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 NOVEMBER 2011  THAT MAGAZINE FROM CiTR 101.9 FM • FREE!
7/ SUPPORTING VANCOUVER'S INDEPENDENT MUSIC COMMUNTY FOR OVER 25 YE
VACANT STATE / HAWK AND STEEL / KATHRYN CALDER /
SISKIYOU / PATRICK CRUZ / FUNDRIVE
BLACKOUT
BEACH EDITOR'S NOTE
We're currendy crammed into the Discorder office up at UBC scarfing down
candy, some of us in costume mind you, but by the time this issue hits you,
the ghost of Halloween will be long gone. That said, we're all gearing up for
another fall season tradition at the station, CiTR's annual Fundrive.
CiTR and its accompanying publication, Discorder magazine, are nonprofit organizations partially funded by UBC and its students, but every once
in a while we look to our listeners/readers to help us fill in the gaps. The payoff
is in our wonderful, community-based programming. Just leaf though our
schedule and you'll note countless radio shows, hosted by volunteers with a
passion for a wide variety of musical styles, as well as the fine arts, politics,
sports and more. CiTR is a valuable tool for the broadcasters of tomorrow,
providing hands-on experience to those looking to enter the field as an on-air
personality or even behind the scenes as a sound engineer.
Similarly, Discorder is a breeding ground for budding journalists, providing an outlet for writers wanting to dish the goods on Vancouver's local
music scene. Whether you want to write about established artists like Kathryn
Calder or Blackout Beach's Carey Mercer, who you can read about this issue,
or break the city's best new band in a live review, Discorder is here for you to
do just that. Our office door i^almost always open, and we're available around
the clock over e-mail, so give us a shout. At the very least, volunteering with
the organization will expose you to some cool tunes and our awesome and
extremely spirited team.
This year marks the seventh Fundrive, and it runs November 17-24. Throughout this time, a cast of CiTR characters, both staff and volunteer, will bunk up
in our office lounge, offering up a pile, of goodies to anyone who calls in to
make a charitable donation to the station. Along the way they'll be sprucing
things up with some good tunes and conversation, no doubt.
We'll be holding Fundrive activities outside ofthe office as well, with a DJ
competition November 18 at the Pit Pub and our Fundrive Finale at the Biltmore
Cabaret on November 25, featuring Womankind, Shimmering Stars, Synthcake,
World Club, Shearing Pinx and Love Cuts. We hope you can make it out, or at
least tune in for a few minutes, because we wouldn't be here without you.
Discorderly Yours,
Gregory Adams
P.S. On another note, following a two-year run, this issue marks Lindsey
Hampton's last appearance as Discorder's Art Director. Between laying out
each issue, conducting photo shoots and submitting the occasional last minute
illustration, Lindsey re-imagined the magazine into the gorgeous publication
you're holding in your hands, and we thank her. You can keep up with her
work either by looking around town or on her blog: http://everythingiseasy.
tumblr.com/.
While Pm at it, Pd like to introduce our new Art Director Jaz Halloran,
who co-helmed the issue with Lindsey. He has a website too: http://www.
jazhalloran.ca
EDITOR
Gregory Adams
ART DIRECTOR
Lindsey Hampton/Jaz Halloran
COPY EDITORS
Sarah Berman, Steve Louie
AD COORDINATOR
Maegan Thomas
UNDER REVIEW EDITOR
Sarah Berman
RLA EDITOR
Steve Louie
WEB EDITOR
Chirag Mahajan
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
Harry Booth
I     WRITERS Sarah Berman / Slavko Bucifal / Stephanie Chua
©Discorder 2011 by the Student Radio Society ofthe Uni
*     / Fraser Dobbs / Jacey Gibb / Matthew Granlund / Brenda
versity of British Columbia. All rights reserved. Circulation
•     Grunau / Tristan Koster / Kamil Krawczyk / Betty Fikre
8,000. Discorder is published almost monthly by CiTR
•     Mariam / James Olson / Mark PaulHus / Jennesia Pedri
which can be heard atioi.9 FM, online at www.citr.ca, as well
•    / Nathan Pike / Andrew Reeves / Alec J. Ross / Terris
as through all major cable systems in the Lower Mainland,
•     Schneider / Shane Scott-Travis / Luiz Felipe Silva / Zachary
except Shaw in White Rock. Call the CiTRDJ line at (604)
*     Stockill / Christian Voveris
822-2487, CiTR's office at (604) 822-3017, email CiTR at
CitrMgr@ams.ubc.ca, or pick up a pen and write #233-6138
•     PHOTOGRAPHERS & ILLUSTRATORS Harry Booth / Sarah
SUB Blvd., Vancouver, B.C., V6T1Z1, Canada.
• Charrouf / Tyler Crich / Patrick Cruz / Kati Jenson / Steve
• Louie / Sean Murphy / Loiuse Reimer
CHECK DISCORDER.CA REGULARLY
*     PROOFREADERS Ariel Fournier / Tristan Koster
FOR NEW ARTICLES, PHOTOS AND ALL
THINGS MUSIC RELATED!
CORRECTION: OUR OCTOBER ISSUE MISTAKENLY CREDITED
A PHOTO OF PS 1 LOVE YOU TO STEVE LOUIE. OUR
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',                             '. TABLE OF CONTENTS //
NOVEMBER 2011
LIGHTNING DUST BY KATIJENSON
// FEATURES
08 / BLACKOUT BEACH
Three years in the making, Carey Mercer's latest Blackout Beach venture, the
slighdy war-tinged Fuck Deathm mixes the singer-songwriter's darkly textured
tunes with some killer chopper sounds.
10 / VACANT STATE
Hardcore devotees Vacant State dish the details on their furious debut full-
length, Fill the Void.
12 / KATHRYN CALDER
New Pornographer Kathryn Calder didn't anticipate her sophomore solo set
Bright and Viirid would be so steeped in synth-pop, but we're glad it is.
14 / SISKIYOU
Just as their membership grew over the lastyear, so did Siskiyou's ambitions,
as evidenced by their new forward-thinking folk set, Keep Away the Dead.
161 FUNDRIVE 2011
CiTR/Discorder contributors past and present share some stories about the
the radio station and its fabled Fundrive.
19 / HAWK AND STEEL
The songs on Victoria outfit Hawk and Steel's new alt-country EP Drawing are
just as approachable as their affable frontman, Peter Gardner.
// REGULARS
06 / THE OVEREDUCATED GRUMBLER
07 / TEXTUALLY ACTIVE / VENEWS
20 / CALENDAR / Sean Murphy
22/PROGRAM GUIDE
25  / ART PROJECT / Patrick Cruz
28 /UNDERREVIEW
32/REAL LIVE ACTION
38 /ON THE AIR
39/CHARTS nnuEm'BER
11/05
RICHARD DINSDALE
tt/fi
MICHAEL WOODS
11/12
NORMAN DORAY
CAT*A ue? ^mi»m*^:                               t^,i^\ 5
11/17
AN21 & M/OtAlGELI
11/18
AN21 & MAX VANGiS^
11/18
BASSNECTAR       'W~\
jgpONOBO & R/D
11/19
MORGAN PAGE
VW BASS KLEPH
M 11/24
^PMCI»REa«LlflOiiA                                      .      ; ~1
11/24
ALVINJPC^^^MACHINE
11/25
ALVIff^pfifaTHE M:MACr|^g
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f: /Wueprintevente            H «bMprintew»f» .         0 AftuapiMwenta
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GET ON THE GUEST LIST FRIDAY & SATURDAY
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S§?ferYOF THE OVEREDUCATED
GRUMBLER    §||
Pink-What's the Dealio?
by TERRIS SCHNEIDER
I was sitting in the theatre watching Friends With Benefits with my friend Mari
at the Scotiabank Theatre, contemplating how I've seen every single franchise that involves the fuck buddies theme—I also saw the JT/Mila Kunis
movie No Strings Attached and even watched the NBC sitcom ofthe same
name. Why did I enjoy this theme so much? I've never even been in that
type of scenario; I've always been one of those monogamy-only douchebags.
Maybe the fact that itwas so foreign to me was the appeal.
While I was having an ADHD moment letting the thoughts spin around in
my head, there was this horrible trailer screening for a movie called New Year's
Eve. Watch the trailer IT YOU DARE.
America really loves these Love Actually type of movies with different, sometimes intersecting plot lines involving a million characters, except Love Actually
was actually good. (Yeah, I just said Love Actually was good, that's how jaded I
am about this). Neu> Year's Eve looks like the worst of its kind—is every single
person who ever lived in this movie? The usual suspects—Ashton Kutcher, Zac
Efron, Katherine Heigl, Sarah Jessica Parker (as another variation of Carrie
Bradshaw)— are included in this cheesy shitstorm, but Robert De Niro and
Seth Meyers, why must you resort to this crap?
These are just the people that appear in the trailer too. Who knows what
kind of cameos are going to pop up? I'm expecting to see Oprah and maybe
a zany appearance from Richard Simmons or some other kind of washout
whose career needs to be revitalized.
What I also happened to notice during this crummy movie trailer was that
they used Pink's annoying ear-murderer, "Raise Your Glass," as this kind of
inspirational, feel-good anthem. This tune always makes me feel rage-tastic,
mostly because ofthe lyric, "too school for cool." Really, Pink? You're not a
teenager anymore, you're in your rucking thirties—can you not come up with
some smarter words? I'm embarrassed for you.
When the trailer was over, I was happy I didn't have to hear that atrocity that
claims to be music. THINK AGAIN. The next trailer was for Anna Faris'What's
Your Number? and they used the same Pink number in that trailer too.
"Are they playing that Pink song again?" I said to Mari. "Who organized
these trailers to play back-to-back? Bad move." She shrugged and didn't seem
to care—stuff like this apparendy only bothers an tiber nerd like me.
Pink's music has this horrible effect on me where it plays in my head all day.
I couldn't stop thinking about the experience I had in the theatre, and after, I
had noticed just how much this Pink song has been used for girly movies. Even
Bridesmaids, a movie which I loved, used the it in the trailer. For shame!
Yes, I understand Pink is this good-for-feminism type of lady. She had that
one song called "Stupid Girls" making fun of those emaciated, dumb blonde
Hollywood types like Paris Hilton who are only concerned with their weight
and appearance. The video even had Pink mocking this by shoving a toothbrush
down her throat and purging into a sink. Scandalous!
I like that she isn't one of those contradictory feminists like Destiny's Child
who sing about girl power and women being independent, but then wear skirts
so short that they show off their vaginas.
Pink seems to stick to her convictions except for in one key area: the music.
Pink's music does not kick ass. If I am in a "go ladies!" type of mood, I'll listen
to Exile in Guyville-era Liz Phair, because she made a statement about the male
dominated music industry. If I want to feel bad ass, I'll listen to Alison Mosshart
ofthe Kills' sultry vocals. Hell, I'll even listen to Adele because that lady's got
chops and can move people to tears. These women are making strides in the
music industry, not Pink's gimmicky pop.
So, moviemakers, stop putting that Pink song in girly movie trailers, because
I'm too cool for school to be listening to that crap.
To read more mindless crap, visit http://uwuJ.oeflrumbler.com
JAY & SI   .NT BOB
1EI OLD .
/EDNESDAYDECEM
'iiE'VOGUE THEATRE
XETS FROM V0GUETHEATRE.COM
AJIX
fFRIDAY NOVEMBER 11
-- THEVOGUETHEATRE
.    TICKETS FROM VOaUETHE* TEXTUALLY ACTIVE
The Karaoke Singer's Guide to Self-Defense
Tim Kinsella (Featherproof Books)
by MATTHEW GRANLUND
VENEWS
Vancouver's Budding Queer Hip-Hop Scene
by BETTY FIKRE MARIAM
Ever gone to a juneral and wound up on a toiletjloor bleeding? Such an unlikely
scenario may have been within the realm of possibility for Will, a
character in Tim Kinsella's debut novel, The Karaoke Singer's Guide To
Self-Defense. The longtime frontman for eclectic, Chicago-based rockers Joan of Arc, Kinsella recently re-directed his artistic drive towards
a masters in creative writing, giving birth to his impressive tale.
Will is a street-fighting addict who has returned to his home town of Stone
Claw Grove after a five-year absence to attend his Grandmother's funeral. At
this rare gathering of his working class family, unresolved tension and hangups underlie their scrubbed-clean appearances.
The lives of other outsiders intertwine with Will's family throughout the
story. There is Sarah Ann, a teenage runaway who ends up working at the
Shhh..., a strip club and karaoke bar frequented by Will and his siblings.
Will's sister Mel is a lifer behind the bar, conflicted by her necessary periods
dancing to support her child. There is also the disturbing addition to the story
ofa middle-aged man on the run with a kidnapped teenager who is laying low
in Stone Claw Grove.
Kinsella doesn't fill the novel with fast action but instead guides the reader
to dwell on the inner workings of these desperate characters. He utilizes shifts
in time from the present day to past episodes of Will's legendary bloodletting
in bars and car parks. The rewards of this style of narrative lay in the effective
mapping ofthe psychological terrain governing the relationships between the
family members and their connections to the other characters.
If the forced family occasion ofthe funeral doesn't allow the siblings to let
their guard down after years of unprocessed childhood trauma, the democratic
ritual of karaoke offers a possibility for the masks to drop, if only for a night at
a time. "They lived on display. That was how itwas. How it was meant to be,"
Kinsella writes ofWill's defensiveness around his brother and sisters, who are
likely anticipating a relapse of his addictive brawling.
The Karaoke Singer's Guide To Self-Defense, reads as an impressive cross between
Eight Club and a heartfelt Springsteen lyric—a low key and occasionally cryptic
tale about the vulnerability and angst of regular American people.
The Rouflh Diamond Collective promotes (mostly) queer (mostly) hip-hop
concerts. Fellow collective members Alex Heggie, Priscilla Pleasant
and I are co-presenting our first Vancouver event, the upcoming
THEESatisfaction show (sponsored by CiTR and Discorder) at the
Waldorf on November 2.
I asked Pleasant why the collective is so pertinent in cities such as Montreal, where the collective originated, and especially here in Vancouver. "We
were excited to see the vibrant scenes that were happening in other cities, and
wanted to see something like that happen in our cities instead of just wishing
we lived elsewhere," she said. "We also realized that queer people of colour
weren't being centered in queer spaces ever, and wanted to create spaces where
that had a greater possibility of happening."
As three fans of music, Pleasant, Heggie and I started this collective to
bring talented artists to Montreal, because nobody was booking queer rappers.
Now, we're looking to expand beyond Montreal, bringing the queer hip-hop
revolution to Vancouver.
As noted, first up will be the THEESatisfaction show. Over the last three
years, members Stasia Irons and Catherine Harris have developed, reshaped
and entertained us with their soulful and ferocious EPs that redefine what
rap music is and what it can be. They are a part ofa new generation of queer
rappers, including LEiF and Abstract Random, thatare consistently sculpting
multigenre musical concoctions that seem grounded to a distinct d.i.y ethic.
THEESatisfaction describe their music as "lo-fi rebel hip-hop" with psychedelic space jazz elements. Their much-anticipated debut LP Awe Naturale will
be released early 2012 on Sub Pop records.
Another local with the same mindset as the Rough Diamond Collective is
DJ Lisa DeLux, who just started up a new weekly queer night with DJ G-Luve
at the Waldorf Hotel called Audball.
"Vancouver hosts a lot of great queer dance parties, but none of them are
weekly," DeLux explained, "somethingyou can call home and invite and accept
everybody." That's were Audball comes in, as DeLux says she's trying to "promote diversity" with varying musical styles. Both DJs get their vinyl out for the
event, which is held in the hotel's tiki room every Tuesday, and spin everything
from classic boom bap to funk; a truly great experience to be had.
The Cobalt's new monthly event, Hustla, is stirring up the hip-hop pot as
well. Having debuted this past April, promoters David Deveau and Brandon
Gaukel deliver a dance party which fuses rap and drag performances. Deveau
notes: "our DJs do seek out hip-hop music by queer artists, and we're also
aware there's certain songs that people want to hear on the dance floor, so they
play those as well:" Deveau's drag performance spins everything from Missy
Elliot to Nicki Minaj. If you're into the top 40/old school vibes paired with an
inspiring drag show, this night's for you.
Hoping to vanquish Vancouver's once stagnant queer rap scene, Audball,
Hustla and Rough Diamond are eager to get the party started.
7 BLACKOUT
BEACH—I
FUCK
■m
"It's kind ofa grandiose teenage statement," Blackout Beach
main man Carey Mercer laughs into the phone of his boldly-
titled new album, Fuck Death, "but it's also like fuck my own
fascination with death, fuck the way that death's presented and
manufactured—'Fuck Death' is simplistic and complex at the
same time I guess...I hope."      Wup^H^
Inspired by the equally provocative American contemporary
painter Leon Golub's painting ofthe same name and by his   J|ppf
fascination with stories of war, Fuck Death, which comes out
November 15 on the Dead Oceans imprint, appropriately reflects both the sonic
and thematic substance embedded within the album's nine tracks.
While no stranger to recording—he's also the frontman for Frog Eyes and
a member of Swan Lake—Mercer says it's difficult to compare his various
projects. Swan Lake, the collaboration between Mercer, Destroyer's Daniel
Bejar and former WolfParade member Spencer Krug, for instance, doesn't
have a deliberate direction. "It's such a collaborative effort that I don't think
we have a sonic idea when we go in. I think it's more just a miracle that we end
up with a record at all," he jokes. He describes Frog Eyes, his project ofthe
last ten years, as "very visceral, simplistic and not intellectual at all." When he
feels like getting out of his seat and dancing around with the guitar, he knows
the group have something to chip away at.
The last two Blackout Beach records, meanwhile, (2009's Skin of Evil and
Fuck Death) have instead been cerebral studio exercises in electronic sound,
which Mercer emphasizes is something he enjoys. "There's kind ofthe idea
that if I'm on a guitar I'm keeping it real, but if I'm using a computer it's
somehow false," he explains. "I don't really believe in that, but I do think
that they are very different experiences."
Mercer describes recording Fuck Death as incredibly tedious, forcing the
musician to ask himself: "Why do I do this? Why don't I just put a band together and write some songs on the acoustic guitar?" You can especially feel
the painstaking patience it took to record the brilliant, nearly thirteen-minute
"Drowning Pigs," a multi-arced tune full of sleepy, methodic rhythms, drawn
out chords and wind sounds slowy blowing between vocal breaks.
Dispelling any belief that the mostly computer-generated recording was
in any way more efficient than composing things acoustically, he explains
"there were moments making Fuck Death that I was completely ready to puke
just staring at a screen."
Three years in the making, the album is a manifestation of hours upon hours
of Mercer's time. Self-recorded in his hometown of Victoria, B.C., and mixed
with Tanis Gibbons at the Hive Creative Labs here in Vancouver, Fuck Death is
characterized as much by the recording process as by its thematic content.
Aside from a couple of drum machines and a guitar, Fuck Death was composed
using a few monophonic synthesizers, meaning each chord was composed from by JENNESIA PEDRI
photos by HARRY BOOTH
DEATH
three or four individually recorded notes. "I think most people would be like,     i
'why didn't you just get a polyphonic synthesizer?' And the answer is you only     Wiii
have so many funds," Mercer says with a laugh. "And one ofthe great things
about art is setting obstacles for yourself and working around them."
Instead of going out and buying a new synth, Mercer asked himself "how
am I going to create polyphony?" As a result, there are certain inconsistencies
and peculiarities in the album's analog wave that give it an unsteady warble.     j
The inconsistencies lend themselves conceptually to the album's uneasy
themes of beauty and war.
Not coincidentally, Fuck Death started with a sound; the album's concept came
after. "It was really difficult to find the theme. I think I spent about a year with
the music being mostly done, struggling to find the words to put over it."
War is possibly the most pervasive influence on the LP's lyrical content, j
evident in lines like "war is in my heart" (from "Be Forewarned, The Night
has Come"). There's also a kind of military-mindedness in the helicopter
sounds of "Torchlights Banned" and in the white noise of squawk boxes and
walkie-talkies on "Be Forewarned, The Night has Come." "All those sounds
that little boys love," Mercer describes.
While war itself is political, Fuck Death isn't intended to be a political album.
"It'll never be a record that people are singing to at Occupy Wall Street," the artist
explains. Rather, it's a reflection on the human fascination with the artifice of Blackout Beach will be Performing at Zulu Records on November 26.
human phenomena such as war.
Characterized by a whirlwind of electronic sounds, the heartbeat-like
rhythm of drum machines accompanied by simple, thought provoking vocals,
I think it will he agreed that there's something sumptuous and inviting about
the ambient white noise of Fuck Death. VACANT
■*^'ikfc
IT'S AN UNLIKELY HOME for a hardcore band.
La Casa del Artista first opened in 2006 for the purpose
of showcasing live mariachi music. A towering mustard-
coloured building on the corner of Main and 3rd Ave, it's
on the back steps that I first meet three members of Vacant State: Terry Wilk (vocals), Adam Mitchell (guitar) and Chris "Gustav"
Gustafson (bass). Relocating to their ground-floor jam space, we sat down
(on the floor) to discuss Vancouver's punk scene, all-ages venues and their
debut long player Fill the Void.
"We used to play shows here," Mitchell says of La Casa. "The other half
of this building did all-ages shows for a number of years, but then there was
some damage to the hall so they stopped doing it"
Itwas drummer Brent Glasgow Brown who had the idea of renting out a
rehearsal space from the venue that banned punk shows. The place now serves
as a practice spot for half a dozen local hardcore bands, including Keep it Clear,
Lush Vegetation and Circles. "After we'd been here awhile they started doing
shows again," Mitchell adds, "but that has since stopped."
Inspired by American '80s hardcore bands like Negative Approach and Last
Rites, Vacant State shows get some pretty wild reactions. "There was a show
where I had to punch a guy," says Wilk, adding that another night ended in a
trip to the emergency room. "We played a house show and we got four songs in
and a guy got knocked over and fucked up all his [Gustafson's] shit," he says.
"He [Gustafson] hurt his shoulder and had to go to the hospital."
Such fury and abandon could be incited by Wilk's gravelly scream, which'll
tear new holes in all skulls within earshot. Or perhaps the hostility stems from
Mitchell's chugging, distorted guitar punctuated by bursts of intense feedback.
Either way, Wilk says the resulting chaos is all in good fun. "People have tried
to pull my pants down and stuff," he says. "I don't mind it It's easier than if
they just stood there and looked at me."
Prone to playing house gigs, Vacant State say they prefer to keep shows open
to all ages. "I think it's bullshit to say somebody can't see the show because
they're born in the wrong year," says Mitchell.
Although all-ages venues often have a short shelf life in Vancouver, Gustafson
says there's no reason to protest the City's "war on fun." "It's not brain surgery. There's always people complaining that there's no venues in Vancouver
10 by SARAH BERMAN
photo by SARAH CHARROUF
■■liNH
and that venues are being shut down," the bassist says, before pointing out
potential show locales. "There's so many random restaurants and weird halls
around the city. Whether its East Van or Kitsilano you just have to look for
those places."
"The reason people think there aren't venues is because people are apathetic," Mitchell continues. "You hear people say things like 'Oh, there's no
venues. Oh, nobody's offering us shows. No one's doing this or that' And
ruck, man. The 'y' in d.i.y. is do it yourself, you know? If there's no venues that
just means nobody is looking."
Formed in 2008, Vacant State put out two seven-inch EPs before Fill the Void
was released on Deranged Records this past August. "It started with two idiots.
Just me and our old guitarist Mark [Palm]," says Wilk ofthe band's origins.
"We wanted to make a band that sounded like this, so we did [laughs]. That's
pretty much it And then he quit, like, spring of'09 and we got Adam."
Adding Mitchell to the equation, the band has taken a turn in its songwriting
process. Slow-motion pit stomp "Dying World" brutally bashes you in the
mug, while "Permanent Headache" flies by in a torrent of offbeats, clocking
at 49 seconds. "Mark had written all the songs on the first EPs and three ofthe
songs on the full-length. The rest are mostly Adam," Wilk says of their current
collection. "I write all the lyrics."
Wilk's words grab at a terrifying inner rage that is surprisingly personal.
"It's just about being fucked up. Just dealing with myself," he says. "There's at
times maybe a little commentary but very little." Fill the Void combines nihilist
lyrics with good old-fashioned aggression and dischord. But when asked if
the album pays homage to the pillars of hardcore—Black Flag, Minor Threat
and Bad Brains—Vacant State are hesitant to agree.
"Anytime you're playing '8os-styled hardcore you're kinda having a nod to
those three bands, but I wouldn't say it's a direct influence," says Mitchell.
"There's a bit maybe in the lyrics or the noodle-y parts on the new record,"
adds Wilk, who sports a Black Flag tattoo on his. neck. Listing off influences
like Negative FX, SSD, DYS and Reagan Youth, Vacant State put their own spin
on vintage punk and could be playing in a basement near you.
Vacant State play their record release shoiv November 5 at 360.
11 KATHRYN
CALDER
Kathryn Calder is having fun. A great deal of fun. And even if she isn't it
certainly sounds like it. The B.C.-based singer-songwriter and full-time New
Pornographer's latest solo album, the recently released Briaht and Vivid, is teeming with twists and turns for the listener, in what amounts to a considerable
re-invention in Calder's artistry.
While Bright and Vivid shares the self-reflection and acoustic intimacy that
distinguished Calder's last release, 2010's Are You My Mother?, the new album
also boasts an impressively eclectic sound and mood that may very well enhance
the artist's appeal among a much wider audience. A track such as the electro-
tinged single "Who Are You?" is the closest thing to a dance record Calder has
produced yet It's one ofthe several pleasant surprises on Briaht and Vivid that
only amplify the singer's charm.
Unless your name is Ronnie Spector, we can perhaps be safe in assuming
that having your spouse at the helm of your album's production is a healthy
thing. The freedom of spirit and expansiveness that marks the new album can be
attributed in part to Calder's husband, producer Colin Stewart (Yukon Blonde,
Dan Mangan), who recorded the album along with Calder in the singer's living
room in Victoria earlier this year.
Catching Calder via telephone in between soundchecks for a New Pornographers gig in Florida during the group's recent U.S. tour, Discorder spoke with
the artist about her new record and a musician's life on the road.
12 Discorder: Is it difficult managing your solo career with being a full-time
Pornographer?
Kathryn Calder: [laughs] It has its challenges, but mostly being in the New
Pornographers is just a big help. There are definitely some time management
issues I have to be aware of, but there are lulls in any [New Pornographers] record
cycle. There's the occasional conflict, but it's nothing I can't work around.
D: There's a lot of seeking in the lyrics from the new album, a lot of different ideas about what "home" is. How have your ideas about "home" changed
in the past while?
KC: I'm certainly not complaining, but the fact of being on tour is thatyou're
not at home. For someone like me, who really loves being at home, a part of
you is always still at home. I'm sure there's a lot of talk about home because
that's a huge part of my life. I guess my idea of home is just anywhere that your
friends and family are... who is with you when you're at home.
D: Your last record only came out about a year ago. How do you think
Bright and Vivid compares?
KG: I tried to make it very different, but I also tried to keep some similarities
between the two... I used the same songwriting principles, but I just wanted
to take it further. We were in the living room and I had the keyboard there,
and we had all of these programs to play around with, and it ended up having
these electronic elements to it, even though I hadn't necessarily intended for
it to be that way when we started recording.
byZACHARY STOCKILL
illustration by LOUISE REIMER
When we began, I was in no way expecting,'Oh yeah, this one's gonna be
synth-pop!' [lauahs] That never crossed my mind at all... which I like, you know?
It's entertaining to me when you start a record to see how it differs from how
you had originally envisioned it to be.
When you write enough songs—when you have a collection of songs or
a collection of any work, really—you start to notice what your habits are and
where you tend to want to lean on certain patterns, so you have to start growing.
You have to start thinking of other things to do! I was aware [of my songwriting habits] from the moment I started writing for Bright and Vivid, which is
different from becoming aware of it halfway through the songwriting process.
Going into the second record, I knew what I needed to watch out for in my
songwriting. That's why we ended up with songs that change so dramatically
from one part to the other.
D: Parts ofthe new record feel really spontaneous, and it really sounds
like you had a good time making it
KC: It's important to keep things fun! And we did have a really good time
making it That was pre-meditated—those parts on the record that explode.
I thought it would be fun if some ofthe songs started out mellow and then
turned a corner very suddenly and became something completely different I
think it's fun when you think you know where a song's going and then all of
a sudden it's like, 'Whoa! What happened?' [laughs] I like those records when
I hear them.
Zachary Stockill is a jreelance journalist and graduate student at UBC. Follow him on
twitter(cDzfstockill, or visit his website at http://zfstockill.com
13 ololxlYUU certainly couldn't have had more humble ofa beginning.
Last year's self-titled debut emerged from simple collaborations between
singer-songwriter Colin Huebert and guitarist Erik Arnesen, who also worked
alongside each other in Ontario folk rock outfit Great Lake Swimmers. Following Huebert's departure from Great Lake Swimmers in 2008, he moved to the
West Coast and recorded Siskiyou at an assortment of informal locations around
Vancouver. But with its membership having doubled since lastyear—drummer
Shaun Watt and bassist Peter Carruthers now fill out the roster—and their
sophomore album, Keep Away the Dead, now available to the masses, Siskiyou
is ready to break more hearts than ever before.
Their latest album wrestles with the question of mortality, supported by
Huebert's signature vocals, which instill feelings of hominess and sorrowful
nostalgia all within the same note. Discorder recently caught up with bandleader
Huebert on a park bench outside a fire hall in Kitsilano to discuss cultural
vacuums, creepy community halls and the downside that comes with having
expectations surrounding the release of your sophomore album.
Discorder: How about helping the readers out by starting with how you
say your guys' name?
Colin Huebert: Sisk-e-you
D: I know you chose the name because ofthe Siskiyou mountain range
that runs along the California-Oregon border, but what does the name
mean to you?
CH: To be honest, at this point it just represents this band. It's the only
context I really think about anymore. There was a time I think where it had a
deeper meaning for me, symbolically. That time is over [laughs].
D: The new album just dropped. How does it feel to finally get that out?
CH: It feels good. It's more ofa thing to just finish it and get it mixed and
mastered and figure out the artwork. Then when it comes out, it's almost like
a non-thing compared to all the work I had to do personally to get it finished. I ,
don't have a lot to do with the releasing ofthe record so for me, it's more about
finishing the record. That's more ofa monumental moment than releasing it
though I'm glad that it's out.
D: You recendy lived in Mara, B.C. for about a year. How do you think moving
to a place with a population of under 400 affected you musically?
CH: I was telling someone recendy that culturally, itwas kind of like living in
a vacuum. My wife and I don't have a television and there was no internet except
dial up. Compared to a city, it was like living in a vacuum for a year. There were
lots of really great things about it, but culturally it was kind ofmeh. [But] you're
working on a song in Mara and you can just go outside and sit on your front
porch because there's no neighbours. Here, you have to close all the windows
and close all the doors so that your neighbours don't hear you. So there's a
difference. Whether that's good or bad, I don't really know, actually.
D: How was the recording process different this time?
CH: It was a bit more stressful, I think. And a bit less easy-going. Before,
14 by JACEY GIBB   photo by LINBSEY HAMPTBN
m
we didn't even know if we would put out a record. It wiis kind of irrelevant
how it turned out This time you have a company [Constellation Records]
who is going to put out the record, so there are certain expectations that come
with that, and it becomes more ofa stressful affair when there's expectations
involved—on your part and on everyone's part Not that it w.as a bad thing. It
just is what it is, I suppose.
D: How was recording in the Mara community hall?
CH: Itwas good. Itwas a little creepy though because it's thus ioo-year-old
community hall and they rarely use it because there's only 300-4.00 people in
the town, so there's only so much demand for it It was dark, it was cold and
there was no one around because I recorded one month by myself. When Erik
was there, there was safety in numbers. It was pretty creepy at nigiht and we
couldn't turn the heat on because it made too much noise, so it war. actually
really cold too. So itwas dark and cold and scary, but enjoyable, [laugrjhs]
D: The general theme ofthe new album seems pretty blatant with Che tide
Keep Away the Dead.
CH: It's kind of metaphorical, obviously, but there are some themet? that
play throughout the record. I don't think it's consistendy on every track, or
anything
D: I love the cover of Neil Young's "Revolution Blues." What made you
choose to cover that one?
CH: I didn't choose it; it kind of chose me. It just seemed like a good thing'
to do live, so we came up with an arrangement for the band that seemed to
work really well. We did it live for about a month when we were on tour. I liked
it, people liked it, everyone liked it. So we decided, "why not record it?"
D: Your music has been compared to the Pacific Northwest Why do you
think that is?
CH: I have no idea, I'm from Ontario. I guess I've been out here for about
eight years, butl'm originally from probably the most southern town in Canada
[Wainfleet]. I don't know [about] the Pacific Northwest connection though.
Maybe someone just said it once and everyone just stole it I have no idea how
these things get perpetuated. I identify with the Pacific Northwest, but I'm not
trying to write songs about it Maybe someone just took the name ofthe band
and tried to extrapolate. We'll make a sunny pop record for the next one and
then maybe it'll get compared to California rock.
15 N&vcmcR IW24~
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GSE190 FUNDRIVE 2011
Each year, CiTR's Fundrive has us soliciting our
faithful listeners/readers for charitable donations
to help fund the radio station and Discorder
magazine. On top of providing community-based
programming for the Vancouver area and beyond,
we also have a lot of fun. Below we've gathered
just a few of the many faces that have graced
the station over the years, and they've lovingly
shared why CiTR is so special to them. Tune in to
101.9 FM November 17-24 for the Fundrive and
we're sure you'll here some more great stories
about the station.
There is simply no hiding it — this is one of my javourite times of year. As a
student I have enjoyed one week of respite jrom midterms, mini candy bars are
ripe to be moved to the clearance racks and the seventh annual CiTR
Fundrive is nigh.
While CiTR operates 24/7/365, we dedicate only a few days out ofthe year
to ask for your donations. This annual funding drive (or Fundrive, as we like
to call it) is not so that we can continue doing all we do for just one more year,
but in the hopes that you'll have 101.9FM to tune into for years to come. This
is because we are a campus and community radio station, and rely on the
support and funding ofthe student body at UBC as well as our listenership in
the Vancouver community (and abroad) to fund the work we do. We take our
mandate seriously—to educate and train those interested in broadcast journalism; to support projects, businesses, and events that support to marginalized groups in our community; to give a voice to those who may otherwise be
voiceless; and to give our celebrated DJs the freedom to play the best in local,
underground and alternative music. And yes, we do enjoy throwing a mean
party every once in a while.
This year's Fundrive will run from November 17-24, and we're asking
you to 'Tune In to the Future' of radio with us. Funds raised during the 2010
FunDrive (a whopping $3ok!) went towards our operating budget and special
projects such as digitizing our 3ok+ library of CDS, helping to bring us into
the future of broadcast radio. This year we have upped our goal to $35k, and
look towards the long term future of CiTR We want to remain relevant, accessible and unequivocally awesome through 2012 and beyond, and we need
your help to do it.
So whether it's on air at 101.9 on the FM dial, online at citr.ca, or in print
in the lovely Discorder you hold in your hands, we invite you to 'Tune In to the
Future' with us. It's sure to be an interesting ride.
—Grace McRae-Okine - President ofthe Student Executive, 2011-2012
My first show was called Rude Awakening. The time slot was 7-10:30 on Thursday
mornings, and even though I only lived across the street at Gage Towers itwas
nearly impossible to get there early enough. I was usually out seeing some band
the night before, and by the time the proctor let me into the station it would
already be time to go on-air.
Usually I'd play the sign-on cart, grab something from the playlist and put
it on, and then rush over to the record library to get enough music so I'd have
time to find a pen, the log sheet and the tape I was supposed to play later on
(on the reel-to-reel machine). Sometimes I brought poetry records from the
Wilson Recording Library, or played a twelve-inch single I'd heard at the Luv-
A-Fair, but mostly I didn't know what I was going to play until I was there.
Mostly what I ended up playing was garage or punk songs, and most of them
were less than three minutes long. If I needed time to run down the hall I
would pull an album off the playlist and cue up the longest track, even if I'd
never heard it before.
The album covers were usually marked up with notes from the music director (and dissenting notes from some ofthe DJs) about which songs to play and
what they were like, but it was always a crap shoot.
Sometimes I'd be sprinting through the station lounge (and past whoever was
sleeping on the couch that morning) and hear whatever it was coming through
the speakers and think, "oh hell, that's awful." But once or twice it turned out
to be something great (That was how I discovered the excellent Scottish band
The Primevals). Three-and-a-half hours was a long time to fill when I didn't
have a plan and really didn't know what I was doing, but I loved it.
—Janis McKenzie - Chair of CiTR's Board of Directors/Discorder Contributor
Fundrive is an exhilarating time to be around the station. Everyone's working hard,
phones are ringing, DJs are pulling out their big guns; ifs a picture ofthe station at
its best.
Fundrive is also a very exhausting time. Every year, I have a point where
I hit a wall and feel super burnt out Last year it hit right before the finale. I
showed up to the party not wanting to be there at all, attending only out ofa
sense of obligation. The theme was "'90s covers'' and there were ten bands
on the bill; I was overwhelmed.
Slowly though, my mood brightened. It was hard not to cheer up seeing
all the bands, volunteers and listeners pitch in to support the radio station
they love.
By the end ofthe night, I jumped onstage to join everyone else in a crazy
"Smells Like Teen Spirit" sing-along. It was so much fun! Once again, the
power of CiTR managed to lift my spirits.
—Duncan McHugh • Board of Directors
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AND
STEEL
by SHANE SCOTT-TRAVIS     ^^. _^M
Illustration by TYLER CRICH   *. - ^
Driving doum bumpy, country rock-washed back roads, forward leaning
but willing to wind up on a Whiskeytown detour to fill up their tank, is
Victoria's Hawk and Steel. The outfit's roots rock sound, particularly on
laid backtracks like "Carol" or "No Country Blues," is full of heartache.
Between their folk-flavoured four-song EP, Drawing, a recent split seven-inch
with the Wicks, and fresh from a spate of shows, including a high-profile gig
at Rifflandia, it's a wonder lead vocalist/guitarist Peter Gardner has any shakes
to spare. But when speakling to Discorder, he's personable and impassioned
to dish out about his urgent and autumnal alt-country outfit.
Discorder: Let's get the obligatory question regarding your band's name
out ofthe way. "Hawk and Steel"—what's that all about?
Peter Gardner: I wish there was a cool story to tell about that, but there isn't.
I thought the words sound nice together. I like that it has a cool double meaning;
the idea of stealing something to hock it. Everyone liked it so it stuck.
0: You've been in a number of different bands over the years (Vegan Holocaust, Forestry). What keeps you going?
PG: That feeling when a stranger comes up to you and tells you how much
they like your music is something special. I mean, it's great when your mom
likes your band, but when someone who doesn't give a shit about you likes
your band, you're doing something right.
D: Things are moving excitedly fast for you guys, it seems. You've been playing a lot of shows and I'm curious, when you're on tour—on the road—how
do you pass the time? Do you do much reading?
PG: Unfortunately when I'm on the road I can't read. Two words in a moving
car and I'm puking like a kid full of hot dogs on a tilt-a-whirl. So usually I just
watch outside the windows hoping to spot an animal.
D: [laughing] What's your favourite animal?
PG: Bison. They're big and ugly, and yet lovable. I relate to that.
D: Who are some ofthe musicians that have had an influence on your sound
or your musical approach?
PG: Well, anyone that knows me knows I'd take a bullet for Ryan Adams,
and similar acts like Wilco or Gillian Welch take up a lot of space in my music
collection. But there's a lot of other stuff I love to listen to that isn't exactly in
the vein of music I play.
One of my all-time favourite records is Laughing Stock by Talk Talk. It's rather
strange, kind of experimental pop-jazz. How do I even explain it? It's just a
beautiful record. The drums were recorded with one mic, down a hall 30 feet
away, and they sound incredible! that's one album I still listen to when I'm
in a bind for inspiration. £t ^;?-,*
D: Noted. With so much on the go, let's look ahead. What does the future
hold for you?
PG: Well, for a while I was doing the two band thing [the other band, now
defunct, was Forestry], but I'm really just trying to focus on Hawk and Steel.
I feel the songs we're working on are the best I've ever written. I guess that's
what everyone always says about their new material, but I've never felt as proud
of my work as I do right now.
D: Not to detract from your work or the pleasing pastoral sounds off the
EP, but I'm curious, what's the beard/no beard ratio in the band? Do you guys
spend a lot of time sculpting your facial hair?
PG: [laughing] Four out of five with facial hair! Matt Schmitz (bass guitar)
has, like, an Abe Lincoln thing going on, so he may spend some time on sculpting, but I'm ofthe old Beatles adage, "Let It Be" when it comes to facial hair.
D: Do you consider your journey thus far a successful one?
PG: So far so good. We've only been playing a little while and already we've
played Rifflandia to an over full.ver^ps and am really proud ofthe music we've
recorded and released. Things are looking upFJ*if 'W
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| //CiTR 101.9 FM PROGRAM GUIDE
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QTR Ghost Mix
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CiTRGhostMix    | Pacific Piddn* {Roots}
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Browns i^^^^L^&
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"   O&rid)
jJueerFM Arts Xtra
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Like (eclectic)
erry
Project
Shake
Blood On     ^i^
3)§igkjPsl  Feather
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Queer FM
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(Eclectic)
Wings (Talk) | Prof (Talk)
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News ioi (Talk)
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(World)
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ronmental-
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Go Go
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>.: - (pdeftis).
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(Eclectic)
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Green (Bdteetic)
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(Punk)
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Folk, Indie S/S)
Exploding Head
Movies
(Cinematic)
The Jazz Show (Jazz;)
FksTtourHead
(Hardcore)
Sam-
squantch
(Eel)
Shameless
(Bcleetic)
Are You Aware
Canada Post-Rock'
(Rock)
CiTRGhostMix
■■■■
mm
Inside Out
.'(Dance}
Crimes And Treasons
(Hip-hop)
StereoscopicRedoubt
(Experimental)
CabaRadio (Talk)
CiTRGhpstM;
Folk Oasis (Roos)
Sexy In Van City
t&Ik)
Hans Kloss Misery
Hour (Hjaas Kloss)
Live From Thunderbird
Radio Hell &§»«•}
Funk My Life
(Soul/Dance)
(Sdectic)
African Rhythms
(World)
The Bassment
(Dance/Electronic)
MashaVblna (World)
Synaptic Sandwich
(Dance/Electronic/
Eclectic)
Aural Tentade*-
'   (EclectiO ,4
The Vampire's Ball
^^Hdustrial)
CiTRGhostMix
Randophonic
(Eclectic)  "
10
11
12am
1
22 SUNDAY
CLASSICAL CHAOS
(Classical) 9-ioam
From the Ancient World to
the 21st century, join host
Marguerite in exploring and
celebrating classical music
from around the world.
SH00KSH00KTA
fTalk) ioam-iapm
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
Alternatina 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
Alternatina Sundays
British pop music from all
decades. International pop
(Japanese, French, Swedish, British, US, etc.), '60s
soundtracks and lounge.
QUEER FMQMUNITY (TALK)
(Talk) 5-6prn
Alternatina Sundays
An expose ofthe 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*opm
Alternatina Sundays
Featuring a wide range of
music from India, Including
popular music from the
1930s to the present; Ghaz-
als and Bhajans, Qawwalis,
pop and regional language
numbers.
TECHNO PROGRESSIVO
(Dance) 8-9pm
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-uam
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) nam-i2pm
SYNCHRONICS
(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.
Prom new electronic and
experimental music to
improvised jazz and new
classical! So weird it will
blow your mind!
NEWS 101
(Talk) 5-6pm
Vancouver's only live, volunteer-produced, student and
community newscast Every
week, we take a look back
at the week's local, national
and international news, as
seen from a fully independent media perspective.
SORE THROATS, CLAPPING
HANDS
(Rogue Folk, Indie S/S)
6-7:3opm
Lyric Driven Campfire
Inspired: new and old tunes
from singer / songwriters with an emphasis on
Canadian music. Tune in for
live acts, ticket giveaways, jay
interviews and talk, but
mosdy it's just music.
Find us on Facebook!
EXPLODING HEAD MOVIES
(Cinematic) z^o-gpm
Join gak as he explores
music froffltfie 4jsdV&& '-£'
tunes from television and
any other cinematic source,
along with atmospheric
pieces, cutting edge new
tracks and strange old goodies that could be used in a
soundtrack to be.
THE JAZZ SHOW
(Jazz) 9pm-i2am
Vancouver's longest running
prime-time jazz program.
Hosted by Gavin Walker.
Features at npm.
Nov. 7: Tenor saxophone
great Pharaoh Sanders in
concert with his best quartet.
Nov. 14: All records by pianist/composer Horace Silver
are classic and so is this one:
"The Cape Verdean Blues".
Nov. 21: Tonight we celebrate the birthday (107th)
of "The Father of Jazz Tenor
Saxophone": The Genius of
Coleman Hawkins.
Nov. 28: A special Fundrive
Feature: Various selections
(live and in studio) by Miles
Davis and the "Second Great
Quintet" (Davis with Wayne
Shorter, Herbie Hancock,
Ron Carter and Tony Williams).
CANADA POST-ROCK
(Rock) i2-i:ooam
Formerly on CKXU, Canada
Post-Rock now resides on
the west coast but it's still
committed to the best in
post-rock, drone, ambient,
experimental, noise and
basically anything your host
Pbone can put the word
"post" in front of. Stay up,
tune in, zone out If you had
a radio show, Pbone would
probably listen to your show.
TUESDAY
PACIFIC PICKIN'
(Roots) 6-8am
Bluegrass, old-time music,
and its derivatives with
Arthur and the lovely Andrea
Berman.
pacificpickin@yahoo.com
SOUNDS OF AFRICA
(yVorld) 8-9;|0^i|fc« g
Showcasing music, current
affairs & news from across
the African continent and
the diaspora, you will learn
all about beat and rhythm
and it will certainly Wckstart
your day.
QUEER FM ARTS XTRA
(Talk) 9:3o-io:3oam
MORNING AFTER SHOW
(Eclectic) ii:3oam-ipm
An eclectic mix of Canadian
indie with rock, experimental, world, reggae, punk
and ska from Canada, Latin
America and Europe. The
Morning After Show has
local bands playing live on
the Morning After Sessions.
Hosted by Oswaldo Perez
Cabrera.
WHAT PINK SOUNDS LIKE
(eclectic) i-2pm
Celebrating women in
music and media who truly
kick ass. The hour features
women artists and bands
with female musicians. Join
host Ashly Kissman as she
increases feminist content
on the airwaves one song at
a time.
GIVE'EM THE BOOT
(World) 2-3pm
Sample the various flavours
of Italian folk music from
north to south, traditional
to modern on this bilingual
tvhow. Un progfamma bi-
lingue che esplora 11 mondo
della musica etnica italiana.
givetheboot@gmail.com
http://giveemthebootword-
press.com
WINGS
(Talk) 3-3:3opm
Alternatina Tuesdays
PROF TALK
(Talk) 3-3:3opm
Alternatina Tuesdays
Bringing UBC's professors
on air to talk about current/
past events at the local and
international level. Aiming
to provide a space for faculty
and doctoral level students
to engage in dialogue and
share their current research,
and to provide a space for
interdisciplinary thinking.
http://ubcproftalk.
wordpress.com
proftalk@gmail.com
RADIO FREETHINKER
(Talk) 3:30-4:3opm
Promoting skepticism, critical thinking and science, we
examine popular extraordinary claims and subject
them to critical analysis.
The real world is a beautiful
and fascinating place and
we want people to see it
through the lens of reality as
opposed to superstition.
THUNDERBIRD EYE
(Sports) 4:30-5pm
Your weekly roundup of
UBC Thunderbird sports
action from on campus and
off with your host Wilson
Wong.
WENER'S BBQ
(Talk) 5-6pm
Join Daryl Wener and the
CiTR Sports Department as
they breakdown everything
you need to know about
UBC sports.
FLEX YOUR HEAD
(Hardcore) 6-8pm
Punk rock and hardcore
since 1989. Bands and
guests from around the
world.
INSIDE OUT
(Dance) 8-9pm
CRIMES & TREASONS
(Hip-hop) 9-npm
crimeiahdtreasoni
com
23 CABARADIO
(Talk) npm-i2:3oam
For the world of Cabaret
Tune in for interviews, skits,
musical guests and more.
It's Radio with sass!
WEDNESDAY
SUBURBAN JUNGLE
(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
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 fim - good 'ol campus
radio! Drop ins welcome!
TERRY PROJECT PODCAST
fTalk) 1-2 pm
Alternating Wednesdays
There once was a project
named Terry, That wanted to
make people wary, Of things
going on In the world that
are wrong Without making
it all seem too scary
EXTRAENVIRONMENTALIST
(Talk) 1-2 pm
Alternatina Wednesdays
Exploring the mindset of an
outsider looking in on Earth.
Featuring interviews with
leading thinkers in the area
of sustainable economics and
our global ecological crisis.
DEMOCRACY NOW
(Talk) 2-3pm
ARTS REPORT
(Talk) 5-6pm
REEL TO REAL
(Talk) 6-6:3opm
Alternatimj Wednesdays
Movie reviews and criticism.
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
Alternating 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
(Talk) 10-npm
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
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
(Talk) 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.
MANTRA
(Eclectic) 4-5 pm
Playing various Mantra music and elaborating on the
culture of "Kirtan", which
means to chant as a group.
This show is about personal
and global transformation through chanting and
utilizing sound vibration for
the development of higher
consciousness. Hosted by
Raghunath with special
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) 7:30-9pm
LIVE FROM THUNDERBIRD
RADIO HELL
(Live Music) 9-npm
Featuring live band(s) every
week performing in the
CiTRLounge. 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.
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
(Talk) 9-io:ooam
Hosted by David Barsamian.
SOUNDS OF THE CITY
(Eclectic) 10-11 am
Promoting upcoming live
concerts and shows in
Vancouver, be they local, national, or international acts.
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
(Talk) 5-6pm
See Monday for description.
STRANDED
(Eclectic) 6-7:3opm
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) 7:30-9pm
www.africanrhythmsradio.com
THEBASSMENT
(Dance/Electronic) 9-io:3opm
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. thevampiresball@
gmail.com thevampiresbal-
loncitr.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 s treetpunk and
old-school hardcore backed
by band interviews, guest
speakers and social commentary.
crashnburnradio@yahoo.ca
generationannihilation.com
POWERCHORD
(Metal) i-3pm
Vancouver's longest running
metal show. If you're into
music thafs 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. Randophonic
plays the good stuff.
24 P. 25—27
ART PROJECT/PATRICK CRUZ
Born and raised in Manila, Philippines, Patrick Cruz is a Filipino-Canadian multidisciplinary artist
based in Vancouver, BC. He received his Bachelor of Fine Arts from Emily Carr University of Art and Design
in 2010. He is currently showing a solo exhibition at UNIT/PITT projects called "YIN YANG TEMPLE".
www.helenpittgallery.org   www.patrickcruz.tumblr.com
25  «-**
mmf*1*'
/ UNDER
REVIEW
41ST & HOME
WILDERNESS EYES O.W.L.
REMIX COLLECTION
(Independent)
Despite ostensibly listening to the
same track four times, I felt something unique hidden deep in 41st &
Home's charity single, the Wilderness
Eyes O.W.L. Remix Collection. While
some may find the record paltry,
sparse, or dull, it is in fact surprisingly varied, entertaining and well
done. Oh, and how about the icing
on the cake? All the proceeds go to
the Orphaned Wildlife Rehabilitation
Society, a non-profit aimed at helping
birds of prey.
"But," you might say, "what about
the actual music?" It's fresh. It's run.
"But it's only one new song, how is
that possible?" Simply put, the three
remixes that accompany the track are
so original, it's easy to forget that they
are, in fact, variations ofthe same
song. "Wilderness Eyes" is a lush and
dreamy melody featuring wonderful
vocal harmonies by the whole band.
But the standout from this gem of an
EP is the group's rap remix entitled
"2 Wilderness 4 yr Eyez," a hilarious
attempt at suburban rapping with a
light-hearted feel.
The remaining tracks are down-
tempo electronic re-imaginings, two
relaxing experiences that despite being subde changes from the original,
bring a feeling of peace and original
ity. 41st & Home are doing it right—
not only are they raising money for a
very unique cause, they're having fun
and making some jovial music, and
that deserves some attention.
—Kamil Krawczyk
(Planet ofthe Tapes)
Victoria B.C.'s Babysitter are a savvy
bunch of garage gourmets whose love
of lo-fi and d.i.y. decor is honest and
appealing. Their current 13-track release, Tape V, is a nice yet naughty marriage of messy, trebly, hiss-saturated
indie rock wrapped in a rousing litde
party.
Their post-punk progression occasionally evokes Bee Thousand-era Guided By Voices on tracks like "I Need to
Get High Before I Kill Myself" and
"Middle Class Skid," as far as fractured and messy jangle is concerned.
But more often then not their noisy
and irreverent nature, akin to acts like
Royal Trux or Cobra Verde, suggests
a tiger-by-the-tail punk urgency, only
with an important sense of humour
and mirth. "Kool Town," for instance,
delights in shallow wisecracking lyrics playing up hipster patter and pretension. "Song for Kellen" is a short
burst of rock 'n' roll platitudes, but
at just over a minute, it's effective in
it's fast footsteps. Most ofthe songs
barely pass the minute mark, making
Tape V a sometimes abrupt but still
amusing diversion with its fair share
ofhooks.
Babysitter isn't the type of band to
appeal to a wide demographic. Their
angst-ridden sneering, muddy sound
and entirely unrefined slant are sure to
confuse those with more conventional
tastes. Butifyou've gota weakness for
home-recording projects, delightfully
dirty noise rock and occasional amateurish yet gung-ho tenacity (think
Halfjapanese or the Shaggs) then
look no further than this band. Obeying punk precepts, Babysitter will let
the kids curse, cut loose and stay up
way past their bedtime.
—Shane Scott-Travis
(Independent)
Sleep to Grou; forces you to fall in love <
at first listen. With her sweedy har- J
monized vocals, Andrea Lo shows an !
amazing performance on the EP's tide ;
track. As technical and efficient drums I
pulse underneath thoughtful, mature I
lyrics, the song may remind you ofa !
cross between Radiohead and Cold-
play—and that's a compliment.
Sleep to Groiu is the Belle Game's |
sophomore effort Since the Vancou- >
ver band's debut EP Inventing Letters I
was released in 2009, they've added :
two new members. Rob Chursinoff \
(drums) and Ian Cook (bass) joined
Adam Nanji (vocals and guitar), Alex
Andrew (guitar and back-up vocals),
Katrina Jones (piano and back-up vocals) and lead singer Lo lastyear. The
six-piece has collectively matured as a
result: the percussion track is tighter,
the sound clearer, creating a more
intense listening experience.
Describing themselves as a mixture of orchestral indie-pop and
frenetic art-rock, the band doesn't
keep the hopeful rhythm pumping all
album long—which isn't necessarily a
bad thing. The second and third tracks
mix some experimental beats and
pop-folk elements, which results in an
enjoyable sound, but could use more
power. "Pink Carnations" seems to
be heavier and more guitar-driven,
but in the end I still expected more
energy. In those moments when the
singer swings her voice tighdy or the
guitarist plays stronger chords, the
Belle Game show they can stand out
among other Canadian pop acts.
—Luiz Felipe Silva
BLEACH BABES
(Independent)
When Vancouverites hear ofa band,
from the Fraser Valley, there is often
a knee-jerk reaction resulting in an
automatic dismissal, as if the abused
instruments housed in the garages
of suburbia are somehow tauvced.
Artists hke You Say Party and Teen
Daze, to name a few, are shattering
the myth that great indie music exists,
exclusively inside the big city walls
and Bleach Babes are on theii; way to
adding their names to that list
Bleach Babes represent a growing suburban youth culture 'emerging
in the Fraser Valley that is slowly but
28 smartly stepping away from the idea
that music is something bought at a
store that also sells tires and bath towels. With their latest EP, Skids, the Lan-
gely trio continue where their debut,
Losers, left off, generating a pop-punk
affair capable of converting any garage into utter mayhem. Their songs
are raw, unfiltered, catchy and aimed
at cultivating a vibrant teen punk spirit
amidst a city full of strip malls and
big box stores. .
Bleach Babes have already shown
growth from their debut full length,
which was released in August The two
tracks featured on the EP ("Kelly" and
"Hit The Skids") have elements inspired by Seattle's '90s grunge scene,
but with a north-of-the-border sound
that places them comfortably within
the radius of Vancouver's scene. You
don't have to take my word for it because, in the true spirit of indie music,
you can enjoy all of their material for
free from their Bandcamp page, and I
highly recommend thatyou do.
—Slavko Bucifal
aim
(Green Burrito/Southpau;)
Bummer High's Lost Highway is the
second release from these street
level garage punks and something
about releasing it on cassette gives it
a much cooler vibe. I mean, you could
track them down on MySpace or the
band's website, but then you'd miss
out on digging up the old walkman
and having people either looking at
you funny or swooning over your retro
coolness.
Sharing members with fellow
locals Time Copz and Indian Wars,
Bummer High play some solidly fun
music. There's a bit of blues thrown
into their old school dirty garage
sound, but there's also this underlying thing going on that makes me
think of tequila and Mexican wres-
ders. Perhaps this is the fuel that
drives them?
For me, what is most striking is
their nod to all things retro and how
well they pull it off. Undeniably there
is a definite throwback to gritty '50s
and '6os garage surf and blues-rock
with a jagged cheeky edge—a little
hke Black Lips, if comparisons must
be made. As with a lot of music like
this, as good as it may sound on record, a livesetting is where I can see
them being the most exciting. If they
carry the same amount of energy onstage as they put onto Lost Highway
then this is definitely how you ought
to catch their wave.
—Nathan Pike
(Arts & Crafts)
I The Darcys are a lesson in determina-
I tion. After the release of their first
1 album, Endless Waters, the band spent
three years working on the follow up
before their original singer Kirby Best
I quit, and the following year was filled
I with legal batdes and re-recordings.
This would have killed a lot of bands,
I but the Darcys are back, now as a
j quartet with a new self-tided set.
I My personal favourites include "Edmonton to Purgatory" and "Des Ani-
I maux," which are two ofthe more
I upbeat numbers that alleviate the deep
melancholy that much ofthe album
j seems to be struck with. "When I Am
I New Again" is also worth mentioning
I here because guitarist Jason Couse
(who took over as vocalist) takes a rare
opportunity to flex his singing range.
He's quite capable, but too often his
quiet vocals gets lost in the very tighdy
knit and deeply layered sound. It's a
sound that demands extra attention
and careful consideration, rather than
first-time enjoyment.
Fans ofthe Darcy's first album will
love this one, but I'm not sure how
many new fans it will garner them.
Ultimately, The Darcys is a progressive rock symphony for compulsive
shoegazers, and I mean that in the
best possible way.
—Tristan Koster
(Arts & Crafts)
So sleepy is Feist's latest over-prized
long player, Metals, that one wonders
if perhaps she's a somnambulist as
well as a songwriter. Her flimsy alto
and delicately designed arrangements
would better suit a twee template instead ofthe reflective rhyming that
edges her closer and closer into adult-
contemporary waters. Feist may be the
heir to the Sarah McLachlan mande,
as evidenced throughout Metals many
boring missteps.
"Graveyard" and "The Circle
Married the Line," for instance, contemplate jazzy jerks and quirks like
a Norah Jones-style torch song or a
Diana Krall carol. Why this hasn't
enraged fans of Feist's Peaches stymie or Broken Social Scene sidestep
escapes me, but so be it If Feist feels
the need to cop out into conventional
directions, she's more than welcome
to do so. But it seems ridiculous that
the indie darling ofa few years back
would "re-invent" herself in such run-
after and middling fashion.
To be fair, Metals isn't all misspent but nor is it a rarefaction as
some might suggest. It has typically
strong production from Chilly Gonzales and Mocky, emphasizing a vast
and panoramic pastoral feel on some
ofthe stronger tracks, as on "Cicadas
and Gulls" and "Anti-Pioneer." It's in
these instances that her homespun
indie folk and whispered vocal delivery belies an emotional honesty
absent throughout most ofthe rest
ofthe album.
In a few other places on Metals, as
on "A Commotion," there are some
orchestral flourishes and a glee club of
Vancouver's
Community
Driven
Concert Listings
Search listings by:
http://LiveVan.com
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29 male voices that surprisingly sweeten
and strengthen proceedings, as does
a scalding saxophone. It's a shame
there wasn't more moments like this
on the LP.
"How Come You Never Go There"
needles at the ear with it's neo-bop
sentiment and contemporary jazz
flatness, as trite as rain at a drippy
recital.
It's possible, I suppose, that creating such populist fare, mediocre
as this, is an irreverent gesture on
Feist's behalf, a sort of "up yours"
to the mountain—a raspberry blown
in the face of social graces—that she
can do as she chooses. But it plays
more to me like an artist settling down
into ennui and routine and perhaps
a pothole. Clearly Feist doesn't seem
worth her mettle.
—Shane Scott-Travis
(Ninja Tune)
Kid Koala's latest project is somewhat
ofa surprise as it is not something
that will land him a turntablist hall
of fame nomination. Fans looking
for catchy, scratchy sonic bits, which
the Vancouver-born DJ is known for
need to consider this concept album
a divergence from his solo efforts or
his many collaborations.
Space Cadet is the companion piece
to a 124-page graphic novel illustrated
by the kid himself. While it is common knowledge that Kid Koala is a
talented visual design artist, based
on his previous album covers, this
graphic novel, his second, features
a white line art technique over top
a black background not typical of
his previous drawings. The result
is a stunning visual experience enhanced by the melancholy tone of
the music.
Musically, Space Cadet launches
lonely piano keys into the vastness
of space—most of which are often
struck in minor tonalities and left
floating endlessly. Though seldom,
subde scratches and other accompaniment fill the cavernous spaces left
by the wandering piano motifs.
Track after track and page after
30
page, the heart wrenching wordless
story about a friendship between a
robot and its human companion creates an interactive reading experience
with the feel of flipping through a
storyboard for a film. The album even
has cues as to which page you should
be on when listening, which is very
helpful but forces the experience to be
drawn on a bit at times. Still, the book,
story, artwork and overall package is
impressive. The soundtrack is an experiment in minimalism and the book
is a powerful read. Both can stand
on their own as separate entities but
function best as a unified experience, j
Either way, Space Cadet is a testament to \
a multi-faceted artist who is not afraid
of pushing his own boundaries.
—Slavko Bucifal
LIGHTNING DUST/
HARD DRUGS
(Storyboard)
Crafted by a pair of local boy/girl two-
pieces, this split seven-inch pressed
on white vinyl has a dark side and a
goofy side—both of which may cause
you to unwittingly sing in public.
First up is Lightning Dust, one
of the many successful side projects
spawned by hometown stoner-rockers
Black Mountain. Amber Webber and
Joshua Wells explore their '80s goth-
pop side in the moody, half-whispered
affirmation "Never Again." With quiet
beginnings, the track swells into several timpani and thunderclap-accompanied moments fit for a particularly
tragic scene ofa John Hughes flick.
Gone are the wailing guitar hooks
more typical of their breadwinning
band. Instead, listeners are treated
to a clear and expansive gap between
Webber's subde vibrato and the occasional arpeggiated synth solo.
Meanwhile, the husband/wife indie duo Hard Drugs offer up a light-
hearted counterpoint to Lightning
Dust's drama. "Summertime Blues"
boasts jangly guitar riffs, a country
twang and an addictive set of "hey
now"s. With candid honesty, Jeffry
Lee and Jenni Lee Nelson build on
the simple theme of good fun and
good weather, skillfully incorporat
ing a '60s era electric organ. Late in
the song, the pair invite an extended I
family to the mic as they list off all
the benefits of summer: "I skate / we j
camp / ride bikes / get rad / play ball /
do shrooms!" Looking at Vancouver's I
weather forecast, the tune presents j
an excellent argument for moving to
southern California.
—Sarah Berman
(Arts & CraJb/EMI Canada)
Even if you happen to have been born
the same year as Dan Mangan (1982)
and have yet to produce anything
meaningful with your life, you can't
help but listen to his third album, Oh
Fortune, and find that any envy you may
have been feeling has evaporated in his
radiant warmth, like dew off a flower
petal on a sunny August morning. It is
virtually impossible not to be won over
by Mangan's gruff vocal charisma—
he sounds so pure of heart when he
sings, it's like having mead poured
out ofthe Holy Grail direcdy into
your ear canals. You might even find
yourself wanting to say "Dan Mangan,
Dan Mangan, Dan Mangan," over and
over again as some kind of mantra,
or in the (only slighdy improbable)
hopes that he will heroically appear
in the nick of time to stop a building
from collapsing on a group of terrified orphans.
■ Oh Fortune's sound is similar to
M. Ward or Badly Drawn Boy, with
a lyricism reminiscent of early Leonard Cohen, almost as if an ethereal
flame has been passed on, torch to
torch, since ancient times from one
vagabond bard to the next
The Hive Creative Lab's Colin
Stewart (Black Mountain, Cave
Singers) produced the album and,
for the most part, contributes a multidimensional quality to Mangan's
songwriting, which can be both sardonic and playful. There's a lot of
orchestral string accents and fairly
elaborate arrangements, but it's all
pretty clean cut It's not exacdy what
you would call innovative or "pushing
the boundaries," as they say.
The third track, "Post-War Blues,"
is an epic force of nature, sort of like
watching time-lapse footage of flowers blossoming. It will be a huge hit
Sometimes, though, the album's orchestral quality can feel a litde overbearing; it's hard to say if the big band
piano jam-out and trumpet solo that
concludes the album is completely
necessary. Mangan's songwriting is
compelling enough when stripped tp
its bones, as the more subdued "Trees,
Leaves, Forest" demonstrates. While
perhaps not destined for radio play,
it is arguably the best written song
on the album.
Over all, Oh Fortune is a solid release and will undoubtedly increase
the Vancouver-based singer-songwriter's success and popularity. However,
its lack of good old dissonance and
experimentation makes it almost too
accessible, and the threat of neophil-
iac ADD-induced boredom seems to
lurk in its shadows.
—Andrew Reeves
MISS BLACK AMERICA
MISS BLACK AMERIC
(Boat Dreams From The Hill)
Noisy, ugly and annoying. This is the I
best way to describe the debut album I
from Vancouver screamo act Miss j
Black America. This writer will admit I
right from the onset that I hold litde j
affection for this particular genre. But I
is it too much for a listener to ask for a j
litde variety in the proceedings? I
This faceless five-piece is at least I
capable of crafting short, aggressive j
bursts of sonic fury. The rhythm sec- I
tion appears to be competent That is I
of course, when the bass and drums I
are not completely drowned out by I
the screeching, cacophonic mess of I
guitars that dominate this gready un- I
pleasant listening experience.
The vocals are, unsurprisingly, I
completely unintelligible and the de- I
livery primarily consists of strangled I
shrieking with the occasional gargled j
line of lyrics.
Miss Black America does attempt 1
to mix up their sound, but to litde ef- I
feet "Blue Christmas" boasts a guest j
appearance by 54/40's Neil Osborne J
but his collaboration on the track is 1
neither evident or revelatory since the I song winds up sounding exacdy the
same as any other track on the album.
"Corpse Cheque" is the closest the
group gets to attempting something
even remotely melodic, as the bass
hook during the chorus coupled with
the guitar work in the bridge is at least
slighdy memorable.
The greatest compliment one can
give Miss Black America is the album
is brief, clocking in at ten minutes and
thirty-five seconds. They might not
be for everyone, but at least they are
aware ofthe benefits of brevity.
—James Olson
(Independent)
There's something about the blend
of Katie Lapi's fierce voice in conjunction with the rest of Safety Show
that's enticing. Especially at two in
the morning, sitting outside having
a cigarette with a coffee and worrying
about the day ahead.
Thesfe local rockers are known to
calm—to caress the ears—through
tough times and inevitable disappointments. Their happy-go-lucky
indie music, coupled with overtones
of anxious and determined lyrics, create an easily accessible album that
strays away from the generic indie
formula desperately in use by many
Vancouver bands.
o'burro is a vast power-pack of local goodness, going form organ-led
swooning jams like "You Am I," to
punky, guitar-centric tracks akin to
standout "What You Learn."
Safety Show does stay on the safe
side, often avoiding jumping to styles
outside the vein of indie and punk. Albeit this leads to a consistency in both
songwriting and musicianship.
Local rockers rising to the top, be
wary of Safety Show and their promising sounds, o'burro is a solid album,
giving the band a platform to bounce
off into fame and fortune—so long
they keep churning out more great
tunes.
—Kamil Krawczyk
(Independent)
Armed with electric axes, the infamous "oboe of death," an enchanted
keyboard and a thunderous seven-
piece kit metal minstrels (and self-
proclaimed nerds) Scythia set out to
spread the tale ofa wrongfully-exiled king and his quest to regain his
throne. What results is a meticulously
crafted and masterfully produced album that sounds like what would
happen if Alan-a-Dale was raised on
Iron Maiden.
...OfExile begins with a symphonic
prelude that leads into "Spirit of The
Quest," slowly setting the scene as our
hero sets off on a journey. Things continue to roll along as he delightfully
jaunts through a "Sleeping Village"
and into the intrigue ofthe "Forgotten
Forest," a perfect place to indulge in a
little hocus pocus. This is where the
quest goes awry though; things get
real heavy when the "Voice Of The
Sword" comes down. Naturally, the
magic sword is a little dominating
and evil, so the king must toss it into
the abyss and storm the "Fortress"
without it However, perhaps due to
the blazing axe work and rapid-fire
blast beats ofthe traveling minstrels,
he and his followers are able to tear
down the "fortress of lies."
All said and done, our hero and
his warriors strut their prowess on
"Dies Irae II," an epic metal celebration that really shows what the "oboe
of death" can do. It doesn't end there,
though. A good quest is never complete with out a victory celebration
at good ol' "Hobarth's Inn," where
all medieval metalheads are invited
to raise a goblet of mead and sing
along in rejoice!
—MarkPaulHus
^
Presented by:
shindig
THEHVE
November 2011 Schedule
Tuesday November 1
beekeeper/The Harshies/Man Hands
Tuesday November 8
Conspiracy Farm/The Population Drops/Sythcake
Tuesday November 15 (SEMIS #1)
Real Boys/The Killed Spirite/Tyranahorse
Tuesday November 22 (SEMIS #2)
Sleuth/Fist Full O'Snacks/Philoceraptor
All shows at The Railway Club.
http://shindig.citr.ca
n^gssmm
31 ■shearing pinx /!
hermit thrushes/weed/
VILLAGE
October 5 • Zoo Zhop
1 The mood at weekday Zoo Zhop
i shows is always interesting: drunk j
I kids buying Tupac records out front, j
j while a mess of wires and amplifiers
! get strung up around the real gut of
the venue.
Village were first on the docket \
This was their first show, and I sus- j
pect the reason for their scant three- I
song set fist was for want of more
written material. As soon as they
I were able to shake the jitters, Village
! came alive, channeling a calm and
; airy tone that took cues from the xx's   I
level-headed delivery. Their vocalist  \
has great pipes; her smooth singing  !
sounded like wooden wind-chimes
dancing next to their vibrato-laced
guitar riffs. Without a drummer, Vil- |
lage were a litde difficult to keep pace  I
with. They were nonetheless entrancing to watch.
Weed may be my favourite local
band right now— scratch that, they' re
definitely my favourit. Frontman Will
Anderson, dressed in a sweater and !
sneakers, looks remarkably out of
place behind a guitar but that doesn't
stop him from nailing the perfect
gritty garage sound. Like a chunkier
Weezer, Weed were best when transitioning from laid-back rifts to their furious choruses, which had Anderson
jumping into his microphone stand
like a passionate drunk.
Hermit Thrushes, the only out- I
of-town acton the bill, would almost
have been hard to spot amidst their j
formidable collection of amplifiers,
drum kits and guitars were it not for
lead singer Yianni Kourmadas' complete and utter lunacy. Armed with a
three-stringed guitar, he led the group
through a spazzy, schizophrenic performance full of impulse-driven lyrics
and weird time signatures. Half-way
through the Philadelphia outfit's performance, Kourmadas educated the
crowd about the crucial differences
between hermit thrushes, a kind of
bird, and Thrush Hermit, a "stupid"
Canadian band thatwas the source of
some case of mistaken identity. Their
often insane songs only just managed
to catch the crowd's attention before
ending abrupdy and incoherendy.
I had to laugh when I finally realized who the headliner ofthe night
was — being billed on the poster as
"SHPX," I didn't get that it was Shearing Pinx until they picked up their
instruments. The band seems to have
"made it" in Vancouver, at least to the
point that they can obtusely abbreviate their tide and still draw people in
to hear them. They put on a suitably
grandiose performance as, flecked in
j war paint they started the set with an
I extended, deafening noise session full
j of growling feedback. SHPX played
song after song of angry, vaguely
| gothic noise-punk and, bathed in
j the glow ofa dusty projector, made
the dim corners of the Zoo Zhop feel
■ as if it were haunted by the spirits of
angry, guitar-wielding ghosts.
-Fraser Dobbs
JAMISON TROY /
TERRA LIGHTFOOT/
SCOTTYMACK/SELKIES
October 8 • The Prophouse Cqfe'
I To the dismay of many of its flip-flop
I and t-shirt wearing citizens, Vancouver reverted back to its usual rainy
gloom. I made my way over to the Prophouse, a small neighborhood cafe'
on Venables Street, cold and slighdy
soaked. Having just set foot inside the
32 cafe for the first time, I was greeted by
an overwhelming number of antique
lamps hanging like stalactites, while
vintage memorabilia and quirky collectibles litter the rest ofthe space. It
was quite possibly the best venue for
an intimate country folk show.
Julie Nelson and Jessica Wilkin
set the evening's calmed mood with
their melodious tunes. Nelson's
dreamy, rich voice conjured up images
of blissful walks across a meadow.
Possibly due to a case ofthe jitters,
Nelson and Wilkin forgot to introduce themselves until an audience
member asked for their name. Julie
Nelson bashfully introduced the band
as SeMes, named after the mythological seal creature that morphs into
human form. Even though they were
playing for the first time, these ladies
certainly got the audience enamoured
with their talent
Ontario native Scotty Mack took
center stage equipped with an electric guitar. Although you can't deny
his talent—he was entrenched in every song he played, strumming his
guitar and using his foot to play his
tambourine—it didn't seem to add up
to a cohesive sound. A fairly talkative
fellow, Mack humoured his listeners
with a tale about seeing a seemingly
dead girl lying on the street in Kam-
loops the night before. He.eventually
set. the record and said that she was
actually alright.
Hailing from Hamilton, Ontario, Terra Lightfoot embarked on her
first Canadian tour in support of her
self-tided debut album. Explaining
that she had never journeyed beyond
Manitoba, itwas quite obvious Light-
foot was delighted to come see the
West for herself as she entertained
the audience with tales about tour
life. Her brand of music is rather
hard to categorize. It could simply be
described as indie-folk infused with
math rock sensibilities. She possesses
an amazing, full-bodied voice that
echoed throughout the tiny space, and
it kept the audience in awe.
The headliner ofthe evening was
local sweetheart, Jamison Troy, who
conveniendy lives a few blocks away
from the cafe-. He started the night
off by playing "Old Man," a track
off his debut record, Searching for the
Quiet. The first thing that struck me
was his voice, which was delicate and
almost soothing. Armed with an unplugged six-string and a friend who
played double bass in the background,
Troy kept up a pleasant mood via his
simple acoustic melodies. Quite the
compelling lyricist, he crooned about
the moments in life where one yearns
to hold on to something certain. He
certainly left his audience relaxed,
peaceful and ready to cap the night
off in serene slumber.
-Stephanie Chua
SISKIYOU A ^yjii^
CHRISTOPHER SMITH & THE
BECKON CALL/ANDREW LEE
October 13 -TheWaldorf
Siskiyou's record release party for
their sophomore album, Keep Away
the Dead, was an intimate yet inviting
affair for all those in attendance at the
Waldorf. Sometimes it's just nice to
throw on your favourite flannel and go
mingle With other plaid aficionados.
It's even nicer to chat with those plaid-
clad individuals when great music is
being played. The Thursday evening
event was ne*exception.
Opening the night was In Medias
Res' Andrew Lee, whose pedal steel
guitar emitted lush, country-tinged
tones while his backing band added
to his atmospheric sound. You could
honesdy feel the amount of attention
the audience was giving Lee once he
began to sing. His set was mosdy
culled from In Medias Res' latest
album, It Was Warm and Sunny When
We First Set Out, including highlights
"Tonight I Am New" and "Hollis." It
was such a delight, since the record is
hands down one ofthe best albums to
come out of Vancouver this year.
Christopher Smith took the stage
next with his serene, introspective
slow jams (including an incredible
cover of Tegan & Sara's "Back In Your
Head"). It wasn't just the minimal-
istic electric guitar and meticulous
drumming that made Smith's set so
enjoyable, itwas that he knew how to
captivate his crowd. "Alright, we're
going to take it down a notch...again,"
everywhere    LJ
MORE INFO AT WWW.FLEMISHEYE.COM
33 he'd say between ever-softening numbers. His playful demeanor lightened
up the mood between each song, and
allowed the audience to become immersed in his poetic lyrics.
After a brief intermission, Siskiyou took to the stage to celebrate their
newest release. Former Great Lake
Swimmers drummer and Siskiyou
frontman Colin Huebert took a seat,
grabbed a guitar, and began to rock
out One ofthe highlights was a fantastic cover of Simon & Garfunkel's
"El Condor Pasa," but my personal
favourite was their inaugural live
performance of "Fiery Death." The
song was a cornucopia of delicious
instrumentation; whispery vocals,
percussion and a wind controller all
played a part in the lush landscape of
sound that left the crowd musically
fed and satisfied.
The Waldorf is a place where everyone can come together, in a tiki-
themed room seemingly right out of
Elvis Presley's Blue Hawaii, to enjoy
some great music. Siskiyou's performance allowed you to do just that
-Alec Ross
LOOSE SHUS / HUMANS
October 14 • Five Sixty
Passing through a curving tunnel
after waiting in a lengthy line-up, I
popped into Five Sixty's unusual
main space with Tyler, the Creator's
"Yonkers" blasting in what looked like
an anticipatory club setting. With its
minimal decorations and impressive
stage corner entirely illuminated by
a number of projected screens, the
art gallery-cum-club made for a refreshing setting. I was even more impressed when I walked downstairs for
a leak, only to find a surprising set
up that I would best characterize as
an open space for bodily and social
functions, fully equipped with a DJ
booth. However, my fascination with
Five Sixty's innovative design ended
very abrupdy when I was faced with
the not-so-pleasant reality of having
to shell out a ghasdy nine bucks for
a Heineken.
Vancouver's HUMANS soon
walked up on stage and briefly introduced their brand new music video for
the spaghetti western-echoing single
"THE END," which was projected on
the flexible walls. Produced and
filmed by the band's own Peter Ricq,
the short horror film features band
member Robbie Slade on an idyllic
romantic getaway with a blonde goddess that takes a slighdy surprising,
and gratuitously gory turn.
The Vancouver electro-rock duo
followed the screening with a dance
riot-inducing set making the most of
their chopped-up glitch beats while
alternating between rock and hip-hop
based rhythms. Sonically, they set
themselves apart by adding a raucous
and grainy lo-fi touch to what would
otherwise be a clean electronic soundscape. Humans played an hour-long
set, throughout which the crowd was
well mobilized, and the only reason
why they didn't go on longer would
most likely be their small discography.
But one can forgive that for a band
this young. My only real complaint
would be the slighuy over-the-top
African tribal influence in one of their
tracks nearing the end of their performance, but I tried not to take that
too seriously.
After the uproarious set, the audience dwindled quickly, with only
a few handfuls of patrons hanging
around for San Francisco's Loose
Shus. I was very perplexed by his set,
which had the retro-electro producer
squatting awkwardly behind a coffee
table with his laptop. While he did
bring some really enjoyable French
house and new wave-inspired dance
grooves, the performance could have
been improved if a decent table had
been provided for the guy. With momentum lost because ofthe awkward
set-up, there wasn't very much to keep
me there much longer.
-Christian Voveris
NEXT MUSIC TOKYO VOLUME
THREE W/ NATSUMEN,CHIINA,|
SSRIS, HYACCA, AKAI KO-EN I
October 18-The Biltmore
Since 2010, Toronto's Steven Tanaka
has organized Next Music from Tokyo,
a tourwhich, as its name implies, has
to do with our musical brethren from
across the pond. The traveling show's
third edition, held at the Biltmore,
treated Vancouverites to the best Japan had to offer, with some local band
candy-coating on top.
Comprised of 18 and 19-year-old
porcelain dolls, Akai Ko-en, aka Red
Park, were a crazy and totally fitting
way to start the show. Dressed in
white and alternating between freakishly loud and intimidatingly quiet,
the openers captured the attention
ofthe crowd with their ferocity. Their
bassist contributed to the frenzy with
shuddering noise riffs, not to mention
±e grinning, manic way she danced
around with her instrument.
To describe hyacca as shoegaze
would be inaccurate, since their front-
woman Hiromi Kajiwara spent most
of her time standing as close to the
crowd as possible, at one point sending her guitar on a crowd-surfing expedition into the mosh pit and back
again, hyacca combined spacey wah
effects with punchy, buzzing guitar
solos to create something that really
punched a hole through my head. I
sought out their CD as soon as they
stopped.
I noticed a few others in the
crowd wearing the same t-shirt as
me—a memoir from last year's tour—
and couldn't help but feel we were in
for a treat once Vancity natives SSRIs
got up to play. Explaining that, collectively, they were "one-sixteenth
Japanese" and thus qualified to be
sandwiched in between the touring
acts, the foursome leaped into a silly
but spastic set, containing their now-
signature pound-the-keyboard breakdowns. The lack of former drummer
Tony Dallas' stick-smashing fury
is regrettable, but new skinsman
Kevin Romain made for an adequate
replacement Best part ofthe show:
a bass-line-backed, triple crowd-surf
interlude before their final song.
chiina don't look too threatening,
but it would be a very dangerous mistake to take the outfit's usage ofa
contrabass, keyboard and violin at
face value. They blasted through pop
songs infused with jazz and post-rock
stylings. Even though they were easily
the most static group ofthe evening,
they still managed to stir the crowd
into cheers for an (undelivered) encore.
Until this point, I'd been taking
down notes in my pocketbook about
each band, but I couldn't tear my eyes
away from NATSUMEN as soon as
they assembled on stage. It's impossible to really describe the eight-piece
experimental hardcore jazz outfit as
being anything more than a sum of its
extraordinary parts. Guitarist AxSxEx
delivered his best Jimi Hendrix impersonation and led the crew through
upbeat but ferociously complex tracks
filled with beautiful horn choruses
and over-the-top Stratocaster guitar
solos. NATSUMEN put on the best
show I have ever seen, filled with the
kind of energy that is absolutely impossible to forget The passion these
musicians have for their trade was
awe-inspiring to see from inside of
a mosh pit
-Fraser Dobbs
SHINDIG NIGHT #6 W/ THE
GODSPOT, HONOURARY MD,
PHILOCERAPTOR
October 18 • The Railway Club'
SHiNDiG is quite the opportunity
for up-and-coming local bands to
strut their stuff in front of an audience who might not have taken the
chance on them otherwise. The prize
at the end ofthe battle-of-the-bands
contest, when all is said and done, is
a rich one: recording time, features in
Discorder, guaranteed spots at festivals
like Music Waste and other goodies
can be huge for musicians who shell
out their hard earned cash in the name
of their art.
I took a chance and headed on
down to the Railway for SHiNDiG
night six, based largely on the recommendation ofa friend who said
I ought to check out Philoceraptor.
I walked into a reasonably attended
Railway Club just as the Godspotwere
packing up. Silly me for assuming
that start times would be later than
advertised. However, I was informed
that they sounded a bit like shoegazey,
drunk-sounding Stone Roses type
stuff. Not sure if the Stone Roses
part is accurate, but I get the drunken
shoegaze part after listening to their
34 tunes post-show.
Next was Honourary MD, an
eight-member group of musical med
students that had a lot going on. Keys,
flute and tabla rounded out the usual
assortment of instruments to create
a big, positive and danceable freak
folk vibe. At times it seemed a litde
too much and some instruments were
lost in the mix, but that happens. It
was a fun set and I especially enjoyed
singer Bronwyn Malloy's story of an
autopsy mishap. Who doesn't love a
good, squirting cadaver tale between
songs?
Capping off the night was Philoceraptor. The trio were loud, energetic
as heck and clearly happy to be playing
SHiNDiG. This was straight-up edgy
garage rock delivered with smiles and
sweat aplenty. Two guitars, a drum
kit and a happy exuberance was all it
took to cinch the win for these guys.
They may not have been as interesting
as Honourary MD, but they certainly
won points for their drive and energy.
Congrats, Philoceraptor, and good
luck in the next round!
-Nathan Pike
LIGHTNING DUST/_
HARD DRUGS/WHALEBONES
October 20 • The Waldorf Hotel
The basement ofthe Waldorf Hotel
was absolutely packed for the Lightning Dust/Hard Drugs split seven-
inch release party, which appeared
to be the hottest ticket in East Vancouver.
Seattle-based openers Whalebones took the stage first The
power trio was a true blast from
the past, proudly blaring '70s style
blues rock with vigour and purpose.
Singer/guitarist Justin Deary rocked
the Jimmy Page axeman histrionics
while belting out his vocals in a sub-
Bob Dylan drawl. Whether it was intentional or not, he was dressed like
Russell Hammond from the Cameron
Crowe rock flick Almost Famous. The
band's bassist stood stationary but
performed well enough, providing
a steady rhythm that supported the
drummer's heavy, thudding beats.
One song that particularly stood out
was a tune reminiscent of Led Zep
pelin's "Dazed and Confused," which
perfecdy captured the original's eerie,
creeping menace.
The stage became significandy
more crowded as Hard Drugs began
their set. The group varied between
six to seven members onstage at a
time, and their performance included the use of harmonica, violin,
and organ. Hard Drugs' sound can
be defined as southern folk rock in
the vein of Fleetwood Mac or Lynyrd
Skynyrd. The group's tunes seemed
to cover a wide range of emotional
states. "She's Hot, I'm Married" was
significandy light hearted, as was another number was about an individual
named Auntie Linda and her magical
camp. The fact that the band was able
to shift gears, though, was appreciated. Especially when they ended their
set with an organ-heavy rocker called
"Salvation Blues."
The true triumphant stars ofthe
evening were local heroes Lightning
Dust. This writer means it with the
utmost sincerity when I report that
they sound just as good, if not better,
live than they do on record. Joshua
Wells is a god ofthe keys, drenching
many songs with haunting, ethereal
drones and sonic washes. The cello
and violin work provided by two of
the band's backing players helped
create a cinematic, hypnotizing atmosphere. Amber Webber's warbling
vocals made even the most hopeful
lyrical sentiment tinged with regret
and immovably grounded with a stark
grip on reality.
An inventive touch to their strikingly gorgeous and moody set was
their encore, an interpretation of
the Sensational Alex Harvey Band's
"Hammer Song." With a sound that
is simultaneously comforting, melancholic and panoramic, Lightning
Dust was the band to beat. Whoever
wasn't there missed out.
-James Olson
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BY BRENDA GRUNAU / PHOTO BY ROBERT FOUGERE
PARTS  UNKNOWN
Mondays at CiTRare festive and frenetic as Chris Alscher prepares for his show,
Parts Unknown. Since August 1999, Chris-a-riffic has been filling his program
with a ton of local music, pop and garage rock along with other random
gems from across the decades. Piano teacher and band member extraordinaire, Alscher was previously a member of They Shoot Horses Don't They?,
but currendy performs with the Bible Belts and writes piano-based tunes as
Chris-a-riffic. On top of his time with CiTR, Alscher has worked for CBC Radio
3 and is known for curating random gigs and music festivals in backyards,
sheds and public parks.
Discorder: What music do you play on your show?
Chris Alscher: I find myself doing garage and old soul and old country. I try to
keep playing pop songs but I'm finding it tough; they don't seem as interesting as garage rock. It's less musically interesting but so catchy—except for
Timber Timbre.
D: What made you want to have a radio show?
CA: In the late '90s I was so sad and mad about songs being played over and
over again and stations not playing any good music, and thought I could do
better. I'm still trying to work that out.
D: What has been your most memorable on-air moment?
CA: Last year this happened on Duncan [McHugh] 's show [Duncan's Donuts]: I
was mentoring five Japanese exchange students and we ambushed Duncan's
show and he let each of them say something on the air and I thought it was very
nice of him. But also there was a girl who was a fan ofthe show that phoned
the show a couple of times. She came to stop by during the show and she
seemed disappointed [laughs]. And I also got Ron Sexsmith's publicist really
mad at me one time. I asked her for an interview and he never called me and I
sent him a nasty email saying I would never be a fan of his music again since
he didn't care about his fans. He got really upset and called on-air from a gas
station somewhere in Alberta and he was a really awesome guy.
D: Who has been your best guest?
CA: Ben [Lai], Duncan and Robert Hammond [a longtime CiTR listener and
donor].
D: If you could only bring one album to a deserted island, which one album
would it be?
CA: Goodbye Yellou? Brick Road by Elton John. I love every song on it and it really
got me into being a piano player. He was this short paunchy guy but he had
such great songs; It didn't matter.
D: What is your favourite CiTR radio show, besides your own?
CA: Every day, I have a certain show that I listen to. On Mondays I listen to Gary
[Korhonen] 's show [Exploding Head Movies]. I'm in Langley at the time and as I
drive home it switches to Gavin [Walker] 's show [theJazz Show]. I always have my
breakfast with Pop Drones and Duncan's show. I love going to UBC on Thursday
to hang out on Ben's show [Live from Thunderbird Radio Hell].
D: What does the future hold for Parts Unknown?
CA: More of the same. I love doing the show and I always want to make it
better.
Parts Unknown airs Mondays from 1-3 p.m.
38 //CiTR 101.9 FM CHARTS
STRICTLY THE DOPEST HITZ OF OCTOBER
ARTIST	
Various Artists*+
Austra*
Grown-Ups*
Braids/Purity
Ring*
The Pack A.D.*+
Ladytron
Siskiyou*
Weed*+
Love Cuts*+
Ohbijou*
Sex Church*+
Shimmering
The Jolts*+
Wilco
prOphecy sun*+
EUiott BROOD*
Gauntlet Hair
Synthcake*+
Various Artists
Joyce Collingwood*+
Heavy Chains*+
The You Are
Dog Day*
Jacuzzi Boys
Bruce Peninsula*
 ALBUM
Nite Prison
Sparkle
Stopped Caring
Split Seven-Inch
Unpersons
Gravity The
Seducer
Keep Away The
Dead
With Drug b/w
Eighty
Love Cuts
Metal Meets
Growing Over
Violent Hearts
8%
The Whole Love
Not For Dogs
Days Into Years
Gauntlet Hair
Musicophilia
PDXPopNow!
2011
A Very Real Hell
Having Your Heart
Broken Means
Deformer
Glazin'
Open Flames
LABEL
#
ARTIST	
 ALBUM	
 LABEL	
Independent
26
WUd Flag
Wild Flag
Merge
Paper Bag
27
Dan Mangan*+
Oh Fortune
Arts & Crafts
Independent
28
World Club*+
Live-able Via-bility
Independent
Fat Possum
29
Zola Jesus
Conatus
Sacred Bones
Mint
30
St. Vincent
Strange Mercy
4AD
Nettwerk
31
Tasseomancy*
Ulalume
Out Of This Spark
Constellation
32
Dum Dum Girls
Only In Dreams
Sub Pop
Cruising USA
33
Neon Indian
Era Extrana
Mom + Pop
Nominal
34
Aunts & Uncles*+
Aunts & Uncles*+
Independent
Last Gang
35
Cloudsplitter*+
Cloudsplitter
Off Season
Load
36
Veronica Falls
Veronica Falls
Slumberland
Hardly Art
37
Mode Moderne*+
Undiscovered Countries Between Real.
Light Organ
Sudden Death
38
Summer Camp
Welcome to Condale
Moshi Moshi
dBpm
39
Various*
Tunes for Baboons: Live
Sessions From CJSW
CJSW
Independent
40
Sandro Perri*
Impossible Spaces
Constellation
Paper Bag
41
Born Gold*
Bodysongs
Hovercraft,
Dead Oceans
42
Beirut
TheRipTtde
Pompeii
Independent
43
Babysitter*
Tape IV
Independent
Light Organ
44
Memoryhouse*
The Years
Sub Pop
Independent
45
Painted Palms
Canopy
Secretiy Canadian
The Broadway To
46
Feist*
Metals
Arts & Crafts
Independent
47
Blitzen Trapper
American Goldwing
Sub Pop
FunDog
48
Brazilian Money*
Jive With The Killer
Independent
Mint
49
Seapony
Go With Me
Hardly Art
Hand Drawn
50
The Ruffled
Feathers*+
Lost Cities
Independent
CiTR's charts reflect what's been played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian and those marked (+) are local.
Most of these excellent albums can be found at fine independent music stores across Vancouver. If you can't find them, give CiTR's music coordinator a shout
at (604) 822-8733.Her name is Sarah Cordingley. If you ask nicely she'll tell you how to find them. Check out other great campus/community radio charts at
www. earshot-online, com.
39 KZCa*RDZ
AND   «liii>J®fi^irl¥ICirl v Jill F§E§ESi
I         55»Sfll
This November we invite yoit all to come eti|£k out    scho|feultural needs under fine roof! Plus, check
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and music lovers rejoicei*- we have all yotfffigl \     events for film fans ami music fans alike!   .% '$
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Check www.iulurecords.corn or Faeeoook frequently as.w8 are
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w]k   tel 604738.3232             Sat
www.zulurecords.com U	

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