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Full Text

 JOYCE C0LLINGWO0D
miilLY / LQSUOVERS BRIGADE / RTX / DRAWN SHIP / INDIGO KIDS EDITOR'S NOTE
I was interviewing an older singer named Charles Bradley the other day, and
halfway through our chat he told me to follow my dreams. Honesdy, I was kind
of taken aback. It's such a well-worn idiom that I don't really register it most
times. I've filed it away in my brain as just another catchphrase, like "got milk?"
or Tony the Tiger's "They're Grrrrreat!" However, after the soul singer had just
gotten through telling me about his years of hardship, bouncing around from
one lousy job to another and singing in dive clubs, only to be discovered in his
mid-sos, it reminded me that you should never give up. Dude just put out his
debut disc, No Time For Dreaming, at the age of 62. It's dynamite, by the way.
Just as this issue launches, the UBC campus will be flooded with new
students, each one of them gearing up for classes and programs that'll hopefully
put them on the path to their life's goal. That's both really heavy and exciting.
Whether you're enrolled in sciences, languages, arts or sports, I wish you
the best. If, by chance, your dream is to be a scribe for a local arts and music
magazine, why not give us a shout? We may be busting out the seams with
contributors these days—you may have noticed this month's issue is a little
thicker than normal—but we're always looking for new talent.
As well as stories highlighting some killer local music, from Joyce
Collingwood's high-energy hardcore blitzes to Drawn Ship's Canadian history-
indebted indie slow jams, this month sees the debut ofa brand new column,
the "Overeducated Grumbler." If you're looking for something a little more
ascerbic than my monthly love-ins, give Terris a try. In this issue alone, she's
blackening the eyes of phony Yoga instructors, Art Garfunkel and that blonde
guy from Dawson's Creek. Remember him?
On the topic of following your dreams, it comes with mixed emotions that
we're announcing the departure ofa couple long-time Discordians. Farewell
to both Production Manager Debby Reis and Web Editor Reilly Wood, both of
whom are moving on to bigger things. Good luck to you both.
Discorderly yours,
Gregory Adams
p.s. I should probably remind you guys that Charles Bradley is playing the
Biltmore September 2.
CORRECTION: OUR JULY/AUGUST ISSUE MISTAKENLY CREDITED ERICA HANSEN WITH
WRITING THE WHITE LUNG FEATURE. OUR APOLOGIES TO THE PIECE'S AUTHOR VIVIAN PENCZ.
EDITOR
Gregory Adams
ART DIRECTOR
Lindsey Hampton
PRODUCTION MANAGER
Debby Reis
COPY EDITORS
Sarah Berman, Steve Louie,
Adrian McCavour
AD COORDINATOR
Maegan Thomas
UNDER REVIEW EDITOR
Sarah Charrouf (on leave)
Adrian McCavour
RU EDITOR
Steve Louie
WEB EDITOR
Reilly Wood
E-SUBSCRIPTION COORDINATOR
Robyn Yager
CALENDAR LISTINGS
Debby Reis
ACCOUNTS MANAGER
Corey Ratch
OFFICIAL TWEETERS
Dorothy Neufeld, Debby Reis
CiTR STATION MANAGER
Brenda Grunau
PUBLISHER
Student Radio Society of UBC
STUDENT LIASONS
Zarah Cheng, Dorothy Neufeld
COVER
Lindsey Hampton
'.    WRITERS
©Discorder 2011 by the Student Radio Society of the
*     Fraser Dobbs / Robert Fougere / Matthew Granlund
University of British Columbia. All rights reserved.
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Circulation 8,000. Discorder is published almost monthly
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at (604) 822-2487, CiTR's office at (604) 822-3017, email
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|     gmail.com. TABLE OF CONTENTS //
SEPTEMBER 2011
PHOTO BY LINDSEY HAMPTON
II FEATURES
08/JOYCE COLLINGWOOD
It's a good thing a drunken night on the town led local thrashers Joyce
Collingwood to their namesake Skytrain station. Imagine if they got off at
Production Way-University?
10 / INDIGO KIDS
Mixing boom-bap with doo-wop and the occasional rhyme about the Ewok
homeland, Indigo Kids are repping Vancouver with some serious cosmic vibes.
14 / RTX
A bowl of cereal might not be the most rock 'n' roll meal of choice, but after
decades of cigarettes and alcohol, Jennifer Herrema's saving the hard stuff
for her rock riffs these days.
16/THE PACK A.D.
Busy blues rockers the Pack A.D. dish on their heavy new album Unpersons and
the moshing it inspires.
18 / DRAWN SHIP
From historical assasinations to East Van tragedy, Drawn Ship's Lou> Domestic
delivers some ofthe most heartbreakingly gorgeous, low-key indie tunes of
the year.
21 I LOST LOVERS BRIGADE
It may have taken Lost Lovers Brigade a long time to finally get it's album Little
Skeletons out ofthe closet, but the band's patos-driven tunes were worth the wait.
// REGULARS
06 I THE OVEREDUCATED GRUMBLER
07 / TEXTUALLY ACTIVE
24 / CALENDAR / by Daniel Zender
26 j PROGRAM GUIDE
31 / ART PROJECT / KyleScully
34 / UNDER REVIEW
38 j REAL LIVE ACTION
46" / ON THE AIR / The Vampire's Ball
47 / CHARTS September 2011 Ev
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YOGA CLASS WITH EMO TONY ROBBINS
BY TERRIS SCHNEIDER
My eyes were closed while lying in savasana, which is basically the
best kind of yoga pose for a nap. Usually my savasana pose (laying
flat with closed eyes) entailed deep relaxation and my brain going
quiet for a good 10 minutes. Thatwasn't going to happen this time.
The instructor, Will, put on the song "Bridge Over Troubled
Water," the Simon & Garfunkel soft rock hit, and belted out the words. Granted,
Will's singing was spectacular—he sounded like Donnie Osmond on crack
(and I mean that as a compliment). I just wasn't used to this from my typical
yoga class.
When Will first walked in, I noticed he was wearing a thick coat of eyeliner.
This is a workout faux pas—he's going to have raccoon eyes and some painful
burning. Oddly, as soon as we started the class he had the music blasting. He
yelled at us over the music with some words of advice: "You have to be leaders!
Follow your dreams! You won't succeed by sitting your fat ass on the couch
watching Oprah every day."
He's really broke ground with this one. I thought if I sat on the couch all
the time, I'd get ahead in life. Next he'll be telling me to seize the day, carve
diem. He'll tell us to stand on our desks and get us to call him O Captain! My
Captain! Although, Will is less hairy than Robin Williams. Big surprise, the
highly motivational "Hakuna Matata" was cued up next.
As we biked to the next song, I noticed Will's insecurities coming to light.
"Criticism is a form of bullying," he said. "It reminds me of being thrown
into a dumpster in high school."
I guess I'm a huge bully, then (although I've never thrown anyone into
a dumpster).
"All these other yoga teachers think I preach the devil's yoga because I
wear eyeliner. Sorry I'm not one of those yoga teachers who plays Pink Floyd!"
Oh, almighty Will! Save us from those other corrupt instructors who listen
to Pink Floyd. It's the music of stoners and vagrants!
Will then stressed that we have to be ourselves
and not live through anyone. He followed this up
by saying his dad wanted him to be a doctor, but
now he is a "yogi/rocker."
"Thafs my dad's Dharma," he said. "Not
mine."
I cringed at his usage of yoga lingo.
All the advice he was doling out was on par
with 'go's teen movies. This whole "daddy wants
me to be a football star so he can live vicariously
through me" is such a cliche. It's Varsity Blues all
over again: "I DON'T WANT. YOUR LIFE."
When we got off the bikes to start our cool
down, Will started dancing on the spot. "Don't
you wish you could dance all the time?" he said.
"Society wants to stop us from having any fun,
because people who have fun are a threat."
I couldn't count on two hands how many
clubs there were in Vancouver where people could
dance. And that was just the clubs. Now people
are into the flash mob thing. Are we supposed to
be dancing all the time? Maybe instead of walking
I should be dancing. Daddy, I'm gonna be a star!
Everyone in the class started dancing. I don't know how many danced out
of guilt or of wanting to actually dance. All I knew was that my comfort zone
had been compromised. So now I'm dancing on the spot so I don't appear to
be a total chump.
"We all have these social norms," he continued. "In India, they don't have
those notions."
This idealistic notion that it's better somewhere else is such bullshit. If one
of our worst problems as a society is that we have to be socially correct some
ofthe time, I think we will be just fine.
And why do we have to have fun all the time? Yes, most ofthe time I like to
have fun, but sometimes I like being miserable. Sometimes I like being a critical,
neurotic piece of shit. I think feeling your uncomfortable emotions is healthy.
No one will tell me how to handle my emotions. Especially someone who
doesn't seem to be happy himself.
I will say this: I left the class somewhat amused, mostly at Will's expense. I
feel like a bit of an asshole because he had good intentions. However, I think I'm
going to stay in my comfort zone and go to regular, "boring" yoga instructors
from now on. I suppose Will's attempt at enlightening me had failed.
Bring on the Pink Floyd.
Terris Schneider has written articles for The Snipe and Metro News
Vancouver, and has had short stories published in Lltterbox Magazine, Shelf
Life Magazinew and Dark Fountain Journal.
If you're interested in Vancouver's pop culture disasters or want to laugh
at an irritable grouch, you can follow her on Twitter @Terris_AK or check out
the blog: theovereducatedgrumbler.wordpress.com
THE:
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GENEROUSLY SPONSORED BY      UwlllME &
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The wonderful singer/songwrit-
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The Ballad of Genesis and
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Jarvis Cocker, Leslie Feist, K.T. Tun-
stall, Martha Wainwright, Robyn
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people featured in Peter Gilbert's
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together we witness some unforgettable images and sounds.    <BURNI>
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TEXTUALLY ACTIVE //
BY MATTHEW 6RANLUND
BLUE GUITAR HIGHWAY
BY PAUL METSA.
UNIVERSITY OF MINNESOTA PRESS
JPI^k lue Guitar Highway is an autobiography by Minneapolis, MN folk/
H ^M blues musician Paul Metsa. A legend of sorts in his home state,
^H t Metsa has earned a living as a professional musician for close to
H ^m 40 years. In his book, the seasoned songwriter reflects on a series
jHI^^ ofwell-received recordings and memories of thousands of shows
in every imaginable venue, from pool halls and biker bars, to Neil Young's
star-studded Farm Aid.
If Seattle was the centre ofthe rock 'n' roll universe in the early '90s,
Minneapolis had its own galactic-sized pull during the mid-'8os, with the
Replacements and Hiisker Du leading a burgeoning scene of post-punk and
d.i.y. acts. Metsa came of age in this scene, although his path has continued to
down a more traditional singer/songwriter blues and folk route. In the decades
since, he's held extended stopovers in Los Angeles and even remote Russia.
Metsa writes in a loose but descriptive style that is fitting for a guitar-slinger
who has remained relatively unscathed after years of touring and risk-taking, due
in part to an unrelenting self-belief in his vocation. This is not an angst-ridden
tell-all, or a Motley Crue-style tale of excess. Metsa instead speaks in awe of
moments hke performing alongside his hero Pete Seeger and others at a tribute
to Woody Guthrie at the Rock and Roll Hall of Fame, and chronicles his valiant
efforts to fight the demolition ofthe historic Guthrie Theater in Minneapolis.
Blue Guitar Highway is a convincing testament to the strength that a performer
can draw on by remaining in touch with his or her roots, while remaining
open to the trials and rewards along the road of an America steeped in song. BY CAIL JUDY
LINDSEY HAMPTON
i* YOU EVER I
Joyce Collingwood are a local five-piece ready to melt your faces
off with their blistering brand of hardcore. Via angry vocals and
ass-kicking guitar licks, Joyce Collingwood are more than ready
to take Vancouver by storm this fall with the release of their .
long-gestating catalogue, of which the band recently discussed
with Discorder over drinks near their Gastown practice space.
Formed in 2009, Joyce Collingwood is comprised of five
members: Twitch (guitar), Private Minnou (vocals), Gillian
Callander (bass), Claudia Fernandez (guitar) and Joy Mullen
(drums). On their website, they claim they met "while playing
water polo, you know, the sport where you ride sea-horses and play hockey at
the same time." But when asked about their actual origins, the band was coy.
"We met on Craigslist," Fernandez admitted. "It's a pretty boring story, but I
can't lie. I'm totally blowing our cover." The entire band reacts to the revelation
with a round of laughs; it's a common occurrence throughout the interview.
In case transit-sawy folks were wondering, the band's name does indeed
come from the Joyce-Collingwood SkyTrain station. In the band's early days,
when they were still trying to come up with a name, an all-night binge found a
couple of drunken members stranded at the Joyce-Collingwood station. That's
when inspiration struck. "We wanted [a name] that represented Vancouver
because we're passionate about the city," says Twitch ofthe tributary moniker.
" [Joyce Collingwood] is something that doesn't say too much about what kind
of music we're going to make."
Sporting a clever, euphonious name, the group delivers a straight ahead
blend of punk, hardcore and thrash. Twitch pauses when asked to describe
their sound in the most colorful language possible. "You ever vomited and been
like 'yeah, know I'm all good?' That's what it makes me feel like," she laughs.
"It's the euphoria after violently vomiting. That's what Joyce Collingwood is
going to send you home with, minus the hang-over."
The band has just released their first vinyl EP, Joyce Collingwood, which features
eight new songs. Itwas recorded live off the floor with no overdubs at Joshua
Stevenson's Otic Studios in one blazing afternoon. "Because all ofthe songs
are so short, we can fit everything onto one seven-inch," says Fernandez. The
shortest song, at 22 seconds long, is "Angst," a snarky little number that'll
tear your synapses in half with its raw power. Another stand-out track is "Hard
Cash," a driving, whip-crack '80s crossover number that capitalizes on Minnou's
ferocious vocals. On it, she emotes pure energy as wailing guitars and manic
drum beats crash and wail behind, her. A demo version ofthe song is featured
on Joyce Collingwood's MySpace page, but the newer version outshines it
Lyrically, Joyce Collingwood bounces from songs about loyal pets ("Good
Dog"), to desiring respect and recognition ("Plan B") to tragic environmental
issues ("Oil Spill"). No matter the content, each song is a rager featuring the
twin guitar attack of Twitch and Fernandez alternating between chugging
metal riffs and sharp, urgent licks.
On top of the newly unleashed seven-inch, thetand will also be issuing
a CD and tape this September. Interestingly, even though each release runs
with different tracklistings, all will be titled Joyce Collinflu>ood. "It's going to be
a mixed bag," Twitch says ofthe situation.
The group further explained that the tape and CD will contain older songs
written before the tracks on the seven-inch, and added there will be even more
content available online.
"We're going to release everything at once," Fernandez confirms. While
releasing so much at once could be daunting for new fans, the band is Just .
excited to finally have their music available. "Imagine being blue-balled for
two years," says a now extremely relieved and relaxed Twitch before concluding
with a laugh. "Basically, this is a two-year...release." BY CHIBWE MWEENE
ILLUSTRATION BY TOBY REID
10 • ##K St7/?£ MK MOM DID MUSHROOMS
WITH ME IN HER STOMACH,:**®
Facebook posts rarely take me beyond the browser, but once
I stumbled upon some online material from Vancouver hip-
hop trio, Indigo Kids, I couldn't wait to make an excuse to
meet the local talent A few clicks and clacks later, a meet
up was scheduled and just like that my love for the Internet
grew a little more.
I met up with Harold Richter, a.k.a. Axiom, at the
Vancouver Public library where he soon introduced me
to his bandmates, Taionnaih Akubal Hernandez Simper,
a.k.a. Kapok, and Ashleigh Eymann, as we made our way
to an outdoor table. Naturally, my curiosity led me to ask where the group
name came from.
Kapok recounted how he unwittingly stumbled upon the name over drinks
with Axiom. "We should have a group called the 'Star Kids,' 'Star Children' or
something,'' he recalled ofthe chat before explaining how he may have arrived
with the cosmic and spiritual moniker.
"Pretty sure my mom did mushrooms with me in her stomach," he laughs
out loud. As the interview progressed, it became obvious that he has a knack
for catching people off-guard when he shares what's brewing in his mind.
"My mom would play us classical records to make us go to sleep," he
further reminisces of his youth, explaining that he'd later use his mother's
turntable to develop his scratching skills. At 13, his brother would expose him
to underground rap artists like Guru of Gang Starr, which helped immerse
him in the world of hip-hop.
"I discovered that this is a good way for me to express how I feel," he says of
rap music. As evidenced on the troupe's The Taron and the Trees EP, Kapok comes
across quite playful. On "Goodbye," he mentions how he and his crew "play at
Ewok villages with light shows and filaments," and later admits that he "don't
need Evisus / rich like tiramisus / throw me on some dickies / it's a pleasure
here to meet you." For some reason these lines have lodged themselves into
my mind, for their sheer ability to show his sense of adventure while keeping
him grounded as a human being.
The conversation revealed that Kapok and Axiom's lines continue to wow
Eymann, but her artistic output is just as impressive. While she's primarily
known for her singing, she decided to share her rhymes on the EP as well. "I
had always written that way, but I was like a closet emcee," she explains while
helplessly smiling. She also layers her vocals with light backup singing to give
her a distinctively soulful, doo wop vibe. Her ability to flow from a verse to a
sung hook is an asset to the group, and one would only hope to see her further
develop this as it is undeniably a distinct characteristic of her style.
As for the beats, Axiom makes sure to take the less-is-more approach in his
production style. Instead of going all out, he uses straightforward boom-bap
style drum patterns, subdued bass lines, short melodic loops and the occasional
vocal sample for that finishing touch. Though he's rapped for years, he points
out that beat production is a skill he picked up a couple of years ago. His love
for the art form shines through, though.
Opening track "Parapapapum" exemplifies Axiom's skills exceptionally.
Atop the comical loop line "Show me how to use that drum," rolling snare
lines, sleigh bells and other assorted percussive tones, Axiom and Eymann
steer the track decisively with their tag-team, synchronized delivery.
"The three of us cosmically come from the same place," Axiom says ofthe
connection between him and his celestial siblings. Though the Indigo Kids
formed just last year, they're already taking themselves to new spheres of
creativity. With a yet-to-be titled full length album scheduled for release later
this year, Indigo Kids are definitely a group to keep an eye out for.
11 1    CANADA 2011
TICKETS ON SALE NOW
Tickets available online at tjcketmaster.ca
by phone at 1 -855-985-5000
or in person at all Ticketmaster locations.
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ww.citr.ca H BY SHANE SCOn TRAVIS
ILLUSTRATION BY PETER KOMIEROWSKI
It's evening, and a violet gloom spreads over the city like ink dispersing in water. I'm on the line with an enthusiastic Jennifer Her-
rema, who is in Sunset Beach, California, as a shrill and brisk wind
blows a goodbye to warming weather. It seems fitting as autumnal
darkness descends, then, for Herrema's current hard-working
and hard-rocking outfit RTX to bring their churning tunes—equal
parts glamour and dark-edged disaster—on a West Coast tour. The
September shows are in support of their new split seven-inch with
Nashville-based tourmates Heavy Cream, and the band just may
well preview some new tunes from their upcoming Rad Times IV LP,
which is expected to drop this winter.
"The fall is always a good time to tour," remarks Herrema, who has been
keeping very busy as of late, though her modesty might suggest otherwise.
"I don't know if I keep that busy," she says somewhat self-consciously while
lighting a smoke, adding: "I mean I spend a lot of time messing around in
our studio, or painting, or surfing, or just zoning out... It doesn't always feel
like work, you know?"
Herrema's reserved predilection is refreshing and a little rattling. Originally,
she made a name for herself in the mid '80s with Jon Spencer's Washington,
DC garage band Pussy Galore, later sharing the collaborative spotlight with
then-boyfriend/now ex-hubby Neil Hagerty in the hugely influential alt-noise
pioneering outfit Royal Trux. In Royal Trux, Herrema helped lead the charge
and set the template for a barrage of rebellious and experimental 'oos-era art
bands, from the likes of Boss Hog and Pavement to later acts like the Fiery
Furnaces and Yeah Yeah Yeahs.
Herrema's raspy sneer, penchant for feathers, fur pelts and her ubiquitous
cigarette have become her hallmarks, and though possessing a similar moniker
to Royal Trux, the absence of Hagerty has made RTX a very different band.
Highlighting Herrema's hesher-loving leanings and glam-rock readiness,
RTX forge a link between psychedelia and heavy metal in a distorted and
indulgent haze, with self-explanatory anthems like "Headbangers Ball" and
"Cheap Wine Time," both off 2008's J} Got Live RaTX, clearly classifying their
rock 'n' roll quo animo.
Focusing more on classic rock cliches and cock-rock excess, RTX eschews
the avant-rock of Royal Trux in favour ofa Guns N' Roses or Motley Crue-styled
degeneracy that spotlights undue shredding and lots and lots of hair. But will
BE PART
OF OUR OWN
REVIVAL AT SOME
POINT... OR NOT. -h™.™
Ji!r     jBSf
RTX, even while creating a niche all their own, ever get out from under the
spectre of Royal Trux? With the '90s revival siring a recent spate of reunion
tours, not to mention recent reissues of Royal Trux's earliest albums, has the
nostalgia wave persuaded Herrema any?
"Well, you know, Royal Trux got a lot more respect because Neil was in
the band," she says matter-of-factly. "Royal Trux have been offered some big
bucks and big opportunities to be part of that 'revival' you speak of, but I think
Royal Trux transcend the '90s." Herrema pauses a moment to chose her next
words carefully: "We'll be part of our own revival at some point... or not."
To anyone not paying attention, Herrema hasn't been pining for the '90s
heyday or trotting out the oldies. While many of RTX's albums have focused on
the manic, apathetic, sleazy rowdiness her fans have come to expect, it hasn't
dominated her life completely. No, she's been busy in other areas beyond
the RTX radius. A former Calvin Klein model and legitimate practitioner of
"heroin chic," Herema is still fashion obsessed and has a handful of fashion
lines on the go on top of her RTX duties.
"I always try to keep myself entertained and open-minded and as a result,
super cool opportunities and people enter my life. There's the new RTX album,
Rad Times IV, coming out in January on Drag City, I've got another small denim
collection with Volcom for Fall 2012, and a t-shirt and jewellery collaboration
with Pamela Love for the 2012 holiday season. For me, lots of touring and
working on cool shit is going on," Herrema adds hotly.
One can expect RTX's guitar-driven concerts to highlight hedonistic
swagger, head-banging and enough big hair to make the likes of Axl Rose or
Nikki Sixx pale by comparison. But Herrema's decadent days of drug-addled
debauchery are behind her (it was, after all, her drug-related undoing that
ended the Royal Trux, back in the day), at least somewhat.
"Familia is probably my favourite breakfast cereal," she willingly dishes out
of her current addiction, "It's a staple on the road—I've been eating it since I
was a kid—since my nana first gave it to me." That's probably as wholesome
as Herrema gets, but who is to say? From a prolific artistic standpoint, she is
happy with her success and her knack for remaining relevant.
"I have accomplished so much and created so much work that I'm proud of
and I've done itall on my own terms," Herrema adds amicably with a smidge
of fitting satisfaction, "all while staying true to myself."
RTX plays the Waldorf September 7.
15 $ ree music, 0Jsf & more
on the Wild Horse Canyon Stage at the
St. Ambroise Fringe Bar at AGRO Cafe
1363 Raiispur Alley on Granville island
Thursday, Sept. 8
DJs Brad Winter and
Spencer Lindsay (from CiTR)
Friday, Sept. 9
Say Wha?! (with Sarah Bynoe)
Okapi Muzika
DJs Cam Dales and Tyler
Fedchuk
Saturday, Sept. 10
Teen Angst Poetry
(with Sarah Bynoe)
Kidnap Kids!
My Friend Waliis
DJ D.B. Buxton
Sunday, Sept. 11
Creaking Planks
The Oh Wells
Monday, Sept. 12
Ivory Sky
The Ruffled Feathers
Tuesday, Sept. 13
Weekend Leisure Karaoke
Wednesd^/Sept. 14
Maria in the Shower
The Valuables
■ Tif^fsday, Sept. 15  ■
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fHdg^ Sept. 16
Tales from the Fringe
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Hyenas DJs
^ijj&$&0$fr, Sept. 17
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DJ Glenn Alderson
Sunday, Sept, IS ' ;
DJ Tristan Orchard
Sept. 8-18
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6138 SUB BLVD., VANCOUVER B.C., V6T1Z1, C/0 BRENDA GRUNAU,
PUBLISHER, DISCORDER MAGAZINE DRAWN SHIP
Drawn Ship—comprised of ex-Portico songwriter Lyn Heinemann and ex-Hinterland drummer Gregg Steffensen—play
the kind of stripped-down rock music that speaks oodles more than their minimal aesthetic might initially suggest.
The bare-bones nature of the band is at odds with their previous ventures; Portico played jazz-infused indie prog, white
Hinterland took cues from dream pop and shoegaze. Drawn Ship's debut, disc, Low Domestic, is a haunting series of
songs about dead love, dead friends and dead dreams. While preparing for a quick Canadian tour to support the release,
Discorder was able to meet up with the duo at the Prophouse Cafe before they took off for Winnipeg. BY FRASER OOBBS
PHOTO BY RYAN WALTER WAGNER
Discorder: low Domestic is a really simple album, musically. Coming from Portico
and Hinterland, why did you decide to take that minimal route?
Lyn Heinemann: I was ready for a new project. I love Portico and all the players
in it, but it just felt like it had run its course. I wanted to do a new project, but I
didn't want it to sound like Portico. It's still my songs, but doing a two-piece was
a really good way to avoid it sounding [the same]. Another part of it was that I
have a little car and I like touring. Two people fit in the hatchback very easily.
Gregg Steffensen: Well, Hinterland was very complex. Each person had three
guitars and we had three keyboards to lug to every gig. I don't miss that.
D: So going from a complex band you just wanted to try something simple?
GS: Instead ofa subtle shift, yeah. I'm more back to straight-ahead stuff. Even
though there's a lot of different time signatuKfcin our band, I don't think
they're very intentional. It's not proggy.
LH: Yeah, the songs themselves have a complexity to them, but the instrumentation is certainly not, which is kind of nice too. It's really accessible. I
found with Portico—I'm not saying we're crazy prog-like or experimental or
whatever, we're definitely a pop band—a lot of times it would take people a
long time to enjoy it. It was really slow-growing. I Jeel like people listening to
Drawn Ship right away hear the hooks: it's there, it's an idea, they get it. And
it's not so much about being a music nerd or anything.
D: What's the timeline on Low Domestic?
LH: "Fists, Hooves, Claws," that's pre-Portico. I wrote that when I was really
young. No one ever wanted to do anything with it until Gregg came along.
He's really stooped to that level, [he] loves that song.
GS: If you stoop to a lower level, there I am. Peering out from the dirt
D: How did you two start creating music together?
GS: We'd [Hinterland] go to Portico gigs. I think I went to almost all of their
shows. I love Portico. It's true that I came out of not playing for a long period of
time to play with Lyn because I love her voice and I've only got, like, five people
that I'd come back and play for. It's hard to find a good singer.
D: There are a couple of times in Low Domestic where things almost get carried
away—"Sick With The Sound" and "Adventure Series" are good examples—but
the songs never get out of control. Both songs have great, swelling crescendos
but neither use volume to cover up the songwriting.
LH: Well, we're repressed individuals. One ofthe ideas behind the record and
the band itself was to make music that is as bare-bones as possible, so even on
songs that have a bit of crescendo we're still trying to keep it as unlayered as
possible in order to get that sentiment across. It's really intentional. The other
thing too is that I was conscious ofthe fact that we're a two-piece, so if the album
is crazy we'll never be able to repeat it live. It's just going to be disappointing.
D: Obviously Drawn Ship sounds similar to Portico—Lyn's voice is very distinctive and carries a lot of weight—but do you think that fans of Portico will
also really like Drawn Ship?
LH: Hopefully, but not necessarily because Drawn Ship is pretty simplistic.
[Portico] had a lot of jazzier-type fans that would come to our shows and
get really music geeky on us. It definitely had that element to it. I think those
guys are gonna be disappointed because we don't really have as much of that.
Hopefully people will still appreciate it.
D: Do you think that that's the natural evolution that your songwriting has
required?
LH: Totally.
D: Songs like "Glass Eye" were inspired by people that you've worked with as
an addictions counsellor in the Downtown Eastside, and "The Best Ones Go"
was written after the death of one of your clients. Was there a thought process
that went along with writing a song about these people?
LH: They're maybe a little cathartic. I have a lot of strong emotions regarding
my work; it's an easy thing to write about. That song particularly is a typical
story ofa lot ofthe kids I work with, so I think a lot ofthe kids could listen to
that and see themselves in it for sure. It's almost a tribute or recognition ofthe
kind of struggles that they go through, and how shit thek lives can be, how
successful they are and [how they're] still living their lives. Most ofthe people I
work with, I think "man if I was you I'd be fucking dead right now," but they're
so tough and strong. People judge them. Society judges them really harshly. If
you had to go through what half of these kids had to go through... good luck.
D: So they're tributary.
LH: Yeah, totally. Recognition.
Drawn Ship release Low Domestic through Scratch Records on September 6 and perform
at Art Bank on September 24.
*9 PACK A.D
BY TRISTA ORCHARD
ILLUSTRATION BY TYLER CRICH
WEAR WE COULD
HEAR THE GHOSTS
OF CHICKENS   B
§f/?E    m    I
Punky garage-blues duo the Pack A.D.'s latest release Unpersons (which is set for release September 13) will make you want to jump around and swill
drinks, slopping cheap beer all over yourself in the process; if you're underage don't worry, you don't actually need the drinks to get yoij lacing.
Unpersons offers a heavier sound than the group's previous work, with tracks like "Sirens" honing in on grungy garage roots via Becky Black's
fuzzy riffs and Maya Miller's boisterous drum beats. The band likewise gets dirty on "8," an old school punk number infused with Black's shouts.
Discorder recently got the chance to speak with Miller about the album as the busy band was cabbin' their way to a Toronto airport.
Discorder: It seems like Unpersons went a lot heavier in the rock direction, was
this a conscious decision? What inspired you to do so?
Maya Miller: When we started off playing we didn't really have any direction
that we were taking and then basically when we started playing we started figuring out what we actually like to play live. We wanted to be louder, heavier and
punkier, and that's kind of where this album ended up. The only intention was
that we wanted to be more garage. It's been something that we've been working
towards since the last album. It just seemed like a natural place for us to go.
D: You guys seem like you've been pretty busy, you're in Toronto right now, are
you promoting your album?
MM: We came to promote it, but we really came to make a video for one of
the songs.
D: How did that end up going?
MM: It was good. The guy who did it is an animator, so basically the video is
going to be half live action and half animation with us turning into monsters
and surrounded by ghosts—I think it's going to be pretty cool.
20 0: You guys recorded this album with Jim Diamond (the White Stripes, Fleshtones etc.). How did you hook up with him and what was mat like?
MM: A couple years ago we were looking to play a show in Detroit and we
needed to find a band to play with us. A friend of ours in Vancouver—Mike
Roche from Thee Manipulators—told us to talk to Jim Diamond, so we sent
him a message on MySpace. He said that he really liked our stuff and he came
to our show, and then he started showing up to other shows. We started talking
about doing a recording, but we already set up doing [2010's WieKtllComptuers]
with someone else, so we had him come on for this album. The funny thing is
we really had no clue who we were talking to [originally] and then we found
out. It turned out to be a great experience.
D: I heard the recording locations were pretty interesting?
MM: Well, we recorded at the Hive Studios in Vancouver, but we did the mix-
miHplbi's studio, Ghetto Recorders, in Detroit, which was really cool; it's a
great old studio. The building used to be a chicken processing plant. I swear
we could hear the ghosts of chickens there.
D: How would you guys describe your creative process when making an album?
MM: We tend to set aside the time to make an album: we go to a jam space and
just get together and jam things out until it makes a song that we like. I tend
to write lyrics away from the jam space and then bring them in.
D: You guys started to become more known around 2008, but when did you
start making music together?
MM: Well, we were in another band but we never played any shows or anything.
In 2005 we left that band and just started doing this. We didn't really have any
extreme goals but then we got a phone call from a friend who wanted us to
play at their BBQ, so it forced us to play our first show. From that, someone
[approached us] to record an album, so we came up with 17 songs and recorded
our first album [2007's Tintype] for like a hundred bucks.
D: That's pretty amazing that it all started from a BBQ. Was music what you
always wanted to do?
MM: We just started that band because we thought it would be a fun idea when
we were all hanging out one day. We said "lets be a band," and we did. So thafs
when I started playing the drums.
D: You seem to have a pretty dedicated fan base, why do you think that is?
MM: I like to think we're pretty nice people. We just try and have a fun show
and I think a lot of people respond to it. It brings together all types. It's nice
to have a variety of walks of life liking what we do because it seems to make it
consistent for sticking with us.
D: What can people expect when they see you perform live?
MM: They can expect to spill their drink. People now tend to do weird things
like mosh to our music, which I think comes from people attempting to dance
to our music. We put on a loud, hyper show and they can expect a good time.
It's garage rock, pop and punk.
The Pack A.D. play No Limits (6~8 5th Ave West) as part ofthe Olio Festival, September 23.
21 ♦   t I FELT LIKE HIBERNATING FOR A WHILE.
LITTLE BIT SHY, A LITTLE BIT NERVOUS.
I'M A
—Wm REMBOLD
On the edge ofthe Downtown Eastside,-up a musty old
staircase above the Red Gate gallery, hides a handful of
humble, ramshackle rooms. Home to artists' workshops,
recording studios and rehearsal spaces, a heady atmosphere of creativity and history hangs in the air. Among
these rooms is the rehearsal space ofthe Lost Lovers
Brigade. This is where magic happens.
Just across the hall at JC/DC Studios, the band
recorded their forthcoming album, Little Skeletons, with
experienced local producer and studio co-owner Dave
Carswell. The New Pornographers' bassist John Collins, the other owner of
JC/DC, also lent a hand production-wise.
"It was great to have both of them in there because they had a lot of input,"
explains singer/guitarist Elisha Rembold from the comfort ofthe band's jam
space. Though Rembold was at first unsure about the sessions, the result,
she says, was a pleasant surprise. "After we recorded I took a long break from
listening to it. Dave went away and when he came back he said, 'Come into
the studio and we'll take another listen together,' so I went in and I was like,
'Oh my God, this sounds glorious!'"
Among Little Skeletons' many highlights is "Lonely Neighbour," a track that
marries heart-aching melodies to longingly romantic lyrics. "Tonight's the
f night I'll call to you / The moment that I see darkness / Arms open, the alley,
dQn't forget the door," sings Rembold, her powerful voice as evocative and
affecting as Joni Mitchell's or Patsy Cline's.
Elsewhere, the iridescent lilt ofTigers" exemplifies the band's flair for
crafting all their influences—from the dusty, old-time country of Dolly Parton
to the angular indie stylings of Guided By Voices and Sleater-Kinney—into a
sound that has both the worn character ofthe old and the bright lustre ofthe new.
Considering that the band's current lineup first met in 2001 (completed by
Adrian Teacher on drums and Jason Oliver on guitar), their debut full-length has
been a long time coming. Having played together in various guises—including the
wildly exciting, though short-lived Eastern European folk ensemble Caravan—the
group didn't begin writing songs as the Lost Lovers Brigade until around 2005.
Live performances have always been sporadic and until now the only
available recording ofthe band was a CD-R of some basic four-track recordings
distributed at shows. Following that, Rembold briefly retreated from the
Vancouver music scene. "I felt like hibernating for a while... I'm a little bit shy,
a little bit nervous," she admits. Her reprieve led Teacher and Oliver to start
rambunctious local favourites, Apollo Ghosts. While Rembold is now back
in action, the band recently suffered the departure ofa fourth member, Jenny
Morgan, who contributes organ and backing vox on the album but made her
exit to start a family. Despite all of these diversions, the remaining trio's love
of playing together, not to mention their friendship, has kept the band going.
With work on Little Skeletons now complete, the band is looking towards
the future. A split seven-inch with fellow locals Shimmering Stars is set for
release sometime this fall, and there are also plans for a short tour ofthe Pacific
Northwest. Considering all of their previous setbacks, the band is ready to
go full force. "I wanna do another record and just keep it going, instead of
pausing," Rembold says with a laugh. "We've already done the pause, there's
only room for one of those!"
Unfortunately, there are other concerns the band has to face, as the future
of their beloved jam space is in jeopardy. Due to numerous building code
violations, the city has issued the Red Gate an order to vacate. The spot is
currently fixing itself up to avoid eviction. "Ifwe lose this space, which has been
really integral to everything we've ever done, it would be really devastating,"
says Teacher. "It's ironic too that the city just celebrated its birthday [with free
shows in Stanley Park] with Neko Case when she's wandering the halls here
and recording here too, and they're trying to shut us down."
"A lot of what you saw at that festival started here," Teacher continues. "On
the one hand the city's saying, 'Hey! Wow! Look at all our great Vancouver artists
we're showcasing on this stage' but then, 'OK guys, you've gotta shut down'
because of some violation," he adds, "it's kinda messed up."
As ever, the landscape of Vancouver is in constant flux—its music venues
and other buildings have been endlessly torn down and replaced. Just like in
our own lives, it's a series of beginnings and endings. As individuals and as
communities we find these conflicts often hard to come to terms with; we
romanticize the past and attempt to preserve the present Sewn deep into
their rich, timeless melodies, the Lost Lovers Brigade manage to convey all
of this pathos.
23   //CiTR 101.9 FM PROGRAM GUIDE
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26 SUNDAY
A mix ofthe latest house
newscast. Every week, we
the west coast but it's still
http://giveemtheboot.
music, tech-house, prog-
take a look back at the
committed to the best in
wordpress.com
SHOOKSHOOKTA
house and techno.
week's local, national and
post-rock, drone, ambient,
(Talk) ioam-i2pm
international news, as seen
experimental, noise and
WINGS
A program targeted to
BOOTLEGS & B-SIDES
from a fully independent
basically anything your host
(Talk) 3-3:30pm
Ethiopian people that
(Dance/Electronic) Q-iopm
media perspective.
Pbone can put the word
Alternating Tuesdays
encourages education and
"post" in front of. Stay up,
personal development.
TRANCENDANCE
SORE THROATS, CLAPPING
tune in, zone out. If you
PROF TALK
(Dance) iopm-i2am
HANDS
had a radio show, Pbone
(Talk) 3-3:30pm
THE ROCKERS SHOW
Join us in practicing the
(Roaue Folk, Indie S/S)
would probably listen to
Alternating Tuesdays
(Reaoae) i2-3pm
ancient art of rising above
6-7:3opm
your show.
Bringing UBC's professors
Reggae inna all styles and
common ideas as your host
Lyric Driven, Campfire
on air to talk about current/
fashion.
DJ Smiley Mike lays down the
latest trance cuts.
Inspired: new and old tunes
from singer / songwriters
TUESDAY
past events at the local and
international level. Aiming
BLOOD ON THE SADDLE
trancendance@
with an emphasis on Ca
PACIFIC PICKIN'
to provide a space for fac
(Roots) 3-5pm
hotmail.com
nadian music. Tune in for
(Roots) 6-8am
ulty and doctoral level stu
Alternating Sundays
live acts, ticket giveaways,
Bluegrass, old-time music,
dents to engage in dialogue
Real cowshit-caught-in-yer-
MONDAY
interviews and talk, but
and its derivatives with Ar
and share their current
boots country.
mostly it's just music.
thur and the lovely Andrea
research, and to provide a
BREAKFAST WITH THE BROWNS
Find us on Facebook!
Berman.
space for interdisciplinary
SHAKE A TAIL FEATHER
(Eclectic) 8-nam
pacificpickin@yahoo.com
thinking. Interviews with
(Soul/R&B) 3-spm
Your favourite Brownsters,
EXPLODING HEAD MOVIES
professors from a variety of
Alternating Sundays
James and Peter, offer a
(Cinematic) 7:30-9pm
SOUNDS OF AFRICA
disciplines.
The finest in classic soul
savoury blend ofthe famil
Join gak as he explores
(World) 8-9:30am
http://ubcproftalk.
and rhythm & blues
iar and exotic in a blend of
music from the movies,
Showcasing music, current
wordpress.com
from the late '50s to the
aural delights.
tunes from television and
affairs & news from across
proftalk@gmail.com
early '70s, including lesser
breakfastwiththebrowns@
any other cinematic source,
the African continent and
known artists, regional hits
hotmail.com
along with atmospheric
the diaspora, you will learn
RADIO FREETHINKER
and lost soul gems.
pieces, cutting edge new
all about beat and rhythm
(Talk) 3:30-4:3opm
SKA-T'S SCENIC DRIVE
tracks and strange old
and it will certainly kick-
Promoting skepticism, criti
CHIPS WITH EVERYTHING
(Ska) nam-i2pm
goodies that could be used
start your day.
cal thinking and science, we
(Pop) 5-6pm
in a soundtrack to be. The
examine popular extraor
Alternating Sundays
SYNCHRONICS
spotlight swings widely to
QUEER FM ARTS XTRA
dinary claims and subject
British pop music from all
(Talk) i2-i:oopm
encompass composers,
(Talk) 9:30-io:3oam
them to critical analysis.
decades. International pop
Join host Marie B and
genres and other categories,
The real world is a beautiful
(Japanese, French, Swed
discuss spirituality, health
but all in the name of dis
MORNING AFTER SHOW
and fascinating place0and
ish, British, US, etc.), '60s
and feeling good. Tune in
covery and ironclad whimsy.
(Eclectic) n:3oam-ipm
• we want people tociee it
soundtracks and lounge.
and tap into good vibrations
An eclectic mix of Canadian
through the lens of reality
that help you remember
THE JAZZ SHOW
indie with rock, experimen
as opposed to superstition.
QUEER FMQMUNITY (TALK)
why you're here: to have
(Jazz) 9pm-i2am
tal, world, reggae, punk
(Talk) 5-6pm
fun! This is not your average
Vancouver's longest
and ska from Canada, Latin
THUNDERBIRD EYE
Alternating Sundays
spirituality show.
running prime-time jazz
America and Europe. The
(Sports) 4:30-5pm
An expose ofthe arts &
program. Hosted by Gavin
Morning After Show has
Your weekly roundup of UBC
culture scene in the LGBTQ
PARTS UNKNOWN
Walker. Features at npm.
local bands playing live on
Thunderbird sports action
community.
(Pop) i-3pm
Sept. 5: Live Miles Davis in
the Morning After Sessions.
from on campus and off with
An indie pop show since
December 1970 with Keith
Hosted by Oswaldo Perez
your host Wilson Wong.
QUEER FM ARTS XTRA
1999, it's like a marshmal-
Jarrett, Gary Bartz, Jack De-
Cabrera.
(Talk) 6-8pm
low sandwich: soft and
Johnette, Michael Hender
WENER'S BBQ
Dedicated to the gay, lesbi
sweet and best enjoyed
son and Airto. Tough, funky
WHAT PINK SOUNDS LIKE
(Talk) 5-6pm
an, bisexual and transexual
when poked with a stick
and ahead of it's time!
(Eclectic) i-2pfn
communities of Vancouver.
and held close to a fire.
Sept. 12: Part 1 of our Jazz
Celebrating women in
FLEX YOUR HEAD
Lots of human interest
education series: Alto saxo
music and media who truly
(Hardcore) 6-8pm
features, background on
MANTIS CABINET
phone great Julian "Can-
kick ass. The hour features
Punk rock and hardcore
current issues and great
(Eclectic) 3-4pm
nonball" Adderley narrates
women artists and bands
since 1989. Bands and guests
music.
An Introduction to Jazz.
with female musicians. Join
from around the world.
queerfmradio@gmail.com
THE RIB
Sept. 19: Part 2 of our Jazz
host Ashly Kissman as she
(Eclectic) 4-5pm
education series: Maestro
increases feminist content
INSIDE OUT
RHYTHMSINDIA
Explore tke avant-garde
Leonard Bernstein narrates
on the airwaves one song
(Dance) 8-9pm
(World) 8-gpm
world of music with host
What Is Jazz.
at a time.
Alternatina Sundays
Robyn Jacob on the Rib.
Sept. 26: Previously
CRIMES & TREASONS
Featuring a wide range of
From new electronic and
unheard! Alto saxophone
GIVE'EM THE BOOT
(Hip-hop) 9-npm
music from India, includ
experimental music to
master Art Pepper with his
(World) 2-3pm
crimesandtreasons@gmail.
ing popular music from
improvised jazz and new
best quartet live at London's
Sample the various flavours
com
the 1930s to the present;
classical! So weird it will
Ronnie Scott's Club in 1980.
of Italian folk music from
Ghazals and Bhajans,
blow your mind!
Powerful, throat grabbing
north to south, traditional
CABARADIO
Qawwalis, pop and regional
sounds!
to modern on this bilingual
(Rifle) npm-i2:3oam
language numbers.
NEWS 101
show. Un programma
For the world of Cabaret.
(Talk) 5-6pm
CANADA POST-ROCK
bilingue che esplora il
Tune in for interviews,
TECHNO PROGRESSIVO
Vancouver's only live,
(Rock) i2-i:ooam
mondo della musica etnica
skits, musical guests and
(Dance) 8-gpm
volunteer-produced,
Formerly on CKXU, Canada
italiana.
more. It's Radio with sass!
Alternatina Sundays
student and community
Post-Rock now resides on
givetheboot@gmail.com
J WEDNESDAY
SUBURBAN JUNGLE
(Eclectic) 8-ioam
Live from the Jungle Room,
join radio hos t Jack Velvet
for an eclectic mix of music,
sound bites, information and
inanity. Not to be missed!
d j@jackvelvet. net
POP DRONES
(Eclectic) io-n :30am
STUDENT SPECIAL HOUR
(Eclectic) 11:3 o-ipm
THE GREEN MAJORITY
(Talk) i-2pm
Canada's only environmental news hour, syndicated by
CIUT 89.5 FM Toronto or
ww uj.greenmajority.ca.
THE GREEN MAJORITY
(Talk) i-2pm
DEMOCRACY NOW
(Talk) 2-3pm
RUMBLETONE RADIO A GO GO
(Rock) 3-5pm
ARTS REPORT
(Talk) 5-6pm
REEL TO REAL
(Talk) 6-6:3opm
Alternatina Wednesdays
Movie reviews and criticism.
DISCORDER RADIO
(Talk) 6-6:3opm
Alternating-Wednesdays
Discorder Magazine now
has its own radio show!
Join us to hear excerpts of
feature interviews, charts,
concert calendar picks and
other exciting morsels! For
more info, visit discorder.ca.
SAMSQUANTCH'S
HIDEAWAY
(Eclectic) 6:30-8pm
Alternatina Wednesdays
All-Canadian music with a
focus on indie-rock/pop.
anitabinder@hotmail.com
SHAMELESS
(Eclectic) 6:30-8pm
Alternatina Wednesdays
Dedicated to giving local
music acts a crack at some
airplay. When not playing
the PR shtick, you can    ,
hear some faves you never
knew you liked.
FOLK OASIS
(Roots) 8-iopm
Two hours of eclectic folk/
roots music, with a big emphasis on our local scene.
C'mon in! A kumbaya-free
zone since 1997.
folkoasis@gmail.com
SEXY IN VAN CITY
(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
SWEET AND HOT
(Jazz) ioam-i2pm
Sweet dance music and hot
jazz from the 1920s, '30s
and '40s.
DUNCAN'S DONUTS
(Eclectic) 12-ipm
Sweet treats from the pop
underground. Hosted by
Duncan, sponsored by
donuts.
duncansdonuts.
wordpress.com
WE ALL FALL DOWN
(Punk) i-2pm
Punk rock, indie pop and
whatever else I deem worthy. Hosted by a closet nerd,
www.weallfalldowncitr.
blogspotca
INK STUDS
(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 MUSJCQUEST
(Talk) 3-3:3opm
Syndicated from CJLY
Kootenay Co-op Radio in
Nelson, B.C.
THE BARN BURNER
(Eclectic) 5-6pm
The greasier side of rock
'n' roll, rhythm 'n' blues
and country... Crack a beer
order some BBQ, and get
your boogie on.
ARE YOU AWARE
(Eclectic) 6-7:3opm
Celebrating the message
behind the music: profiling
music and musicians that
take the route of positive
action over apathy.
STEREOSCOPIC REDOUBT
(Experimental) 7:30-9pm
LIVE FROM THUNDERBIRD
RADIO HELL
(Live Music) 9-npm
Featuring live band(s) every
week performing in the
CiTR Lounge. Most are
from Vancouver, but sometimes bands from across
the country and around the
world.
FUNK MY LIFE
(Soul/Dance) iipm-mm
Grooving out tunes with a
bit of soul and a lot of funk,
from the birth of rhythm and
blues to the golden age of
motown, to contemporary
dance remixes of classic soul
hits. We explore Brasilian
funk, Japanese breakbeat anthems, the British motown
remix scene, Canadian soul
and disco that your parents
probably made out to and the
classics of American soul.
Soul in the City's Oker hosts
with guests to bring that
extra bounce to your step.
www.funkmylife.com
AURAL TENTACLES    .
(Eclectic) i2-6am
It could be global, trance,
spoken word, rock, the
unusual and the weird, or it
could be something different Hosted by DJ Pierre.
auraltentacles@hotmail.com
FRIDAY
FRIDAY SUNRISE
(Eclectic) 7:30-9am
An eclectic mix of indie
rock, hip-hop and reggae to
bring you up with the sun.
ALTERNATIVE RADIO
(Talk) 9-io:ooam
Hosted by David Barsamian.
IT AIN'T EASY BEING GREEN
(Eclectic)i2-ipm
HUGO
(Edectic) 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
(Nardumar) 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) 6-7:30pm
Join your host Matthew for
a weekly mix of exciting
sounds, past and present,
from his Australian homeland. And journey with him
as he features fresh tunes
and explores the alternative
musical heritage of Canada.
AFRICAN RHYHMS
(World) 7:30-9pm
www.africanrhythmsradio.
com
THE BASSMENT
(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.thevampires-
ball@gmail.com thevam-
piresballoncitr.com
SATURDAY
THE SATURDAY EDGE
(Roots) 8am-i2pm
A personal guide to world
and roots music—with
African, Latin and European
music in the first half, followed by Celtic, blues,
songwriters, Cajun and
whatever else fits!
steveedge3@mac.c0m
GENERATION ANNIHILATION
(Punk) 12-ipm
A fine mix of streetpunk
and old-school hardcore
backed by band interviews,
guest speakers and social
commentary.
crashnburnradio@yahoo.ca
generationannihilation.com
POWER CHORD
(Metal) i-3pm
Vancouver's longest running metal show. If you're
into music that's on the
heavier/darker side ofthe
spectrum, then you'll like
it. Sonic assault provided by
Geoff, Marcia and Andy.
CODE BLUE
(Roots) 3*5pm
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 101.9fm/CITR.ca
OWN YOUR FREQUENCY
SEPTEMBER EVENTS
CITR DJ'S @ THE UBC IMAGINE DAY MAIN STAGE - SEPT 6
CITR 101.9 FM & DISCORDER MAGAZINE PRESENT:00PS TUESDAY® THE PIT- SEPT 6
CITR DJ'S @ THE AMS LEGENDARY POOL PARTY @ THE UBC AQUATIC CENTRE 9PM-12PM- SEPT 7TH
CITR DJ'S @ THE AMS THUNDERBIRD BLUE AND GOLD POOL PARTY @ THE S.U.B. BALLROOM 9PM-12PM- SEPT 8
CITR LIVE BROADCAST @ THE UBC B00KST0RE-7TH
JFK (OF MSTRKRFT), FELIX CARTAL @ THE PIT PUB SEPT 8
CITR OPEN HOUSE 12PM TO 5PM @ CITR STUDIOS- SEPT 9
THE ARKELLS, YUKON BLONDE @ THE PIT PUB SEPT 10
CITR & AMS PRESENTS LIVE AT LUNCH-12PM-1 PM
CITR & AMS PRESENTS LIVE AT LUNCH MONDAY- TBA12PM-1PM OUTSIDE THE UBC S.U.B. - SEPT 12
CITR & AMS PRESENTS LIVE AT LUNCH TYRANAHORSE12PM-1PM OUTSIDE THE UBC S.U.B. - SEPT 13
CITR & AMS PRESENTS LIVE AT LUNCH WEDNESDAY- TBA 12PM-1PM OUTSIDE THE UBC S.U.B. - SEPT 14
CITR & AMS PRESENTS LIVE AT LUNCH THURSDAY- KOREAN GUT 12PM-1PM OUTSIDE THE UBC S.U.B. - SEPT 15
CITR & AMS PRESENTS LIVE AT LUNCH FRIDAY- FLASH PALACE 12PM-1PM OUTSIDE THE UBC S.U.B. - SEPT 16
29 THERE IS nOTHinO HOKE
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citr MiinpiG. mW\
EVERT TUESDAY I1IGHT
AT THE RAILWAY CLUD
STARTinOSEril3Tn.
"To s££ th£ band schedule;,
our sponsors and prizes,
pl£as£ visit shindig.eitr.ea"
Home of
Vancouver's
Music Directories
BANDS MUSICIANS RESOURCES
COMMUNITY
DRIVEN
CONCERT
LISTINGS
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|SUVTiCKETSfSTS3IJtjSI "S^^^^mi^nx^^^^m^— WT PROJECT/ KYLE SCULLY
■
31 ART PROJECT /KYLE SCULLY
KYLE SCULLY IS A VANCOUVE,
APHER. HE CAPTURES UTOPIC FRAMES
OF HIS DAILY EXPERIENCE. HIS WORK EXPLORES THEMES ON VACATION, YOUTH CULTURE,
AND THE EVERYDAY MUNDANE. HE IS SELF-TAUGHT, ORIGINALLY GAINING STRIDE THROUGH
PHOTOGRAPHY BLOGS.
32 |I HAS RECENTLY SHOWN WORK IN NEW YORK, HONG KONG AND TORONTO. IN HIS SPARE
l TIME HE ENJOYS ROAD BIKING, ANTHONY 80URDAIN AND SPENDING TOO MUCH MONEY ON
RECORDS. HE IS WORKING TOWARDS A SOLO SHOW IN VANCOUVER FOR 2012.
WWW.KYLESCULLY.CA
33 UNDER REVIEW
BASKETBALL
MAW
(The Broadway to Boundary)
Wow. Basketball's debut EP has been
a longtime coming, and now that
1 it's here prepare for your jaw to drop.
J Barrelling out ofthe gate at break-
I neck speed is the Middle Eastern-
influenced number "Andika." The.
track manages to digest a danceable
doctrine with overwhelming bass,
all the while driving down some Bollywood back roads. It's a brave and
original sounding venture that seems
without peer until the next track, "Into
the Horns ofthe Sacred," jets offvia a
diverse soundscape of hip-hop, jungle,
synths and cabaret.
Maw is a curveball that only
Basketball could propel, and they
do so with aggressive glee. Vocalist
Tome Jozic leads this four-piece
down some eclectic thoroughfares,
tying together sounds in a way that
fans ofDeVotchKa, Gogol Bordello or
Handsome Furs will find aesthetically
pleasing.
The aptly titled "Joy" mixes more
globetrotting and palatable culture
clashes as Indian and European pulses
collide and coalesce.
There is a hypnotic and nocturnal
hook to this EP which will most
assuredly lend it a lasting appeal.
"Suspiros de Chile" plays outfunkified
in places (Bootsy Collins would
certainly detour off the Mothership for
a butt wag here), conjures an Indian
shahnai in others, and, unless my ears
deceive, an obeisance to Yello's '80s
dance hit, "Oh Yeah."
Maw offers up instant and absolute
aural bliss. Simply put, this EP comes
highly recommended.
—Shane Scott-Travis
THE BRITISH COLUMBIANS
MADE FOR DARKER THINGS
(Rural Records)
This album is bad. I can't even pretend
I to be nice about it. The name ofthe
band, for starters, is grounds alone
to chuck this into the garbage. There
was a biography written by the band's
publicist, which, if anything, is damning ofthe music they play. Their music
is frequently described as being laden
with grooviness, but I could never see
myself dancing or having a good time
listening to the British Columbians.
One publication described the
vocals as "badass." This is not true, as
vocalist Girard Knox actually sounds
bored. There is nothing cool or fun
ordangerous or "rocking" about any
of it. It's exactly what it is—a bunch
of guys dressed like actors in beer
advertisements singing about how
good the weekend is going to be (I
did my research like a good boy and
subjected myself to live video footage
for no less than five minutes). Their
style of music is similar to bands like
Big Sugar, Blind Melon and Maroon
5 (I am actually trying to make
comparisons to popular music here).
Somebody from the Georgia Straight
compared them to Led Zeppelin at
their most primal, which makes
sense, but even I know Zeppelin
is better than this. CBC loves 'em,
they've played with Our Lady Peace,
and have recently sold one of their
songs to be used for Brita Water Filter
advertisements.
I was actually listening to this
stuff for most ofthe time I wrote this;
I'm not some kind of la2y flake who
doesn't listen to the music. I'm just
here to inform you, the reader, of my
thoughts: this is fucking crap.
—Sam Riser
DOG DAY
DEFORMER
(FunDoa, Records)
Seth Smith and Nancy Urich are quite
the couple. Under the moniker Dog
Day, the Halifax, NS duo produce
dark, offbeat music suitable for a rainy
day. Defbrmer, the band's third LP, is an
amalgam of indie pop, shoegaze and
surf done extremely well.
"Daydream" and "Part Girl" begin
the 36-minute romp with a dreamy
soundscape, as Smith's nonchalant
vocals are backed by fuzz-laden
guitars and pepped-up, lo-fi drums
beats. "I Wanna Mix" showcases
Dog Day's slower side, with defined
guitar, floor torn rhythms and Urich's
childlike singing style.
What Dog Day truly excels at is
discordant harmonies, accomplished
through the combination of poor
recording techniques and melodious
vocal duets. "Positive" and "Mr.
Freeze" are the album's biggest
surprises, though. Driven by ominous
acoustic tones, these tracks bring a
surge of diversity to the typically fast-
paced nature ofthe band.
Sullen and dark, this lo-fi record
is fantastically promising. As a duo,
34 Dog Day manages to spew out a
collection of tracks that would even
make quartets think twice about their
musical prowess.
—Kamil Krawczyk
ELIZABETH
HAZARDS, HORRORS AND LIABILITIES
(Independent)
Vancouver'st Elizabeth aren't exactly
breaking new ground with their latest LP, Hazards, Honors and Liabilities.
Opting to articulate an '80s throwback
dance rock disturbance, Elizabeth
seems set on targeting mass appeal
by honing in on a sound that frisks
the familiar.
In fact, I'll wager the Clash
provided the trim for much ofthe
album's kick, and the occasional
miscue. The ska creases in
"P.O.U.M.," for instance, could be
a B-side to the Clash's 1980 single
"Bankrobber," right down to vocalist
Reggie Gill doing his best Mick Jones
impersonation. Likewise, "Death of
Plato" summons the majesty of Mick
and the driving intensity he's famous
for, along with obliging angular riffs
that fill out the post-punk ordinance
nicely. For the record, there is nothing
wrong with paying homage to such
influences; what Elizabeth is doing is
a far cry from karaoke.
While blazing down an already
well-worn trail, it isn't that Elizabeth
lacks ambition or any kind of oomph.
Fans ofthe snide, stylish and brash
new wave revival are going to enjoy I
this. If you've got a love for the Cure,
the Strokes or Franz Ferdinand, you'll
find fire and frenzy in the group's well- \
played, passionate pleas.
Produced by Eric Mosher (Castle
Grey Skull, Lillix), Hazards, Horrors and j
Liabilities certainly feels urgent and au
courant, thanks, at least partially, to
Paul Gill's ardent and outstanding
drumming and Rory O'Sullivan's
resonant Simon Gallup-inspired bass j
lines. There is a clean sheen to the
album and it sounds ready for populist
radio play; Elizabeth's skilled players
seem poised for greater recognition.
Vancouver has bred a lot of bands
over the years, some great, some
regrettable, and for now Elizabeth j
may seem little more than a blip on
your transient musical radar. For me
this album is a litde too vanilla, a little
too workaday, and when ifs over it
falls away like confetti. But, I said the
same thing about Mother Mother, too. j
—Shane Scott-Travis
THE EMETICS
LAUDS OF CREATE
(Discipline of Chaos Records)
Lauds of Create is a sonic thunderstorm,
an album ready to pounce into your
skull and beat you senseless. Ked-
rick James and Donald Klassen make
up the Vancouver-based duo, whose
new disc is comprised of four noise
compositions.
Opener "Lost Saws" features |
jarring vocal samples intermingled
with dissonant feedback. In the ]
middle ofthe track, a beat is about
to form and take control, but it dies j
out, descending into white-noise that \
sounds like the black box ofa UFO |
going down in flames.
The Emetics have been crafting
their digital compositions since ]
the early 'oos. They've released i
a staggering 85+ albums, both
online and in physical form. They
experiment with sound in a manner 1
that does not create an escapist
mentality, but instead cultivates a
world of sonic displeasure, evoking
images of dirty alleys, barren deserts
and haunted carnivals. "Position
Gratified," for instance, is an almost
nine-minute track of echoing vocals
and eerie chimes. Around the six
minute mark, high-pitched R2-D2
squeals are thrown into the mix.
It's as though you're in the mind of
a computer processing thoughts of
murder.
If you are a fan of bold, electronic l
instrumental The Emetics will be right j
up your alley. You won't be throwing
this on at any party, unless you're \
DJing in purgatory. Lauds of Create is
the soundtrack to the worst nightmare j
you've ever had. James and Klassen's
ability to draw out deep-seeded
emotions through dissonant sounds \
is truly a gift worth checking out
—Catljudy
REBEKAH HIGGS
ODD FELLOWSHIP
(Hidden Pony)
On her second full-length LP, Odd j
Fellowship, Halifax native Rebekah f
Higgs presents an off-the-wall blend
of musical experimentation with j
young love-induced lyrics. As the
album opens, we are introduced to j
yet another unbearably sweet, young
and chill indie-pop vocalist along the j
lines of Hannah Georgas or Feist.
There are occasional quirky moments,  j
as well as some attempted raciness
("Can you kiss me through the
nicotine?" she asks at one point), J
but nothing here hasn't been done a j
thousand times before.
Diverse musical arrangements,
however, help stave off complete {
indifference. The dainty keyboards
of "Little Voice" contrast with the ;
finger-snapping, riff-driven "Gosh,
Darn, Damn," or the disorienting,
hallucinogenic "Lazy Morning*"
Other notable moments include j
the echoing swirls of "Miserably
Together," and the gradually speeding
conclusion of "Stick & Poke."
Concluding with the heavy and
distorted "Drunk Love," Odd Fellowship
deserves recognition for its diversity, I
and serves to separate Higgs from her !
multitude of contemporaries.
Despite her conventional vocals, I
Higgs takes a unique approach to
arrangements on her sophomore j
effort. This has laid out a promising j
path for her musical future, one where I
heriittle voice will eventually begin to j
garner appreciation on a wider scale, j
—Andy Resto
LIBRARY VOICES
SUMMER OF LUST
(Ntvado Records)
Library Voices are a band that have
had their share of hardships. In 2009
their tour trailer was robbed, and they
lost some very precious equipment.
Despite this, they carried on with
borrowed instruments and a good
attitude. The following year, just
weeks after releasing their debut LP
Denim on Denim, a flood destroyed their
studio, not to mention every piece of
equipment they owned, save for a
saxophone and Moog synthesizer.
But, with optimistic hearts and heads
held high, they moved forward and
dried themselves off. Whereas some
bands would throw in the towel or go
on to write bitter music in the wake of
such bad luck, Library Voices bought
new gear, found a new studio space
and simply got stronger as a band. The
result, Summer of Lust, demonstrates
a cleaner, wiser and more optimistic
pop vibe that is hard not to fall for.
Following a brief introduction by
audiobook narrator Simon Vance, the
album takes off running and rarely
looks back. The album covers themes
such as art cuts in Canada ("The Prime
Minister's Daughter"), weariness of
growing into adulthood ("If Raymond
Carver Was Born in the 90's"), and the
usual suspects, such as love, friends
and romance.
Luckily, Summer of Lust is political
without being heavy handed, romantic
without being cheesy and mature
without sounding too serious. Their
music is a testament to keeping your
damned chin up despite the often
unfortunate happenstances in life.
—Nathan Pike
35 MOONFACE
ORGAN MUSIC NOT VIBRAPHONE LIKE
I'D HOPED
(Jagjaguwar)
Moonface is the solo project of
' Spencer Krug, who is also known for
his work with WolfParade and Sunset
Rubdown. Organ Music Not Vibraphone
Like I'd Hoped is Krug's second release
under this moniker, and his first since
WolfParade went on hiatus this year.
Krug probably wouldn't blame you for
lightly comparing this to some of his
other music. There are times when
you might feel like you're hearing
an old Sunset Rubdown castaway,
only set to a modernized Nintendo
soundtrack. But, in the end it's not a
full band affair—it's just some organ,
programmed drums, blips, bleeps and
Krug wailing away with his unique
vocal delivery.
There are only five songs here, the
shortest clocking in just under 6:40,
but this feels like just enough before
it would teeter into self-indulgence;
although, in Krug's, case self-
indulgence might be expected and
quickly forgiven.
The man is a whimsical
wordsmith, and this mad collection
of sweeping retro organ songs is a fun
listen. "Fast Peter," a story of love in
a digital age, has quickly become a
favourite, followed closely by "Return
to the Violence ofthe Ocean Floor."
A collection of crazed, modern,
Nintendo-friendly tunes, these are
the explorations, meditations and
manic whirls of beauty that only
Spencer Krug could get away with. If
anything, Organ Music Not Vibraphone
Like I'd Hoped sounds like the release
of pent up ideas, and if you admire
Krug's music, you'll be glad that he
finally released this batch of spirits
into the world.
—Nathan Pike
MYTHS
MYTHS
(Independent)
Vancouver-based duo Myths' first
album can be best described as
haunting, noisy electro-pop. Indeed,
Quinne Rodgers and Lief Hall
seem to have fallen in love with the j
synthesizer. This comes as a surprise I
only because Hall once sang in punk
rock noise band the Mutators.
Regardle$##their set up, Myths' j
self-titled debut dishes out seven loud, j
jarring tracks that pack a powerful 1
punch. "The Labrynth" features a |
series of angelic chants atop an up- j
tempo, bass-heavy, synth-pop beat, ]
while "The Crime," the most danceable l
song on the album, has a catchy chorus
and sing-a-long lyrics.
Another   standout   track   is j
"Deadlights," which masterfully j
displays the vocal prowess ofthe duo. \
Indeed, their shrieked delivery ofthe
lyrics, "You're not real, you're not really j
real," paints a nightmarish picture. I
Rodgers' and Hall's willingness 1
to experiment with the electro-pop j
genre has clearly paid off. The result is j
a dark, yet ear-grabbing debut that is j
equally enchanting and hypnotizing. |
—Ashly Kissman
MORGAN CAMERON ROSS
MORGAN CAMERON ROSS
(Sparks)
Birds of Wales frontman Morgan
Cameron Ross has decided to fly solo s
for a while. On his self-titled solo de- j
but, Ross has laid down ten solo tracks,
though admittedly with a little help
from some friends. Canadian song-
stress Holly McNarland pays a visit
on ballad "I'll Hold On to Your Heart," I
while Daniel Wesley has Ross' back
on the gently-rocking pop single "Let
It Go," as well as "A Few More Days."
Ross even managed to enlist the songwriting experience ofRon Sexmith on
"We've All Had Broken Hearts," and
sat down with Josh Schroeder to write
"Storybook Romance."
The result are ten squeaky clean j
songs stamped with Ross' distinct
voice and varying musical style. The
first, three tracks are riddled with )
melodic hooks that are sure to catch )
some ears. It's when Ross slows it
down, throws in some pedal steel and |
digs deep on rootsy track "I'll Hold I
On To Your Heart," though, that the I
album really gets going. Songs like
"My Brother Went to Prison" and "A j
Few More Days" continue down this
path, and both seem genuine and
natural. The pace and style of these \
tracks are better fit for Ross' unique
voice and show his true ability as a
songwriter. On a whole, the roots
tracks are the heart of the album, far
and away outshining the pop rock hits.
—MarkPaulHus
SBTRKT
SBTRKT
(Young. Turks)
Mystery and anonymity hold a special appeal in the music world. This
holds especially true in the realm of
electronica, where the line between
the music and the individual behind
it is often times blurred.
SBTRKT is London DJ, musician j
and   producer  Aaron   Jerome's
experiment with the concept of
anonymity.
When he first appeared on the j
British electronic scene in 2009, next
to nothing was known ofthe masked
man, save for his high-profile remixes
(for M.I.A. and Underworld, among
others) and funky concoctions of
two-step, U.K. garage and Chicago
house. This was entirely by design,
as SBTRKT's name is meant to reflect
Jerome removing himself from the
equation and allowing the music
to speak for itself. Though his real
name was soon leaked, the moniker
has held true to its intentions,
maintaining the mysterious persona
that revolves around the impressive
tribal masks created by collaborative
designer Hidden Place.
After the critically acclaimed
release of several singles and the
deliciously vibeful Step in Shadows j
EP, SBTRKT's eponymous arrives
with explosive results. SBTRKT
is an eclectic album with unclear
influences, and a unique, bass-
driven sound. It also comes across
as a heavily soulful record, which can
partly be explained by the album's j
many guest vocalists. Most notable
is Sampha, whose yearning falsetto
breaks through the swirling synth
buildups and glitchy breakbeats of
opening track "Heatwave," as well as
six other tracks on the record. Among
those lending their voices to SBTRKT is
Yukirni Nagano of Litde Dragon, whose
intensely adorable vocals burn red hot
atop a raunchy baseline in "Wildfire."
Album closer "Go Bang" is the
only vocal-deprived track, but the
heavy beat and bittersweet chord
progression leave the listener with a
deeply emotional aftertaste, one that
piques the desire for another listen.
SBTRKT is a powerful and
influential new force in the electronic
scene, mixing styles and pushing
boundaries. He's definitely worth
keeping an eye on, as we have not seen
the last of this masked man.
—Daniel Lins da Silva
SPELL
HEX
(Independent)
The word hex is defined as a magical
spell placed on someone. It's only
fitting, then, that when sound artist Kristen Roos and artist/musician
Prophecy Sun got together to form
the experimental electronic duo Spell,
they named their debut album Hex. The
four-track EP is minimalist in production, with buzzing and wind sounds
serving as the backdrop for most of
the songs. The first track, "Forest," is
a perfect example of this. Hypnotic in
its delivery, the track has Sun chanting
some unknown language over beats
that mimic white noise.
The collaboration's signature
style stems from Sun's ability to sing
otherworldy over the experimental
electronic stylings of Roos. "Fading
Away" finds Sun's voice, posessing
divine strength, emerging from an
electronic drone; but just as quickly
as it appears, it is buried again by an
overbearing hum.
"Just A Matter of Time" carries
more ofa synth-pop beat, and takes
full advantage of Sun's sensual vocals.
While the song's lyrics suggest
some impending doom, Sun's voice
somehow has a calming effect.
Closer "Break the Speed of Light,"
meanwhile, has her whispering
instead of singing.
Impressively, all of the tracks on
the album were recorded in one take,
which makes it no surprise that Hex
was released with the intention of
36 capturing the live sound of Spell. The
raw creation process is sure to be the
album highlight for fellow sound
artists, but, above all, it demonstrates
the duo's collaborative chemistry.
—Ashly Kissman
SPIRALS
LETOMSETABEP
(Independent)
Eight minutes, huh. Vancouver-based
Spirals' Letom Setab EP is short At
eight minutes short—no, eight minutes long— the EP is a messy tour de
force that reeks of grunge and both
progressive and post-metal.
Brain-busting drum poundings
and dirty guitars set the stage for
Chris Stiles' all-too-typical hardcore
scream. Because of its rather short
nature, Letom Setab is a gnarly listen
without much definition. Granted
the genre's muddled nuances,
"Domestic Violins" and "Ostrich"
sound too similar and feel like one
conglomerate track. The speedy tide
track, meanwhile, breaks,the mold,
providing a much-needed change in
tempo and rhythm.
Without a doubt, the best part of
the album is it's outro: a monologue
about violence, human nature, and
"cleansing" of society. It's a touching
political speech on institutions and
races and poverty, cleanly spoken over
an aggravated piano medley, providing'
a chilling close to the release.
Letom Setab may be short, but don't
be flabbergasted at its run time, as
Spirals stands almost as tall as the
big boys in hardcore.
—Kamil Krawczyk
TASSEOMANCY
ULALUME
(Out OfTfiis Spark)
OK, so here's the deal. A couple of
years ago, Romy and Sari Lightman,
two gifted elfin twin sisters performing under the name Ghost Bees, discovered a time machine and traveled
to periods in time when the musical
landscape was going through important evolutionary shifts. During their
journey, they picked up some chops
from the Victorian-era, were introduced to exotic instruments by a band
of gypsies, and even spent some time j
on a pirate ship learning sea-shanties I
and drunken jigs. After soaking up the 1
old school sounds, they eventually
found themselves back in the present, j
just pregnant with musical ideas,and I
penned an album called Tasseomancy. I
Fast forward to the present. The I
twins have grown older and evolved |
as people and musicians. For one, 1
they've now re-branded themselves I
Tasseomancy, and the Halifax-based 1
duo are ready to share a fresh batch
of neo-folk songs.
Where Tasseomancy was a bit sparse I
and impersonal, Ulalume, is full of J
warmth.
With added instruments and a |
more confident song delivery, there ]
is simply more going on with this
album. Take, for example, "Mourning j
Chest." Though its back half is free of
words, its droning, crackling, bass-
heavy moments are sublime.
I sometimes find the vocals to be
a bit annoying, and there seems to be
a disjointed structure to some songs.
But perhaps that is what neo-folk
plays at, eliminating the possibility
of fairweather fans by gearing it
towards those who'd "getit" I might
not be able or willing to wrap my head
around it all, but, like a seance, tea-
leaf reading or a great death dance,
there is some serious juju at play on
this album that can't be denied.
—Nathan Pike
TWO BICYCLES
WINDOW
(Independent)
Two Bicycles' new LP Window is composed often tracks, labeled simply
"Window #i," "Window #2," etc.
These tides, while simple, turn out
to be quite indicative ofthe album
itself. The songs in their simplicity
eventually blend into one 3 5-minute
mass of ambient sound, which dully
glides by on a series of drones.
In this case, the dreamy, mellow,
disconnected mindset, which is
typically brought on by good ambient
music, arrives not from the smooth
and relaxing grooves themselves, but
rather from sheer boredom. These ten
tracks have the depth ofa puddle, and I
could be created by any kid on his or
her computer. Staring mindlessly out
ofa window is about the only thing
thatyou could do with this album; it
simply does not spark the excitement,
thoughtfulness, or general inspiration
that the best music will tend to do in
the right listener.
Window more closely resembles
a collection of session outtakes
rather than a full-length album. The
question left unanswered after the
record's conclusion is where the rest
ofthe songs are. The best thing for
Two Bicycles to do at this point is
to somehow mix the ten versions of
Window currendy available into one
cohesive, interesting track, and then
get back to the lab and cook up some
diversity. As it stands now, Window is
incredibly banal.
—Andy Resto
THE WAR ON DRUGS
SLAVE AMBIENT
(Secretly Canadian)
You can't help but notice the musical
allusions and references Philadelphia's the War on Drugs are making
on their latest full length of shoegaze-
tinged Americana, Slave Ambient. It's
not just Adam Granduciel's vocals,
but the entire style of opening track
"Best Night" alludes to Bob Dylan,
while the anthemic "Baby Missiles"
plays to the unabashed Bruce Springsteen worship that has become so
common throughout indie rock in the
past couple years. There is even reference to the ambient, Joshua Tree-era
U2 production style of Daniel Lanois
as "The Animator" gently leads into
"Come to the City."
That being said, The War on
Drugs manages to proudly wear their
influences on their sleeve while still
creating an original and engaging
album. Slave Ambient is a wonderful
collection of huge, unobtrusive songs
that envelope the listener in a reverb-
drenched American soundscape. This
captivating album flows as a unit—all
the songs are stitched together with
ambient interludes that manage to let
the listener to drift off without losing
their attention. Altogether, Slave
Ambient is a strong, upbeat release
by a passionate and talented band
with a big future.
—MarkPaulHus
J , ^ :S| Berlin ^Hfc.
October 2nd, 8:00 pm
Advance $20/15
Door $25/18
0
Western
Front
303 East 8th Avenue
604 876 9343 frontbc.ca
37 REAL LIVE ACTION
'   <"   ^      ^
CAUFQNE/CLOUDSPLITTER
August g / The Biltmore Cabaret
"We're going to play some quiet
songs, I hope that's ok." Those were
the words of Califone frontman Tim
Rutili just before the band began their
set at the Biltmore. A smallish crowd
showed up to what to what turned
out to be an oversized venue. Even
the band was looking small. Usually
a four-piece, Califone was pared back
to two. Rutili sung and played lead
guitar, while he was backed up an additional guitarist/strumstick player.
Despite the reduced production, Califone was still able to fill the room with
their gruff, experimental blues.
Earlier on, though, openers Cloudsplitter played some capable alt-country tunes. Dave Gowan's sonorous vocals held a heavy presence in the room
while the backing band built a frame
of classic Canadiana. Cloudsplitter's
restrained rock structures sat in stark
contrast to Califone's freeform ways,
though in their closer, "Start With The
Soil," the local quartet began to let
loose a litde. Multi-instrumentalist
Doug Liddle was particularly keen
to leave the comforts of standard arrangements as he wailed on the banjo,
steel guitar, and musical saw.
Califone's minimalistwashes of static-drenched southern folk brought
the audience into a slow, stark world
of beauty. A standout ofthe evening
was their cover of Psychic TV's "The
Orchids," which languidly strayed
through imperceptible places of
darkness. Late in the evening, Rutili
told a long and strange story about
accidentally eating a large amount
of chocolate laced with psychedelic
mushrooms, after which "all was
made clear" on the streets of their
hometown of Chicago. Back to reality without missing a beat, the subtle
plunking ofthe strumstick was perfectly executed on a bare-bones rendition of "Michigan Girls."
Califone wrapped up the eveningwith
a few songs by Red Red Meat, a '90s-
era rock band many ofthe group had
originally played in. At the end ofthe
day, itwas a simple and sweet show.
It would have been nice to have had
38 the band fill out a bit with the presence of multi-instrumentalist Jim
Becker's singular talent (apparently
he was off touring Europe with Iron &
Wine leader Samuel Beam), but those
in the room were more than able to fill
the space with their spirits.
—Anthony Mezu
OLENKA & THE AUTUMN LOVERS /
AUNTS & UNCLES /SYNTHCAKE
August 11 / The Biltmore Cabaret
I'd been working a lot the last few
weeks and needed a reprieve from the
grind of daily service to the masses.
My soul needed some soulful music
and the rest of me needed to share
it with my girl, so I bit at the pitch
for Olenka & the Autumn Lovers and
made it out to the Biltmore Cabaret.
We arrived as locals Synthcake
were a couple of songs deep into their
set. As you may have gathered by their
moniker, the group is a little heavy
on the synthesizer. But despite the
cute name, this isn't easily digestible,
wimpy synth pop. Sounding like a
cross between a gothic carnival band
and the soundtrack to a rockin' horror
comedy film, Synthcake wowed us
with big brassy trumpet blasts, crunk-
nasty keyboard licks and danceable
songs. Vocalist Lana Pitre has a great
voice that carries down into your guts
and stirs around as the band plays on
with a not too serious dramatic flair.
The band just released an EP called
Musicophilia, and they were striking
enough for me to buy it .
Also with a freshly pressed, five song
self-tided EP were Aunts & Uncles,
and I was gladdened to see SSRI's
frontman Joseph Hirabayashi taking
the helm ofthe trio. Even better was
their sound, which was a dynamic
blend of baroque-pop, jazz and maybe
even a litde bit of punk. Paired with
Hirabayashi's unmistakable child-like
sLredder ofa voice, they sort of reminded me ofa kinder gentler SSRI's,
only with violin, keys and girl vocals
instead of harsh song structures.
Now, I'm not gonna lie, Olenka Krakus, lead guitarist / singer ofthe
Autumn Lovers, is a beauty. I'm a big
dumb sap for lady singers with great
stage presence. Krakus brings an authenticity to her songs and doesn't fill
space with unnecessary movement or
banter. She and the rest of her London, ON-based outfit played a set that
felt seamless as they ran through older
tunes and a few from their latest And
Now We Sing. Songs like "Go" were
immaculate and I'm pretty sure they
played "Odessa." By far the sweetest
note came when Krakus alone closed
with an old traditional sung in her
Polish tongue. It was intimate and
personal live moments like these that
made it so worthwhile to bite at the
chance to check out a show after a
long grinding stretch of work. The
old world standard was the cool lullaby I needed to keep with me as my
lady and I made our way back home.
—Nathan Pike
COWARDS / THE NEW VALUES / ZOO
August 16 / The Astoria
Even though Black Summer is the
Astoria's new monthly goth night,
opener Zoo was the only group on
the bill that brought out that dark
and eerie edge. The solo act played
reverb-drenched tunes with vocals
so shrouded in echo as to be nearly
inaudible. Ashlee Luk's candy apple
red guitar, meanwhile, sounded like it
was set up in a cavernous cathedral as
it played along to pre-recorded tracks.
Unfortunately, the overall effect of the
one-person performance was hardly
organic. Out-of-sync finishes mechanically broke up each song, suggesting Zoo might have done better
with a backing band instead of her
loop pedal.
The New Values played a faster and
far more confident performance then
when I had seen them at Music Waste,
where a sound technician fiasco left
everything sounding terrible. Their
songs slid under the two minute
mark, but still gave guitarist Adam
Sabla and bassist Hayz Fisher plenty
of chances to trade off vocal duties.
This is a band with plenty of energy
to burn. Even if the crowd was stoic in
their enthusiasm, the dual frontmen
never missed a chance to jump around
to their manic beats.
Although I'd seen CoWards before,
their set for Black Summer still blew
me away with its brilliant intensity.
Burly vocalist Keith Wecker billowed
around, taking giant gulps of beer
between bursts of lyrics he hurled outwards to the audience like the angry
words of God. The drunken preacher
was joined by a noisy and thoroughly
loud ensemble. Taking obvious cues
from noise bands like Killing Joke and
the Jesus Lizard, Cowards provided a
steady, shuddering close to the evening. While they were a little rough
around the edges, maybe that's what
made them so much fun to watch.
—Fraser Dobbs
CAPITOL 6/WATERMELON/LOVE
CUTS
August 17 / The Biltmore Cabaret
Where was everybody? It started as
a real quiet night at the latest Rock
'n' Roll Pizza Party at the Biltmore,
despite my arriving nearly an hour
after the doors opened. Even then, it
was a good half-hour before Love Cuts
took the stage to greet a sparse crowd
scattered along the dance floor. The
brief set was full of timing miscues,
the timid, young band shows promise. There was something appealing
in their straightforward bass-drum-
guitar approach and careless, almost
whining dual female vocals leads.
Though it was an underwhelming
start, they should get a lot better with
a few more shows under their belts.
Watermelon came up second and was
the highlight ofthe night. Great lo-fi
drones and distortion buzzed brilliantly throughout the set, though
the drummer stared blankly forward
and the bassist strummed motion-
lessly. The frontman displayed some
ingenuity, however, as he completed
one tune using a broken guitar strap
and got through their final song even
though his guitar cut completely -unless that was how itwas supposed to
end. Either way, a much more powerful second act, engendering a livelier
atmosphere in the aftermath of their
drones.
Capitol 6 leader Malcolm Jack (also of
Sun Wizard) was certainly the most
popular guy ofthe night, hovering
around prior to his performance chatting with everybody in the bar, and
then proceeding to greet everyone
again as he took the stage. Capitol 6
follows in the footsteps of Sun Wizard, crafting rock songs adrift on a
mellow sea of reverb. They're an amiable group that writes good songs,
but there seemed to be something
missing. It wasn't quite enough, and
there was a sense ofthe show being
left unfinished; the show never managed to get into full swing.
—Andy Resto
STEFANA FRATILA / JONATHAN
SCHERK + SAM BEATCH / CRYSTAL
DORVAL/THOMAS WEIDEMAN
August 17 / The Prophouse Cafe
On a hot summer evening in East
Vancouver, three opening acts graced
the floor of the steamy, antique-
filled Prophouse Cafe before Stefana
Fratila capped off the night with an
anticipated headlining set.
Thomas Weideman was first to perform, delivering an experimental
cello set that he wrote before a family vacation earlier this summer. The
Cellist mentioned during his set that
he had created these songs quickly
and without much revision. Perhaps
itwas the sound system, but his vocals
were barely audible over the stringed
instrument.
Crystal Dorval was the second to play,
performing a short psychedelic rock
solo set. Dorval played with her head
down and her hair strewn over her
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face. Her mysterious stage presence
fit the quality of her instrumental set,
which captivated the audience in a
bewildering fashion.
By the time Jonathan Scherk (also of
Flash Palace) and Sam Beatch (also
of Bench Dawn Optimist) started up
their ambient, down tempo set, people were strewn in front ofthe stage as
though they were sitting in someone's
living room for a private performance.
Their set consisted of slowed-down
and multi-layered samples in the vein
of Boards of Canada with an Amen
Break thrown in for good measure.
The demure Stefana Fratila began her
performance with Weideman around
n p.m. Sadly, this was her last set in
Vancouver, as she will be moving to
Paris in early September. Shyly facing
the wall, Fratila thanked the audience
for attending. It seemed like an emotional affair for most people in the
room* as many fans were shouting
that they were sad to see her go.
Fratila primarily performed new songs
from her as-of-yet unnamed and unre
leased second album including an experimental track called."Red," which
she cO-wrote with Weideman. The
songs from her new album indicate
a departure from her earlier work,
which she wrote while still in high
school. The newer songs have fewer
vocal arrangements, are less poppy
and indicate that she's moving into a
new creative milieu by experimenting
with her song structures. ;|^i|j&SS
Late in the set, one ofthe many vertical
light fixtures to the left ofthe stage
area unexpectedly broke, ultimately
signifying the end ofthe night But
before bidding the audience adieu,
Fratila thanked the audience again
for being patient and staying late into
the night for her last Vancouver performance for some time.
—Christina Gray
REDBIRD / LAKEFIELD / ANA EGGE
August 18 / The Railway Club
Redbird's first appearance since the
release of their debut EP We're All
Friends and Lovers Until It Falls Apart was
met with a full house and a receptive
and appreciative crowd.
The show got offto a good start, however, with the acoustic folk stylings of
Ana Egge's, whose admittedly sparse
arrangements captured the audiences
attention with a quiet magnetism. Between songs, she took time to talk
about her interesting, albeit confused
citizenship, being a Saskatchewan
native who moved to the U.S. as a
child, all the while promoting new
album, Bad Blood, in a soft spoken
and gentle manner. Her between-
song storytelling, coupled with her
somewhat shy stage persona, put
forth the image ofa world weary
but perseverant country girl. Ana's
countrified blues, a la Joni Mitchell,
was soothing and meditative.
Next up were Vancouver natives
Lakefield, a five piece dance rock unit
whose set was easily the most romantic ofthe already very intimate show.
Keyboardist Kate Rossiter and Steven Luscher's vocals played off each
other in an almost adorable manner.
Hell, the group even has a track called
"Cupid" which Kate introduced as
"A song about anger, heartache, and
love." The group also showed an admirable level of versatility with their
songs. A trombone featured on at least
half of their set, and gang vocals appeared on at least two occasions. The
highlight of their set, and the evening,
was their performance of "Around
You." The lights went out during the
slow-burning ballad, highlighting
the glow-in-the-dark hearts taped
to each band member's chest which
flashed in time with the bass drum
beat as a beautiful trombone solo
filled the venue.
Redbird emanated an impressive level of self-assurance and confidence
when they took the stage. Acoustic
guitarist Savannah Leigh Wellman
was the clear star ofthe group, her
powerful vocals coloured by a strong
R&B/soul influence. The playful barbs
exchanged between her and guitarist John Sponarski made for some of
the funniest banter ofthe entire eve-
41 ning- the best bit being Sponarski's
deliberately self-aware quip, "Slow
songs suck!" arriving just before the
band launched into a ballad. Butwhile
Redbird did mix in some southern
rock, flamenco, and country elements
into their set, on the whole the individual songs failed to leave much of
an impression. This, coupled with
Lakefield's memorable set, meant that
Redbird's music did not leave much of
an impact on this writer. Sometimes
you just can't top a trombone solo.
—James Olson
CRAFT SPELLS / MODE MODERNE /
VILLE KULLA
August 19 / The Waldorf Hotel
There was certainly a nostalgic
warmth radiating from the Waldorf
during this triple bill of breezy new
wave mavens. The dancefloor was
already vaulting when Ville Kulla
stormed the stage for their live debut Unfortunately for the local five-
piece, their set was marred with some
serious sound issues. The mix was
muddy and the vocals were lost for
most ofthe set. It's a shame as their
enthusiasm was evident, and they
displayed a lot of energy with their
ethereal and eerie shoegaze sensitivity. Surely their next show will be an
audible improvement.
Thankfully all sound issues were
cleared up in time for Mode Moderne.
They were the centrepiece ofthe evening in more ways than one and their
goth rock distinction, though apt, is
a label they easily outshine.
Mode Moderne's set jumped around
from tunes off their top-notch self-
released long player,Ghosts Emerging, to
their recent "Real Goths" 45 to some
new material, too. All of which brazenly echo a distinct dispatch of inky
artists like Peter Murphy, Joy Division,
and Depeche Mode. Live there is an
urgency and danceable determination
driving their material, and yes, vocalist Phillip Intile communicates an
Ian Curtis-like intensity and aesthetic.
For a few numbers, though, he was
joined by keyboardist Rebecca Law
Gray's backing vocals, who added a
nice summery feel to their sometimes
bleak dancefloor dirges.
Guitarist Felix Fung also deserves
strokes for his boisterous guitar,
anchoring Mode Moderne into the
sweep of Johnny Marr. This segued
nicely into the headliners, Seattle's
Craft Spells, who also share an amity
for the Smiths.
Itwas easy to fall under the allure of
Craft Spells; their lush and snappy
sound bequests New Order or Echo
& the Bunnymen, sure, but their surprisingly bright and sunny three-part
harmonies set them apart form their
influences.
Craft Spells controlled the crowd as
they focused mostly on cuts off their
recent Idle Labor LP. "Party Talk" and
"After the Moment" especially dominated the room, creating an inescapable and steamy dance hall imperative.
Frontman Justin Vallesteros had star
quality to spare, especially when delivering lines like "I close my eyes and
I hope we never grow old," with desolate delight. Their sound is equal parts
new wave romance and post-punk
passion, all done in earnest diversion
and intensity.
At one point things got so intense, in
fact, that drummer Peter Michel de
stroyed his snare drum, temporarily
tarrying the momentum ofthe show.
But, in deus ex machina fashion, a replacement drum emerged from the
ether (perhaps courtesy of one ofthe
other bands?) and the frenzied dancing
and warm pop pageantry was restored.
After the show, the stirring night air
was a relief from the sweaty room,
and the gleeful rabble was more than
satisfied by what had been an electrifying evening.
—Shane Scott-Trains
HEATWAVE /PANTHER & THE SU-
PAFLY/DAVID MORIN
August 2 0 / The Electric Owl
Arriving at the Electric Owl a little after the doors opened was like walking
into a bingo night The crowd for this
cystic fibrosis fundraiser was mostly
white-haired.
The opening act was David Morin,
whose desperately smooth, souled-
out voice was accompanied by a guitar and a MacBook. Unfortunately,
he was outshined by his friends in
the Hawaiian shirts and tevas, who
were losing it on the dance floor and
42 colliding with the old folks jumping
and jiving nearby. Morin, meanwhile,
looped and layered his tracks and occasionally caught us off guard with
sweet sounding melodic riffs. I won't
tell this guy to go back to busking
on Granville, but that voice needs at
least a three-man band behind him
to succeed.
I met Panther & the Supafly in the
back alley before the show and was
immediately intrigued by the random
assortment of members. Onstage,
frontman Josh Panther spat rhymes
like "smoking weed yah, is betta than
smokin' crack" while attempting to
get the audience to put their peace
signs in the air. The lack of participation did not stifle his swagger,
though, and his high-energy performance, cut with the band's perfect set,
was something I believe Curtis May-
field himself might break down to.
West Coast hip-hop-inspired head-
liners Heatwave & The Vandettas
showcased their best coast steez. The
band dropped their rhythm and blues
melodies cleanly, as the drummer seta
metronomic beat that was unbroken.
The female keyboardist, meanwhile, |
laid out spontaneous pop-like melodies with her jazz-trained fingers.
Heatwave's lyrics may not be the most
original, though, with interjections
about the crowd being good people
"like baby Jesus" seeming slightly
off-colour. Cliches like "I love music" and "I had a dream about Martin
Luther King" felt superfluous. Clearly
not mimicking the '70s disco band
Heatwave, the group's genre-bending
is adding some fresh energy to Vancouver's hip-hop scene.
—Miriam Thorn
43 For more Information and to register for your
Firstweek wristband, visit us at: www.amsfirstweek.com
44 45 Anyone who has had the pleasure of tuning in to CiTR during the witching hour     the gothic traditions of artists like Skinny Puppy and Front Line Assembly. She
on Friday night/Saturday morning has no doubt been pleasandy surprised with
the dark and industrial sounds ofthe Vampire's Ball. The show has been hosted
off-and-on since 2002 by DJ, artist and engineer Pyra Draculea. Her tastes and
set-lists are steeped in the traditions of early electro-industrial pioneers and
also has her fingers firmly on the pulse ofthe local scene and
has released three EPs as maQLu, an alternative synth rock solo project. By day,
Draculea is the director of PR and A&R for Synthetic Entertainment, a local
alternative label and management firm.
Discorder: Do you get many requests during your late-night time slot?
Pyra Draculea: No, and I actually tend to semi-discourage them. I don't give out
the number because in years past I would get people calling in and wanting to
talk to me for the entire show. Also I find I get some requests that are relevant
and other times I'll just get people calling in to ask me to play the Smiths. No!
D: What has been your most memorable on-air moment?
PD: One night, I had Dave "Rave" Ogilvie of Skinny Puppy in, and he brought
all this old classic industrial vinyl with him. I was having trouble with the mixer,
or something, and he pulls out the perfect song for it: "Major Malfunction"
[by Keith LeBlanc]. I was like, "How'd you know I needed a new theme song!"
D: Who has been your best guest?
P: It's always fun when I have Kaine Delay from Left Spine Down on as a guest
DJ and we'll trade tracks, or I'll let him DJ and we'll blather in between. We also
had a show last January with Kaine, Jeremy Inkel from Left Spine Down—he
also plays in Front Line Assembly—and Kewy Mental from Fake Shark-Real
Zombie!, so we were doing the rotation where everyone got to pick a track. I
can only think ofa couple annoying guests I've had...
D: If you could only bring one album to a deserted island, which one album
would it be? ^W&^'-f'
P: The only things I've been listening to in my car, which is my primary listening
space, are Nine Inch Nails' The Downward Spiral, Marilyn Manson's Antichrist
Superstar, and, actually, the brand new Mother Mother album [Eureka].
D: What is your favourite CiTR radio show, besides your own?
P: I always had fun listening to [Luke Meat's recently retired] ANoiZE. Mondo
Trash used to be loads of fun, but I guess they're off the air now. It was Eu-
rotrash, electro dance stuff. They only went off the air recently and [former
host] Maxwell deejays a lot ofthe west end clubs. I sometimes stumble on
Caroline's show [Sexy In Vancity] and I think it's pretty good.
D: What does the future hold for the Vampire's Ball?
P: There's a bunch of quests that I'd like to get on. I've now had all surviving
members of Skinny Puppy on [the program]. Thank God I'm done that obligation! [laughs]. The only people I haven't really had on are KMFDM and Trent
Reznor, although I hear he's a lot less fun to talk to now that he's sober! And
Marilyn Manson...[but] what's the point at this point? Other than that, just
continue to find emerging talent.
Vampire's Ball airs Friday jrom Midnight to 4am / CiTR 101.9
46 t //CiTR 101.9F
STRICTLY THE DOPEST HITZ OF AUGUST
M CHAR1
rs
#
ARTIST	
ALBUM __
LABEL
„_#	
 ARTIST	
 ALBUM t
LABEL	
1
Austra*
Feel It Break
Paper Bag
26
Woods
Sun and Shade
Woodsist
2
Chad VanGaalen*
Diaper Island
Flemish Eye
27
Louis Burns*+
Mellow Drama
Light Organ
3
Braids*
Native Speaker
Flemish Eye
28
No Gold*+
No Gold
Unfamiliar
4
Battles
Gloss Drop
Warp
29
Apollo Ghosts*+
Money Has No
Heart
Geographing
5
Tzadeka*
Piece De Resistance
Little Whore
30
Joel Plaskett *
EMERGENCIES...
New Scotland
6
Eleanor Friedberger
Last Summer
Merge
31
Cousins*
Secret Weapon
Noyes
7
Gillian Welch
The Harrow and
the Harvest
Acony
32
B-Lines *+
B-Lines
Nominal
8
Tim Gerwing
Chikatetsu
Independent
33
Ron Sexsmith *+
Long Player Late
Bloomer
Warner
9
Various*+
CiTR Pop Alliance
Mint/CiTR 101.9 FM
34.
Peace*+
My Face
Pop Echo
10
Various *
National Parks
Project
Last Gang
35
Oh No! Yoko *+
Pau Pau
Independent
11
Heavy Chains*+
A Very Real Hell
Broadway to Boundary
36
Indian Wars*+
Walk Around the
Park
Bachelor
12
John Maus
We Must Become
the Pitiless...
Ribbon Music
37
Seaweedhead *
Pleasure Yourself
Independent
13
Babe Rainbow*+
Endless Path
Warp
38
Yukon Blonde*
Yukon Blonde
Bumstead
14
Teen Daze*+
A Silent Planet
Waaga
39
White Lung*+
It's The Evil
Deranged
15
Bon Iver
Bon Iver
Jagjaguwar
40
FineMist*+
Public Domain
Independent
16
Brian Eno & Rick
Holland
Drum Between the
Bells
Warp
41
Grimes/d'Eon*
Darkbloom
Arbutus
17
Thee Oh Sees
Castlemania
In The Red
42
Shearing Pinx*+
Rituals
Isolated Now
Waves
18
Bill Bourne & The
Free Radio Band*
Bluesland
Independent
43
Youssou N'Dour
Dakar-Kingston
Universal
19
SunWizard*+
Positively 4th
Avenue
Light Organ
44
Kurt Vile
Smoke Ring For My
Halo
Matador
20
Handsome Furs*
Sound Kapital
Sub Pop
45
TheOhWells*+
The EP That We
Lpve
Independent
21
Doug Hoyer
Walks With Tender
and Growing Night
Old Ugly
46
Sondre Lerche
Sondre Lerche
Mona
22
Deep Dark Woods*
The Place I Left
Behind
Six Shooter
47
Sonny & The
Sunsets
Hit After Hit
Fat Possum
23
Neil Young*
International Harvesters: A Treasure
Reprise
48
Mother Mother*+
Eureka
Last Gang
24
Kellarissa*+
Moon of Neptune
Mint
49
UNKLE
Only The Lonely
Surrender All
25
Timber Timbre*
Creep On Creepin'
On
Arts & Crafts
50
K.D. Lang and the
Siss Boom Bangs*
Sing It Loud
Nonesuch
CiTR's C
harts reflect what's been played on the air by CiTR's lovely DJs last month. Records with aster
sks (*) are Canadian and tl
osewitha plus (+) are V
incouver based. Most of
these e>
cedent albums can be found at fine independent music stores across Vancouver. If you
can't fi
id them, give CiTR's music c
oordinator a shout at (60^
1) 822-8733. We can tell
you how
to find them. Check out other great campus/community radio charts at www.earshot-online.cc
m.
47 to Zulu, Recoup
V
ISSUE CAPTUI0AU WE
FOLLOWING... i
EXCLUSIVE ACOUSTIC INSTORE
WITH MER6EREC0RDIN6 ARTIST
ELEANOR
FRtEOBEROER
(FIERY FURNACES FAME).
...ANO
MORE!
THE RAPTURE
How Deep Is Your Love
MoimYsmsm - nm tba
CHECK WWWJUtmECOm.COM FOR MOREQETAILQ...
COME EARLYSPACEIS LIMITED!
CURRENT FAV£$!\
► tMAfeSP twitter.com/zulurecords
k
i
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS
Mon to Wed   10:30-7:00
Thurs and Fri 10:30-9.00
Sat              9:30-6:30
Sun            12:00-6:00
t   *    h   h    www.facebook.com/people/
►   taceoooK    2^^^0^-1101^/680210042
t.
► tumblr.  zulurefitds.tumblr.com
m

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