Open Collections

  EDITOR'S NOTE
Here it is, the end of 2011.1 can't believe it's already been a year since I started
up at Discorder. Whether crammed into our offices up here on campus, or
checking in on things late-night from my laptop at home, the last twelve
months have been eye-openers. Just think of all the incredible local acts that
have been covered in Discorder since January—Dirty Beaches, Heavy Chains,
prOphecy sun, Teen Daze, Blackout Beach, Baptists, Vacant State...the list
just goes on and on, really. This issue alone collects some greats, whether it's
the free form art rock of Dixie's Death Pool, the downcast but hopeful piano
musings of expat Great Aunt Ida, or the undiscovered talent present on the
open mic circuit. Needless to say, 2011 wouldn't have been the same without
any of these artists' records or live performances.
While we're undoubtedly skipping over a few, both sides ofthe staff and
volunteer contingent for CiTRyDiscorder are playing the year end wrap-up
game and saluting their favourite records of 2011. Chances are you may have
a different top spot, but we're pretty confident these albums will stick with us
well past New Year's. For the record, I'd like to shout out Dirty Beaches for
delivering Badlands. The cyclical guitar chugs and Francoise Hardy samples
that drive this dark and brooding cinematic love letter to loneliness are gifts
that just keep giving.
On the topic of generosity, CiTR just wrapped up our annual Fundrive, and
we want to thank everyone who pitched in to help fund the station and the
magazine. Between the donations collected through our websites, over the
airwaves, over the phone and via our grand finale party at the Biltmore Cabaret,
you helped us raise over $23,700 this year. That's incredible! Thanks again.
Discorder's still got plenty of love to share this holiday season, namely
through our upcoming Discorder Contributors Art Show on December 16.
Please come on down to the Interurban Gallery and check out a whole room's
worth of work from some of our favourite contributing photographers, painters
and illustrators, including Louise Reimer, Tyler Crich, Melanie Coles, Andy
Dixon and more. The whole thing was put together by longtime volunteer
Robert Fougere and our old art director Lindsey Hampton, both of whom are
also featured in the show, and we can't wait to see what they chose. Be sure
to stick around afterwards, as the night will be concluded by some local faves
that graced our pages throughout the year: Shimmering Stars, Kellarissa and
Lost Lovers Brigade.
Finally, we wrap up our annual SHiNDiG competition on December 6 at the
Railway Club. Part ofthe prize for the top three spots is a feature in Discorder,
so you can rest assured that next issue, like always, you'll,be hearing about
some fresh new talent. I, for one, can't wait.
However you feel like celebrating this holiday season, keep yourself warm
and full of great tunes and good cheer. See you in 2012, everybody.
Discorderly yours,
Gregory Adams
EDITOR
GregoryAdams
ART DIRECTOR
Jaz Halloran
COPY EDITORS
Sarah Berman, Steve Louie
AD COORDINATOR
Maegan Thomas
UNDER REVIEW EDITOR
Sarah Berman
RLA EDITOR
Steve Louie
WEB EDITOR
Chirag Mahajan
CALENDAR LISTINGS
Hugo Noriega
ACCOUNTS MANAGER
Corey Ratch
OFFICIAL TWEETERS
Dorothy Neufeld
CiTR STATION MANAGER
Brenda Grunau
PUBLISHER
Student Radio Society of UBC
STUDENT LIASONS
Zarah Cheng, Dorothy Neufeld
COVER
Photo-. Victoria Johnson
Illustrations-. Lee Hutzulak
WRITERS
Sarah Berman / Kathryn Boothroyd / Slavko Bucifal /
Josefa Cameron / Sarah Cordingley / Alexandra de Boer
/ Fraser Dobbs / Robert Fougere / Brenda Grunau / Cail
Judy / Ashly Kissman / Peter Komierowski / Tristan
Koster /Kamil Krawczyk / Eddie Lam / Steve Louie /
Allard Ludwig / Chandra Martini / Grace McRae-Okine
/ Nathan Moes / Hugo Noriega / James Olson / Mark
PaulHus / Will Pedley / Jennesia Pedri / Nathan Pike /
Terris Schneider / Shane Scott-Travis / Luiz Felipe Silva
/ Zachary Stockill /Christian Voveris / Ming Wong
PHOTOGRAPHERS & ILLUSTRATORS
Tyler Crich / Robert Fougere / Randy Grskovic / Jaz
Halloran / Lee Hutzulak / Victoria Johnson / Steve
Louie / Sarah Reid / Daniel Thomas Williams /
PROOFREADERS
Sarah Berman / Steve Louie / Chirag Mahajan /
Maegan Thomas
©Discorder 2011 by the Student Radio Society ofthe University of British Columbia. All rights reserved. Circulation
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donate. FEATURES
08/World Club
Eclectic popsters World Club come across as a private bunch, but the
group graciously opened up over beers to offer insight on their equally
mysterious and driving non-LP, Live-able Via-bility.
10 / Dixie's Death Pool
There's no question that Lee Hutzulak is operating on a different plane
than the rest of us, as evidenced by his arty Dixie's Death Pool project's
latest mindbending, multilateral set, The Man With Elowering Hands.
Drink deep.
12 / Open Mies Galore
The Discorder team took to the coffee shops and restaurants ofthe city to
find some burgeoning local talent we might've otherwise missed on the
club circuit.
14 /Great Aunt Ida
On top of discussing her new album Nudearize Me, ex-Vancouverite Ida
Nilsen dishes on her new-ish Toronto digs, the great grilled sammies she
left behind and sympathizing with the world's ugliest cat.
161 Discorder's Favourites 2011
A cross-section of contributors and CiTR staffers filled us in on the
diverse assortment of tunes that ruled their respective lives this year.
19 / The Parish of Little Clifton
As it turns out, if Simon Bridgefoot weren't busy bulking up his ethereal
electro output as the Parish of Litde Clifton, he'd probably make one hell
ofa tour guide.
REGULARS
04 / The Overeducated Grumbler
oy j Filmstripped
20 j CaleTldaT j RandyGrskovic
11 j Program Guide
25 j Art PrOJeCt j RandyGrskovic
28 I Under Review
32 I Real Live Action
38 / On The Air / What Pink Sounds Like
39 /Charts THE OVEREDUCATED
GRUMBLER'S
HOLIDAY WISH LIST
by TERRIS SCHNEIDER
For some reason, the winter doesn't make me grumble as much.
Mostly because I am one of those saps that loves Christmas. Winter is
also the perfect setting to brood, which surprisingly makes me happy.
To make winter even more fun, there is so much great local stuff
coming our way in Van. If I wasn't a poor and starving writer cliche, I
would go to every evelit possible this winter. It seems like everything
is coming up at once and I wish I could see all of it. Anyways, here are
some of my recommendations for things to see this winter:
dan deacon December 2 • Rickshaw Theatre
I've heard his shows are mental! And who doesn't want to see a
chubby guy in giant glasses dance around and make us all smile. Plus,
his album Bromst blows my mind, and tickets are only 15 bones!
graham clark December 15-17 • The Comedy Mix
I'm a comedy snob, I'll be the first to admit it, and I enjoy Graham
Clark's and Dave Shuma's Stop Podcasting Yourself program. What I enjoy even more are Clark's hilarious tweets, which are reason enough
to check him out at the Comedy Mix.
dinosaur jr December 18 • The Commodore
Not only will Dinosaur Jr. be on the road with the kick ass Henry
Rollins, who will be interviewing them onstage, but they'll be playing their
classic album Bug in full. Seriously, everyone, that's the
album that had "Freak Scene" on it. It's an alt-rock staple. Getyer tickets!
tree lighting event December g • Jack Poole Plaza (a) Vancouver Convention Centre
I already admitted to being a Christmas loving dork, so why not feel all
warm and fuzzy and check out the Rockefeller Center-style Tree Light
Celebration at Jack Poole Plaza. The event is a 50 foot tree lit up in frofrbbF -
the gallery with some Christmas soloists and a special guest appearance by
none other than SANTA CLAUSE! Why not have a feel good moment this
winter, am I right? And this is coming from me!
Just so you all don't go too crazy, I am still my cynical self. I will share
with you my least favourite thing about Christmas. Is it eggnog? No, are
you crazy? I'm cuckoo for eggnog. The worst thing about Christmas:
SHOPPING MALLS.
My biggest problem when I go out shopping is that the other shoppers are always in la-la land. I do my Christmas shopping two months in
advance just so I can avoid this. Yes, I'm neurotic and irritable but come on
people, can you please just pay attention to what you're doing? Everyone
is walking at a turde's pace and not paying attention, and I just want to
knock people down. Yes, children included. You should be looking after
them, parents. Sheesh. Anyways, just had to get that off my chest. Happy
Holidays, everyone.
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by TERRIS SCHNEIDER
Everybody has a story about the Replacements.
At least, according to the music documentary
Color Me Obsessed: Ajilm about the Replacements.
The film, directed by Gorman Bechard,
features stories told by all sorts of musicians,
critics, writers, producers, and fans inspired
by the long-gone Minneapolis punk rock band,
including the Decemberists Colin Meloy, Grant
Hart of Hiisker Du, author Caryn Rose, Craig
Finn ofthe Hold Steady and One Tree Hill creator
Mark Schwahn, who was surprisingly cool. Even
comedians Dave Foley and Tom Arnold show
up, illustrating the Replacements' devoted and
varied fan base.
Differing from other music docs, Color Me
Obsessed features no live footage or audio clips
from the band, and while there are countless
talking heads, interviews weren't conducted
with singer/guitarist Paul Westerberg, 1
Tommy Stinson or drummer Chris Mars [guitarist Bob Stinson died in 1995]. This was intentional, however, and gives the audience a chance
to reconstruct the band through the stories told
by their most loyal fans.
Memorable concert experiences were
recounted, including several recollections about
the band's alcohol-influenced performance
meltdowns, or the late Bob Stinson's crazy
onstage outfits (a tutu without underwear, Dr.
Seuss leotards, performing inside a garbage
can). We also got a sense ofthe band's relationship with long-time manager Peter Jesperson
and with the indie imprint Twin/Tone.
The only issue with this film is that it's
much too long for a format that only features
talking heads. There was a long segment about
how the Replacements' music affected people
personally that could have been left out. Mostly
because this can be said about any band and
didn't necessarily seem to reflect the band's
individuality.
That being said, this film is definitely
worth the watch, whether you're a fan ofthe
Replacements or have never even heard of them.
Gorman Bechard will be screening
Color Me Obsessed: Ajilm about the Replacements and
holding a Q&A at the Waldorf Hotel on
December 2, with an afterparty to follow featuring performances from White Lung, Defektors
and DJ Tyler Fedchuk.
^
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With:
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»I#<*MER WORLD I LIVE-
PI MR ABLE
ULUDiV|A_
BILITY by JENNESIA PEDRI
photo by DANIEL THOMAS WILLIAMS
hen I arrive early to meet World Club at an
East Vancouver pub, I casually take a seat at
the bar and place a drink order. "Comin' in
to work?" the man drinking next to me asks,
mistaking me for an employee. "Kind of," I
say scanning the faces in the room, "I'm here
to interview World Club." A waitress with a
burgundy coloured bob sets a pint down in front of me. "Who's in the club?"
he persists. I'm not exactly sure, so I say nothing and wait.
A while later, in walks a striking blonde accompanied by who I'm guessing are her three fellow bandmates. The blonde introduces herself as Janine
Prevost, shakes my hand and invites me to take a seat at a glass fable top framing an old map ofthe Georgia Strait. In a few minutes we're joined by Tyler
Dunn, Josh Harskamp, and Randy Szmek, who set their drinks down and take
off their heavy coats. Together the four make up the uniquely experimental
soundscape that is World Club.
Outside the autumn air is cool and calm, but inside the pub is warm and
noisy with the banter ofthe Tuesday night crowd. The casually dressed foursome formally introduce themselves, spelling out their last names, which until
then had been a mystery to me. They're the type of artists who value privacy,
more interested in being recognized by their sound than by the details of their
personal lives. Together they've played all over Vancouver's indie scene. From
their basement beginnings to opening for Japandroids and touring across the
United States, they've garnered a reputation without much self-promotion
and without any official management.
Tuning out the sound of top 40 coming through the bar's speakers and
the loud chatter coming from adjacent tables, we settle into a discussion of
Live-able Via-bility, the group's.most recent and most involved project to date.
The idea for the collection came into fruition last February, just three weeks
before recording at the Factory Studios in Vancouver with friend and audio
engineer Hayz Fisher. In one session, the quartet recorded a continuous set,
approximately 38 minutes long, then spent the following three months adding
layers of samples and vocals over the master.
"It turned into way more of an intense project than we had originally decided
it would be," Szmek tells me, "We were calling it a mixtape at first."
Harskamp adds, "by the time we were done, it felt more substantial than
that, but it's still not the World Club album. It's not our first album, that's
coming, we're working on that now."
The waitress with the burgundy bob interrupts, sliding a plate of food
across the table to Dunn who carries on describing how they turned the 38-
minute continuous recording into discrete tracks between bites of his reuben
and fries: "You can listen to it all the way through and the songs transition
into each other because we rehearsed it that way." He emphasizes that the
songs all started as their own entities, but they then sought ways to make
transitions between the numbers. Recording in this way took track sequenc
ing out ofthe equation, making the most out of their studio time and what
resources they had available.
Live-able Via-bility is more than the result ofa recording opportunity. As its
title suggests, it's a kind of philosophy that demands you make use of what's
in your environment if you're going to accomplish something. The group's
approach to collaboration is influenced by this mentality. No one member of
the band is responsible for playing a single instrument, a formula Dunn calls
an outdated business model. Instead, the group pools their creative resources
in order to produce sounds that are representative of their particular time and
place. They're not interested in repeating existing and readily available sounds.
When describing World Club's music, all the familiar genres fall short; it's
better described as a process they've referred to as "sound design."
Dunn says the songs on Live-able Via-bility reflect the sort of uneasiness
of "being in your mid-20s and not knowing what to do with your life," while
Szmek offers that "it's about being economic within the chaos and moving
forward." Movement and transition are appropriate words to describe both
the band's forward thinking approach to music-making and the project's
overall sonic quality.
Each track flows easily into the next in a mix of up-tempo drum beats,
psychotropic vocals and prismatic synth interludes. Epic opener "Manmade
Lake" is a strong intro to the kaleidoscopic recordings. Prevost's dreamy vocals
and the ethereal, clock-chiming synths on "Tide in and go Fading" are a stark
contrast to the more lyrically provocative "Tents/Tense," with its allusions to
recent political turmoil in the U.S. The track then trails into the siren sounds
and primal drum line of "Vaguenomfes." The next three songs shift downward,
spiral-like, into choral vocal arrangements. The skittered "World Swallower"
ties a frenetic, polychromatic bow on the whole thing.
Dunn uses the analogy of moving through different rooms in a house to
describe the way they envision the listener shifting through Live-able Via-bility.
There's an edginess to the group and a savvy confidence to what they're doing,
whether they're conscious of it or not.
The pub is getting a bit louder. Prevost slides the audio recorder closer to
Dunn who's now telling me about his vision for what they do next: "we want
it to be almost kind of pretty, something that's not monochromatic at all."
The four debate whether the new album has actually begun, but it's really
only a matter of time, Szmek assures. "We're being as creative as possible," he
pauses, "and I think we have started it, but it's more in an unconscious state
at the moment. What it's going to exist as ... well, we're usually very wrong
because it sort of takes on its own shape." g§| ",*,,..; .
by FRASER DOBBS
photos by VICTORIA JOHNSON
Heath
POOL
I
!■
y«
Le^Ssfakk is probably looking at
ghosts and spectres over my shoulder
while we're drinking coffee at Kranky
Cafe on a crisp autumn morning. I can't
shake the feeling during my interview
with him that this artistic clairvoyant
is working on a more inspired and
ethereal level of existence than myself,
and nowhere is this more evident than
on The Man With Flowering Hands, his
latest release under the Dixie's Death
Pool moniker. Bound with an acoustic
guitar but bursting with colorful
samples, recordings, and instrumental contributions from a long list of
Vancouver musicians, sitting down to
discuss the downright weird and mystifying recording with Hutzulak and his
brother Todd—who added guitar, bass,
trumpet, and clarinet, among other
instruments, to the collection—was
like peeking at the inner workings ofa
complicated timepiece. DiSGOrder: How long has this record been in
the making?
Lee Hutzulak: I think the oldest thing on it is
.    the title track, which we recorded in 2004
starting with a broken piano.
0:     And that was the basis for the track?
LH: I dug it out in 2010, scraped offa whole
bunch of awful stuff and went back to the
root of that song and got really excited about
it again.
D:     There are a lot of musicians' names attached to The Man With Flowering Hands.
Do you see your role within the group as a
composer?
LH:   A lot of it is improvised—composing in
the act of overdubbing, I guess.
Todd Hutzulak: Whenever I get together with
Lee, maybe there will be music already, or
maybe I'll just play and meld, twist, shape
it into whatever it's going to end up as.
LH:   I don't know if it really feels like a collage.
I've tried to blur the edges as much as
possible.
D: Are you comfortable playing this album in
a live environment?
LH:   There's a few songs on the new album that
I could play live—it would sound quite
different, but the root ofthe song being
played on an acoustic guitar is the same.
D:     Do most of the songs follow that
Structure?
LH:   The track "A Return To Science Fiction"
was improvised on the spot, with all the
instruments, and then we came up with
other sounds to layer on top. I would liken
it to Talk Talk trying to play [their 1991
album] Laughing Stock; it's not an album
that's meant to be performed. The recording is the work of art, and the live show
would be something different altogether.
D:     Can you talk about the recording techniques you used on this album?
LH:   I've used a lot of hand-built, homemade
instruments to make [the sounds on the
record]. The main one, I guess, is the
"Epic Frying Pan," which is a cast-iron
frying pan with desk-lamp springs strung
over it—it's like a spring reverb that you
can throw around. I played with rubbing a
guitar pickup over the springs or attaching
it to the underside. In "Paper That Folds
Itself" there's some field recording, so
that opens up the limits ofthe sound palette quite a bit, because certain acoustics
and ambiance you can't achieve'inside.
D:     Can you elaborate on the field recordings?
LH:   The ones that hit me the most are the
trains down on Alexander Street—listening to the trains hitch up together, it's just
huge. We had a family reunion on Salt
Spring Island recently and I wasn't sure
what I'd get—the first time I went there in
2007,1 got this morning chorus of birds in
the woods as they were waking up, but this
time I got some sounds ofa dock and a
rowboat knocking against it. You can hear
that on "Paper That Folds ItselP too. Being out there on the water jumping up and
down on this dock, that kind of physical
energy, I hope, made its way into the song.
D:     You recently got back from Japan. Had you
recorded anything there?
LH:   Crickets! You don't hear crickets in
Vancouver. I was up at three in the morning [recording them]... from different
perspectives, there was a lot less activity. I
noticed [after listening to the recording]
that there was a newspaper being delivered
by moped—when you're recording something that quiet you [can] hear a car miles
away.
D:     The title of your album, The Man With
Flowering Hands, comes from a drawing you
completed in 2009.
LH:   There's not necessarily any correlation.
I'm attaching a title to a visual image,
but it's also making a mental note of it
to somehow work its way into the music.
It's there as lyric fodder at some point, to
become a line in a song. I tried to write a
song about the man with flowering hands,
but it hasn't gone anywhere yet.
(We wrapped our interview here, but
Discorder still had a few more q's for
Hutzulak, which he responded to over
e-mail).
D:     You mentioned that your mandate was
to create music that you wanted to listen
to, and that you'd created some music in
the past that you wouldn't listen to again.
How has this documentation made you
change as an artist?
LH:   For the better part of the last decade I was
pretty much improvising exclusively, and
recording a ton. A lot of it for me was
about developing language and technique.
It almost didn't make sense to me to
play without recording. It was incredibly
refreshing and freeing from the world of
song, an extended sojourn in the sonic
wilderness. While improvisation will
always be an important part of my work
musically, it is only a piece ofthe picture.
My greatest love as an artist is the studio
album, and crafting what I call pop songs.
Pop songs and breathing spaces for them
to live in. Improvisation and experiment is
big part of what makes pop music magic
though. I believe the most successful pop
songs (to my ears) are the result of this
type of innovation. Sometimes the experiments in improv were more than anything
else about exploring the edges — getting
out ofthe comfort zone; experiencing your
personal ugly. Listening to your personal
ugly can lose its luster — maybe it's not
really meant to be listened to over and over
again, unlike pop music.
11 intro by EDDIE LAM   illustrations by JAZ HALLORAN
Believe it or not, some well-known B.C. artists
have started out doing open mics before getting to
where they are today, including the lovely Carly Rae
Jepsen, the exciting Vancouver band Hey Ocean!
and even the 2010 Juno-nominated twins Carmen
& Camille!
Open mic nights are a great way for musicians
to not only showcase their established work, but
also to experiment with new songs or works-in-
progress. Whether you're a rising star, an artist
who's starting out, or just wanting to play music
for the fun of it, the stage is always open for those
who enjoy playing in front of an audience, earning
smiles one song at a time.
In this issue, we mention some ofVancouver's
well-known open mic spots that are available for
your musical needs and pleasure.
The Libra Room
1608 Commercial Drive
When: Mondays from 9 pm to Midnight
Cost: Free
Though used to going to the Libra Room to witness highlights from the local jazz scene, I was
curious to see how this bar would reinvent itself
as host to one ofthe city's many open mic nights.
Every Monday, this jazz club lends its stage to a
structured jam session with various blues, rock,
folk and jazz acts. Performers are asked to sign
up before 9PM and entrance is free to all. A donation jar did, however, circulate early in the night,
which seemed to be both a reasonable and a discretionary option.
Performers came in a range of numbers and
skill levels, playing original pieces and cover songs
from such groups as the White Stripes, the Byrds,
and the Beatles. Although talent varied, the quality
range remained somewhat minimal; worth noting for those who seek out open mic nights as a
place of sanctuary for drunken bellowing. Indeed,
there seemed to be an element of judgement in
this location; a sort of performance standard absorbed in the marble table-top decor and a definite
sobriety in the drink prices. Most apparently, the
Libra Room is a place you come to support your
friends who are musically inclined, or at least a
place for a Monday night conversation and cocktail.
Although relatively casual, the Libra Room is far
from embracing any sort of musical debauchery
and conversely succeeds as a reputable location
for musicians to mingle and jam in a respectful,
fun atmosphere.
—Alexandra de Boer
Rowan's Roof Restaurant & Lounge
. 2340 West 4th Avenue
When: Wednesdays from 9 pm to Midnight
Cost: Free
I showed up at Rowan's Roof at 7:30, planning to
have some tea and get some work done before the
action started. As it turns out, it's not really that
kind of place. The large open space, tiled floor,
and curtained stage at the front give the restaurant
what my pal Mark called "an empty gymnasium
feel." Rather than tea; I took advantage ofthe
good Wednesday night special: $4 draft beer and
40 cent wings.
Things got started around 8:45.1 got the
impression that it would be a lot of fun to perform
here—the sound quality is good, and even though
the crowd is chatty, the ambient noise doesn't
overwhelm the music. Ian, the night's organizer,
is extremely accommodating and helps performers with set-up.
By 10 the place was hopping and there
seemed to be lots of regulars who were happy to
back each other up with some guitar or sick beats.
Guitar covers dominated the night, interspersed
with some hip-hop freestyling now and again.
The performers were also almost exclusively men.
When I left a little after 11, the first woman ofthe
night took the stage to be Rhianna to her friend's
Eminem on "Love the Way You Lie." Talented
women, here's a chance to represent and score
some cheap wings on a Wednesday night
—Chandra Martini
CafS Deux Soleil
2096 Commercial Drive
When: Thursdays from 9pm to 12:30am
Cost: $5
This open mic night needs no introduction at all,
but for the uninitiated, Ca£6 Deux Soleil is one
of Commercial Drive's iconic hot spots for live
entertainment It's one ofthe most packed open
mics in town, with a diverse roster of musicians
vying to showcase their talent.
Instead ofthe first-come, first-serve system
employed at many open mics, Cafe* Deux Soleil
draws names out ofa jug, due to the high volume
of musicians that show up. Fifteen lucky musicians
get picked per night and get the chance to play their
music in front ofthe spot's large crowd. Even if
your name doesn't get picked, it stays in the jug,
guaranteeing you a spot eventually. It's a fair way
to give a variety of musicians a chance to play.
And from a business perspective, considering the always-excellent turnout, this spot is a
great way to increase your fanbase and network
with other musicians.
Additionally, not only do you get a good dose
of music, but you also get to buy some yummy
vegetarian treats and sugar-coated goodies to
indulge your sweet tooth. I encourage any musician and music fan, particularly those who adore
Commercial Drive, to come to a place that makes
Thursday the new Friday.
—Eddie Lam
12 Corduroy Lounge
1943 Cornwall Avenue
When: Tuesdays from 8:30pm to 12:30am
Cost: Free
The Corduroy Lounge is located in the beautiful
Kitsilano neighbourhood on Cornwall Street, between the Burrard Bridge and Kits Beach. Hosted
by the musically awesome David Morin and a tall,
talented guy name Mike, the Corduroy Lounge
open mic has a very relaxed, candle-lit atmosphere.
You don't even necessarily need to bring an instrument to the venue, both a piano and a drum kit
are available. From a musician's perspective, the
sound system is excellent as they have a good
quality speakers and monitors. You'll often see
the regulars, including acoustic six-string virtuoso
Don Alder and actor/singer Gary Chalk, showcasing their amazing skills and delivering high-energy
performances that will blow you away.
Definitely a place worth checking out. I'd
also recommend you stay for the food and drink
specials.
—Eddie Lam
/   ~J      ^/4T\ Vancouver's Oldest Independent Record Store .  -^
threat Esra^
13 ii
We're all sleeping next to an impostor," Ida Nilsen sings on "Distant Cousin," a
standout track from Great Aunt Ida's new album, Nudearize Me. She does so with
a matter-of-factness and quiet confidence that runs through much ofthe outing,
betraying the artistic and perhaps the personal growth the singer-songwriter has experienced in
the five years since her last effort, 2006's Hoiv They Fly. On that disc, Nilsen's voice and words
occasionally sounded wide-eyed and uncertain. Nudearize Me, in contrast, is the sound of an artist
looking in the rearview mirror and admiring those twists and turns in the road fading from view
with equal parts sobriety, and anticipation ofthe twists and turns still to come.
Perhaps we are all sleeping next to impostors. Perhaps initially we cannot see those with
whom we share a bed for the imperfect, uncertain, and frightened souls they often turn out to
be. The clarity that time and distance so graciously provide us with can dull the sting and regret
associated with the vulnerability of past love. However, that's not to suggest that this distance
makes for uninteresting art. Nudearize Me is rich and slow-burning, only revealing itself fully as a
statement after multiple listens. With each listen, songs like "Your Window," ("Have you looked
in all the places you have been over the last year?") and "Romance" ("I don't want to know the
rules to your game—I would rather play it sideways") reveal less sadness than inquisition; less
melancholia than meditation.
14 INTERVIEW BY
ZACHARY STOCKILL
ILLUSTRATION BY
SARAH REID
Discorder Magazine
recendy caught up
with the Vancouver
expat via telephone,
where she|poke of
sandwiches, songwriting, and scary
album covers from her
Toronto apartment
Discorder: First off, let me congratulate you on
an absolutely stunning/terrifying album
cover [ed. The couer in question is a stone-faced
portrait ofa seemingly hairless Sphynx cat]. I
have to ask: what's the story there?
Ida Nilsen: [Laughs] Thatwas kind of
accidental, actually... I was doing Google
image searches for the word "nuclear"
and that cat came up! I thought it was awesome, and it fit somehow.
D:    Are you the terrifying hairless cat then? Is
that how it "fits?"
IN:   No, although I do feel there's something
about the expression on the cat's face
with the furrowed brow that I can
certainly relate to. One or two people have
told me that it kind of looks like me in a
strange way.
D: It's been about five years since your last
record. Why did you decide to do something new now?
IN:   I started [Nudearize Me] two years ago. I
recorded all of the bed tracks two years
ago, and I didn't do anything with it.
1 There were a lot of changes in my life, and
I wasn't feeling particularly... I don't know.
Attef living in Toronto for a little while, I
felt a little bit turned off by how everyone
here is doing something constantly, and it
really kind of made me want to do nothing
[laughs]. It was quite difficult to get back
into it. I got a grant from the Ontario Arts
Council, and I felt like I should get my act
together and finish it. Setting a deadline
certainly helps!
D:    Where did the songs on the new record
come from? They seem sort of—confessional is probably the wrong word—but
it seems as if you're putting a lot of "yourself" in your lyrics.
IN:   Moving, relationships ending, relationships starting... nothing really specific. I
actually felt like I'm being a little more
hidden than I have been in the past... Just
starting with an idea, but letting things
become fictional when they need to suit
the song.
D:    As a songwriter, do you ever give thought
to exactly how much of yourself you want
to put out there? Is there a line where
something you write or sing becomes too
personal?
IN:   I actually find that when I'm writing
something that is really straight from my
head... then it really needs to change. Like,
I'm being too self-indulgent and it's not
really good enough. I think that for this
record, more than I have in the past, I was
just trying to write good pop songs, and have
them be less to do with "me" in a certain way.
I realize that it might not come off like that,
but if you listen to some of my earlier stuff
it's way worse. [Laughs]
D:    That's really interesting. I mean, your new
record almost puts me in mind of something
like Blue by Joni Mitchell, where it's very
much just like, "Here's where I'm at right
now." Just my ears, I suppose.
IN:   I definitely see how you can hear it that way. I
like to make people feel personally involved,
if that makes sense. But that being said, I did
try to make it a little more universal, rather
than it being all about me.
D:    What do you miss about living in Vancouver,
and how does Toronto compare as a city/
music scene?
IN:   I miss a certain spirit about making music in
Vancouver that doesn't seem to be
[in Toronto). I feel like most people I knew
[in Vancouver) weren't trying to be famous,
or really successful... those weren't really the
motivating factors for people trying to make
music. It feels like a bit ofa generalization—
it might have just been the environment that
I was in—butTorontonians are really excessive self-promoters, I find. Everyone's doing
things constantly and there seems to be a lot
of ego involved in it. It feels a bit different.
I miss living close to my family... I have
a lot of good friends in Vancouver who I miss
a lot. I miss my favourite sandwich! There's
a deli around Commercial Drive and 3rd that
does really awesome grilled sandwiches.
I haven't been able to find a place that does
one quite like that [in Toronto]. They mostly
I    sell jars of things imported from Italy, and
there's 'a huge cheese counter, but at the
back they do grilled sandwiches that are
really delicious. I can't even remember
1    what it's called! Crazy, I used to go there
constantly.
great aunt ida is playing Vancouver on
December 19 at the Waldorf Hotel. For more
information, see http://greatauntida.ca.
zachary stockill is a freelance journalist and
graduate student at UBC. Follow him on
twitter (<Dzfstockill, or visit his website at
http://zfstockill.com
15 FAVOURITES
DISCORDER'S CONTRIBUTORS
SOUND OFF ON THE TUNES
THAT MADE THEIR YEAR
illustration by
TYLER CRICH
local: Like a kiss goodbye from a lost Kenneth
Anger soundtrack, Dirty Beaches' Badlands runs
a nostalgic circuit; one riddled with heartache
and haunted by lonely lo-fi phantoms. Alex
Zhang Hungtai is a one-man miracle.
non-local: tUnE-yArDs' sophomore release
WHOKILL wobbily stands without peer. Defying
genre classification, this pastiche of art rock,
folk, hip-hop, R&B, and everything else in Merrill Garbus' compass, is a piece de resistance.
local: Sun Wizard — Positively 4th Avenue.
The soundtrack to my summer. All you need
is Positively 4th Avenue and a nice steak for a
great BBQ.
non-local: The Horrible Crowes - Elsie.
Grim soul music from Brian Fallon ofthe
Gaslight Anthem. Front to back, the album is
a pitch-perfect blend of Tom Waits and Bruce
Springsteen's darker sides, with Fallon's own
unique brand added to every song.
local: B-Monster—At Large.
Fun, rowdy, and non-presumptuous. Pure balls-to-
the-wall rock 'n' roll.
non-local: M83 - Hurry Up, We're Dreaming.
Both its stunning electronica melodies and soft,
down-to-earth compositions make this album
highly enjoyable.
16 local: I'm going to say that my pick is Young
Galaxy's Shapeshifhng, with "Peripheral
Visionaries" being my favourite track. Dream
pop at it's best [ed. While Young Galaxy is currently
based out of Montreal, they jbrmed in Vancouver]
non-local: I'm giving the Best out-of-town
disc to Gang Gang Dance's Eye Contact.
B
local: Various Artists — Nite Prison.
An excellent selection of local punks and freaks.
All recorded at Nite Prison studios for super
cheap, this album features unreleased tracks by
some of my favourite local skids.
non-local: Yamantaka//Sonic Titan—YT//ST.
A ferocious, unpredictable exploration of
ancestry, art, and appropriation. Cleverly self-
described as "Noh-wave," this Montreal-and-
Toronto-based collective seamlessly combine
wildly diverse musical and cultural elements
into a cogent and thoughtful masterpiece, from
soft, dreamy pop to pummelling skronk.
local: Aaron Read — Bubble Skulls.
You never know when Aaron's going to play a
show. It's kind of rare. Fine. Then he comes
out with this little gem on Bandcamp and it
just makes me think he's perfecting some little
bedroom pop thing. How many times have I
listened to "Gold Head?" Probably my favourite
local song ofthe year.
non-local: Seapony — Go With Me.
I've been to six Seapony shows this year—so far.
Which must mean I really like their debut album
Go With Me. My summer soundtrack ofthe year.
local: Babysitter—Tape III.
In just over a year, Babysitter put out five tapes,
a single and a split EP. It's very hard to pick a
favourite because they all feature Babysitter's
signature blend of reverb, distortion and lyrical punch, but Tape III resonates with me on a
personal level.
non-local: Smokey — Smokey.
This seven-track album was released as a
limited edition cassette tape just over a year ago,
but only recently available for free download
from smokeycoon. bandcamp .com. Includes a
mind-blowing down-tempo folk cover of
Whitney Houston's "Dance With Somebody,"
reworked here as "danse w/ sumbody."
LOCAL: MYTHS — MYTHS.
Supercharged electro-noise with a semi-
psychotic swagger. First caught them opening
for HEALTH and they've been terrifying me
ever since. "Deadlights" is basically Alice Glass
squared.
non-local: Nguzunguzu—The Perfect Lullaby.
A labyrinth of stripped-down loops and beats
referencing '90s R&B chart-toppers, Angolan
kizomba and zouk in equal measures. Truly the
only possible way to enjoy eight hours trapped
in a Mozambican airport.
local: Drawn Ship — Low Domestic.
Ex-Portico frontwoman Lyn Heinemann really
knows how to write beautiful songs, and as a
stripped-down two-piece, she and drummer
Gregg Steffensen make excellent use ofthe
minimalist aesthetic. While most ofthe album
is humble, quiet and intimate, standout tracks
"Sick With The Sound" and "Adventure Series"
bring serious intensity to a phenomenal record.
NON-LOCAL:
This Will Destroy You—Tunnel Blanket.
Okay, maybe not the most obvious choice, but
for a band that has constantly decried the "post-
rock" tide, this is their first record to deliver
on a less pigeon-holed sound. Production
quality here is what makes Tunnel Blanket such
a phenomenal album, as each droning noise
crescendo and cymbal crash is perfectly represented. Every audiophile owes it to themselves
to put this vinyl on nice and loud, and to drown
themselves in the crashing sonic waves.
local: My top choice is Siskiyou's Keep Away
The Dead. There's a gothic feel, with just the
right amount of folk to it
non-local: My most anticipated and most
played non-local disc of 2011 is Ohbijou's
Metal Meets. Ever since I saw them live two years
ago at a small pub in Toronto, I've been enchanted
by Casey Mecija's haunting vocals and the group's
masterful relationship to their instruments.
local: Destroyer's Kaputt.
It causes eargasms.
NON-LOCAL: tUnE-yArDS—WHOKILL.
This one-person project blew my mind with the
video for "Bizness," and the Ad-Rock remix of
"Gangsta" sealed the deal. One of my favourites
of 2011, hands down.
local: Aaron Read — Bubble Skulls.
With the quirky honesty in its lyricism, the
charming inquisitiveness in its soundscapes
and a sense of modesty/vulnerability that makes
it awkwardly personable, Bubble Skulls is the.
art-pop substitute for your shy-yet-brilliant
childhood best friend.
non-local: Long Long Long—A Girl Drinking
Orange Juice Feels Acids On The Sides Of Her Tongue.
She Also Smelk Citric Aromas And Feels The Wetness
And Cold (seven-inch).'
In just 5 minutes and 57 seconds, the Long
Long Long dudes were able to use their jangly
guitars, Beach Boys vocals harmonies, and their
somewhat linear song structure to portray the
dismal hopelessness I have felt since I was the
age of 18. "I'm not worried about the future, I'm
not sure that it's even real." Me Neither.
local: Aunts & Uncles—Aunts & Uncles.
This five-song debut has everything that makes
me happy with music. It's got a quirky, folk-jazz
feel, a cheeky punk drive, smart lyrics and a
whole gaggle of instruments played by three
well-respected and fantastic musicians.
non-local: Fucked Up — David Comes To Life.
Part punk rock opera and part concept album,
David Comes To Life is a sprawling mass of an    '
album that continues to surprise me with each
listen. Huge and multi-layered, dynamic and
invigorating.
local: Oh No! Yoko—Pau Pau.
I'm going to shout out to this band of Abbotsford boys. Their songs are quirky and infectious,
and make me grin from ear to ear.
non-local: Braids—Native Speaker.
I listened to this album ad nauseum, with toes
tapping to the textured layers of voice and
rhythm.
17 lor, free for
MK I
members)
212 Productions
The Bike Kitchen
Flaming Angels
The Kiss Store
Rufus' Guitar Shop
454 W Cordova St.
6138 SUB Blvd.
Boutique
319 CambieSt.
2621 Alma St.
604-685-2426
604-822-BIKE
4307 Main St.
604-689-3224
604-675-9972
604-222-1717
Antisocial
Blim
Lucky's Comics
Scratch Records
Skateboard Shop
115 East Pender St.
Fresh is Best Salsa
3972 Main St.
1 East Hastings
2337 Main St.
604-872-8180
2972 W Broadway
604-875-9858
604-687-6355
604-708-5678
778-737-2442
Bonerattle Music
Pacific
Temple of the
Australian Boot
2012 Commercial Dr.
Gargoyles Tap and
Cinematheque
1131 Howe St.
Modern Girl
Company
604-251-BONE
Grill
2695 Main St.
1968 West 4th Ave
3357 West Broadway
604-688-8202
778-737-8953
604-738-2668
Devil May Wear
604-733-1159
3957 Main St.
People's Co-op
Vinyl Records
Audiopile
2016 Commercial Dr.
604-216-2515
Gumdrops
Bookstore
319 W Hastings St.
2029 W 4th Ave.
1391 Commercial Dr.
604-488-1234
604-253-7453
Dr. Sun Yat-Sen
Chinese Garden
604-733-1037
604-253-6422
The Wallflower
Band Merch Canada
578 Carrall St.
Hart and Sole
Prussin Music
Modern Diner
www.bandmerch.ca
604-662-3207
Clothing Inc
3607 W Broadway
2420 Main St.
843 Granville St.
604-736-3036
604-568-7554
Banyen Books
Dream Apparel
604-630-9151
3608 W 4th Ave.
311 W Cordova St.
Red Cat Records
UBC Bookstore
604-732-7912
604-683-7326
Highlife Records
43.32 Main St.
6200 University Blvd
1317 Commrecial Dr.
604-708-9422
604-822-2665
Baru Cafe
The Eatery
604-251-6964
2535 Alma St.
3431 W Broadway
The Regional
Woo Vintage
604-222-9171
604-738-5298
Hitz Boutique
Assembly of Text
Clothing
316 W Cordova St.
3934 Main St.
4366 Main St.
Beatstreet Records
The Fall Tattooing
604-662-3334
604-877-2247
604-687-8200
439 W Hastings St.
644 Seymour St.
604-683-3344
604-676-3066
R/X Comics
2418 Main St.
604-454-5099
Zoo Zhop
223 Main St.
604-875-9958
A Friends of CiTR Card
scores you sweet deals at
Vancouver's finest small
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CiTR Radio 101.9 FM.
Show it when you shop!
www.citr.ca ■p^^m b ibbi
my last visit to the rural community of
Agassiz, the annual fall fair was in full
swing: a tractor pull and travelling amusement
rides drew thousands, while I doubled up a
toonie betting on the lawnmower races.
The town is quieter when I meet with
Simon Bridgefoot, the young man making music
under the name ofthe Parish of Litde Clifton, at
his home, a beautiful heritage house painted
yellow, trimmed with dark green and maroon.
He guides me on a Cribs-like tour ofthe space,
ending in its basement where spare rooms filled
with musical instruments hint at his prodigious
production.
Portia is the first full-length album to
emerge from the basement. It's a seamless album,
a consistent palette providing discrete stitching.
A Washed Out-like electronic haze is background
to Bridgefoot's imaginative drum loops, both
ultimately settling below manufactured melodies
sung or stolen.
Bridgefoot excels in manipulating evocative
vocal samples into his songs, and it is difficult to
put a finger on where one line ends and another
begins, or even to parse out what each might be
saying. The Agassiz native doesn't disagree.
"The songs that I write, especially lyrical
songs, are intimately connected with the
realities of my own life," he says. "So sometimes I will hide the vocals in the mix so that
only I know what I am saying. That way when I
play a song live or listen to it with friends,
everyone else will familiarize themselves with
the melody perhaps—or the mystery, all the
while I am being reminding of some truth or
reality that I have been opened to."
Conversely, Bridgefoot is an honest and
forthright conversationalist, just as quick to
offer an opinion as he is to ask for one. While
we philosophize on the nature of creation and
consumption in a local restaurant, Bridgefoot
offers up a poor man's "Death ofthe Author,"
echoing Roland Bardies by stating, "I have
realized that once a piece of music is heard by
another... it is no longer mine... that song is
someone else's to emote to."
Unfortunately, the words fall on deaf
ears as I begin to inquire about Portia's origins,
process and purposes.
"I've always injected myself into the songs
I write, or else they seem empty to me, and
without meaning," he offers as a consolation
by
NATHAN MOES
photos by
DANIEL THOMAS WILLIAMS
to my questioning. "I think that's why Portia is so
close to me: It's very specific and full of meaning
but it's really careless and fun as well."
Portia finds its most lighthearted step on
"Belong," a song introduced with an
indistinguishable mash of happy singing voices.
Midway the clouds part and Bridgefoot hits a
stride, with a clipped choir and an arpeggiating
piano settling into a joyful, laid-back groove.
The album moves along at a brisk pace, with
most of its nine tracks pushed forward by pulsating kick drums. While released just this past
September, Portia was followed up immediately
by "Light Handed," a single that shimmers and
explodes in typical Bridgefoot style. It's a hint that
he may be just as prolific as some of his former
associates on the Cultus Vibes record label
(Teen Daze, HAHA). I wouldn't mind if he was.
IS RANDY GRSKOViC
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(Talk)
Duncan's Donuts
(Eclectic)
It Ain't Easy Being
Green (Eclectic)
Generation Annihilation
(Punk)
12pm
1
Parts Unknown (Pop)
What Pink Sounds
Like (eclectic)
Terry Ptojectl Extraenvnon-
todcast          mentalist
fTalld         1    fTalk)
We All Fall Down
(Punk)
Hugo
(Eclectic)
Power Chord.
(Metal)
1
2
3
Give 'Em the Boot
(World)
Democracy Now (Talk)
Ink Studs (Talk)
Radio Zero (Dance)
Blood On
The Saddle
{Rods} -
Shake
A Tail
Feather
(Soul/
R&B)
Mantis Cabinet
(Eclectic)
Wings (Talk) | Prof (Talk)
Rumbletone Radio A
Go Go
Japanese Musicquest
(Talk)
Code Blue (Roots)
3
Radio Freethinker
(Talk)
Fill In
Nardwuar Presents
(Nardwuar)
4
The Rib (Eclectic)
Mantra
(Eclectic)
hhh
4
Thunderbird Eye
5
Chips
(Pop)
Queer FM
QMUNTTY
News ioi (Talk)
(Sports)
Wener's BBQ (Talk)
Arts Report (Talk)
Butta on the Bread
(Eclectic)
News 101 (Talk)
The Leo Ramirez Show
(World)
5
6
Queer FM (Talk)
ping Hands^^^^S
Folk, Indie S/S)
Flex Your Head
(Hardcore)
R.T.R
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Kasha VotaaCWoiW)
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squantch
(Eel)
Shameless
(Eclectic)
{BdeetkJ'"-
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Jams *
(Eclectic)
Ml
stranoea     *
^^H
7
7
Exploding Head
Movies
(Cinematic)
ic Redoubt
neatal)
African Rhythms
tWorld)
•mMmsLmm
8
Rhythms
(World)
Techno
Progressive
Inside Out
(Dance)
Folk Oasis (Roots)
^Y^llftiB
8
9
Bootlegs & B-Sides
(Dance/Electronic)
The Jazz Show (Jazz)
Crimes And Treasons
(Hip-hop)
Live From Thunderbird
Radio Hell (LiveK
The Bassment
(Dance/Electronic)
Synaptic Sandwich
(Dance/Electronic/
Eclectic)
9
10
Transcendance
(Dance)
Sexy In Van City
(Talk)
1<
Fill In
11
CabaRadio (Talk)
Hans Kloss Misery
Hour (Hans Kloss)
Funk My Life
(Soul/Dance)
Randophonic
(Eclectic)
11
Fill In
Canada Post-Rock
(Rock)
Aural Tentacles
(Eclectic)
The Vampire's Ball
(Industrial)
12am
12am
1
■nHpb^Mix
CiTRGhostMix
CiTRGhostMix
|||
1
1
mm
^MilllililBil
Bill
3
CiTRG
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CiTRGhostMix
3
4
5
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QTR Ghost Mix
■■R
5
22 SUNDAY
CLASSICAL CHAOS
(Classical) 9-ioam
From the Ancient World to
the 21st century, join host
Marguerite in exploring and
celebrating classical music
from around the world.
SH00KSH00KTA
(Talk) ioam-i2pm
A program targeted to
Ethiopian people that
encourages education and
personal development.
THE ROCKERS SHOW
(Rtggae) i2-3pm
Reggae inna all styles and
fashion.
BLOOD ON THE SADDLE
(Roots) 3-5pm
Alternatina Sundays
Real cowshit-caught-in-yer-
boots country.
SHAKE A TAIL FEATHER
(Soul/R&B) 3-spm
Alternating Sundays
The finest in classic soul
and rhythm & blues
from the late '50s to the
early '70s, including lesser
known artists, regional hits
and lost soul gems.
CHIPS WITH EVERYTHING
(Pop) 5-6pm
Alternatina Sundays
British pop music from all
decades. International pop
(Japanese, French, Swedish, British, US, etc.), '60s
soundtracks and lounge.
OUEERFMQMUNITY(TALK)
(Talk) 5-6pm
Alternatina Sundays
An expose ofthe arts &
culture scene in the LGBTQ
community.
QUEER FM ARTS XTRA
(Talk) 6-8pm
Dedicated to the gay, lesbian, bisexual and transexual
communities of Vancouver.
Lots of human interest
features, background on
current issues and great
music.
queerfinradio@gmail.com
RHYTHMSINDIA
(World) 8-9pm
Alternatina Sundays
Featuring a wide range of
music from India, including
popular music from the
1930s to the present; Ghaz-
als and Bhajans, Qawwalis,
pop and regional language
numbers.
TECHNO PROGRESSIVO
(Dance) 8-9pm
Alternatina Sundays
A mix ofthe latest house
music, tech-house, prog-
house and techno.
BOOTLEGS & B-SIDES
(Dance/Electronic) 9-iopm
TRANCENDANCE
(Dance) iopm-i2am
Join us in practicing the
ancient art of rising above
common ideas as your host
DJ Smiley Mike lays down the
latest trance cuts.
trancendance@
hotmail.com
MONDAY
BREAKFAST WITH THE BROWNS
(Eclectic) 8-nam
Your favourite Brownsters,
James and Peter, offer a
savoury blend ofthe familiar and exotic in a blend of
aural delights.
breakfostwiththebrowns@
hotmail.com
SKA-T'S SCENIC DRIVE
(Ska) iiam-i2pm
SYNCHRONICITY
(Talk) i2-i:oopm
Join host Marie B and
discuss spirituality, health'
and feeling good. Tune in
and tap into good vibrations
that help you remember
why you're here: to have
fun!
PARTS UNKNOWN
(Pop) i-3pm
An indie pop show since
1999, it's like a marshmal-
low sandwich: soft and
sweet and best enjoyed
when poked with a stick
and held close to a fire.
MANTIS CABINET
(Eclectic) 3-4pm
THE RIB
(Eclectic) 4"5pm
Explore the avant-garde
world of music with host.
Robyn Jacob on the Rib.
From new electronic and
experimental music to
improvised jazz and new
classical! So weird it will
blow your mind!
NEWS 101
(Talk) 5-6pm
Vancouver's only live,
volunteer-produced,
student and community
newscast. Every week, we
take a look back at the
week's local, national and
international news, as seen
from a fully independent
media perspective.
SORE THROATS, CLAPPING
HANDS
(Roaue Folk, Indie S/S)
6-7:3opm
Lyric Driven Campfire
Inspired: new and old tunes
from singer / songwriters
with an emphasis on Canadian music.
Find us on Facebook!
EXPLODING HEAD MOVIES
(Cinematic) 7:30-9pm
Join gak as he explores
music from the movies,
tunes from television and
any other cinematic source,
along with atmospheric
pieces, cutting edge new
tracks and strange old
goodies that could be used
in a soundtrack to be.
THE JAZZ SHOW
(Jazz) 9pm-i2am
Vancouver's longest
running prime-time jazz
program. Hosted by Gavin
Walker. Features at npm.
Dec. 5: A stunning album
by the great Stan Getz (aka
"The Sound") with Chick
Corea, Ron Carter and
Grady Tate. "Sweet Rain".
Dec. 12: Trombone master
Julian Priester in his i960
debut as a leader with tenor
saxophonist Jimmy Heath
and other stars. "Keep
Swingin'"
Dec. 19: Our final show before Christmas will feature
the famous Christmas Eve
recording session of 1954
with Miles Davis, Thelonious Monk, Milt Jackson,
Percy Heath and Kenny
Clarke.
CANADA POST-ROCK
(Rock) i2-i:ooam
Formerly on CKXU, Canada
Post-Rock now resides on
the west coast but it's still
committed to the best in
post-rock, drone, ambient,
experimental, noise and
basically anything your host
Pbone can put the word
"post" in front of.
TUESDAY
PACIFIC PICKIN'
(Roots) 6-8am
Bluegrass, old-time music,
and its derivatives with
Arthur and the lovely Andrea Berman.
pacificpickin@yahoo.com
SOUNDS OF AFRICA
(World) 8-9:3oam
Showcasing music, current
affairs & news from across
the African continent and
the diaspora, you will learn
all about beat and rhythm
and it will certainly kick-
start your day.
QUEER FM ARTS XTRA
(Talk) 9:30-io:3oam
SUP WORLD?
(Eclectic) io:30-ii:3oam
Fuzzy and sweet, a total
treat! Tune in to hear the
latest and greatest tracks
from independent and
Vancouver bands.
MORNING AFTER SHOW
(Eclectic) n:3oam-ipm
An eclectic mix of Canadian
indie with rock, experimental, world, reggae,
punk and ska from Canada,
Latin America and Europe.
Hosted by Oswaldo Perez
Cabrera.
WHAT PINK SOUNDS LIKE
(eclectic) i-2pm
Celebrating women in
music and media who truly
kick ass. Join host Ashly
Kissman as she increases
feminist content on the airwaves one song at a time.
GIVE'EM THE BOOT
(World) 2-3pm
Sample the various flavours
of Italian folk music from
north to south, traditional
to modern on this bilingual
show.
givetheboet@gmaiL com
http://giveemtheboot.
wordpress.com
WINGS
(Talk) 3-3:3opm
Alternatina Tuesdays
PROF TALK
(Talk) 3-3:3opm
Alternatina Tuesdays
Bringing UBC's professors
on air to talk about current/
past events at the local
and international level.
Aiming to provide a space
for faculty and doctoral
level students to engage in
dialogue and share their
current research.http://ubc-
proftalk.wordpress.com
proftalk@gmail.com
RADIO FREETHINKER
(Talk) 3:30-4:3opm
Promoting skepticism, critical thinking and science, we
examine popular extraordinary claims and subject
them to critical analysis.
THUNDERBIRD EYE
(Sports) 4:30-5pm
Your weekly roundup of UBC
Thunderbird sports action
from on campus and off with
your host Wilson Wong.
WENER'S BBQ
(Talk) 5-6pm
Join Daryl Wener and the
CiTR Sports Department as
they breakdown everything
you need to know about UBC
sports.
FLEX YOUR HEAD
(Hardcore) 6-8pm
Punk rock and hardcore
since 1989. Bands and guests
from around the world.
INSIDE OUT
(Dance) 8-gpm
CRIMES & TREASONS
(Hip-hop) 9-npm
crimesandtreasons@gmail.
CABARADIO
(Talk) npm-12:30am
For the world of Cabaret
Tune in for interviews,
skits, musical guests and
more. It's Radio with sass!
WEDNESDAY
SUBURBAN JUNGLE
(Eclectic) 8-ioam
Live from the Jungle Room,
join radio host Jack Velvet
for an eclectic mix of music,
sound bites, information and
inanity, dj@jackvelvet.net
POP DRONES
(Eclectic) io-n:3oam
23 STUDENT SPECIAL HOUR
(Eclectic) n:30-ipm
Various members ofthe
CiTR's student executive
sit in and host this blend
of music and banter about
campus and community
news, arts and pop culture.
Drop ins welcome!
TERRY PROJECT PODCAST
(Talk) 1-2 pm
Alternatina Wednesdays
There once was a project
named Terry, That wanted
to make people wary, Of
things going on In the
world that are wrong
Without making it all seem
too scary
EXTRAENVIRONMENTALIST
(Talk) 1-2 pm
Alternatina Wednesdays
Exploring the mindset of
an outsider looking in on
Earth. Featuring interviews
with leading thinkers in
the area of sustainable
economics and our global
ecological crisis.
DEMOCRACY NOW
(Talk) 2-3pm
ARTS REPORT
(Talk) 5-6pm
REEL TO REAL
(Talk) 6-6:3opm
Alternatina Wednesdays
Movie reviews and criticism.
DISCORDER RADIO
(Talk) 6-6=3opm
Alternatina Wednesdays
Discorder Magazine now
has its own radio show! Join
us to hear excerpts of interviews, reviews and more!
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 kum-
baya-free zone since 1997.
.com
SEXY IN VAN CITY
(Talk) 10-npm
Your weekly dose of education and entertainment in
the realm of relationships
and sexuality.
sexyinvancity. com/category/
sexy-in-vancity-radio
HANS KLOSS'MISERY HOUR
(Hans Kloss) npm-iam
Pretty much the best thing
on radio.
THURSDAY
END OF THE WORLD NEWS
(Talk) 8-ioam
DUNCAN'S DONUTS
(Eclectic) 12-ipm
Sweet treats from the pop
underground. Hosted by
Duncan, sponsored by
donuts.
duncansdonuts.
wordpress.com
WE ALL FALL DOWN
(Punk) i-2pm
Punk rock, indie pop and
whatever else I deem worthy. Hosted by a closet nerd,
www.weallfalidowncitr.
blogspotca
INK STUDS
(Talk) 2-3pm
Underground and indie
comix. Each week, we interview a different creator to
get their unique perspective
on comix and discuss their
upcoming works.
JAPANESE MUSICQUEST
(Talk) 3-3:30pm
Syndicated from CJLY
Kootenay Co-op Radio in
Nelson, B.C.
MANTRA
(Eclectic) 4-5 pm
Playing various Mantra
music, this show is about
personal and global transformation through chanting
and utilizing sound vibration for the development
of higher consciousness.
Hosted by Raghunath with
special guests.
BUTTA ON THE BREAD
(Eclectic) 5-6 pm
It's like mixing unicorn   .
blood with Christopher
Walken's tears, and then
pouring it into your ears.
ARE YOU AWARE
(Eclectic) Alternating Thursdays 6-7:3opm
Celebrating the message
behind the music: Profiling
music and musicians that
take the route of positive
action over apathy.
PEANUT BUTTER'N' JAMS
(Eclectic) Alternating Thursdays 6-7:30pm
Explore local music and
food with your hosts,
Brenda and Jordie. You'll
hear interviews and reviews
on eats and tunes from
your neighbourhood, and a
weekly pairing for your date
calendar.
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) npm-i2am
Grooving out tunes with a
bit of soul and a lot of funk,
from the birth of rhythm and
blues to the golden age of
motown, to contemporary
dance remixes of classic
soul hits.
AURAL TENTACLES
(Eclectic) i2-6am
It could be global, trance,
spoken word, rock, the
unusual and the weird, or it
could be something different Hosted by DJ Pierre.
auraltentacles@hotmail.com
FRIDAY
FRIDAY SUNRISE
(Eclectic) 7:30-9am
An eclectic mix of indie
rock, hip-hop and reggae to
bring you up with the sun.
ALTERNATIVE RADIO
(Talk) 9-io:ooam
Hosted by David Barsamian.
SOUNDS OF THE CITY
(Eclectic) 10-11 am
Promoting upcoming live
concerts and shows in
Vancouver, be they local,
national, or international
acts.
IT AIN'T EASY BEING GREEN
(Eclectic)i2-ipm
CiTR has revived it's long-
dormant beginner's show
It Ain't Easy Being Green!
With the support of experienced programmers, this
show offers fully-trained
CiTR members, especially
students, the opportunity to
get their feet wet on the air.
HUGO
(Eclectic) i-2pm
RADIO ZERO
(Dance) 2-3:30pm
An international mix of
super-fresh weekend party
jams from New Wave to
foreign electro, baile, Bollywood and whatever else.
www.radiozero.com
NARDWUAR
(Nardiuuar) 3:30-spm
Join Nardwuar the Human
Serviette for Clam Chowder
flavoured entertainment
Doot doola doot doo...doot
doo!
nardwuar@nardwuar.com
NEWS 101
fTalk) 5-6pm
See Monday for description.
STRANDED
(Eclectic) 6-7:3opm
Join your host Matthew for
a weekly mix of exciting
sounds, past and present,
from his Australian homeland. And journey with him
as he features fresh tunes
and explores the alternative
musical heritage of Canada.
AFRICAN RHYHMS
(World) 7:30-9pm
www.africanrhythmsradio.
THE BASSMENT
(Dance/Electronic) 9-io:3opm
The Bassment is Vancouver's only bass-driven
radio show, playing 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-
piresballo ncitr. com
SATURDAY
THE SATURDAY EDGE
(Roots) 8am-i2pm
A personal guide to world
and roots music—with
African, Latin and European
music in the first half, followed by Celtic, blues,
songwriters, Cajun and
whatever else fits!
steveedge3@mac.c0m
GENERATION ANNIHILATION
(Punk) 12-ipm
A fine mix of streetpunk
and old-school hardcore
backed by band interviews,
guest speakers and social
commentary.
crashnburnradio@yahoo.ca
generationannihilation.com
POWER CHORD
(Metal) i-3pm
Vancouver's longest running metal show. If you're
into music that's on the
heavier/darker side ofthe
spectrum, then you'll like
it. Sonic assault provided by
Geoff, Marcia and Andy.
CODE BLUE
(Roots) 3-spm
From backwoods delta
low-down slide to urban
harp honks, blues and blues
roots with your hosts Jim,
Andy and Paul.
codeblue@buddy-system.org
THE LEO RAMIREZ SHOW
(World) 5-6pm
The best of mix of Latin
American music.
leoramirez@canada. com
NASHAVOLNA
(World) 6-7pm
News, arts, entertainment
and music for the Russian
community, local and
abroad.
nashavolna.ca
SYNAPTIC SANDWICH
(Dance/Electronic) 9-iipm
If you like everything from
electro/techno/trance/8-bit
music/retro '80s this is the
show for you!
www.synapticsandwich.net
RANDOPHONIC
(Eclectic) npm-iam
Randophonic is best
thought of as an intraversal
jukebox programmed by a
vast alien living intelligence
system which has no concept of genre, style, nation
states or even space-time
relevance.
24 Jill
^^^^^^P
Randy Grskovic has a BFA from the University of British Columbia. His work has been exhibited at
Centre A in Vancouver, Alternator Gallery for Contemporary Art in Kelowna, L'OEil de Poisson in
Quebec City and Eastern Edge in St. John's, and he was invited to curate a program for Vtape in
Toronto. Currently, Grskovic resides in Vancouver, BC Canada where he owns and operates
Cutty Contemprary Art Gallery and works out of Studio 222 E Georgia St.
-► randygrskovic.com    -+ cuttycag.com
25 (this page, above and right)
THE POWER OF ALUMINUM
2011
24"x24"
collage
wBBt (this page, above and right)
1st PERSPECTIVE
2011
24" x 24"
collage and thread JHfah :ifit£Si
m,-..,a
v^u
(Independent)
Ah, the return to innocent sounds
of youth is a LAHvely thing, no? Vancouver's Thee AHs' Thee AHs Nation
is certainly an easy one to take in.
One might think this music lacks in
"substance"—and that may very well
be true if substance equals complex
lyrical theories and intense chord
progressions.
No, this is more like that band
fresh out of high school whose members are still trying to figure out how
they fit into their skin, and the weird
feelings that happen when that cute
boy or girl awkwardly says hi while
passing by on the street. I'll admit
that this isn't music you'd find figured prominently on my playlist, but
I don't dislike it. I suppose when I
need a dose of lollipop rock this would
be an easy go-to, and I'm sure that if
ever the need arose to make that cute
nerd-girl swoon, an AHs gig might
be the way to go.
With a world-weary but naive
sugar punk flair, Thee AHs Nation explores lovesickness, feeling unsure
of oneself, the risks of heartbreak
and even a dark but innocent turn to
the subject of death. "Music Snob" is
kind of perfect, because who hasn't
entertained the thought of dropping
a crush because their taste in music
is either too intimidating or just plain
bad? Sometimes even the influential
mix tape doesn't work ("I'm not a
music snob but you're making it so
hard.")
Who needs ambiguous multi-
meaning lyrics and hard-to-follow
riffs when you have the easy stay-
puffed sounds of Thee AHs?
—Nathan Pike
BUFFALOSWANS
(Independent)
Freddie Mercury, Frank Zappa and
Willie Nelson: These are the names
that came to mind as I listened to the
title track of Buaffaloswans new album, The Body Electric. Four minutes
into the song, the band explodes into
a two-minute, Zappa-inspired instrumental jam. This came as a surprise,
considering that the remaining ten
tracks find the Vancouver quintet emphasizing the warm twang of psychedelic country.
The melodies are saturated with
a well-written mystical lyricism, conveyed through a '70s vintage folk feel.
The band recorded their sophomore
album at Afterlife Studios in Vancouver, producing a mature listening
experience. It is almost impossible
to not sway to Jobi Mihajlovich's
keys, the soft vocals of Scott Bell or
the string sounds of guitarist James
Lamb and bassist James Green. The
nuance is painted through reoccur-
ring themes of simple love, faith and
friendship. Buffaloswans have bravely
attempted and valiantly conquered the
undone. They repaired the relationship of Americana art-country and
merged it amid solid, groovy, classic-
inspired-rock.
—Josefa Cameron
IOHNNYDECOURCY
(Green Burrito)
Everyone needs a little shift in focus
now and then to keep the pieces from
flying off. Musicians especially need
to keep the creative wheel free of grit
and repetition, so when Black Wizard guitarist Johnny De Courcy announced his departure from the band
earlier this year it was a surprising
but likely necessary decision. What
has come from this is Bad Teeth, De
Courcy's first solo flight on Green
Burrito Records.
This five-song cassette EP is fairly
different from the stoner rumblings
of Black Wizard and finds De Courcy
exploring a more gentle acoustic approach. Granted, the volume does
reach a higher level once or twice. If
you're paying attention you can just
hear shades ofWizard riffs in acoustic
form, but generally this is a fair step
in a new direction.
A couple of songs that appeal are
the lead off track, "Andrea's Song," a
short, bangin' little ode to an adored
love interest, and "Cherry Lane,"
which starts off quiet but hits it hard
as De Courcy gripes about them taking
his fucking drugs and that he wants
his fucking drugs so he can feel okay.
Bad Teeth, though a litde rough around
the edges, is a really good listen. De
Courcy is a fine musician who is now
coming out as a fine solo songwriter,
and with Bad Teeth I'm thinking this
shift in direction was a wise choice.
—Nathan Pike
(Of/White House)
EP Island hearkens back to the new
wave/goth era on their new EP,
Sweet'tsh. LL Schultz and Melanie Covey, with the help of guest performer
Sarah Jane Truman have created a
moody and melancholic collection
of songs that give many nods to the
likes of Joy Division, the Smiths, and
the Cure. The clear influences thankfully do not impede the enjoyment to
be had from this latest offering from
Vancouver's very own "non-band."
The vocal interplay between Truman and Schultz add a powerful
emotional weight to both "The Engine Cleaner" and "No Royal Wedding." The chorus ofthe latter packs
a distorted punch akin to one ofthe
Smashing Pumpldns' more gothic
numbers. The listener can practically
hear the vibrant creative process at
work throughout this entertaining, yet
all too brief listen. It might go against
EP Island's artistic ethos, but with
collaborations as awesome as these
they should just write a whole album
of material.
—James Olson
(Independent)
Based out of Oakland, CA and Vancouver, BC, Falcons create beat-heavy
• music and dance remixes. The result
is pure awesome. It's the stuff you
wish the clubs and bars would play.
While their first release, Indian
28 FMC0NJ
, J^ITljMtl S    ¥01.1
'■WW
Summer, features an eclectic mix of
genres showcasing the duo's ability
to blend world music and random
sound effects with electronic beats
and funkadelic samples, their latest
release is influenced more by old
school hip-hop and R&B.
A personal favourite is the first
track, "Sumbody," which remixes
the popular Ciara song "Promise,"
converting the pop star's ballad into
an uptempo dance track. Similarly,
the wobbly "Rufrheck" remixes Adi- ]
na Howard's sexy '90s R&B number
"Freak Like Me."
Whereas Indian Summer mashed
multiple songs into each track, the
songs on Remixxes Vol. 1 seems to feature only one sample per song, which
results in the listener hearing an old
school R&B jam or hip-hop tune in
a new light.
DJs TightMike and KayleoStocko ]
skillfully weave new sounds with old,
creating a style of dance music that
is both fresh and nostalgic. Name
your price and purchase the album j
on their Bandcamp web page (http://
falconboys.bandcamp.com) and join
the steady number of growing fans
on their Facebook group. With two
albums released in just two months, j
we can only hope they put out a third
album real soon.
—Ashly Kissman
FRENCH QUARTER
(Of/Tempo)
Somewhere in the Arizona desert
exists the French Quarter, which ultimately has no relation at all to anything in New Orleans. This French
Quarter celebrates the softer side of
pop, as evident on the opening track
"Goodbye Alligator Skin,'' which
borrows from the spirit of Ben Folds
and introduces the listener to Stephen
Steinbrink's quasi-falsetto.
Desert Wasn't Welcome is French
Quarter's fourth full-length release
and it is Steinbrink's most mature record to date. The songs shuffle around
with minimal instrumentation, soft
harmonies and a clean, crisp sound.
Beautifully recorded, every track
comes across as an intimate affair,
as if the band were right there in the
room. Perhaps, thafs just the warmth
of the vinyl which, along with cassette,
is the only physical format available
for purchase.
Why is this important information, one might ask? Though a digital
version is available on Bandcamp, the
spirit ofthe album is somewhat lost in
a bits-per-second format; Desert Wasn't
Welcome is definitely a record defined
by the turntable experience.
The pace ofthe album is unhurried
and is best suited as a destresser; one
of those records you put on after a
forgettable day while taking the time
to brew the perfect aromatic tea. And
just before you allow gravity to override your senses with the fragrant chai
in hand, it's time to interact with the
album, flip to the b-side and enjoy
the best and final four tracks ofthe
album.
"Red State" starts the impressive
flip with a Death Cab for Curie-inspired motif that maintains the softness and feel ofthe rest ofthe album
while meandering into fresh sonic territory. The closer, "Got Ideas," shares
the spotlight as the both the bounci-
est and catchiest track on the album,
perhaps foreshadowing the band's
potential in the years to come.
-'-Slavko Bucifal
GIRLFRIENDS & BOYFRIENDS
"YOUNG ONES" / "COBRA VS. SNAKE"
(Independent)
Vancouver post-punks Girlfriends &
Boyfriends' new seven-inch hit me
with an eerie teenage nostalgia. Distant memories of sitting in my parent's living room listening to Bloc
Party and die Stills found their way
into my mind, particularly with the
somewhat Kele Okereke-like vocals
on "Young Ones."
"Cobra Vs. Snake," with its quick,
upbeat sound and the xylophone-like
up and down of distorted key ranges,
made me feel a little like I was in an
angsty video game (it reminded me a
lot of what Mario's nightmares must
sound like.)
I would say that the mixing of post-
punk with new wave is praiseworthy
as a fun and danceable creation, but
that the timing just isn't right The
echoing vocals on "Hard Violence"
seem like a juvenile artistic tactic,
while the speedy electric beats sound
like they should be accompanied by
coloured strobe lights. As bold asser-
tions-ger mine is that Girlfriends &
Boyfriends' attempt to reinvent 2005
pop by adding eiectro-synth elements
just isn't that good.
—Alexandra de Boer
(Independent)
Though Jordan Hamilton appears as
if he might not old enough to cast an
electoral ballot, this aspiring Vancouver-based beat producer has already
released a massive amount of material
as free downloads. If you're into hip-
hop inspired instrumentals, you will
be pleasantly surprised by the breadth
ofthe tracks. Gloam throws down a
chill vibe with a minimalist approach
to loops and beats. He establishes his
hooks early and often, and any of his
albums flow smoothly, or rather they
are "Flow Worthy."
Hamilton is the curator to the
Flow Worthy blog, where you will find
a community of artists in the same
mould offering up their wares free
of charge. His Bandcamp and blog
are impressive, uncluttered spaces;
arelationship that is shared with his
music.
Barbaric is a mixtape of beats and
loops which seem to be in complete
opposition than what the title might
suggest. Barbaric is smooth and well
thought out; it plays great in the
background or foreground of any
ADAUNE
MODERN ROMANTICS
IN STORES NOW!
FEATUWW
"REBELS OF LOVE"
a "THE NOISE"
I i iiiitiiiiii! lis gathering. Ultra catchy blips like
"Jentle" and "Robroken" feature j
off-kilter sounds that seem to somehow fall back into sync. R&B vocal
samples surround "Flyson" and "Unicorn Pieces," with the latter being the
album's only track that reaches the
three-minute mark.
If you are only going to listen to
one song, go for "2Perc Ashcatch,"
which features a jazzy piano interspersed with gende interstellar waves j
and a lazy beat that fits the vibe per-
fecdy. The beat tape features 21 songs, J
most of which are one to two minutes j
in length. Gloam consistendy follows j
a pattern ofa short-and-sweet hook j
delivery followed by a few rounds of
slight variation on the theme before \
moving to a new track. This keeps
things fresh and interesting, and see- j
ing as how Hamilton has a new beat |
tape every month, there is certainly
no shortage of that.
—Slavko Bucifal
(Universal)
I loaded up Big Blue Wdue not expecting
much. Yet, despite containing only
four tracks, it was awesome. Fuckina
awesome. It's astonishing how this
Vancouver-based trio have the raw
ability to craft fine, warm, and unbelievably catchy surf-pop songs that
anybody (and I mean anybody) can
listen to—and actually enjoy.
Hey Ocean! is a fresh-sounding
and fresh-feeling group utilizing pop-
esque melodies that blend elements of
surf, alternative, and folk. However,
despite being their second EP (and
their fifth release overall), the songs
don't feel rehashed from previous
works. Ashleigh Ball's vocals soothe
the senses in "Maps," the album's
most passionate piece of music, and
entices the ears with her perky singing style. When coupled with guitarist David Beckingham and guitarist/
bassist Dave Vertesi's more aggressive
instrumentation, such as on "Big Blue
Wave," Ball's singing still stands up
and adapts readily.
However, Bifl Blue Wave's biggest
(and most appreciated) surprise is
the group's surf-centric rendition of
theRonettes' "Be My Baby." It's easily
the EP's best number.
Albeit lacking in length, Big Blue
Wave is a fantastic and utterly dreamy
EP. With time, I can only hope to see
a full-length release featuring many,
if not all, ofthe same elements in
use here, purely because they work
so damned well. Hey Ocean! is clearly
paving a clear future of pop-laden
success.
—Kamil Krawczyk
MEN AT ADVENTURE
(Storyboard)
Locals Men at Adventure are a '90s
punk and grunge throwback band
that proudly wears influences like
Drive Like Jehu and Mudhoney on
their sleeves. Their debut seven-inch
features all the wild abandon, driving
bass and guitar shredding solos that
you'd expect from their heroes, and
combines them with rhythmic lyrics
and a sense of humour.
Individually, these guys have been
playing music for years and "Chop
Thru It" shows that they haven't lost
their joy forit It's a catchy, fast paced
ear-bleeder about stupid kids and "all
the shit that we think suck."
On the b-side we have "The Ballad," which is a heady song that
makes an interesting companion to
the much more punkish a-side. It's a
well-crafted murder ballad that has a
slower pace, but never languishes. It's
a really interesting song and I hope
to hear more like this from them on
future releases.
This EP is definitely worth picking
up if you're a fan ofthe genre, for the
throwback factor of course, but more
so for the unique twist that Men at
Adventure put on it. Make sure to get
out and pick it up quick though, as
they only pressed 333 copies.
—Tristan Koster
(Independent)
A guy went up to Phonecalls after one
of their shows and said, "Phonecalls
is the most underappreciated band
in Vancouver." Having felt like their J
place in the "weird punk" scene in I
Vancouver just wasn't solid enough, I
this grungey pop-punk duo-turned- I
quartet bid adieu back in September, I
but they left us with this final release, j
Rearets.
Recorded and produced by Jesse f
Taylor of Twin Crystals, this record I
has a lo-fi sound that brings up j
images ofthe band playing in a dim I
garage clouded with smoke, smell- I
ing like teen spirit. Compared to their I
previous record Giue It Back, Rearets is j
darker and more ominous due to its J
minor chord melodies. But it's also
just as short ofa record, with six songs
clocking in at under two and a half
minutes each.
In general, the backbone for most j
Phonecalls' songs is a driving, buzzy I
guitar line. The record starts off with I
"Muddy Water," a dirty number that J
rumbles forth mid tempo beneath Mel I
Zee's nonchalant vocals. Later, the j
title track builds forebodingly until it j
explodes with heavy thrusts of cymbal J
crashes and shouts.
It's a shame that this is the end of j
Phonecalls, but on a positive note, J
although the band is no more, its j
members are still contributing to the I
Vancouver music scene: vocalist Mel j
Zee and guitarist Adam Cathey run
a monthly show and zine featuring I
local bands called Junkyard, and bassist Ben Goldberg plays in the band
Bad Fate.
—Ming Wong
(Independent)
When you hear the first track for the
very first time, you might guess a
punk rock band will be playing for
the next 40 minutes. "Ass-Camp" is an
energetic beginning to the album, as
hardcore and as exciting as any Dead
Kennedys song. Vocalist Jim Newton
even matches Jello Biafra's tone at
times.
However, if you have a extensive
musical memory, Great Northern Way
may remind you a fairly popular band
from the '80s and '90s: Sons ofFree-
dom. Frontman Newton and his pal,
bassist Don Binns, were members of
this nationally-known band. Joined
by Finn Manniche (guitar) and Dave
Osbourne (piano and organ), the
duo's new project Rat Silo has got its
own personality—labeling its genre
is even a riddle.
The sequence of "I'm Alive,"
"Greedy" and "Heavy" is solid. All
of them have good riffs—actually
the entire album has powerful guitar
riffs—and sound like a mix of punk
rock and indie.
The turnover, however, comes up
at the best song in this album: "Fat
Fucker Blues." It's pure classic rock
at its highest level that ends up in
an inspired guitar solo—close your
eyes and you'll be transported back
to the '70s.
The next sequence ("Gimme Dat"
"Mr. Twice-a-Week," "Baby Ride On"
and "Duh") keeps an old fashioned
atmosphere, which may make you
shake on the dancefloor. I'd highlight
the psychedelic solo in "Gimme Dat"
as a great point on the record.
I  strongly recommend Great
Northern Way. You may not like it all,
but if you like rock 'n' roll, you have
lots of it to enjoy.
—Luiz Felipe Silva
(Load)
Sex Church is a ridiculous name for a
band. Growing Over is ridiculous too,
but in the way that a surreal psychedelic drug trip on familiar beaches
might be. Each track, wallowing in
lo-fi reverb, comes off like a disillusioned smirk, depressed and harsh
and dissonant.
This is definitely a garage record,
and it's almost impossible to make
out any coherent lyrics underneath
guitar tracks thick with sloshing echo
and violent tremolo bends—not that
it's necessary to hear the words clearly
to understand their gist. The vocal
breakup on "Waking Up" paints a
picture ofa grimy youth kicking dust
against the wall, waiting for the firing
squad to show up.
As a package, Grourina Ouer suffers from the inclusion ofthe instru-
30 mental tracks "Put Away," "Always
Home" and "Colour Out Of Space."
The former two bookend the album
in boring, washy fade-outs, while the
latter is a throwaway noise recording
of heavy echoes and brass instruments
that doesn't really endear itself to the j
black humour that makes the rest of
the album so enjoyable.
Dilapidated and miserable, Sex
Church run wild with surf beats, |
Brit-punk clamour and Velvet Underground dissonance to create something every bit as ridiculous as their
nom de plume, but in a bummed-out |
and bleak way. Like the beach on a
stoned, rainy winter day, everything
is a little sludgy and muddled, but }
sometimes that's a great thing.
—Fraser Dobbs
(Synthetic Symphony)
hanDouer is an immensely difficult
album to appreciate. Even fans of
the industrial metal genre will grow
into the album slowly, because it just
doesn't feel like an industrial metal
record. In fact Skinny Puppy takes a
primarily electronic approach to their
already well-established sonic format
which may attract new listeners, but
will surely disappoint some fans.
What hanDouer ultimately fails to
deliver is that sense of despair the
Vancouver band has created over
their 29 years of vile, cruel, and devilishly dark musical prowess. ohGr still
sings in his pseudo-goth, Ian Curtis
voice, the band still employs dark,
vibrant synths, and the lyrics are still
disturbing as all hell. But it's not the
musicianship that may deter listeners,
it's the overall lack of impact.
While harder songs like "Village"
and "Brownstone" bear similarity
to that scrumptious Skinny Puppy
sound, the first half of the disc feels
far too electronic. In fact, many of
the first few songs are centered on
synth arrangements that just don't
seem to fit The severe lack of guitar,
acoustic percussion, and overall sense
of "metal" is jarring, and unfortunately, removes one from the listening
experience.
hanDouer is not a bad album. It is
good in many ways, especially lyrically
and technically, yet it is dull and empty
compared to what we have come to
expect from these industrial veterans.
Skinny Puppy may only be adapting to
the changing times, but their sound
takes a noticeable impact; what could
.have been a fantastic tribute to the
heydays of'90s industrial became a
commendable, but disappointing,
experimental release.
—Kamil Krawczyk
SLOW LEARNERS
(ScumBuzz)
Recorded almost a year ago but released by the ScumBuzz label in October, these two rippers from Slow
Learners should be added to your
music collection immediately.
The band consists of three enigmatically named members: Penpen on
drums (ex-Twin Fang member Penny
Jo Buckner), John Operator on bass
and vocals (a.k.a. Sean Hawryluk of
Baptists and Ladyhawk fame) and,
rounding things out on guitar and
vocals, J.R. Pefko (a.k.a. Congress'
John Johnston).
Listening to the first track, "Grocery Store," would make any mind-
numbing trip to the shops a joy. The
scuzzy guitars keep it cool enough for
the kids, and the jump-around pop
melody makes the song more pleasing
to the ear than your average garage
band offering.
"Your Friends" is super fast and
fun. Again, the pop shines through.,
with the 'oooing' and 'ahhhing' make
this track more than just a little catchy.
Never fear, guitar and drum fiends,
there is more than enough rock here
to keep you happy. No sourpuss, shoe
gazing here folks—just fun pop licks.
The only complaint here is that there
are only two songs. Pick it up Slow
Learners! We want more!
—Katherine Boothroyd
(Independent)
On Sutures' newest release, I Touch
1985, the Vancouver post-punk trio actually seem to reach back in time and
touch 1985. The three tracks on this
all-too-brief EP wouldn't sound out
of place echoing through the smoke
hazed chain link fences ofLuv-A-Fair
in the club's mid-'8os heyday.
Driven by a Peter Hook/Stephen
Morris-style rhythm section, the dark
pop of "Tsexy Tsunami" will have you
doing the oblivious new wave shuffle,
while the eerie high-pitched riffs and
LunaThunderblanket's haunting vocals on "Fucked By A Ghost" will send
a pleasant chill up your spine. The
goth/surf finale "The Thrills of Night
Swimming," meanwhile, will make
you feel like you are taking a moonlit
dip in English Bay while the legendary
ghost ofthe drowned pilot watches
quietly from the beach.
Right down to its production style,
I Touch 1985 sounds like it could have
been made 26 years ago, proving that
Sutures could just as easily fit on a bill
with Bauhaus as they could with contemporary Danish new wave punks
IceAge.
—MarkPaulHus
EACH BIRTH IS A NEW DISASTER
(Independent)
The formidable power of Weirding's
live performance has been captured
perfectly on their debut album, Each
Birth Is A New Disaster. Matt Killoran's
muscular drumming comes off
sounding absolutely huge, while the
respective guitar and bass work from
co-vocalists Tim Wearing and Scott
Ruddy are satisfyingly fuzzy and as
thick as tar.
Where some doom/sludge outfits
insist on pushing the boundaries of
agonising, unrelenting noise beyond
any sensible limits—mistaking twenty
minute, single riff endurance tests
for good songwriting—Weirding instead intersperse bleak and horrifying
dirges with uptempo moments and
pleasingly unexpected twists, like islands of solace in seas of decay.
"Hard Witch/Heavy Spells," for
instance, begins at a seriously rocking
pace, all beer-soaked and leather-clad,
before it decelerates into a menacing
crawl that's so crushingly heavy it
sounds like the end of the world.
Elsewhere, "Eyes" has a claustrophobic intensity and features the
disquieting couplet "No one's safe
from the death in my eyes / Dreams of
ending wasted lives"—which might
sound a little corny if it wasn't delivered with such conviction.
Their most definitive statement
though is saved for the final track,
"For What It Kills To Grow In," an
almost entirely instrumental affair
that boasts a stunningly awesome,
propulsive main riff that weaves and
meanders for nearly seven minutes but
never gets tired, eventually ending in
a glorious mess of feedback. It's brutal, it's ugly and it's bloody brilliant
—WillPedley
WITH       ".--CIA'   GUESTS
TQUGHjOVERS
Saturday Deccmber10
THE ASTORIA
769 1£ t^j&TtN^Br
31 ADAUNE/IN MEDIAS RES/
ROCOCODE
> Nouember 5 / The Biltmore
Despite its resemblance to a gypsum
cavern, the Biltmore had the intimate,
1 tingly feel ofa welcome home party.
i Marking now Toronto-based Adahne's
return to Vancouver for the release of
her sophomore album Modern Roman-
1 tics, that's exactly what it was.
Rococode kicked things off with
j their fun, synth-inflected pop rock,
5 threaded at its best with Laura Smith
I and Andrew Braun's pretty harmonies. Listening to Smith's strange,
high-pitched voice and watching her
rock the keys one-handed, I was continually struck by the freshness she
injected into what would otherwise
! be an ordinary band. Braun ended the
set with the suggestion that Adaline
would certainly rock our socks, and
possibly our pants, off.
When In Medias Res took the
stage, however, there was no time for
jokes. The band brought an intensity
to the show, from the trippy opening
tune that found Andrew Lee bent intently over his pedal steel guitar, to the
balls-out thrashy song that followed,
which climaxed with him staggering
across the stage and almost knocking over a couple of amps. The crowd
seemed divided on this one, though. A
large group of enthusiastic fans populated the dance floor in front ofthe
stage, but I also noticed an alarming
number of miserable looking people
with their hands over their ears.
Everyone was happy, though,
when Shawna Beesley, a.k.a. Ada-
line, emerged in a spangly dress that
uncannily matched the Biltmore's
dusty chandeliers, announcing "I'm
Home!" An annoying glitch with her
mic cord made for a bit ofa rocky
start, cutting out and interrupting her
gorgeous vocals at all the wrong moments. Beesley persevered cheerfully
through this hiccough though, which
was fixed just in time for "Wasted
Time," a deliriously catchy number
that showcased her voice in all its sexy,
electric, breathy glory.
Warbly slow jams "Say Goodbye,"
and "Cost Is Too High" were two more
highlights, layering a mellower vein
into her otherwise upbeat set Without
sacrificing any ofthe drama. I was reminded of why it's so good to see local
acts when Beesley's mom appeared on
stage to give her a hug and a bouquet,
from which she plucked flowers to
throw out into the crowd. At the end
ofthe night I left feeling warm and
fuzzy, and mysteriously pants-less.
Adaline, you did it again.
—Chandra Martini
BUFFALOSWANS / HENRY &
THE NIGHTCRAWLERS
Nouember 10 / The Russian Hall
Buffaloswans cast their time-bending
and mind-altering spell over the audience at the Russian Hall on November
10 as they debuted their new album
The Body Electric. The concert was the
32 culmination of three years of artistic '
growth and exploration, and clearly
the fruit of that development was well
worth the wait. Buffaloswans have
managed, both on their recording and
in their live show, to capture a sound j
that simultaneously looks backwards
and forwards, while remaining fully
in the present.
The show was opened, however, by
Henry & the Nightcrawlers, who made |
up for their fashionably late arrival j
by hitting the ground running. Their j
performance was rougher around the
edges than their recordings, offering j
a grittier rock feel rather than the pol- j
ish of pop.
It seems highly appropriate that
Buffalo Swans'"The Body Electric," !
the name of both the album and one of j
the finest songs of the night, is drawn
from a Ray Bradbury short story en-
tided "I Sing the Body Electric," which
in turn is a reference to a line from
Walt Whitman. Bradbury's story of
a widower who buys his children a j
robotic grandmother is equally old-
fashioned, futuristic, and concerned
with the human experience. Buffalo-
swans share this rich aesthetic sensibility. Their music is rooted in the
traditions of folk rock and Americana,
employing guitar riffs and lush vocal
harmonies reminiscent ofthe Band.
Their progressive side is evident in
their use of ethereal, atmospheric
effects, more complex song structures, and varied instrumentation.
The thoughtful lyrics provide the soul
that keeps the elements in balance and
brings each song to life, such as "A
Spark," which explores the question
of whether a spark of life or love can
endure the ravages of time.
Between the glow of the lights
on the Russian Hall's wooden dance
floor and the psychedelic fractals
projected on the back wall, Buffalo-
swans embraced the juxtaposition
and performed their feat of acoustic
alchemy. The warmth of Scott Bell's
lead vocals combined beautifully with
James Lamb's tasteful guitar playing. The superb Wurlitzer and organ
playing of Jobi Mihajlovich provided
a rich texture, which along with the ;
accompanying cello, French horn and
trumpet, created some ofthe "iooo
Colours" heard on the song ofthe
same name. All of this was built up
from the foundation laid down by
the rhythm section of James Green
on bass and Stephan Mihajlovich on
drums.
Buffaloswans brought the mere
metal and circuitry of speakers, electric guitars, organs and microphones
to life with an artistic vision that confirmed Bradbury's belief that technology can heal, rather than hurt, humanity if it is used to "shadow forth" our
dreams. Along with a growing number
of fans, I look forward to exploring all
that this new record has to offer and
will be waiting with anticipation for
more from Buffaloswans.
—Allard Ludwig
KEEP SHELLY IN ATHENS/
BLOOD DIAMONDS
Nouember 12 / The Waldorf
The Waldorf s inter-room eclecticism
tends to be a great backdrop for just
about any event I've attended there.
Sadly, for Athens, Greece's Balearic
pop act Keep Shelly in Athens the
multi-room aspect seemed to draw
most of the audience away from their
headlining set.
The night started with an unexpectedly dancey edge, courtesy of
Blood Diamonds. Fronted by flamboyant Vancouver producer Michael
Tucker, and backed by live drums
and keyboards performed by members of Oh No! Yoko, the set turned
the downstairs cabaret into a dance
party in no time. Blood Diamonds
mixed infectious rhythms with sunny
synthetics and ambient dreamscapes
for a truly escapist effect. Smoothly
blending heartthrob hooks, like the
vocal sample in "Hearts," with inviting rhythms, the locals managed to
create a lively and gripping set that
packed the room.
The crowd seriously thinned out,
though, by the time Keep Shelly in
Athens opened up with the slow-
building, sun-scorched "In Love with
Dusk." The Greek dream pop act's live
set-up was fairly simple, with charming vocalist Sarah P backed by a guitarist, drummer, and a hooded laptop-
and-synthesizer-instrumentalistThe
result was a rather bare-bones blend
of electronica and smooth pop with
lush, dreamy soundscapes that left
you in a warm, cozy place.
For a band that has been releasing
music for barely a year, Keep Shelly
in Athens put together a sizeable
set, going through the sum of their
released material, as well as giving
a taste of their upcoming Campus
Martius EP. While ranging from the
upbeat Balearic groove of "Cremona Memories" to the slow swelling
"Running Out ofYou," their dynamic
atmosphere almost got too mellow
and relaxing for the crowd to remain
standing at some points. Sarah P was
faced with the tough job of tying the
whole lot together with her dreamy
vocals, which she did fairly well, despite suffering from a cold.
It makes little sense to me why
someone would bill a positively
upbeat act hke Blood Diamonds to
open for the shoegazey pop of Keep
Shelly in Athens, whose mellowed-out
sound seemed to be a turn-off for the
majority of those that came for the
opening act. While it was somewhat
ofa pity to see a band travel so far to
play for such a small audience, for the
few that stuck around till the very end
of their set, itwas well worth it.
—Christian Voveris
SLIGHT BIRCHING/
LAZY BEAR/
DAUGHTER OF KHAN /
SELKIES /
CHRIS-A-RIFFIC
Nouember 12 / Little Mountain Gallery
When Little Mountain Gallery postponed hosting live music events last
year, it wasn't really a sure thing that
they'd ever hold concerts again. With
zoning issues squared away and some
new TLC infused into Little Mountain's East Van charm, five local bands
stepped up to give the Gallery the welcome back it deserved. As headliner
Slight Birching's guitarist Sean Travis
Ramsay said so eloquently, "shut up
Gregor Robertson, we're gonna play
until 10:30!"
IfVancouver has anything resembling a local legend, it has to be Chris-
a-riffic, a.k.a. Chris Alscher, whose
sets are as well-known for the crowd
begging and pleading for "just one
more" song as they are for his heartfelt intensity and introspective honesty. Alscher loves Litde Mountain and
he was a perfect choice to open the
show—his short, quirky set was full
of beautiful, sappy sweet pop songs
riddled with infectious but oftentimes
darkly personal lyrics that more than
half the audience sang along to. Chris-
a-riffic proved impossible not to enjoy,
and everyone crowded in with glowing
grins on their faces as his set came
to a close.
Selkies—composed of beauties
Julie Nelson and Jessica Wilkin—had
gained a lot more confidence since
I'd seen them last at the Prophouse
Cafe. Songs tended to rely on Nelson's
whimpering, highly inflective voice
to carry sparse guitar and woodwind
notes, and the duo made excellent use
of silence: the cliff-hanging pauses
between verses and chord changes
turned each slow, meandering tune
into an allegory for quiet, shade-
flecked journeys through forests and
meadows.
Daughter of Khan played a sprawling, sitar session. Most sitar players
ooze a level of professionalism and
devotion that few other musicians can
muster, and Khan was no exception.
Alone but gleaming with energy, she
played a traditional early-evening raga
with masterful intensity. Watching
Khan's entire body ebb and flow with
the tempo of her music made each
crescendo burst with visible energy.
Lazy Bear, a.k.a. Adrienne LaBelle
and Daniel Ruiz of Aunts & Uncles,
played a set that wouldn't be out of
place in an attic bedroom or combination bookstore/cafe'. Armed with a
ukulele, glockenspiel, and loads of
broken spring reverb, the two played
a competent but not extraordinary
string of quiet, easy-sung tracks.
Lazy Bear's shortcomings aren't due
to lack of talent, but rather to lack
of ambition—these are two serious,
hugely accomplished musicians, and
playing this kind of easy-to-enjoy,
easy-to-forget music seemed below
them, especially inside the communal
33 confines of Litde Mountain. Their set
was my definition of "weather music,"
where songs filled a void but didn't
necessarily strive to achieve meaningful conversation with the crowd.
Slight Birching's ever-rotating cast
of musicians, anchored by the seminal
Sean Travis Ramsay, was in full alignment spearheading this joyous night.
Between songs Ramsay gave thanks
to the evening's performers, but particularly to Ehren Salazar, who worked
tirelessly over the lastyear and a half
to make this show a reality.
To describe Slight Birching in any
meaningful way is difficult—their
odd, whimsically organic improv-folk
is a constandy changing beast and no
two of their performances could ever
be compared. Instrumental climaxes
fell into place seemingly out of thin air
and the coordination between musicians seemed at once orchestral and
random; the sonic qualities of plastic
cups were just one element explored
to its natural end over the course of
their night's journey. Slight Birching may be the Schrodinger's Cat of
Vancouver's music scene—neither
here nor there, but entrancing to think
about.
—Fraser Dobbs
GRIMES/MYTHS
Nouember 17 / The Electric Owl
The Electric Owl, described by a friend
ofa friend as an "Earls for hipsters,"
had no unreserved or unoccupied
tables by 9 p.m. Immediately disappointed by this and the general kitschy
decor ofthe place, I managed to convince one ofthe waiters to give me
a small reserved table in the corner,
where I sat and focused on the fact
that Kid A was playing in the background. A small and much needed act
of redemption for the venue.
The opening act, a local duo called
Myths, spray-painted their set with
eccentricities. Surrounded by their
echoing electronics, Lief Hall and
Quinne Rodgers demonstrated their
sonic abilities, while adding to that
performance visually. Hall, wearing
some sort of fairy wedding dress
splattered in glow-in-the-dark paint,
caught the eye ofthe crowd as she
danced, completely transfixed by her
own angelic and eerie hauntings. Despite one or two brief and uncaptivat-
ing ambient noisescapes, Myths was a
success because they were passionate
and talented.
Claire Boucher, a.k.a. Grimes,
graced the stage around 11 p.m. wearing a regal green cloak, high braided
hair, and what appeared to be finger-
less skeleton gloves. Delighting me
immediately, her choice opening song
was "Oblivion." Boucher's layered
vocals on the number, sounding celestial over top the electric beat, catch
and pull you in a new direction every
few seconds, making it irresistible.
Her performance was an exercise in
technique, as she sang and mixed her
own vocals, showing her ability to
create and place sound in a live setting. Indeed, Boucher's singing suggested an alluring innocence, with her
layered vocals and strong electronic
beats transitioning as extensions of
one another.
The performance was interrupted,
though, when Boucher commented to
the crowd that her shoes were "too
tall", while another moment had her
experiencing technical difficulties
trying to start a new song. Overall
though, Grimes was a well-received,
well-composed performer whose patience should also be credited.
While early on, Grimes introduced
her lone dancer, Duffy, a self-declared
"spiritual dancer" who displayed a
clear passion for scarves, he was
joined by a number of onstage invaders by set's end. Grimes was tolerant
ofthe accumulation of drunken bodies on stage, clearly humble enough to
concede some of her personal space
to these fans. She even entertained
the ramblings ofa drunken girl who,
caught up in her own stream of consciousness, asked for a moment of
silence for a deceased friend of a
friend and then immediately forgot
her own request and yelled, "give it
lip for Grimes!" This brought a sort
of surreal ending to the show. It may
sound morose, but the outburst was
actually comical in light ofthe girl's
insincerity and shockingly weak attention span. In the end, this awkward
incident demonstrated the gracious-
ness of Grimes. Hopefully, as she
rises through the ranks of musicdom,
Boucher will be provided with better
stage security.
—Alexandra de Boer
NERDFEST 2011
Nouember 19 / The Rickshaw
I let go of any preconceived notions
I had and gave Nerdfest 2011 a try,
and it was a blast. This wasn't about
protractors, pocket protectors and
post-nasal drip, mind you, but about
leather and gothic, fantasy-themed
metal bands. These are the nerds of
the round table: the gamer tweakers
and swordplay geeks. Sure it was a
little out of my element, but there was
something about this room full of
easy-to-talk to fanboys and fangirls
that felt inclusive and different from
other gigs. On hand was a display
of finely crafted swords, chainmail
and sparring poles, all of which were
hands on and generously explained by
the folks manning the surrounding
tables. Then there was the crowd, a
quarter of whom were dressed to the
nines, and not in formal wear.
There was the mysterious shogun
standing guard in leather armour that
looked like it could stop a bullet.
There were Norse soldiers drinking
"mead" from goat horns. There were
a couple of roman legionnaires that
didn't skimp on the details. There
were wenches that looked poised to
make meat out of anyone who crossed
them. Even a Merlin was present wandering aimlessly through the crowd in
a daze, waving his fingers and casting
secret spells into the ether. I loved how
much work went into these costumes;
nobody took themselves too seriously,
nor cared how they looked to anyone
else. Even the metalhead skids with
secret nerd tendencies were having
a laugh riot.
And the music was awesome!
I couldn't help but enjoy the sheer
cheesy fun these bands exuded. Three
local-ish acts were on hand to thrill
and entertain, along with a couple of
saucy burlesque performances, one
of whom had plates attached to her
body and used a disk grinder to add
spark to her performance.
Vancouver's Celestial Ruin was
nearly finished when I arrived, but
they were a fairly cut-and-copy Victorian-era metal outfit with a female vocalist whose operatic voice soared. Eye
of Odin had a bit more ofa scary thing
going on. With a fake blood-covered
frontman whose bassy voice sounded
like a jet engine, the Nanaimo-based
outfit specialized in lumbering battle
metal about traversing mountains in
the mist and slaying armies of undead
soldiers.
Lasdy, Scythiawas absolutely great
and may have swayed me to side with
D&D metal. They were just so tight,
and their Tolkien-approved tunes were
ofthe highest quality. I went home
that evening with visions of damsels in
distress and their wild-eyed saviours
playing across the battlefield of my
mind. Even if I never pick up a sword
or seven-sided die again, I can reflect
on Nerdfest 2011 and remember that
for one night, I was home.
—Nathan Pike
Home of
VaiK  vers
Hiram Directories
BANDS MUSICIANS RESOURCES
GOKMUNITY
DRIVEN
MUSK
LISTINGS
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20% Off New & 40% Off Used
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Xmas eve and Boxing Day 11 AM to7PM
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with performances by
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kellarissa
friday, december 16
interurban gallery
featuring artists...
MERIDA ANDERSON
CMRTYZ
MELANIE COLES
TYLER CRICH
PATRICK CRUZ
ANDY DIXON
CODY FENNELL
ROBERT FOUGERE
LINDSEY HAMPTON
SARAH HOLTOM -
BEN JACQUES
JOHN MALTA
JENNIIEE MARIGOMEN
LOUISE REIMER
RYAN WALTER WAGNER  ON THE AIR
WHAT PINK SOUNDS LIKE
by BRENDA GRUNAU
photo by ROBERT FOUGERE
What Pink Sounds Like is CiTR's embodiment of Femcon. Tune in
to this show and you'll hear an eclectic mix of female artists and
musicians with Ashly Kissman's rolling commentary. Kissman's
goal, according to her blog, is "to empower girls and women by
highlighting women in media and music," citing the low percentage
of women broadcasters in Canadian media as a major impetus
for her program. For years, Kissman has steeped herself in radio,
as programmer and staff at CFUV in Victoria (also ioi.g FM) and
interning with NPRin Kansas.
Discorder: What kind of music do you play on your show?
Ashly Kissman: I play a really eclectic mix of music, so a lot of electronica,
alternative rock, R&B, some hip-hop, some jazz.
D:     What made you want to have a radio show?
AK:   I wanted to have a radio show for as long as I can remember because
I love sharing my thoughts on-air. I've always loved public speaking
and public dialogue, and radio is a great medium to do that with....
I love storytelling too, whether you are telling the story ofa new artist
or album, or ofa woman who just wrote a book about feminist short
fiction or something, radio gives you that avenue to do that.
D:     What is your show about?
AK:   My show is all about celebrating women in media and in music. I
started the show because I noticed that in some music genres there
seemed to be a lack of female bands and singers. I set out to change
that by focusing on women, to encourage more women to pursue
broadcasting or play music, and to not be afraid of trying that out.
Also, in most radio organizations, women are only 30 per cent of on-
air programmers. I always found that really interesting. Another
reason is to encourage more women to get on-air, be silly and be
goofy and learn new skills. You don't have to have an immense
knowledge to do a radio show, you just have to put yourself out there.
I think the reward is really huge.
D:     What has been your most memorable on-air moment?
AK:   One super memorable moment was when I messed up on-air. I forgot
to press my mic channel and started talking, and I remember my program director running in and pressing the channel on. I remember
because itwas the first time I allowed myself to mess up, and if that's
the worst that could happen, it's ok. Another memorable moment for
me in radio was when I interviewed the director [Judy Chaikin] ofthe
film The Girls in the Band, [which screened at this year's VIFF]. That's when
I really felt like the show had reached an audience and I was part of
the Vancouver community. A lot of people went to my blog because
the interview was posted there. It reminded me how powerful radio
D:
AK:
is; I never looked it up, but I don't imagine Judy Chaikin was interviewed by many other radio stations. It just shows you how community
radio can showcase parts ofthe media and the community that are
completely underrepresented.
Who has been your best guest?
Funny enough, one of my best guests ever was Classified, when I was at
CFUV (in Victoria) hosting a hip-hop show with a girlfriend called The
Corner. He would always take the time to talk to us and be humble in his
interview responses, even though he's an artist that's very successful.
I always thought it was super cool that I got to interview him.
If you could only bring one album to a deserted island, which album
would it be?
My first instinct is Alicia Keys' As I Am. It's just one of those albums that
I can listen to on repeat because Alicia Keys is so damn talented.
What is your favourite CiTR radio show, besides your own?
I'm going to give a shout out to Oswaldo [Perez, host of The Morning
After Show, Tuesdays 11:30-1:00 p.m.], since I probably listen to his
show the most. I like how he always features local artists in. This is
what really drew me to campus and community radio in the first place—
you can have local artists in the studio, and it's such a great meeting
place for people to learn about new music and get the word out.
What does the future hold for What Pink Sounds Like?
I would love to explore the media side of my show rather than the music
side. As much as my show will always remain a music show, I would
love to do more interviews with local women in the media, whether it is
a media campaign towards a cause, or a media installation project. One
idea I had was to feature local women bloggers and interview one each
week. It would let people know about the blogs, to check out all the
talented women in Vancouver, but also gives them an audience for their
blog. There's a community of women that are doing things and people
just don't know about it. M^fM
—► What Pink Sounds Like airs Tuesdays from 1-2 p.m.
38 /,
1
CiTR 10
I.9FMCN
ARTS str,ctiythedopesth,tzof2011
#
ARTIST
ALBUM
LABEL
#
ARTIST
ALBUM
LABEL
1
Braids*
Native Speaker
Flemish Eye
51
The Jolts*+
8%
Sudden Death
2
Austra*
Feel It Break
Paper Bag
52
Brian Eno & Rick Holland
Drums Between the Bells
Warp
3
Various Artists*+
CiTR Pop Alliance Vol. 2
Mint
53
Buck 65*
20 Odd Years
Warner
4
Various Artists*+
Nite Prison
Independent
54
Iron fk Wine
Kiss Each Other Clean
Warner
5
B-Lines*+
B-Lines
Nominal
55
The Smith Westerns
Dye It Blonde
Fat Possum
6
Chad VanGaalen*
Diaper Island
Flemish Eye
56
TV On The Radio
Nine Types of Light
Interscope
7
Kellarissa*+
Moon of Neptune
Mint
57
Zola Jesus
Conatus
Sacred Bones
8
SunWizard*+
Positively 4th Avenue
Light Organ
58
Fine Mist*+
Public Domain
Independent
9
Timber Timbre*
Creep On Creepin' On
Arts & Crafts
59
Bill Callahan
Apocalypse
Drag City
10
Kurt Vile
Smoke Ring For My Halo
Matador
60
TheOhWells*+
The EP That We Love
Independent
11
Channels 3 & 4*+
Christianity
Gilgongo
61
Indian Wars*+
Walk Around The Park
Bachelor
12
Destroyer*+
Kaputt
Merge
62
J. Mascis
Several Shades of Why
Sub Pop
13
GeoffBerner*+
Victory Party
Mint
63
Ron Sexsmith*
Long Player Late Bloomer
Warner
14
Miesha & the Spanks*
Gods Of Love
Transistor 66
64
Tim Gerwing*+
Chikatetsu
Independent
15
The Good Lovelies*+
Let the Rain Fall
Independent
65
Gauntlet Hair
Gauntlet Hair
Dead Oceans
16
Sex Church
Growing Over
Load
66
Babysitter
Tape TV
Independent
17
Peace
My Face
Pop Echo
67
Cowpuncher*
Cowpuncher
Independent
18
Nobunny
Raw Romance
Burger
68
Born Gold*
Bodysongs
Hovercraft
19
The Pack A.D.
Unpersons
Mint
69
Myths*+
Myths
Independent
20
Swans
My FatherWill Guide Me...
Young God
70
Louise Burns*+
Mellow Drama
Light Organ
21
Aunts & Uncles
Aunts & Uncles
Independent
71
La Sera
La Sera
Hardly Art
22
Eleanor Friedberger
Last Summer
Merge
72
Bass Drum Of Death
GB City
Fat Possum
23
Weed*+
"With Drug" Seven-inch
Cruising USA
73
Crocodiles
Sleep Forever
Fat Possum
24
Crystal Stilts
In Love With Oblivion
Slumberland
74
Slow Learners
"Grocery Store" Seven-inch
Scumbuzz
25
Fergus & Geronimo
Unlearn
Hardly Art
75
Eskmo
Eskmo
Ninja Tune
26
Gillian Welch
The Harrow and the Harvest
Acony
76
Feist*
Metals
Arts & Crafts
27
Wanda Jackson
The Party Ain't Over
Third Man
77
Synthcake*+
Musicophilia
Independent
28
Dum Dum Girls
He Gets Me High
Sub Pop
78
The Walkmen
Lisbon
Fat Possum
29
PJ Harvey
Let England Shake
Island
79
Ghostface Killah
Apollo Kids
Def Jam
30
Shimmering Stars*+
Violent Hearts
Hardly Art
80
Les Breastfeeders*
Dans la gueule des jours
Blow The Fuse
31
Apollo Ghosts*+
Money Has No Heart
Geographing
81
Myelin Sheaths*
Get on Your Nerves
South Paw
32
Austra*
Sparkle
Paper Bag
82
The White Wires*
2
Dirtnap
33
Braids/Purity Ring*
Split
Fat Possum
83
SubtractiveLAD*
Kindred
N5MD
34
World Club*+
Live-able Via-bility
Independent
84
The Hobophobes*
The Hobophobes
Independent
35
Colin Stetson*
New History Warfare Vol. 2 judges
Constellation
85
Veronica Falls
Veronica Falls
Slumberland
36
Battles
Gloss Drop
Warp
86
The Raveonettes
Raven In The Grave
Vice
37
Hunx & His Punx
Too Young To Be In Love
Hardly Art
87
The Russian Futurists*
The Weights on the Wheels
Upper Class       ■-  v'f£s%.£
38
Mogwai
Hardcore Will Never Die-
Sub Pop
88
Times New Viking
Dancer Eauired
Merge
39
Ohbijou*
Metal Meets
Last Gang
89
Lumerians
Transmalinnia
Knitting Factory
40
The Black
Sun in the Day Moon at Night
Moon Records
90
Thee Oh Sees
Carrion Crawler
In The Red
41
The Go! Team
Rolling Blackouts
Memphis Industries
91
Mother Mother*+
Eureka
Last Gang
42
The Rural Alberta Advantage*
Departing
Paper Bag
92
Social Distortion
Hard Times and Nursery...
Epitaph
43
The Wailin' Jennys*
Bright Morning Stars
True North
93
The Albertans*+
New Age
Ernest Jenning
44
Dog Day*
Deformer
FunDog
94
Still Corners
Creatures Of An Hour
Sub Pop
45
Bruce Peninsula*
Open Flames
Hand Drawn Dracula
95
Grown-Ups*
Stopped Caring
Independent
46
Brian Eno
Small Craft on a Milk Sea
Warp
96
Exene Cervenka
The Excitement Of Maybe
Bloodshot
47
Heavy Chains**
A Very Real Hell
The Broadway To
97
Sandro Perri*
Impossible Spaces
Constellation
Boundary
98
Needles//Pins
"Drop It" Seven-inch
Scumbuzz
48
DiamondRings*
Special Affections
Secret City
99
Stereolab
Not Music
Drag City
49
Love Cuts*+
Love Cuts
Nominal
100
Library Voices*
Summer Of Lust
Nevado
50
Tasseomancy*
Ulalume
Out Of This Spark
CiTR's charts reflect what's been played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian and those marked (+) are local. Most of these
excellent albums can be found at fine independent music stores across Vancouver. If you can't find them, give CiTR's music coordinator a shout at (604) 822-8733. Her
name is Sarah Cordingley. If you ask nicely she'll tell you how to find them. Check out other great campus/community radio charts at www.earshot-online.com. JOHNNY
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TENS OF 2011 ARE ON SALE 10
riL JANUARY 31st 2012!   ■
IER ZULU NOTABLES...
tuned for an announcement about
PREGIATION NIGHT, our 30th
PARTY, HOLIDAY PLANS
ilZULU HOLIDAY HO
f DECEMBER 15th-23ri
Jdecember 24| '
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■DECEMBE
1witfer.com/zulurecords
*    h   l    facebook.com/people/
racetmoic    Zu|uffeail^$tore/680210042
tumblF.   zulurecords.tumblr.com
Zulu Records
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Vancouver, BC
tel 604.738.3232
wvvvv.zulurecords.com
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