47
The Men
Leave Home
Sacred Bones
23
Matt Masters*
All-Western Winners
Saved By Vinyl
48
Thurston Moore
Suicide Notes for
Acoustic Guitar
Carbon
24
The Jolts*+
8%
Sudden Death
49
Girls
Father, Son, Holy
Ghost
True Panther
25
Various*+
Nite Prison
Independent
50
Wild Flag
Wild Flag
Merge
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 with a plus (+) are
Vancouver based. Most of these excellent albums can be found at fine independent music stores across Vancouver. If you can't find them, give CiTR's music
coordinator a shout at (604) 822-8733. We can tell you how to find them. Check out other great campus/community radio charts atwww.earshot-online.com.
39 GET READY FOR THE SOGGY SOUNDS!
If you are in a funk or singing the blues,
we have indie rock for your rainy October!
RIAL ESTATE
DAYS CD/LP
CLOUDSPLITTER
S/T CD DJ SHADOW
THE LESS YOU KNOW, THE BETTER CO/LP
CROOKED FINGERS
BREAKS IN THE ARMOR CO/LP
Check out our website for announcements rega:fn-g^
VINYL APPRECIATION NIGHTS! Lou Canon Instbresand more!! I
twitter.eom/zulurEK:ords
fanta*    tacebook.eom/people/
l5HHHI   ZuluRecords-Store/680210042
tumblr.  zulurecords.tumblr.com
I K£Ct)7?D3\
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC *   |
tel 604.738.3232
www.zulurecords.com I
STORE HOURS
Mon to Wed   10:30-7:80
Thurs and Fri 10:30-9:00

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