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 FREE!
JUNE 2011 /THAT MAGAZINE FROM CiTR 101.9 FM
// SUPPORTING VANCOUVER'S INDEPENDENT MUSIC COMMUNTY FOR OVER 25 YEARS
ill
HI
1 EDITOR'S NOTE
Music Waste scarred mefor life. Well, maybe that's a bit harsh. Let me rephrase
that: I scarred myself, physically and emotionally, at Music Waste. About eight
years ago, my old band played at Pafs Pub as part ofthe fest's activities. From
what I recall, it was a total blast up until halfway through our set when I let
loose what had to have been one hell ofa scream, lost control of my motor
functions and collapsed right into the pointed, wooden corner ofa Juno 60.
I don't remember much beyond that, but I can assure you I got through the
rest ofthe performance with a stream of crimson trickling down my face and
an abnormal pounding in my head. Truthfully, the gouge on my forehead was
only about two milimetres wide, but I went to London Drugs the next day and
bought a tube of scar remover and rubbed it on the spot religiously over the
next several months. If you look real close—'-and I should warn you, please
don't, if 11 freak me out—you can see it, but ifs maybe about a sixteenth the
size of Harry Potter's lightning scar.
Without getting too misty-eyed, Music Waste is one of my favourite times
ofthe year. For the better part ofa week, everyone is electrified, bouncing from
venue to venue, checking out bands both old and new on the cheap. Quite
frankly, the d.i.y. fest brings out the best ofthe city's underground scene. Over
the years, organizers have brought in art and comedy into the event, and ifs
proved how much culture we have to enjoy in *cough* No Fun City. On another
note, with the official mascot of Music Waste 2011 being a lobster, can we add
some catered events to the fest too? Just don't call it "Food Waste."
Three of our features this month (Chains of Love, Cloudsplitter and
Womankind) are playing Music Waste. There's a great calendar in the middle
ofthe issue lovingly designed by our art director that tells us when these shows,
not to mention every other event, are happening. Check it out!
As great as the fest is, lef s not forget there's still a lot going on in the city.
Another of this month's featured bands, local garage rockers Indian Wars, just
put out a new album. Have you heard it yet?
So, yeah, let's celebrate like crazy this month, but remember, we can be
partying like this all year long. The Fringe Fest, Olio and Victory Square Block
Party are just around the corner, and you can pretty well catch great local bands
at venues city wide no matter the month.
I lied guys, I got a little misty-eyed. I'm wiping tears and Dermatix scar gel
from my face with one hand, while typing with the other.
Discorderly yours,
Gregory Adams
EDITOR
Gregory Adams
ART DIRECTOR
Lindsey Hampton
PRODUCTION MANAGER
Debby Reis
COPY EDITORS
Sarah Charrouf, Steve Louie,
Debby Reis
AD COORDINATOR
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Steve Louie
WEB EDITOR
Reilly Wood
E-SUBSCRIPTION COORDINATOR
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CALENDAR LISTINGS
Debby Reis
ACCOUNTS MANAGER
Corey Ratch
PROGRAM GUIDE    |fJ|;
Debby Reis
OFFICIAL TWEETERS
Debby Reis, Dorothy Neufeld
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PUBLISHER
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COVER
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request TABLE OF CONTENTS//
JUNE 2011
// FEATURES
// REGULARS
08 / CHAINS OF LOVE
These local soul kids prefer their Phil Spector-saluting sounds on the sweeter
side of things.      Mw'idjk ?fpC^-;^
06" /RIFFRAFF
Chains of Love / White Lung / Nii Sensae / Spastic Panthers / Teenage Rampage
10 / WOMANKIND
Womankind have a penchant for bushy beards, bass
post-hardcore grooves
14 / INDIAN WARS
As our own Cail Judy found out, Indian Wars' new album Walk Around the Park
is a surefire way to beat the working class blues.
16" I CLOUDSPLITTER
The forecast for Cloudsplitter's new, self-titled album calls for thunderous
country rock riffs and a 99.9 per cent chance of awesomeness.
19 / MUSIC WASTE PROGRAM GUIDE
A four-page primer on every concert, comedy performance and art, show
taking place at this year's Music Waste. Ifs like their iPhorie app, but for the
technologically disadvantaged.
l8 / CALENDAR / byPrlscillaYu
solos and bashing out      2 A I PROGRAM GUIDE
35  / ART PROJECT / ArtWaste
38 / ON THE AIR / Duncan'sDonuts
39 /CHARTS
28 / UNDER REVIEW
Eeek! / Hunx & His Punx / Pat Jordache / The Kills / Little Scream / Love Cuts
/ Lust / Efrim Manuel Menuck / James Pants / Psychedelic Horseshit / Savage
Furs / Sonny & the Sunset*
32 / REAL LIVE ACTION
Shearing Pinx / Taikotroniks / CR, Avery / LAKE / Kathryn Calder JUNE 22 - 25 CALGARY, ALBERTA
OF MONTREAL/BLONDE REDHEAD/THEE OH SEES
MAN MAN / CHAD VANGAALEN / TWIN SHADOW
MINUS THE BEAR /KURT VILE & THE VIOLATORS
BUZZCOCKS /THE DANDY WARHOLS / ALBERTA MOSS /THE RAVEONETTES / SLEEP
ALEJANDRO ESCOVEDO / WILD FLAC / CURSIVE / CREENHORNES / THE SWIM)
THE SOFT PACK / DEER TICK / JUSTIN TOWNES EARLE /ELECTRIC SIX
THEE OH SEES / CROCODILES / CHALI 2NA / DUM DUM GIRLS / WILD NOTHING
YIP, FESTIVAL AND DAY PASSES
ON SALE NOW!
DISCOVER ALL YOUR NEW FAVOURITES!
FUN FOR EVERYONE!
BRING YOUR FRIENDS!
BRING YOUR BIKES!
GREAT HOTEL DEALS! - .
RESTRICTED ENTERTAINMENT
PROUDIY SUPPORTING ALTERNATIVE CULTURE! MUSIC I NIGHTLIFE
SATURimY4JUNf^4BlS^r|
I ONLY THE BEST / ELECTRO / 80'S / NEWWAVE
ISYNTHPOP INDUSTRIAL/ALTERNATIVE
WITH TAG TEAM DJS PANDEMONIUM & EVILYN13
1ST, 3RD AND 5TH SATURDAY OF EVERY MONTH
GLRI^KflSH
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tWW)HMftWf6flVWnfMOI«W^
www.Q^unttxiAneai&ix
SAWTHARY
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ROCK : INDUSTRIAL I EBM ; 8CS
NEWWAVE i ELECTRO I ALTERNATIVE
DJS PANDEMONIUM & CONTRASOMA
CLUB 23 WEST
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sin city
FETISH NIGHT
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I HENRY* <ZZ£g 3f' f «$a§ l^aJ^vJ^^^sb'   ISLAND
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6STAGESKi|       ft«¥BjBIDE Qkl#l fitWOfi]
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OVER 200
RMERS INCLUDING,.
JON ANDERSON
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ROllEY CRQfl
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SPECIAL THURSDAY CONCERT!
;ffltt|SON:KAuSS &
WpOf STATION
iMPlMJWkY DOUGLAS
Thursday, July 7,2011 - Tickets only $50"
15j@k^ll^ Comox Valley Exhibition Grounds iffr** RIFF RAFF //
BY BRYCED
fflilifilll
*£4
mm of love
Friends, isn't it time you got back to basics? Back to a time when music
was heard on a hi-fi and not a hard drive? Where the grooves ofa record, not the bytes ofa computer file, sent warm, inviting, simple yet
seductive strains of melody to the ear? Stop me before I sound anymore
like the K-Tel compilation ads ofthe past, but Chains Of Love hearken
back to those halcyon days befitting of dance halls and dingy dives with their
debut seven-inch of seasoned soul. A fortuitous meeting between members of
other current "hip" bands has begot this incredible musical maelstrom, and
at the eye of this storm we find the duet-ing duchesses Nathalia Pizzaro and
Rebecca Marie Gray. "You Got It," with its Northern soul inflections, backed
by the rollicking bass bounce of Clint Loftkrantz and some springy keyboard
action from Henry Beckwith, will make pulses race and feet bee-line for the
floor. "Black Hearts" kneels whole-heartedly at the Shangri-Las' shrine whilst
wrapped in a hazy wash of guitar grit from Felix Fung and the biff-bang-pow of
drummer Al Boyle. While there has been a recent swell of girl-group-idolatry-
meets-rough-and-ready-R&B building among the garage rock elite (Modern
Superstitions and the Vibrating Beds come to mind) Chains Of Love add a
welcome want of this immediately catchy and retro vibe to the masses. Soak
it in, guys and gals—they plan to stick around for a while, % \ • _\ '■
Vancouver's twin towers of trouble White Lung and Nu Sensae, have just
unleashed a new split single to coincide with a gargantuan U.S./Canadian
tour that finds these combos traversing abroad to terrorize everyone with their
punk rock racket. White Lung serve up "Aristocrat" with a decidedly different
treatment of Mish Way's trademark snarl, which is dialed back but now multi-
layered for maximum whiplash. Kenny McCorkell's staccato guitar strikes lay
perfectly in the cut over top the frenzied bottom end of Grady Macintosh. Add
Anne-Marie Vassilliou's breakneck drum-bashing and we've'got another
winner on our hands. Not to be outdone, Nil Sensae's bar-room brawler, "Eat
Your Mind," has Andrea Lukic switching between a haunting croon and a
shrill shriek without missing a note, while drummer Daniel Pitout's caveman
crunch makes the earth shake and reverberate amidst a sea of feedback and
fuzz. Be warned: this tour and single will blow minds.
Heading east over the Rockies, another release from Calgary's rollin' and
ramblin' ambassador to the stuporstars, Handsome Dan, has unearthed another
collection of sonic shredders from his group, Spastic Panthers. Here we get
more ofthe if-it-ain't-broke-don't-fix-it brand of beach punk ragers they are
affectionately known for, as on " (I Don't Believe In) Moderation" and "I Can't
Make The Scene (Without Caffeine)." Some surprises do pop up though, such
as a reverb-drenched solo courtesy of Al Von Zipper on "Panther Bomb" and
some nifty bass work on "Cocaine WerewolP that'll have heads boppin'. The
flip introduces us to fellow Cowtown cohorts Teenage Rampage, and their
feverish brand of hardcore hi-jinx. The soundtrack to growing pains ("What's
The Rush"), workin' for the man ("Sick OfThe Cold") and other odes of aagst
are backed by gnarly guitar work and thunderous drums that'll appeal to the
back-patch sporting, alley-puking punk set in spades.
Finally we rest in the big TO., where I just recently returned from whilst
on tour. I was lucky enough to have met and played with the svengali-like pop
princes First Base, with whom I.fell in love with a year ago after hearing their
song "Nobody Makes My Girl Cry But Me" done by the pepperoni-slinging
impresarios Personal & The Pizzas. Well, the favour has been returned on
First Base's recent single with an exciting take on "I Don't Feel So Happy Now"
(from the P&TP Raw Pie album) as well as their own girl-happy go-getters, "I
Saw Her First" and "Get A Taste Of Her Love Again." Brimming with spritely
guitar work and fresh-faced enthusiasm, fans of Nobunny, Lover! and Beach
Boys harmonies are.gonna fall all over this, guaranteed.
Muchas gracias, amigos! 4wv ■;
Chains QfLove: Hi-Scores Recordtnfl Library u)umhiscoresrecordinflltbranj.com
White Lung/Nu Sensae: Nominal Records/Deranged Records unvuuecordsnominal.com
u>u>u>.deranfledrecords.com
Spastic Panthers/TeenafleRampafle: Handsome Dan Records www. handsomedanrecords.com
First Base: Ric Rae Records http://ricracrecords.biflcartel.com TEXTUALLY ACTIVE//
Talk - Action = 0, An Illustrated History of D.0.A
byJoeKeithley
, (Arsenal Pulp Press)
This Is East Van
by various artists,
curated by Erin Sinclair and Jason Uglanica.
(Independently published)
REVIEW BY ERICA HANSEN
Vancouver has just been graced with two new visually stimulating
books. Both books, in a way, are aimed at promoting social change—
one showcasing the city's punk rock past and the other a contemporary look at East Vancouver culture and community.
The first is Joe Keithley's new bookTalk - Action = o, An Illustrated
History ofD.OA. The equation in question, which also serves as the title ofthe
Vancouver punk rock heavyweight's most recent album, has become somewhat
ofa slogan for the band. Interestingly, the group first saw the saying printed on
the cover of an anarchist magazine^ In light of any sort of activism, ifs a great
slogan, but if one were to. re-arrange the equation wouldn't talk also=action? I
digress; algebraic musing is not the point The point is that front man Keithley,
also the founder of Sudden Death Records, has been involved in activism since
his teenage years, protesting the nuclear arms race in downtown Vancouver
in 1973, playing over 200 benefits and protests over the years with D.O.A. for
various causes: anti-racism, anti-sexism, anti-colonialism and environmental
protection, among others. There's one thing this book certainly sheds light on:
punk rock is hard work! Keithley, a.k.a. Joey Shithead, reminds us that actions
speak louder than words, suggesting to the reader to. "Be your own boss, think
for your self, and effect some positive change in the world."
The book is a fascinating account of D.O.A.'s gritty, unapologetic punk
rock history, from their inception in 1978 up to the present The book is packed
with old show flyers, set lists, photos and lyrics scratched down on scraps of
paper that supplement a chronology ofthe band's progression. One noteworthy image, out ofthe hundreds included in the book, is a handbill for a
1979 show at UBC's SUB Ballroom. The flyer sports a grainy image of D.O.A. 's
original lineup strutting down some street clad in tattered denim with a "we
don't give a shit" swagger. In the corner is a smaller photograph of one ofthe
members, presumably Keithley, shredding so hard on the guitar that it looks
like his brain is going to explode out his eye sockets. What ensued that night
was an all out riot in the Ballroom, landing one ofthe band members in jail.
The original lineup ended up breaking up after that night
Before Q.O.A. went on to revolutionize second Wave punk—hacking out the
foundations for what is now known as hardcore—they were cutting their teeth
d.i.y.-style at original Vancouver punk venues such as the Japanese Hall and
the once mighty punk rock stronghold the Smilin' Buddha Cabaret The book
recounts another important performance early in band's career, which was the -
1978 "Anti-Canada Day" show with The Subhumans and Private School in Stanley
Park, where money was burnt along with a copy ofthe Canadian constitution, in
an expression of anarchy. It doesn't get much more punk rock than that folks,
with the exception, perhaps, of Keithley pissing on the crowd at a show in San
Francisco's, notorious punk venue Mahubay Gardens. Mad punk cred.
Next up is This Is East Van, a community photography project that is the
brain child of locals Erin Sinclair and Jason Uglanica. The result is a collection
of photographs showcasing the many faces of East Vancouver. About a year
ago, the call was put out for people to send in images of their neighbourhood.
Anyone could submit It was a great way to express the diversity ofthe area,
demonstrating how community members view their neighbourhood through
their own unique lens. Although I have an .affinity for the aesthetic of derelict
buildings and seedy alleyways in photography, I was pleasantly surprised to
see that the book paints a rather positive image ofthe neighbourhood. The
photograph titled "Couple in a Shopping Cart" by Jen Osborn does a good job
of this. The image captures a moment of affection that brightens the page with
its un-posed genuineness, juxtaposing the backdrop ofa grey Vancouver sky.
Mind you, there are still images of derelict buildings and seedy alleyways, but
they were chosen tastefully and do not seem to misappropriate or perpetuate
any negative stereotypes ofthe community.
The only criticism I have towards the book is that it needs more angles ofthe
neighbourhood to truly represent the dynamic community. A picture is worth
a thousand words, but even so, how many pictures does it take to represent
the collective lived experiences of an entire community? The book is already
chalk full of over 150 full colour images, each of which tells its own story of
East Van. I guess they'll have to make a sequel!
This Is East Van is available at various retailers including Mintage, Barefoot
Contessa and the Waldorf Hotel. Talk - Action = 0, An Illustrated History of D.O. A.
.will be launched at a D.O.A. concert at the Rickshaw Theatre on June 4, which
is also Joe Keithley's birthday!  BY SHANE SCOTT-TRAVIS
ILLUSTRATION BY LOUISE REIMER
I'M Gomrnmowm
IS WORLD:
Waiting in a brightly lit but agreeable cafe' promising all-you-can-eat
chocolate fondue before an interview with Vancouver's Chains of Love, I'm
filled with considerable excitation. They're a sparkling new musical menagerie
with garage-y gifts and soul sensibility. I'd witnessed their lush debut at the
Biltmore Cabaret in April and their rousing set was a pop pleasure airing
aptitude to spare and a quick sense of play.
It's notlong before vocalist Nathalia Pizarro and guitarist/vocalist Rebecca
Law Gray canter in, their beaming smiles cordially punching up the already
glittering tearoom. ^lllillll   ^P'^^K'
"I'm in puppy love with this band," says Pizarro, between chaws of chocolate. ^
"I don't wanna just say that Chains of Love sound retro or Motown—that
we've got a kitschy, candy shop vibe to us—I feel Hke there's a raw element
to our sound, too."
"Our sound is like a strawberry dipped in chocolate," giggles Gray,
deliciously illustrating her mouthwatering metaphor at the table. "We have
so much fun when we're recording. I think it translates in what you hear."
The sugary sweetness of Chains ofLove is even more palatable now, thanks
to Toronto-based Hi-Scores Recording Library, which just released a seven-inch
of their songs "YoUGotlt" and "Black Hearts."
.'" These layered, reverb-drenched and sun-soaked songs echo '6os-style
Wrecking Crew production values, like AM radio from the fab era. Both tracks
exemplify rousing, romantic pop and Pizarro's sweeping and warm vocals form
the smooth and confident centre of these mini-symphonies. Theimmediate
future is looking sugar-coated too, with a gig during Music Waste, a week of
shows in New York, and appearances at North By Northeast in Toronto and
Sled Island in Calgary. August will see the completion of an EP, followed by a
tour in September and October. All this buzzing has Pizarro dropping f-bombs
left and right.    ■
"I've got stars in my eyes, it's just great I can't say a bad fucking thing
about anything—I'm stoked!" Pizarro says excitedly, accidentally splashing
chocolate across the table. "Oh, fuck, sorry!" .
"TShj must excuse my tHend," razzes Gray, gladly, "She has the mouth of
a sailor,"
. Their blithe banter is refreshing, like BBJffbut that's not the case.
"We haven* t known each other that long, actually," Gray explains. "We met
in a parking lot jjjf POtllarid last Augjtttf. I'd seen Nathalia around and knew
who she was but was always shy around lueh a hot babe."
•t   With her dark flowing locks and ptQB^W/SStt pretty eyes, Pizarro recalls a
young Ronnie Specter, and it's an accurate appraisal. ^^.|'
"Obviously our huge influences are the Ronettes, Shangri-Las, Crystals.
We all love that stuff—it's just a given. We went with that Wall of Sound idea;
510$ oi^ejrcussion, lots of layering. Originally, it was Felix's idea to start a girl
group. He's our Phil Spector, without a doubt."
*Yup," agrees Gray, deadpanning; "He's in there, top, with the murder and
the guns and all sorts of fucked up shit." t iP^^Ms^^
Originally a five piece —Pizarro, keyboardist Henry Beckwith, dfljubsSllet •«
Steve Pputine (later replaced by Al Boyle), bassist/guitarist Clint LdpaNW^
and guitarist/producer Felix Fung^—Gray became the missing link that locked
Chains of Love securely together.
"I'm Kermit and she's Miss Piggy," Gray says ofthe group's singing
contingent while going through the merits of Muppetdom.
"Pm certainly Miss Piggy," agrees Pizarro. "I snort all the time when I laugh,
so if s fitting. And Miss Piggy has great style, she loves to sing and. s^$j$£??
dramatic. Thafs me!"
The table ruptures into giggles as Fung strolls in, smiling.
"She is dramatic!" He teases.
"I'm good at two things in this world: singin' and cryin'," Pizarro squeals.
As Fung clamps on to the discussion and the orgy of chocolate it
accompanies, Gray and Pizarro invite him to clear up an earlier discrepancy.
Early on, Chains of Love, faced some challenges in the studio. Pizarro's
difficulties with harmonies had-Fung recalling an earlier conversation with
Gray. According to Pizarro, "Felix told me that Rebecca said/harmonizing
is my forte?*.
. "I sever said that!" says a reddening Gray, "Now I'm gonna sound hke the
biggest asshole."
"I don't paraphrase, Rebecca," Fung says with a knowing laugh as Gray
winces in disbelief, "I quote direcjfl^^^
For music fans, Chains of Love directly presents a precious gift fromp&§£$;\
pearly gates. And, despite their tongue-in-cheek teasing, they're forward-
thinking too.
' ;*What does the future hold for Chains of Love, besides flying cars?" Fung
ponders aloud.    -
"I hope it feflds all six of us continuing to perform music," Gray says.
"Hear, hear," says Pizarro to harmonious agreement
Chains ofLowftef) the Electric Owl as part of Music Waste, June 3 r^\
V~/
IBY FRASER DOBBS
PHOTO BY LORIKIESSLIHG
ul Discorder: We've been hearing quite
D: How did Womankind get its start?
CM: That was the best part.
it more, complicated.
a bit about Womankind but it's been
very hard to find information about
Was this a planned thing or did the
fates conspire to bring you all together
SM: Itwas great
BC: Although itwas stressful. The
CH: We still really need another drummer too.
you. Is that intentional? Have you kept
in the same room?
pressure was definitely off because
BC: I'm happy at anytime to step aside.
your presence to a minimum to avoid
SM: Brady orchestrated it
no matter how well we did or how
RT: I've always wanted to play in a band
people like me coming and knocking
CM: Brady's wife [Robin] came up
poor^'we did, we'd be gone the mo
with two bass players for years aw^A
on your door?
with the name.
ment Jesus started.
■>fe never happened. I alw^s thought
?:$jkrfa Harris; §^^^tkunk so.
CH: I distinctly rememberJsaving^
SMI: We were just standing there. .
it would be super fun... myouddies
JipOtt Malm: We play shows.
a conversation with [Brady] where
Grateful.
were like, "Aw, come jam with us. It'll
CH: Sometimes.
[he] came up to me excitedly and said
BC: To get to meet them all, and to play
be awesome."
Rich Trawick: Chris is like 80 per cent
something about "we're going to start,
the show was pretty great.
SM: We're about making dreams come
done a website.
atoand that sounds like this."
CM: David Yow said we sucked,     i
true, [but] I don't think we said "jam
CH: Yeah we're working on a website.
D: What was "this?"
SM: He came up, I can't remember
with us."                         li JIIIm
We're not anti-information.
CH: Itwas probably Pissed Jeans, when
what he said to me, but he's like,
RT: It actually really worked because
Brady Cranfield: Justanti-sharing.
CH: Maybe we're anti-hard work.
that first record came out.
BC: I think I heard that record after I
"man, you guys really suck," and it
was pretty great. He kind of gave me
Scott and I have different styles as well.
SM: I can't do much. After however
RT: And maybe the slowest band, ever.
had the idea, and I was excited to have
a little pat on the shoulder.
many years, I can play on the one.
SM: It takes us a while.
the idea be confirmed, but it's a long-
CM: Like "nice try?" •
D: So is that something you think
D: Well it seems there's
every band should try: two
some reason for that. You're
bass players?
all veterans ofthe Vancouver
RT: That and ecstacy. Or
music scene.
SM: Yeah I've known Brady
smoking weed.
CM: What?
for 19 years, that's pretty          jlf
good.                                          ' * ]
w^yo^
iQ we sum
|||||f|       RT: "Things that every band
Hpl        should try"
D: So you're obviously familiar with each other. Is      : '"*?/,4
-CHRIS HARRIS ON 0PENIN6 I^BlS lB
llf'-         SM:  I don't know... it
worked for us!
there a lot of history?
RT: It's like the two drum
BC: No, you know what? We
mers. There's the odd
keep discovering each other.
band that pulls it out and
RT: Could you rephrase that?
it works, but it has high
BC: I mean exactly what I'm saying.
standing ambition and I'm very happy
BC: I'm sure he's able to just say
potential for failure. But hey, there's
Every day is new with Scott. You just
we get to realize a '90s retro-nostalgia
what he means now, and people take
two guitar players... why can't there be
don't know.
Christa Min: Their first band—well I
band. It was a very important time for
me, njusically. It's kind of been in the
it however. Probably joking, right?
RT: Scott was like, "he touched me."
two bass players? And bass is kind ofa
crappy instrument, too, in terms of...
don't know if it was their first band, but
background of other bands that we've
BC: Christa got to hug a sweaty David
BC: What does that mean?
they had a seven-inch on Mint Records.
been in, moving towards noisier,
Yow post-show.
RT: You ever hear a bass solo? It al
Si!           [Both the band and the album] were
more rock-oriented stuff. It's fun to
CM: For five dollars, that's what you
ways sounds like shit. A guitar solo, it
called Kid Champion.
finally get to do it. I can't remember
can get.        I^^fti
sounds great You can have somebody
Pulp,      D: The bio on Nominal says this is
if Robin came up with the name. She
BC: He charged you?
doing rhythm, somebody doing a lead           ■£&? ,1
meant to be your last band. Is thatyour
might have, as a joke.
CM: Yeah
or something hke that. That's the fail
mentality or are you just sick of work
CM: Definitely a joke.
D: I did want to touch on the double-
ure of bass. It doesn't let you do that.
ing with other people at this point?
BC: Spelled with a "y."
bass player thing, because I think it's
SM: You do little leads though.
CH: I think really that's because Rich
RT: "K-Y-N-D".
pretty interesting. I was really curious
RT: A little bit, but that's where you've
is going to med school in September.
D: You did end up opening for Pissed
if you went out with the idea, "ooh I'll
got to figure it out It's a fine balance.
RT: Well, that's conjecture.
Jeans and Jesus Lizard, that was pretty
find two bass players because..." or
SM: Yeah, because I will never [play a
SM: Yeah, it's possible.
CM: Well, it's just nice to think of it
early on... second or third shows.
RT: Yeah, we've really lost a lot of
did it just spring up?
BC: Well, Scott, he's a bass player
solo]. I just can't
RT: You do your noise solos.       •Jsij&ik
that way, that we won't break up.
steam since then.
and then...
SM: Yeah, but that's noise.
RT: Here's what I think: I've played in
D: [Jesus Lizard] was atthe Commodore.
SM: We asked Rich at a friend's wedding.
D: I think that's all I've gotforyou guys.
!$|pj5.          a lot of bands with a lot of different
CM: The greatest band ever.
BC: And itwas awesome, so of course,
SM:Idon'treallyknowwhatwegaveyou.
people and sometimes it works. You
$§§$£ •    can produce good music but... I really
D: How was it playing with "the greatest band ever?"
itwas absolutely the right thing to do.
D: Just needed that extra bit ofbassiness.
Womankind plays Paf s Pub June 3 as part
like playing with this band because it's
. CM:Embarassing?Idon'tknow.
BC: We didn't realize until we did.
of Music Waste, as well as a record release
just buddies. You're hanging out with
SM: It was super fun. We got to ,
. CM: We just needed another friend.
show at the Biltmore, June 7.
people that you like.
watch them.
SM: We needed more miles, to make vOENGO
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ILLUSTRATION 8Y TYUS CR1CH
LI M'tGOTMY
FAVOURITE JEAN
JACKET FUCKED
UP FROM YOUR
WARPAINTm
—INDIAN WARS FAN COMPLAINING
Picture this: you're sitting on a deck covered by a tin roof as the rain
falls above you. A tall, long-haired man is showing you a table he
sanded down to raw wood, one which is stilf ianeed ofa staining to
protect it from the elements. Whiskey and beer are passed around
with thanks. Are you at a cabin in a remote part of B.C.? No, ydij%:;
enjoying the company of local rockers Indian Wars. Band members Frase
With (guitar), Dave McMartin (guitar), Craig Pettman (piano, harmonica),
John McMartin (drums) and Brad Felotick (vocals and bass) were all present
at their spacious home on Cambie SL when Discorder caught up with them
to discuss their new album Walk Around the Park, a garage-rock album infused
with liberal doses of old school country.
Indian Wars was born out of chaotic jam sessions held at the McMartin
brothers' grandmother's basement in Tsawwassen in the winter of 2008. "We
used to ruck around a lot," says With, adding that they'd skateboard together in
their hometown before jamming in the evenings. "I used to play guitar and it
was the worst thing you've ever heard," Felotick recalls with a laugh. Pettman
is the newest addition to the crew. He joined a year ago when the band needed
someone to play keys on a Velvet Underground cover.
Always armed with a good story, With describes a show the band recently
played at the Biltmore (with fellow locals Bummer High and The High Drops)
where the band ended up convincing the very drunk guitarist to take his off his
shirt to don some body paint "We didn't want to offend anybody, since our
name is Indian Wars, but we just said, 'Fuck it, who cares?'" With chuckles.
"The next day I got a bunch of text messages. 'How do I get this stuff off my
clothes? I got my favourite jean jacket fucked up from your warpaint.'"
Indian Wars do not shy away from their influences. Instead, they
wholeheartedly embrace them. "We listen to Neil Young and Johnny Cash
all the time," says Dave McMartin, when asked about the strong country
influence on Walk Around the Park. "That's The Way It Goes," sounds like a
dusty Buffalo Springfield B-side thanks to its boot-stomping bass line and
rousing gang vocals.
"We can play rock 'n' roll and we can play country," With confirms. "What's
the difference between us and Neil Young? We haven't sold as many records. Yet"
. The guitar wielder is quick to point out that Indian Wars draws from its
peers as well. "We're into a bunch of new garage bands: Black Lips, Demon's
Claws, Jacuzzi Boys and Dead Ghosts are rad." The garage influence is clear on
tracks like "George Ellis" and "Won'tDo A Thing," two fast-paced numbers that,
highlight Felotick's gritty, visceral vocals and the band's hook-laden guitar work.
Lyrically, Walk Around the Park focuses on large ideas, like our motivations
in life and the purpose we serve. In "Old Hotel," Felotick sings about how "the
working class ain't such a gas when you know somebody like that / Just goin'
to work everyday and hopin' you get sacked." Dave McMartin, who wrote the
lyrics, smiles when asked about the song's meaning. "My dad's a reporter and
he told me about this book Up In the Old Hotel, by Joseph Mitchell. What I took
from that book is, it made me wonder what else there is besides working your
everyday job. You can go to work, but at the same time still have something
else on the side." His brother nods in agreement before adding, "It's nice that
we have this," while gesturing at his band mates. a£^g&|
Closer "Walk Around the Park" is another stand-out. The song boasts loads
of twangy guitar and scorching harmonica riffs with a beat that methodically
pu^»you forward like you're taking a stroll. It also describes characters
anyone#ho has spent time in Vancouver's East Side would be familiar with.
"There's a man across the street who's going out of his head / He's howling at
thes|BOdn and his eyes are going red," Felotick belts on the cut with conviction.
The line speaks about one ofthe many individuals the %^;encountered at
their last residence.       - ^£?
"The song is about our old neighbourhood," Dave explains. "We used to
live in a house on Fraser and Broadway... We had people stealing shit off our
porch. The house turned into a place where you dreaded coming home to."
"There were homeless dudes trying to steal the plums from our trees,*-
Felotick adds.<"Sometimes you just needed to go for a walk around the park
and get out ofthe house."
"Walk Around the Park" provides much ofthe steam for the direction Of
the new*album. "Itwas different from what we'd done before," explains Dave.
"It's less garage-y, more ofa narrative song."
With their first LP under their belts, it's clear from the pride in their voices
the men from Indian Wars, are happy with how Walk Around the Park turned
out. "In the end, you make music for yourself," says Dave. "If you don'tlike
^what's the point?"
Indian Wars open/or The Black Lips at the Commodore on June 15 and play Calgary's
Sled Island Music Festival on June 25. WRITTEN AND ILLUSTRATED BY
SHANE SCOTT-TRAVIS
CLOUDSPLITTER
BPs^.
U
PON FIRST HEARING CLQUDSPLITTER'S NAME, IT'S EASY TO CONJURE UP IMAGES OFA LOUD,
ASSAILING, HARDCORE METAL BAND THAT TAKES ITSELF DEPLORABLY SERIOUSLY ONE CAN
EVEN PICTURE THE SHARP, METALLIC FONT WITH A DIERESIS OVER THE "U" AMIDST BOLTS OF
LIGHTNING, COILED SERPENTS AND PENTAGRAMS. BUT SUCH IMAGININGS DENY THE AMERICANA
16 AIR AND FOLK FRAME OF MIND AT THE CRUX OF fRl$;
BAND. WHICH IS ABOUT AS FAR REMOVED FROM
METAL AS YOU CAN BET.
"I NEVER THOUGHT ABOUT IT THAT WAY," SINBER
DAVE BOWANS SAYS WITH A CHUCKLE OF THE
MISCONSTRUED MONIKER. "THE TITLE OFTHE BAND
ACTUALLY COMES FROM A RUSSELL BANKS NOVEL,
CLOUDSPLITTER. IT'S A REALLYLONGBOOK, ONETHAT
I STRUGGLED WITH, BUT AFTER AWHILE IT STUCK
WITH ME AND I REALLY GOT INTO IT. IT INSPIRED
SOME SONGS THAT I WAS WRITING ABOUT COPING
AND SURVIVAL. IT WAS NICE TO SEE THESE THEMES
EMERGE, LIKE HOW I STRUGGLED WITH THAT BOOK
AND THEN ALL THIS BEAUTY EMERGED."
Cloudsplitter (the band) can be as sombre as the Banks hovel suggests, but
also restrained and laid-back. As evidenced on their newly released self-tided
album, their sound is a wry kind of folk fuzz with a country complexion. Though
flirting with the Bakersfield sound, which is to say country with a hardy rock
'n' roll influence, the act coalesces this with '70s era outlaw country along the
lines of Waylon Jennings and Merle Haggard.
In the decade or so before Cloudsplitter, Gowans had made a name for
himself as the front man for the celebrated indie rock band the Buttiess Chaps.
"The Chaps mutually agreed we'd done as much as we could so we all just said
'it's better to stop,"* he says with a nostalgic inflection. "Take a TV sitcom;
maybe Cheers or Setnjeld went on one or two seasons too many, y'know? You
always gotta think of, like, Fatuity Towers, where it was eight episodes and
itwas done. It leaves you wanting more. But itwas sad, ending the Chaps."
"The reason why Cloudsplitter formed in the first place was that the Chaps
got asked to open for the Mountain Goats and there was a scheduling conflict,
so the Chaps couldn't do it," Gowans continues of Cloudsplitter's roots. "Being
a massive fan ofthe Mountain Goats I was hke, 'I have to play this show,' so
I asked the promoter if my other project could play-^-a kind of quieter set,
just me and Ida Nilsen (Great Aunt Ida, the Beans) and Jesse Zubot (Fond of
Tigers)—and the promoter was into it So we did a couple of shows like that.
Ifs been a lot of circumstance and synchronicity that got us going."
Following their formation, Cloudsplitter released a limited edition, self-
titled, seven-song EP in 2009 with the lineup of Gowans, Nilsen, Zubot Dan
Gaucher (Stop Time) and Jesse Gander (the Buttiess Chaps, Black Rice); a
dream team of talented friends. "The current roster ofCloudsplitter is different
than on those early recordings," admits Gowans. "Ida and Dan moved to
Toronto—a lot of people move East h seems." Gowans is now joined by Doug
Liddle (Swank) on banjo, electric guitar, lap steel and musical saw, Stephen
Lyons (Fond ofTigers) on drums, and Gander slapping a mean bass while also
contributing keyboards and vocals.
Having numerous musicians in your social circle and running Red Cat
Records exposes Gowans to a huge cross section of music. One might expect
this could lead to Cloudsplitter trotting out loads of recognizable influences
in their songs. Interestingly, the musician explains this isn't so.
"A lot ofthe music that I listen to doesn't sound anything like the music I
make, and that surprises me," Gowans confesses. "I listen to a lot of electronic
music or '80s stuff like Echo & the Bunnymen, Joy Division and Wire, and I like
lots of current stuff too, but that doesn't seep into what I'm making so much."
Cloudsplitter opens with "Broken Yet Forgiven," a number full of gentle,
languid tremors, from its almost breakable banjo strumming to the subdued
way Gowans and company croon of "a glorious haze to take it all away." The
poetry ofthe Banks' novel is tangible in such tender moments as those. Gowans'
tender trill is a far cry from that of, say, Ian Curtis, though themes of failure and
want may be something that connects Gowans to his preferred performers.
On top of eschewing the influence of Gowans' favourite bands, Cloudsplitter
isn't an extension of anything he's done before. Where the Buttiess Chaps
were more ofa cheerful alt-rock band that drove down country and electronic
backroads, Cloudsplitter is on a somewhat twistier and downcast path. This
can be attested to by shaky banjos and eerie musical saws, or the melodious
chord progressions of "Death on the Plain." The song features a hauntingly
delicate finger-picking intro reminiscent of Nick Drake, although more spare
• and bittersweet than anything the Chaps ever laid to tape.
"The Chaps had an identity that is different from Cloudsplitter. This is more
hemmed in, different instrumentation and a different feel. I'm not singing in
a falsetto or affecting a British accent or anything like that," jokes Gowans. "If
you're to generalize [Cloudsplitter's] sound, ifs down tempo folk rock, really,
but restrained. We really are trying for a minimal approach, which is different
for me. Ifs a fun and different dynamic. And ifs exciting, too."
Gowans and company are planning a string of shows in support ofthe new
record, with a planned performance on June 4 that will find them at Lana Lou's
as part ofthe Music Waste Festival. More dates will be announced soon and it
looks hke the forecast for Cloudsplitter will be calling for thunder, harmony
and dramatics in the days ahead. ■i
m
*&%.
mm*
■
y %>.
DISCORDER PRESENTS
MUSIC //ART// C§HEDVmUNE//-l-5 //2011 Mil CI f*   WA C YF *"*s Vancouver's premier independent music festival high
lighting the region's most exciting and innovative bands.
A DT WA CTF "***9PNfcl°fexhibitionstaking glaceatiadefen4fi#
galletiefc across the city.
COMEDY WASTE I
WEDNESDAY
ANZA (pysch waste)
Mongst 12am ^JSf
Role Mach npm
Nam Shub iopm
LANA LOUS
Web SherrifF 11.30pm
Bertha Cool 10.50pm
Fuji Hakayito 10.10pm
Bad Fate 9.30pm
COBALT       fifi
Joyce Collingwood 12am
Yung Mums npm
Keep Tidy 10pm
Open Relationship §pm
ASTORIA (fake jazz)
Melissa Paget 12am
Holzkopf 11.40pm
PBF 11.20pm
Nurse npm
Robert Anton Pizza 10.401m
The Nausea 10,20pm
Cloudface 10pm
"The Swear Jar" 8pm
Hosted by Sam S. Mujlins
Cam Anderson, Kyle Bottom,
Kaitlin Fontana, Jeff Gladstone, Kiel Hahn, Cameron
MacLeod, Bryan Nothiina,
Karen Pinchin
music: Dave Ward
PROPHOUSE CAFE
GYOW
Collapsing Opposites npm
Castanets 10pm
Seaweed Head 9pm
Bible Belts 8pm
RAILWAY CLUB
GYOW
Tough Lovers npm
Oh No! Yoko 10pm
Violet Age 9pm
THURSDAY
ELECTRIC OWL
Defektors 11.20pm
Men at Adventure 10.40pm
Inherent Vices 10pm
Aquanaut 9.20pm
LANA LOUS
The Godspot 11.30pm
Saint Jesua and the Chris*
tless Righteous 10.50pm
Abramson Singers 10.10pm
Hallow Moon 9.30pm
COBALT
B-Lines 12am
Hole in My Head npm
Richard Catwrangleur
lOpm Y'?^^T
Mikey Screwdriver gpm
PAT'S PUB
MT-40 11pm
Teen Daze 10pm
Bartel gpm
DBL Dragon 8pm
CHINA CLOUD iH
Chrissy & Ryry 10pm
SHUDDER
Sean Parker 9pm     l3mm
"Eloquent Monologue of
the Intact Cicles" - Erik
Jerezano
LION'S BIN■■* I?
Spell 9pm
Lust 10pm
"The Place Has a Name"
Mainn Cooley, KT Kilaore,
Soledad Mtmoz & Emily Hill
Hero Show 8pm
Host: Cameron MacLeod
Graham Clark, Craig Anderson, Kaitlin Fontana, Keuin
Lee, Emmett Hall, Andrew
Barber,.Colin Cowan, Tegan
VerheuV
Schtuptawn Presents
The Comedy Rights
Tribunal 8.30pm
Sean Emeny, Mr Gary
Fong, Mario Franson, Chris
Gaskin, Kiel Hahn, Goldie
HojQfman, Dean Moen, Ryan
Mutama Riwen
NYALA
GYOW
So You Think You Can
Sleep 10.45pm
Narwhal 10:00pm
No Aura 9:15
TOAST COLLECTIVE
GYOW
USSR Free Improvisers
Collective 7:00pm
Improv Potluck. Meet
and free improvise with
random musicians in
Vancouver. Throughout
the night we Ml be setting
up ad hoc groups based
on whoever shows up and
wishes to play. A show
wherein the audience are
also the participants!
7rW^^,
BILTMORil
Humans 12am
Basketball iam
Fine Mist npm
Olav 10pm
ELECTRIC OWL
Chains of Love 10.30pm
The Shilohs 9.50pm
Student Teacher 9.10pm
Murder Castle 8.30pm
LANA LOUS
Bummer High 11.30pm
Debbie Tiffany iov5opm
Chef Wigwam 10.10pm
Boy Voyage 9.30pm
PAT'S PUB
Womankind 12am
Cowards npm
The New Values 10pm
Hospital Blonde 9pm
ASTORIA
Apollo Ghosts iam
My Friend Wallis 12am
20 Flash Palace npm
Safety Show iopm
300 GLEN
Terror Bird 2am
Enjoy 1.20am
Bitch Moves 12.40am
SAH*--:, -**■=•,
Ben Rogers 9pm
Sarah Delaney
Vows 8pm
Louise Burns 9pm
Red Hot Icicles Burning
on Fire 10pm "Jr%3far
New Graphic Prints - Yukt
Takahashi
WALDORF
"Animatron 3"
Ehren Salazar :"
ZULU RECORD!
War Baby 6pm
Walter TV 7pm
Spring Break 8pm
Pump Trolley & friends
8pm
Pump Trolley, Weekend
Leisure, Furious Anaer Fun
Hour, Deimos andPhobos,
Knights of the Night
Show Us Your'Wits 8pm
Jenn Perrin, Daniel Chai
Chip Ellis, Amber Cella,
Jordan Ktahn, Brad Duffy,
Andrew Barber, Ian Boothby
& Burlesque from Sister
Madly
RUSSIAN PALACE
Lorax Improv 10pm
lorax, Tim Carlson, Nima
Gholamipout, Ben Gorodetsky
HipIBangl featuring
Tom Hill, Devin MacKenzie
music: Max Kashet&ky
WALDORF
No Gold i«m
Peace 12am
Watermelon npm
Malcolm 8c the Moonlight 10pm
ELECTRIC OWL
Sun Wizard 12:20am
Slam Dunk 11:40pm
Phonecalls npm
World Club 10:20pm
LANA LOUS
Weathered Pines 11:30pm
Jody Glenham 10:50pm
Cloudsplitter 10:10pm
Stefana Fratila 9:30pm
COBALT
Clean Cut Saturdays
Presents Goth Waste
Animal Bodies, iam   ,
mode moderne 12pm
Sutures npm
Zoo 10pm
ASTORIA
White Umbrella iam
On Lock 12am     ^S|J|
SFB npm
Gross Misconduct 10pm
PAT'S
Oh No Yoko 12am
Letterman Sweater npm
Aardvark Robinson 10pm
Kingdom Cloud gpm
LlflLtlJftttNTlHt
"Total Delation: Shrines
to the Manic Compulsions
of Fans" - Spencer Jensen,
Mel Paget, Andrea Lukic,
Rob Ondzik Lindsey Hampton, Marya Altic, Melanie
Coles, Patrick Cruz, Emiliano
Se$ witetdit, JnUa Marshl»f»
John Burgess
360 GLEN
Juvenile Hall 2am
Korean Gut iam
Babysitter 12am
mans
Half Chinese 4pm
Thee Ahs 3pm
Woolworm 2pm
NEPTOON
Sleep Letters 5 pm
Weed 4pm
Koban 3pm
Service Fair 2pm
Blanche Devereaux ipm
GENE
Tassels 3pm   V^^f
PrOphee^rSun 4pm ':|f|g|
ANTISOCIAL
Needles//Pins npm   i&f'p
Slow Learners 10:30pm
The Spreads 10pm
RED GATE
Vincent Parker 1.30am
Hot Sex and High Finance
12.30am telefoam 11:45pm
The Stick npm
Ghibli 10:30pm
Ladies & Gentlemen 8pm
Host: Craig Anderson
Katie-Ellen Humphries, Pat
Kelly. Jason Brytfen. Sean
Devlin, Jimmy Barnes, Ryan
Biel, Cameron MacLeod
Sunny Side Up 8pm
hosts: Lauren McGibbon
& Rachel Burns
JefiFYu, Josh Loeioen, Nicole
Passmore, Andrew Barber,
Kyle Bottom, Ben McGinnis,
Jane Stanton, Alicia Tobin
SUNDAY
WALDORF
Dead Ghosts 6pm
Harsh Words 5.15pm
Beach Demon 4.30pm
Crystal Swells 3.45pm
Hermetic 3pm
ii 'NTAIN
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23 //CiTR 101.9 FM PROGRAM GUIDE
DISCORDER SUGGESTS LISTENING TO CiTR ONLINE AT WWW.CiTR.CA EVERY DAY.
SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
Sam
7
*
CiTR Ghost Mix
Pacific Pickin'(Roots)      CiTRGhostMix
CiTR Ghost Mix
End ofthe World
News (Talk)
QTR Ghost Mix
CiTRGhostMHt
The Saturday Edge
(Boots)
CiTRGhostMix
Breakfast With The
Browns (Eclectic)
Sounds of Africa
(World)
Suburban Jungle
(Eclectic)
Friday Sunrise
(Eclectic)
9
Alt Radio (Talk)
Thud Time's The
Charm (Rock)
Shookshookta (Talk)
Pop Drones
(Eclectic)
Sweet And Hot flazz)
-F2ira
11
KolNodedi (World)
Morning After Show
(Eclectic)
Anoize (Noise)
12pm
The Rockers Show
Synchronicny
"     fla&)
Duncan's Donuts
(Eclectic)
CiTR Listener Hour
(Eclectic)
Generation Annihilation]
(Punk)
1                     (Reggae)
What Pink Sounds
Like (Eclectic)
The Green Majority
(Talk)
We All Fall Down
(Eclectic)
Barnburner
(Eclectic)
■H
Give'Em the Boot
(World)
Democracy Now (Talk)
Ink Studs (Erik)
Radio Zero (Dance)
(Metal)
3
Blood On
The Saddle
(Roots)
Shake
A Tail
Feather
(Soul/
R&B)
Mantis Cabinet
(Eclectic)
Wings flalk)] Prof (Talk)
Rumbletone Radio
AGdGo
(Rock)
Japanese Musicquest
(World)
.,, C^BJu^j^Qts).^!
,™RgdioEi:e.e^ihiker,, ,,<
(Talk)
French Connection
(World)
Nardwuar Presents
(Nardwuar)
■■■Mi
4
the Rib (Eclectic)
mta
5
Chips
(Pop)
Queer FM
ArtsXtra
News ioi (Talk)
Thunderbird Eye
(Talk)
Arts Report (Talk)
Native Solidarity News
(Talk)
News 101 (Talk)
The Leo Ramirez Show
(World)
6
Queer FM (Talk)
Sore Throats, Clapping Hands (Rogue
Eol^chesW
Flex Xbuf Head
(Hardcore)
IISB&f
Discorder
Are You Aware
(Eclectic)
Stranded
(Eclectic)
NashaVoma (World)
Sam- '
squantch
Shameless
(Eclectic)
7
Fillln          . 1
^ExplodinBHead
Movies
(Eclectic)
uscy       .. ms& ]
Stereoscopic Redoubt
(Hock)
African Rhythms
(World)
8
Rhythms
(World)
ProgressivD
Inside Out
(pance)
9
Bootlegs 8c B-Sides
(Dance/Electronic)
Live From Thunderbird
Radio Hell (Live)
The Bassment
(Dance/Electronic)
Synaptic Sandwich
(Dance/Electronic*/   j
Eclectic)          j
10
^Sahcej
The Jazz Show (Jazz)
(Hip-hop)
Sexy In Van City
mm
'Grandma's Attic
(Eclectic)
11
CabalUdtoCTWk)    |  Hans Kloss Misery
FunkMyLife
(Soul/Dance)
Randophonic
12am
FOlIn
Canada Post-Rock
(Rock)
I Houi (Hans Kloss)            -
1
2
3
	
CiTRGhostMix
CiTRGhoatMht
CiTRGhostMix
CiTRGhostMix
Aural Tentacles
(Eclectic)'
: The Vampire's Ball
,   (Industrial)   •
CiTRGhostMix    J
4
5
CiTRGhostMix
j 6am
7
!•
9
10
11
12pm
1
■MM
3
4
7
|
9
10
11
12am
1
4
24 SUNDAY
SHOOKSHOOKTA
fTalk) io-nam
A program targeted to
Ethiopian people that
encourages education and
personal development
K0LN00EDI .
(World) iiam-i2pm
Beautiful arresting beats
and voices emanating from
all continents, corners and
voids. Always rhythmic,
always captivating. Always
crossing borders.
THE ROCKERS SHOW
(Reggae) i2-3pm
Reggae inna all styles and
fashion.
BLOOD ON THE SADDLE
(Roots) 3-5pm
Alternating Sundays
Real cowshit-caught-in-yer-
boots country.
SHAKE A TAIL FEATHER
(Soul/R&B) 3-5pm
Alternating Sundays
The finest in classic soul
and rhythm & blues
from the late '50s to the
early '70s, including lesser
known artists, regional hits
and lost soul gems.
CHIPS WITH EVERYTHING
(Pop) 5-6pm
Alternatina Sundays
British pop music from all
decades. International pop
(Japanese, French, Swedish, British, US, etc.), '60s
soundtracks and lounge.
QUEER FM
(Talk) 5-6pm
Alternatina Sundays
An expose ofthe arts &
culture scene in the LGBTQ
community.
QUEER FM ARTS XTRA
fTalk) 6-8pm
Dedicated to the gay, les- v
bian, bisexual and transexual
communities of Vancouver.
Lots of human interest features, background on current
issues arid great music.
queerfmradio@gmail.com
RHYTHMSINDIA
(World) 8-9pm
Alternating Sundays
Featuring a wide range of
music from India, including popular music from
the 1930s to the present;
Ghazals and Bhajans,
Qawwalis, pop and regional
language numbers.
TECHNO PROGRESSIVO
(Dance) 8-9pm
Alternating 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     ^^yii
MONDAY
BREAKFAST WITH THE BROWNS
(Eclectic) 8-nam
Your favourite Brownsters,
James and Peter, offer a
savoury blend ofthe familiar and exotic in a blend of
aural delights.
breakfastwiththebrowns@
hotmail.com
SKA-T'S SCENIC DRIVE
(Ska) nam-i2pm
SYNCHRONICS
(Talk) i2-i:oopm
Join host Marie B and
discuss spirituality, health
and feeling good. Tune in
and tap into good vibrations
that help you remember
why you're here: to have
fun! This is not your average
spirituality show.
PARTS U
(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
(Rogue Folk, Indie S/S)
6-7:3opm
Lyric Driven Campfire
Inspired: new and old tunes
from singer / songwriters
with an emphasis on Canadian music. Tune in for
live acts, ticket giveaways,
interviews and talk, but
mostly it's just music.
Find us on Facebook!
EXPLODING HEAD MOVIES
(Eclectic) 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
spotlight swings widely to
encompass composers,
genres and other categories,
but all in the name of discovery and ironclad whimsy.
TH6*ZZSH0W
(]an) 9pm-i2am
Vancouver's longest
running prime-time jazz
program. Hosted by Gavin
Walker. Features at npm.
June 6: Guitar great Grant
Green.
June 13: The annual Jazz
Festival preview show
June 20: Eric Dolphy's final
domestic recording: "Out
To Lunch!".
June 27: A tribute to the underrated pianist/composer
Elmo Hope.
CANADA POST-ROCK
(Rock) i2-i:ooam
Formerly on CKXU, Canada
Post-Rock now resides on
the west coast but if s still
committed to the best in
post-rock, drone, ambient,
experimental, noise and
basically anything your, host
Pbone can put the word
"post" in front of. Stay up,
tune in, zone out If you
had a radio show, Pbone
would probably listen to
your show.
TUESDAY
PACIFIC PICKIN'   j       lllll
(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 willlearn
all about beat and rhythm
and it will certainly kick-
start your day.
THIRD TIME'S THE CHARM
(Rock) 9:30-n:3oam
Open your ears and prepare
for a shock! A harmless
note may make you a fan!
Deadlier than the most
dangerous criminals!
borninsixtynine@
hotmail.com
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. The
Morning After Show has
local bands playing live on
the Morning After Sessions.
Hosted by Oswaldo Perez
Cabrera.
WHAT PINK SOUNDS LIKE
(Eclectic) i-2pm
Celebrating women in
music and media who truly
kick ass. 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. Un programma bi-
lingue che esplora il mondo
della musica etnica italiana.
giveemtheboot.      M^M-S'
wordpress.com
WINGS
(Talk) 3-3:30pm
Alternating Tuesdays
PROF TALK
(Talk) 3-3:30pm
Alternating Tuesdays
Bringing UBC's professors
on air to talk about current/
past events at the local and
international level. Aiming
to provide a space for faculty and doctoral level students to engage in dialogue
and share their current
research, and to provide a
space for interdisciplinary
thinking. Interviews with
professors from a variety of
disciplines.
http://ubcproftalk.
wordpress.com
proftalk@gmail.com
RADIO FREETHINKER
(Talk) 3:30-4:3opm
Promoting skepticism, critical thinking and science, we
examine popular extraordinary claims and subject
them to critical analysis.   ,
The real world is a- beautiful
and fascinating place and
we want people to see it  \
through the lens of reality
as opposed to superstition.
THUNDERBIRD EYE
(Talk) 5-6pm
Your weekly roundup of UBC
Thunderbird sports action
from on campus and off with
your host Wilson Wong.
FLEX YOUR HEAD
(Hankore) 6-8pm
Punk rock and hardcore
since 1989. Bands and guests
from around the world.
INSIDE OUT
(Dance) 8-9pm
CRIMES & TREASONS
, (Hip-hop) 9-npm
crimesandtreasons
CABARADIO
(Talk) npm-12:30am
, For the world of Cabaret
\Tune in for interviews,
skits, musical guests and
more. Ifs Radio with sassf
WEDNESDAY
SUBURBAN JUNGLE
(Eclectic) 8-ioam
Live from the Jungle Room,
25 join radio host Jack Velvet
phasis on our local scene.
ARE YOU AWARE
BARNBURNER
blogspotcom.
for an eclectic mix of music,
C'mon in! A kumbaya-free
(Eclectic) 6-7:3opm
(Eclectic) i-2pm
thevampiresball@gmail.com
sound bites, information and
zone since 1997.
Celebrating the message
The greasier side of rock
inanity. Not to be missed!
folkoasis@gmail.com
behind the music: Profiling
'n' roll; rhythm 'n' blues,
SATURDAY
dj@jackvelvetnet      '~ffP:'
music and musicians that
and country... Crack a beer,
SEXY IN VAN CITY
take the route of positive
order some BBQ, and get
THE SATURDAY EDGE
POP DRONES
(Talk) 10-npm
action over apathy.
your boogie on.
(Roots) 8am-i2pm
(Eclectic) io-n:3oam
Your weekly dose of educa
A personal guide to world
tion and entertainment in
STEREOSCOPIC REDOUBT
RADIO ZERO
and roots music—with
ANOIZE    •
the realm of relationships
(Rock) 7:30-9pm
(Dance) 2-3:30pm
African, Latin and European
(Noise) n:3oam-ipm
and sexuality.
An international mix of
music in the first half, fol
An hour and a half of avant-
sexyinvancity.com/category/
LIVE FROM THUNDERBIRD
super-fresh weekend party
lowed by Celtic, blues,
rock, noize, plunderphonic,
sexy-in-vancity-radio
RADIO HELL
jams from New Wave to
songwriters, Cajun and
psychedelic and outsider
(Live Music) 9-npm
foreign electro, baile, Bol
whatever else fits!             ilpli >
aspects of audio. An experi-
HANS KLOSS'MISERY HOUR
Featuring live band(s) every
lywood and whatever else.
steveedge3@mac.c0m
plQ       ence for those who want to
(Hans Kloss) npm-iam
week performing in the
www.radiozero.com
be educated and EARitated.
Pretty much the best thing
CiTR Lounge. Most are
GENERATION ANNIHILATION
lukemeat@hotmail.com
on radio.
from Vancouver, but some
NARDWUAR
(Punic) 12-ipm
times bands from across
(Nardwuar) 3:30-5pm
A fine mix of streetpunk
THE GREEN MAJORITY
THURSDAY
the country and around the
Join Nardwuar the Human
and old-school hardcore
(Talk) i-2pm
world.
Serviette for Clam Chowder
backed by band interviews,
Canada's only environmen
END OF THE WORLD NEWS
flavoured entertainment.
guest speakers and social
tal news hour, syndicated by
' (Talk) 8-ioam
FUNK MY LIFE
Doot doola dootdoo...doot
commentary.
CIUT 89.5 FM Toronto or
(Soul/Dance) npm-i2am
doo!
crashnburnradio@yahoo.ca
umw.greenmajority.ca.
SWEET AND HOT
(Jazz) ioam-i2pm
Grooving out tunes with a
bit of soul and a lot of funk,
nardwuar@nardwuar.com
generationannihilation.com
DEMOCRACY NOW
Sweet dance music and hot
from the birth of rhythm and
NEWS 101
POWERCHORD
(Talk) 2-3pm
jazz from the 1920s, '30s
blues to the golden age of
(Talk)5-6pm
(Metal) i-3pm
and '40s.
motown, to contemporary
See Monday for description.
Vancouver's longest run
RUMBLETONE RADIO A GO GO
dance remixes of classic soul
ning metal show. If you're
(Rock) 3-spm
DUNCAN'S DONUTS
hits. We explore Brasilian
STRANDED
into music thafs on the
Primitive, fuzzed-out
(Eclectic) 12-ipm
funk, Japanese breakbeat an
(Eclectic) 6-7:3opm
heavier/darker side ofthe
1 -                  garage mayhem!
Sweet treats from the pop
thems, the British motown
Join your host Matthew for
spectrum, then you'll hke
underground. Hosted by
remix scene, Canadian soul
a weekly mix of exciting
it Sonic assault provided by
ARTS REPORT
Duncan, sponsored by
and disco that your parents
sounds; past and present,
Geoff, Marcia and Andy.
(Talk) 5-6pm
donuts.duncansdonuts.
probably made out to and the
from his Australian home
wordpress.com
classics of American soul.
land. And journey with him
CODE BLUE
REEL TO REAL     9m&
Soul in the City's Oker hosts
as he features fresh tunes
(Roots) 3-5pm
(Talk) 6-6:3opm .
WE ALL FALL DOWN
with guests to bring that
and explores the alternative
From backwoods delta
Alternating Wednesdays
(Eclectic) i-2pm
extra bounce to your step.
musical heritage of Canada.
low-down slide to urban
Movie reviews and criti
Punk rock, indie pop and
www.tunkmylife.com
harp honks, blues and blues
cism.
whatever else I deem wor
AFRICAN RHYHMS
roots with your hosts Jim,
thy. Hosted by a closet nerd.
AURAL TENTACLES
(World) 7:30-9pm
Andy and Paul.
DISCORDER RADIO
www.weallfalldowncitr.
(Eclectic)' i2-6am
www.africanrhythmsradio.
codeblue@buddy-system.org
(Talk) 6-6:3opm
blogspotca
It could be global, trance,
com
Alternating Wednesdays
spoken word, rock, the
THE LEO RAMIREZ SHOW
Discorder Magazine now
INK STUDS
unusual and the weird, or it
THEBASSMENT
(World) 5-6pm
has its own radio show!
(Talk) 2-3pm
could be something differ
(Dance/Electronic) 9-io:3opm
The best of mix of Latin
Join us to hear excerpts of
Underground and indie
ent Hosted by DJ Pierre.
The Bassment is Vancou
American music.
feature interviews, charts,
comix. Each week, we inter
auraltentacles@hotmaircom
ver's only bass driven radio
leoramirez@canada. com
concert calendar picks and
view a different creator to
show on air. I play picks
other exciting morsels! For
get their unique perspective
FRIDAY
from all the bass driven
NASHAVOLNA
more info, visit discorder.ca.
on comix and discuss their
genres like Glitch, Dubstep,
(World) 6-7pm
upcoming works.
FRIDAY SUNRISE
Drum and Bass, Ghetto
News, arts, entertainment
SAMSQUANTCH'S
(Eclectic) 7:30-9am
Funk, Crunk, Breaks and
and music for the Russian
HIDEAWAY
JAPANESE MUSICQUEST
An eclectic mix of indie
UK Funky, while focusing
community, local and    f^^M";
(Eclectic) 6:30-8pm
(World) 3-3:30pm   "I^JjTtf'^
rock, hip-hop and reggae to
on Canadian talent and
abroad, nashavolna.ca
. Alternating Wednesdays
Syndicated from CJLY
bring you up with the sun.
highlighting Vancouver DJs,
All-Canadian music with a
Kootenay Co-op Radio, in
producers and the parties,
SYNAPTIC SANDWICH
focus on iiidie-rock/pop.
Nelson, B.C.
ALTERNATIVE RADIO
they throw.
(Dance/Electronic) 9-npm
anitabinder@hotmail.com
(Talk) 9-io:ooam  >$S$fHN|
If you like everything from
FRENCH CONNECTION
Hosted by David Barsamian.
GRANDMA'S ATTIC
. electro/techno/trance/8-bit
SHAMELESS
(World) 3:30-5pm
(Eclectic) io:3opm-i2am
music/retro '80s this is the
(Eclectic) 6:30-8pm
French language and music.
CITR LISTENER HOUR
The only other place you'll
show for you! .
Alternating Wednesdays
www.fccabc.org
(Eclectic) 12-ipm
find the old mixed with .
www. synap ticsandwich. net
Dedicated to giving local
Tune in each week as you,
the new, is on an illegal
music acts a crack at some
NATIVE SOLIDARITY NEWS
the CiTR fan, gets to pro
website. Time to tickle your
RANDOPHONIC
airplay. When not playing
(Talk) 5-6pm'
gram an hour of adventure
ear-hairs!
(Eclectic) n-iam
the PR shtick, you. can
A national radio service
for the whole world to hear!
Randophonic is best
hear some faves you never
and part of an international
For more info, contact
THE VAMPIRE'S BALL
thought of as an intraversal
knew you liked.
network of information and
program coordinator Bryce
(Industrial) i2-4am
jukebox programmed by a
action in support of indig
Dunn at citrprogramming@
Dark, sinister music to
vast alien living intelligence
FOLK OASIS
enous peoples' survival and
club.ams.ubc.ca.
soothe and/or move the
system which has no con
(Roots) 8-iopm
dignity.
Dragon's soul. Industrial,
cept of genre, style, nation
Two hours of eclectic folk/
goth and a touch of metal
states or even space-time
roots music, with a big em*
26
too. Blog: thevampiresball.
relevance.  Wsic
H,, FOOD
MOTHER MOTHER
DANIEL WESLEY
THE NEW PORNOGRAPHERS
NEKO CASE
DaJIaNGAN
L SUBRAMANIAM
SPIRIT OFTHE WEST
VANCOUVER SYMPHONY ORCHESTRA
1
ceiebratevancower I25.ca
ooeatcapi&k.
Canada"
M
CITY OF
VANCOUVER
L2lZ.ll' smm**™** sunsets
THE KIllS
BLOOD PRESSURES
UNDER REVIEW
EEEK!
EEEK!
(Forever Coscodian)
Fans of The Smokes' Is This It, Vampire Weekend and Bloc Party should
take a breather and check out Eeekl's
new self-titled EP; it includes the
same genuine passion and surprising diversity. Local trio Eeek! is able
to develop a sound that calls to mind
such notable modern indie rock acts
while skillfully crafting songs that
avoid monotony. Take the group chant
throughout "Andy &," or the gradual
instrumental build-up of "Potential"
as proof. Also, take note ofthe vocals,
which vary from clear-headed young
singer/songwriter, to hoarse, punk rock
angst to undulating moaning—as on
"Lake Soux" and "Cascadia."
Versatility characterizes this debut
The anger, unhappiness and instability brought on by the music itself is
almost distilled, or more accurately,
complemented, by the great energy
which seems to underlie the creative
process. There is room to grow and
develop, certainly, but for now, Eeek!
seems to be in the right place.
—Andy Resto
HUNXtHISPUNX
TOO YOUNG TO BE IN LOVE
(Hardly Art)
The sounds of'60s pop music are
blended with the raw power of garage
punk on Hunx & His Punx's sophomore set Too Young To Be in Love. Ifs a
phenomenal album.
■"Lovers Lane" is reminiscent of
"Da-Doo" from the Little Shop o/Horrors
musical, featuring the soulful harmonies of Hunx's all girl backing band.
Hunx's spoken word section, mean-
! while, adds a seductive feeling to the
j song."ToniteTonite"hasanjncred-
| ible opening, with punky guitars and
sharp drums compelling listeners to
play it non-stop. "He's Coming Back"
has a chorus that encourages one to
sing along, even more so than theal- j
bum's other infectious tracks.
All the songs on this record are j
great with not a weak moment to
break the momentum that builds
throughout. As a whole, ifs well-
structured, with each song flowing
into the next Hunx is a great vocal-
j ist and frontman; he sings with an
energy and seductiveness that accents
his songwriting. The album title is a
misnomer, though, as Hunx proves
he can sing with the passion of man
in love. Hunx, in tandem with his
j stellar band, has created an album
! with the potential to become a garage
rock classic.
—Adam Clarke
PATJORDACHE
mmtsm
(Constellation Records)
For fans of brazen noise-pop, the solo
debut from Montreal's Pat Jordache,
. Future Sonas, will be a refreshing and
dreamy distraction. Jordache draws
from a lot of musical sources with
this album. At times, the line between j
harsh and beautiful is blurred.
This formula has paid off for other
Montreal maestros like AIDS Wolf,
Arcade Fire and Godspeed Youl Black
Emperor, who never shy away from
incorporating everything in their
orbit and filtering it through their
specific and sundry lenses. Future
Songs has a similar style and does
well to execute it
The first few tracks, "Radio Generation" and "Get It (I Know You're
Going To)," charm the listener with
their lo-fi crinkled arrangements, zigzagging guitars and peculiar poetry.
Ifs all the more thrilling then when
Jordache rips into "Salton the Fields,"
which, almost out of nowhere, conjures up Unknoum Pleasures-era Joy Division, as his baritone eerily calls to
mind Ian Curtis while an atmospheric
high-treble snare and syncopated bass
line erupt and unsettle.
"Phantom limb" itfjfpsychedelic
surprise that somehow echoes Tall
Dwarfs' crudely crafted folk fuzz. This
seems to be the aesthetic Jordache is
after, as "Gold Bound" and "Song for
Arthur" continue down the well-worn
psychotropic glitz carved out by the
Elephant Six and the Yerself is Steam
rise of Mercury Rev.
Future Songs is a dizzying debut and
fans of Jordache's old act Sister Suvi
(with Merrill Garbus of tUnE-yArDs)
will still be able to draw a line between
the two, but this is certainly a different and more varied direction for the
musician. If baroque and bombast
describe your brand of pop, you'll take  I
a shine to Pat Jordache.
-—Shane Scott-TYaiHs
THEKILLS
BLOOD PRESSURES
(P&mino)
The fourth studio album from the
American-British duo The Kills J
maintains the precedent set by their
previous releases; staple ingredients
include expressive rhythm tracks,
minimal instrumentation, catchy
blues guitar riffs and low key duets.
Actually, it is surprising how much
fullness comes out of this two-piece,
even during their live act While Jamie
Hince's guitar excursions and Alison
Mossharf s smpkey lead vocals are the
foundation of their less-is-more ap-
' proach, every plucked string or drum
sequence earns distinct airtime. The
Kills avoid using exaggerated reverb
effects, circumventing any walls of
sound that might hide their musical
elements. What you hear is whatyou
get and what you get is a stable, no
frills record that is quite understated.
The urge to turn up the overdrive
and blast out a rock anthem solo
must be overwhelming for Hince,
nicknamed "Hotel," given his penchant for creating super catchy riffs.
Instead, his disciplined approach to
the six-string blends seamlessly with
Mosshart, a.k.a. "Ws," pleasing,
punk-infused melodies.
Not to be typified in their role, they
opt to tinker with a different set of moods in "Wild Charms" and "The
Last Goodbye," the latter completely
diverging from the minimalist rock
criteria by electing to have strings and
a soft piano support a gorgeous, sorrowful melody. This track becomes a
gateway to the almost trip-hop feel in
the chorus of "Damned If She Do,"
proving The Kills bring legitimacy to
their craft by having the ability to produce a mood exactly as they envision it
Blood Pressures is a complete record
that can be enjoyed in its entirety. The
hallmarks of the band, namely great
musicianship and songwriting, shine
through clearly as the duo continue
to impress.
—Slauko Bucifal
LITTLE SCREAM
GOLDEN RECORD
(Secretly Canadian}
The first impression of Little Scream,
a.k.a Laurel Sprengelmeyer's, Golden
Record is melancholy. T.haf s not
surprising—a certain darkness is
definitely part ofthe intention for an
artist named Little Scream, and the
album begins with haunting, angelic
cries. But soon enough, shades of joy
and exuberance come clear, making
this a dynamic and solid entry into
the Canadian pop scene. There are
strains ofWintersleep, and a stronger
dose ofthe almost saccharine, military marches made recognizable by
Arcade Fire. But the excellent production, raw in the right doses, prevent
the record from being too precious,
as with "Guyegaros," a beautifully
dark and masculine country ballad.
"Cannons," meanwhile, highlights
Sprengelmeyer's rhythmic vocal
quirks, reminiscent of pop renegade
Regina Spektor.
Probably the strongest comparison is to Land of Talk's most recent
album Cloak and Cipher. Both Little
Scream and Land of Talk succeed in
similar ways, bringing a feminine, \
inventive twist to both traditional and
modern pop effects, but where Cloak i
and Cipher missed the mark, Golden Re- j
cord makes an impact'Little Scream's
voice—both literal and artistic—is
confident, thoughtful and playful. |
The appearances of hand claps, boot |
stomps and harpsichord will also sat- t
isfy indie lovers.
Stand-out track "Red Hunting Jack- j
et" asks, "Why am I so? Why are you j
so? Why are we so?" This complex line j
of questioning juxtaposes the simple j
statement on the disc sleeve: "I am glad j
you are here." Be sure to read the insert, jj
which, instead of lyrics, holds "some j
ofthe facts, laws and phenomena of |
the great hereafter" (i.e. poems and |
personal stories related to the album) \
it deepen the tension that this album |
presents. Golden Record is definitely j
made along both intellectual and sen- |
sual lines. However, if you just want a J
sweetly dark, distinctly Canadian pop j
, album, then what Little Scream has j
offered here won't disappoint
—Maegan Thomas
-mtttins
LOVE CUTS
(independent/Nominal)
What Vancouver's Love Cuts lacks in j
talent and experience, they make up
for in attitude. The first track off their j
five-song, self-titled EP,, ""Hi, Smile, |
Wave," opens with a simple garage-
rock guitar melody before a slightly
off-kilter drum beat comes in. When j
the rhythm and melody do sync to the \
same tempo, however, the result is a j
punchy and sweet punk song.
Love Cuts was originally released I
on their Bandcamp page. The site fea- I
cures a photograph ofthe three—Ka- !
ity McWhinney (vocals, guitar), Cheryl
Carpenter (drums) and Tracey Vath
(vocals, bass)—sitting on a bed,
wearing plaid and drinking beer.
The EP was recorded and produced
by B-Lines bassist Adam Fothergill.
The lo-fi beats, shouted lyrics,
and imperfect yet undeniably catchy
melodies of "Lone Wolf" recall girl
punk legends Le Tigre and Heavens
To Betsy. The track is loud, in your
face, and unapologetically honest in
its rebelling against conformity. But
instead of singing about feminist
issues associated with the riot grrrl
movement of their predecessors, the
rest ofthe songs on the EP focus on
simpler themes.
"Moon Friend" is about the day
turning into night while "I Will Kiss
Anyone" is pretty self explanatory.
"Mimes" is the most original track on
the album, describing moments when
you just don't want to talk to anyone,
not even your roommate, sibling or
significant other. The honesty and
simplicity ofthe band's lyrics fused
with their garage sound is the true appeal ofLove Cuts. Want more? Nominal
Records is set to release this EP as a
seven-inch in June.
—Ashly Kissman
LUST
HEARTBEAT
(Crush Records)   ;
What we have here is the first EP by
local electro-pop outfit Lust put out
on their own label Crush Records.
The five tracks on the record mine
the depths of'80s pop and NewWave.
Immediate comparisons that spring
to mind are The Human League, or
Linear Movement Opener "Destiny"
begins with a long, drug-wash haze of
synth. The band eventually finds a beat
and moves along into the more danceable "Twenty One." I'm compelled to
tap my foot in approval for the cold,
detached voices of Tyler Mounteney
and Zoe Garred on "Heartbeat" There
is talk of black arrows piercing hearts,  1
and much sand slipping through
one's fingers. Yes! Rhythmic pulse  j
music filled with dejection and heart-  j
break. I can see thousands of ill-fated
youth taking drugs and breaking each
other's hearts to this one on soiled
discotheque dance floors. Afterwards,
we are carried—presumably drunk
and heartbroken—through two more
instrumental pieces. "Frustration"
is a fairly fast-paced number with  f
some spacey sounding drum noises,
while on the record's closer, "Tunnel Vision," a guitar bleats and wails  j
beneath a throbbing rhythm of breaking glass. Is it the sound of forbidden  j
night-club sex or the sound of pure  j
regret in a cold and sober morning?
At best, this sort of thing is pure
bliss, as groups like 2VM or Vancouver's own Terror Bird have proved in
the past. At worst, it comes out sounding hke car commercial Muzak; a pale  I
rehash of an already anachronistic 1
style. With so many people attempting to re-live synth music's glory
days, much effort should be made to
produce something that truly stands
apart from the hangers on. Heartbeat
falls somewhere in the middle of all
this. The music alone falls flat on my
youthful ears, which yearn for soft
voices and more tales of promiscuity
and heartbreak. I would, however,
be very interested to hear what Lust
produce in days to come.
—Sam Risser
EFRIM MANUEL MENtfCK
PLAYS "HIGH GOSPEL"
(Constellation Records)
Every album has a story, be it the ardU-  I
ous recording process, the individual
songs or the order in which the songs
have been woven. Sometimes these'
stories are light hearted and at other  I
30 times heart wrenching and hard to
imagine. Plays "High Gospel" is one of
those many layered and storied albums that will sit with you for hours,
like pinpricks to the body when, long
after the blood has been drawn, the
impression remains like an energetic
sensation, swirling and stinging into
your thoughts. Best known as the
co-founder of Godspeed You! Black
Emperor and Thee Silver Mt. Zion,
Efrim Manuel Menuck explores his
solo side and offers an album of songs
conceived over time in "scraps and
hiccups," as described by Menuck
himself. To say thatPlays "High Gospel"
is all over the. place is an understatement This is more like an abstract
art piece that has so much going on
that you have to stare endlessly just
to scratch the surface. In the liner
notes, Menuck includes a breakdown
of each track, explaining the recording process and his mindset when
the song was birthed. In a way these
dialogues read as the downplayed and
aloof ramblings ofa madman.
The disc opens with the sweeping "Our Lady of Pare Exec," a vocal-
heavy, hopeful droner that peaks and
dips all over the place. But hope unravels when "A 12-pt Program For
Keep On Keepin' On" morphs into
something dark and sinister, ultimately ending in a howling snarl of
electronic percussion. And it goes on
like this: there is dark, there is light
there is hard and soft These are song/
stories ofthe human condition and on
this recording, Manuck spreads his
gospel in a unique and awesome way.
—Nathan Pike
I
JAMES PAIRS
JAMES PANTS
(Stones Throw Records)
Wonder-kid James Pants has emerged
from some kind of crazy trip to deliver
his latest effort James Pants. "Clouds
Across the Pacific" combines the
dreamy vocals of Lucrecia Dak with
pizzicato violin. The result conjures
images of ghostly visions. "Screams of
Passion" mixes Pants' ever-menacing
vocals with fuzzed-out guitars, creating an almost supernatural sound.
There is an overall feeling that something isn't quite right If you love David
Lynch and Twin Peaks, you'll appreciate
the darker side of this album.
That being said, it isn't all doom
and gloom. Pants' strength lies in his
ability to be a sonic chameleon. He
can take a simple riff or vocal pattern
and distort it to a point that makes the
obvious sound brand new.
A prime example of this is the
killer *Every Night I Dream," which
combines a spacey '80s back beat,
echoed vocals and what sounds like
cracking thunder. "Alone" follows
in the same vein of tortured, echoed
vocals, and somehow incorporates a
saxophone into this wonderful mess
ofa song. James Pants is an innovative
album where Pants takes the listener
to the point of sonic familiarity before executing a sharp right turn.
Highly recommended.
—Katherine Boothroyd
PSYSHEBEUCHORSESHIf
mm
Psychedelic Horsesbifs FatCat debut,
Laced, combines ultra lo-fi production
with a d.i.y. spirit that is not afraid
to obliterate boundaries. From its
opening seconds, it is immediately
apparent that Matt Horseshit does
not subscribe to any form of musical consistency, instead preferring to
blend together odd blips of noise to
form backgrounds, foregrounds and
cavernous loops, and then changing
the entire formula on the very next
track. This unorthodox approach fills
hooks and choruses with mashed bits,
hyperactive electronica and rhythms
thatyou might experience in a drum
circle. The effect is something along
the lines of a caffeine overdose.
Like an unstable love affair, Laced
has fleeting moments of brilliance,
which leave the listener wanting more
and ultimately feeling frustrated when
the urge is denied.
Matt Horseshif s nasal tone adds
to the raw and unpolished noise-pop,
with his vocals merely flirting with
the idea ofa tune. Oddly, he is at his
best when he is accompanied by bis
acoustic guitar, adding a somewhat
folk feel to the revolving stew. The
final track, "Making Out" changes
everything by presenting a catchy, well
developed hook, distinct rhythms and
vocals we can actually sing along to.
Even though most of Laced consistently demonstrates a loose connection to musical patterns, there
is something gravitational about the
project Perhaps it is the hope that
on each subsequent listen, greater
themes will emerge and stay awhile
longer. Perhaps ifs the search for satisfaction amid the layers of distortion.
Regardless, the album is Laced with
addictive material and it is difficult
to stop listening to.
—Slaoko Bucifal
SAWkHEFURS
SAVAGE FURS
(Independent)
Savage Furs' self-titled EP is not an
album that is immediately entertaining. Only after three play-throughs Of
the album was I able the appreciate
the musical abilities of the band.
Dance rock in the vein of Bauhaus
combined with Depeche Mode, the
album has varying degrees of success in living up to its influences.
The initial track, "Thrones of Young
Ice," is a fun start to the album. The
vocals are reminiscent of Morrisey's
singing on "How Soon is Now?? and
the synth lines elevate the song to
greater heights. "Sick Lamborghini" is the standout song, featuring
a catchy chorus that I found myself
humming throughout the day. The
Club Mix version ofthe song is not
as good, though, sacrificing the tight
arrangement in favour ofa relatively
bland club vibe. "Mohair Metal" and
"Asphalt Sorcery" are not as strong either; they are ultimately boring tracks
that act more as filler than as exciting
content "Mohair Metal" has a verse
that is unable to hook the listener, and*
the song lacks easily identifiable sections. This lack of structure may turn
some listeners off. "Asphalt Sorcery" •
does have a definite structure, but the
lack of passion on the song results
in a performance that seems to pad
an EP that should have been released
as a single.
—Adam Clarice
SONNY ft THE SUNSETS
HIT AFTER HIT
(Pat Possum Records)
Sonny Smith has been a busy boy the
past couple of years. Hot on the heels
of last year's Tomorrow Is Alright, he
went straight into creating the highly
ambitious "100 Records" art installation, which was a collection of
100 made-up bands with which he
recorded songs an A-side and a B-side
for. So it is a wonder that the San Francisco musician had the mental space
to release Hit After Hit, an album that
reeks of laid back groovy vibes which
sound like he's been living on easy
street and relaxing into the approaching summer. Hit After Hit is a friendly
and easy going album that borrows
respectively from the garage-pop and
surf rock music of old, injected with
a little modernity for individuality's'
sake. Opener "She Plays Yo Yo With
My Mind," with its crawling bass line
and lazy vocal play, is super strong
and had me tapping my foot from the
first few riffs.
So far Hit After Hit has me feeling
like I should be cruising Venice Beach
after school in the late '60s with a surfboard under my arm and a root beer
in my hand. What's neat about this
music is how loose it sounds. There
is very little studio trickery here and
after a couple of songs you'll feel as
though the band is right there in the
room playing the album for you and
a couple of your friends. This album
wins you over on a large scale with
its dated innocence, twangy bliss and
background "Oooh-Aaah" vocals. If
you've ever been a fan of that old garage/surf stuff and feel like taking a
trip back through time, then Hit After
Hit is definitely a wave you want to
catch.
—Nathan Pike Mi'lLra ACTION
SHEARING PINX/PEACE/STUDENT TEACHER
Pat's Pub j April 30
The very first Junkyard night—anew
monthly collaboration of musicians,
visual artists, and photographers with
a common counter-culture theme—
kicked off at Pafs Pub with an organized punch. A trio of noisy local acts i
showed up to support the inaugural
j event which, contrary to the name, j
was packed more with precious metals than scrap.
Bathed in the liquid glow ofa fihn j
projector, Student Teacher oozed I
cool. Their guitar-heavy setup had
me all kinds of excited. The quintet's shoegaze set was slow to boil
though, with early tunes sounding
overly distorted and lacking clarity, j
singing duties included: Lo-fi enthusiasm was definitely a must to enjoy
this act, especially with the dissonant I
nature of some of their tracks. Student j
Teacher roared back to life in the lat- j
ter part of their set though, with an
emphasis on girl-fronted crooning and
long, effects-heavy instrumental pieces
awash in feedback and amplifier ebb
—this time in doses that didn't drown
all the instruments in a sea of sound.
The final noisy, post-rock track saw ]
the band moving around their iristru-
ments like children on a playground,
putting a satisfying physical emphasis
on the crazy manipulated tones coming from the PA.
Judging by the packed crowd, it
was obvious that Peace was the band ;
most people came to see. As far as
buzz bands go, this is one whose
hype might be justified: the vintage
rockers build on a solid foundation of !
'60s New York style with infectiously
fuzzy beats. Rolling-thunder drums i
apd powerful bass licks anchored each
simple, spastic song. While singer
Dan Geddes' monotone delivery
might not suit everyone, Peace's |pr
ics do their best to stay out ofthe way
of each track's instrumental offerings.
Peace played a varied bevvy of songs,
including some fresh from their new
album My Face.
Headliners Shearing Pinx needed
no introduction. Having released
over 50 records over the last six years,
mostly on singer Nic Hughes' Isolated
Now Waves label, their d.i.y. attitude
and fierce ability to turn out music
has plastered their name across the
city and abroad. The dark, rabid orchestra of noise the band turned out
conjured images ofthe dirtier parts
ofVancouver thrown in a melting pot
and boiled down. Songs hke "Selfish
Acts" and "Magnolia's Tomb" were
filled with abrupt flashes of noise.
Drummer Jeremy Van Wycks frantic
performance was worth paying particular attention to, though Hughes'
grating vocals were frighteningly
intense as well. The music relied on
unexpected volume twists and math-
heavy guitar screeching to keep the
crowd off-balance, but hardcore fans
still couldn't dance fast enough to a
varied set list that pulled from their
entire catalogue. I left the show feeling pretty light-headed—if it's possible to get whisky-drunk on music,
Shearing Pinx got me there.
—Fraser Dobbs
TAIKOTRONIKS
The Vancouver Playhouse / May 3
witninThe eclecacTmjnoMaas,
grandparents, supportive friends
and curious passersby who didn't
feel the need to watch the Canucks
game, most were likely newcomers
to Japanese Taiko, or "drum" music,
32 and to the sort of electronic music that
' mainstream radio has yet to embrace.
Taikotroniks was promoted as a
night bringing together the traditional
Japanese art form of Taiko drumming
with the new and experimental Vancouver Electronic Ensemble. Seven
prominent yet distinct Taiko groups,
along with the VEE, took their art to
the Vancouver Playhouse stage. Although the seats weren't completely
full, the audience still responded enthusiastically to the heart-pounding
performances, with sprinkles of
cheers throughout.
The Katari Taiko ensemble kicked
off the night with an energetic performance, as they demonstrated the basics ofTaiko: drumming, movement, j
dance and martial arts. The symmetry
between the elements on stage kept
their set tight and solid.
Each'of the seven acts gave their
distinct take on the genre. Sansho
Daiko, for instance, integrated a j
saxophone and poetry into their piece.
Uzume Taiko, known for their humourous stage presence, had a set
full of slapstick theatrics. Though
they initially wore garbage bins <m
.their heads, the two-person act soon
removed the receptacles to bang on
them, revealing their metallic ogre
masks. The ogres, or oni, are creatures from a Japanese folklore. They I
acted out a storyline ofthe two folktale
monsters adjusting to the city environ- J
ment with hilarious results.
Contrasting the small size of j
Uzume Taiko was the ensemble Yu- ;
aikai Ryukyu Taiko, who took to the i
stage in large numbers, including i
several budding child performers.
They performed a colourful display
of drumming in their Okinawan style.
Age didn't prove to be a factor in
how the groups functioned, especially
Sawagi Taiko. Some ofthe performers
in the all-female group were probably
already grandmothers. Still, the petite
performers drummed with force and
precision; their arms flinging gracefully as they danced to their complex :
choreography. On the other end, a
young member of the Chibi Taiko,
the first Canadian children's Taiko ensemble, drummed in a speedy, wrist-
bending fashion; His virtuosic display
was impressive, to say the least.
Presumptions that Taikotroniks
would be strictly composed of barrels being banged proved incorrect
Western instruments, singing, prerecorded music and mood lighting
were all used at some point to enhance
the modern Taiko experience.
LOUD,-a guitar-percussion duo
opting for casual jeans rather than
a traditional uniform, took a next-
generation approach with their heavy I
riffs and melody, hinting at the VEE
collaboration to come.
Aside from the brief, discordant
interludes the VEE improvised in between, the night was more "Taiko"
than "troniks" until the final piece: a
collaboration between the electronic
ensemble and the Taiko drummers.
It proved to be an interesting experiment between the two styles, the
curtain lifted, revealing a mostly
darkened stage illuminated by glowing Macbook-mixing boards. Blips,
bleeps and other nature imitating
clicks Whirred against the pounding
of drums, creating an eerie, yet exciting futuristic forest in the Playhouse
theatre. Looking up, there were many
more percussionists-playing in various corners ofthe theatre; up on the
balcony and computer-mixing stations
on the left and right. The glowing light
boxes flashed manically as the blips
and pounds sped up to a heart-racing
conclusion. It was as much a visual
experience as itwas a sonic one.
The dedication and the new direction that Taiko is taking, along with
the up and coming Vancouver Electronic Ensemble, proves that meshing
the two art forms is more than just an
exotic novelty.
—Ming Wong
CR. AVERY
The Waldorf Hotel / May 11
The stage stood bathed in red light |
while the crowd at the Waldorf waited
expectantly for someone to step up
to the microphone. Soon enough,
openers Hoorayborhood performed a
spoken-word piece with a couple keyboards chirping in the background.
Riel Hahn, who I hadn't heard of
before, was up next. Judging from the
guitar slung over her shoulder and the
tacky sport coat she was wearing, I
was expecting some girly, sensitive,
singer-songwriter bullshit However,
instead of playing the guitar, Hahn
spent the first five minutes talking
about how she had gotten into a fight
with her mother last weekend after
being picked up from the ferry. Hahn
then bemoaned the recent election,
stating that any woman who voted for
Harper should expect a "punch in the
face" from her. She sang two songs,
the first a humorous ditty about her
life as a single', middle-aged woman,
the other about her desire to five in a j
Communist country. She was pretty J
funny, but I'm glad her set was short.
Her singing was terrible.
Graham Clark took the stage
after Hahn, and his offbeat timing I
and steady stream of jokes kept the
audience in stitches. Clark is one of I
33 the masterminds behind the popular
Vancouver comedy podcast, Stop Pod-
casting Yourself. It should be noted that
Clark was wearing a newsboy cap and
has a mighty, mighty beard. It's Mo-
ses-esque! He informed the audience
we weren't just going to get "wet with
excitement" from bis set but covered
from "head to toe in moisture."
The Burnettes came on stage after
Clark and played a short, three-song
set The band was lead by Cora and
Chris Burnette. Cora had an interesting, Little House on the Prairie look to her
wardrobe, which lent itself well to the
countrified pop songs the band was
playing. Their song "Falling," about
the highs and lows ofa new relationship, was a jumpy number with jangly
guitar and plucky banjo. They were
the first "serious" act of the night and
they performed well, but ultimately
they were a mere appetizer for the
main course, the pride of Commercial
• Drive, CR, Avery.
CR. Avery and the Special Interest
Group took the stage dressed in suits
that looked like they'd been rescued
from a Grandparent's attic. The band
looked sharp, if dated. Avery looked
like a 70s era James Bond, with huge
lapels decorating his fitted beige suit
jacket Opener "You On Me" was an
epic, sprawling, soulful number that
sounded like a b-side from Springsteen's Darkness On the Edge of Toum.
"Whatever happened to you and me
against the world?" Avery sang over
and over as the band built upon a doo-1
wop inspired riff. Eventually Avery
started bouncing around stage singing
"Ooooo baby!" in his finest Elvis drawl.
Avery played a number of tracks
both old and new throughout the set
and also treated fans to a spoken-word
piece about stories "tattooed beneath
his skin." He made people laugh with
a tale about a seven-year-old kid who
heckled him at a show in the Rhizome
Cafe\ This was my fifth time seeing
CR. Avery and this was the tightest
show I've seen his band perform. The
musicianship was focused and precise,
giving Avery room to play but also providing him boundaries to work within.
There are times, however, when I
wish Avery would focus on one type of
music. I truly believe he could be the
next Springsteen. He has the grit, the
imagery and the talent to write tough,
mind-blowing pop songs (and sometimes he does) but he has so many
interests that his records often lack
cohesion. He's seeking greatness in
his own unique way and I'm happy to
be along for the ride, but man, I would
love to hear more Springsteen and less
beatboxing on the next record.
The show ended with the band
coming back on for an encore that
involved a burlesque dancer who,
while handcuffed and blindfolded,
undressed herself down to her, bottom drawers while the band played a
thumping, garage-esque rendition of
"Dungeon of Love," off Avery's latest album So It Goes. Overall, it was a
fantastic set from CR. Avery and the
Special Interest Group.
—Cailjudy llilil
LAKE/AGESANDAGES
The Media <M/Mag i$
Chalk it up to too many shows going
on elsewhere in town, or maybe that
people were scared to leave their houses on Friday the 13th, but whatever the
reason, only 30 people showed up for
the long awaited Vancouver debut of
LAKE. Having just released Giving &
Receiving, their third album of sumptuous, low key lounge on the super hip K
Records, you'd think there would have
been a lot of people eager to see them.
Surprisingly, this was not the case.
Despite the potentially demoralising prospect of playing to such a sparse
crowd, opening act AgesandAges
seemed unperturbed. Sung with conviction by all seven members, the Portland outfif s rich, summery harmonies
were genuinely rousing as they deftly
navigated through countrified '60s pop
full of joyful, a cappella breakdowns
and vibrant syncopated hand claps.
Itwas very telling that George Michael's "Careless Whisper" featured
on the playlist in between sets, as
the '80s ballad epitomises the gawky
but peculiarly sexy mood-lit soul that
forms LAKE'S core sound. It would
be easy to presume that they might
reference such corny examples of pop
culture byway of conforming to the
tedious hipster notion that ifs good
to like stuff"ironically," or that if s "so
un-cool, ifs cool," but LAKE seem far
too unassuming and sincere for that
Instead, the band uses such influences
artfully, mixing it up with understated
indie stylings and pensive moods, performing with such obvious affection
that they don't ever come across as
cheesy or contrived.
LAKE'S music is not immediately
striking; the subtleties of their songs
often only become apparent after the
third or fourth listen. Opener "Skeleton Costume" was so light and easy
on the ear that it strayed perilously
close to being bland; it was almost
offensively inoffensive. What saved
it from such a fate was the touching
melancholy of multi-instrumentalist
Eli Moore's gentle vocals as he sang a
deceptively pleasant tune with the decidedly heavy chorus, "Walking away
from the ruins/How many bodies are
buried?/Walking away from the ruins/
Wearing a skeleton costume."
"Madagascar," from 2009's Let's
Build a Roof, was perhaps their most
potent distilling of laid-back swoon.
Other stand-outs included "Giving &
Receiving," a truly beautiful song possibly about karma or fish, or maybe
both. The tempo and mood of their
set stayed consistently relaxed and
only changed up a gear for their energetic reworking of the traditional folk
song, "Singoo&oo," which they aptly
introduced as their only "rock song."
Itwas a shame that more people
weren't there to witness such a great
show, but the resultant intimacy only
served to enrich the experience for
the lucky few that were in attendance.
—-WillPedley     U$$
KATHRYN CALDER /
HIMALAYAN BEAR
The Biltmore Cabaret/ May 20
Maybe itwas rumours ofthe impending rapture, or maybe the Canucks
game was a contributing factor, but
attendance for this early show at the
Biltmore was sparse.     , 1 |p^|
Even so, a slow trickle of music
lovers came buzzing in as Ryan Be-
attie breezed on to the stage to play
a set of songs under his Himalayan
Bear epithet For those who follow
Victoria, B.C.'s music scene, Beattie
is an accomplished and prolific artist known for his other projects like
Chet and his goods-delivering guitar
work with Frog Eyes. On this night
Beattie was joined by backing vocalist and violinist Megan Boddy (Frog
Eyes, Meatdraw) and drummer Marek
Tyler (Immaculate Machine), both on
loan from headliner Kathryn Calder's
band. It was apparent that there was
Vancouver Island-bred talent to spare.
Beattie treated the small but appreciative crowd to his brand of reflective
and sentimental songs, most from
Himalayan Bear's 2008 outing, ...Attacks The Brilliant Air. His atmospheric,
delicate and shimmering guitar on
"A Light Grows Brighter" and "The
Lost Love" was reminiscent of Santo
& Johnny's haunting ring. Beattie's
real gift, however, was his dulcet vocal delivery. His batch of love songs, *
honeyed as they were, went down easy.
The Biltmore was a little livelier by
the time Kathryn Calder and her four-
piece band took the spotlight but the
crowd still seemed tenuous. Considering the draw of Calder's other band,
the New Pornographers, it was a little
surprising. But Calder, cute and personable, played well and charmed
with her adorable asides as she more
than once thanked the crowd with,
"Aww, you're so sweet!" Calder mostly
focused on last year's indie pop offering, Are You My Mother?, but she also
had a handful of new songs to charm
the coterie gathered around the stage.
Her music is very precious—even twee
at times--- but while pleasant, didn't
seem to have the buoyancy that Hima-'
layan Bear"had displayed prior. Songs
like "Arrow" and "Slip Away" satisfied her fans but couldn't help but
remind me ofthe somewhat vanilla
doumess of 'oos-era Lilith Fair folk-
rock. There's really nothing wrong or
reproachful about that but when your
opener outplays you, well... whatcha
gonna do?
All told, it was a nice night out.
and it ended early so those needing
to repent before the spurious rapture
could still squeeze in a few Hail Marys
before the end ofthe world.
—-Shane Scott-Travis
34 ART PROJECT// ART WASTE
ART WASTE IS A SERIES OF EXHIBITIONS TAKING PLACE AT INDEPENDENT GALLERIES
ACROSS THE CITY DURING THE MUSIC WASTE FESTIVAL SEE THE MUSIC WASTE
PROGRAM GUIDE ON PAGES 20-21 FOR THE REST OF THE LISTINGS.
ELOQUENT MONOLOGUE OFIK INTACT CICLES
DRAWINGS BY ERIK JE8IZAN0
SHUDDER GALLERY
OPENlNQl'mmSDAY JUNE 2
Erik JerezanO's latest exhibition of drawings, titled "Eloquent Monologue
of the Intact Cicles," presents a world inhabited by bizarre composite
creatures and circumstances. Renowned for his highly visionary drawings,
which delve into metamorphosis, Jerezano's beasts seem to have their
own evolutionary mechanism of change, affected by chance influences
and circumstances.
35 THE PLACE HAS A NAME
MAIRIN COOLEY, KT KILGOUR,
SOLEDAD MUNOZ, EMILY HILL
LION'S DEN
OPENING: THURSDAY JUNE 2
Installation and performance sound art.
THE FAIR GROUNDS
BY SARAH DELANEY
GAM GALLERY
OPENING: FRIDAY JUNE 4
Sarah Delaney's work sits in a place between
photography documentation and a constructed
narrative. Her photos are first taken for the purpose of
documentingthe spaces and places in their immediate
viewing. Through collage the original version is
tampered with, subsequently creating a new, partially
fictional version of that original intervention. Delaney's
work seems to mimic the multi-faceted nature of
memory, achieved through layering and subverting
the voyeuristic qualities of single point perspective.
"As time passes moments become memories,"
Delaney explains. "These memories can not be trusted
as exact translations ofthe past They encourage
the viewer to question which parts of the image are
authentic and which are contrived."
36 PERICHUTE
BY JOHN BURGESS
LUCKY'S COMICS
OPENING: SATURDAY JUNE 5
Perichute re-imagines the gallery space through the construction ofa hybrid framing device, a perichute. Considering
the formal architecture ofthe space as a potential psychic mechanism, Burgess evacuates the gallery and induces
an indirect transference of vision. This projection is materialized as a multivalent appendage extending beyond
the interior margins ofthe gallery, offering a phantasmagorical view of discarded peripheral space.
■    vM« 8@ TOTAL DEVOTION
MARYA ALTIC, MELANIE COLES, PATRICK CRUZ,
LINDSEY HAMPTON, SPENCER JENSEN, ANDREA
LUKIC, JULIA MARSHBURN, ROB ONDZIK, MEL
PAGET, EMILIANO SEPULVEDA
LITTLE MOUNTAIN GALLERY
OPENING: SATURDAY JUNE 5
An early example of fandom can be traced back to 1883, when groundbreaking
celebrity stalker, lovingly known as Boy Jones, gained entry on numerous
occasions into Buckingham Palace—once stealing a pair ofthe Queen's
, underpants. More recently, one's musings travel to bedrooms of our teenage
years past groupies, fanzines and public displays of admiration. This exhibition
is dedicated to the often inexplicable, totally flagrant and sometimes impressive
lengths the devoted will go to celebrate their idols.
ANIMATRON 3 BY EHREN SALAZAR YUKITAKAHASHI
ALSO GO SEE    WALDORF 8m       BUM
OPENING: FRIDAY JUNE 4 OPENING: FRIDAY JUNE 4
37 (DUNCAN'S    DONUTS)
Duncan McHugh has been providing his fans and listeners with an easily ac- all on the same show. There is, however, a definite focus on local music and
cessible tunnel to the pop underground for just over four-and-a-half years. His events. It's not so much intentional ask is a side effect ofthe fact that he truly
show, Duncan's Donuts, is truly eclectic and McHugh is the first to admit that loves the local music scene. McHugh often invites friends and colleagues to
he has a broad definition of pop. So broad, in fact that you could catch him co-host his show and the banter between sets is as intelligent and entertaining
spinning anything from the Beach Boys' Pet Sounds to Tonetta, to local artist as college radio comes.
Tom Whalen's latest so-new-it-doesn't-even-have-a-MySpace-yet project \4r^
Discorder: What made you want to have a radio show?
Duncan McHugh: I had been volunteering around CiTR, doing non-broadcast
stuff; writing for Discorder. Then I started doing fill-ins and finally, after a
while I was like, "It's time! I gotta just do my own show. I gotta put it out there,
take the risk and make the leap."
D: What's been your most memorable on-air moment?
DM: My fourth anniversary show happened during last year's Fundrive and Fine
Mist who have been guests on my show a bunch, came in and made knock-off
Subway sandwiches as a fundraiser. They took orders over-the-air and delivered
them later that day. That was pretty special.
D: Who's been your best guest? ns
DM: Getting to talk to [K Record's recording artist] Jeremy Jay was pretty exciting, even though he wasn't a great interview! And I've had a lot of great local
bands come in too. It's kind of hard to pick from all of them.
D: Which album would you bring to a deserted island?
DM: I would say the first Beat Happening album. The yellow one, I think ifs
self-titled. Ifs really held up. I can still listen to as much as I used too.
D: What is your favourite CiTR show (aside from your own)?
DM: It's a tie between Parts Unknown and Pop Drones. Both Chris [-a-riffic]
and Mark [Richardson] put out an amazing show each week and I find it super
inspiring to listen to them.
D: What does the future hold for Duncan's Donuts?
DM: I don't know. I put out a record this past year with Mint Records for the
Fundrive [The CiTR Pop Alliance compilation]. That was a big accomplishment
I don't know how I'll top that this year. Hopefully more guests... and maybe
aFacebookpage?!
duncansdonuts.wordpress.com
Duncan's Donuts airs Thursdays Jrom 12 to 1pm
38 //CiTR 101.9 F
STRICTLY THE DOPEST H1TZ OF MAY
MCH
IARTS
#
ARTIST
ALBUM
LABEL
#
ARTIST
ALBUM
LABEL
1
Times New Viking
Dancer Equired
Merge
26
Various
Daptone 45 Singles
Spring/Summer
Daptone
2
Myelin Sheaths*
Get on Your Nerves
South Paw
27
Wagon Christ»
Toomorrow
Ninja Tune
3
Fist City*
Hunting You
Dead Beat
BggB;     28
Shannon &
the Clams
Sleep Talk
1234 GO!
4
The AwesomeHots*
The AwesomeHots
Independent
29
' Chad VanGaalen*
Diaper Island
Flemish Eye
•5
Hunx & His Punx
Too Young To Be
In Love
Hardly Art
30
Bill Callahan
Apocalypse
Drag City
6
Mountains
Air Museum
Thrill Jockey
31
SunWizard*+
Positively 4th
Avenue ' 'ifSfsfp
Light Organ
7
B-Lines*+
B-Lines
Nominal
32
The Donkeys
Born With Stripes
Dead Oceans
8
Bass Drum
Of Death
GB City
Fat Possum
33
Various*+
Bloodstains Across
British Columbia
Independent
9
Monsieur M*
Playing With My
Records and TV
Litae Whore
34
Cut Copy
Zonoscope
Modular
10
Errim Manuel
Menuck*
Plays "High Gospel"
Constellation
35
Austra*
Feel It Break
Paper Bag
11
Moonshine
Ramblers*
Moonshine
Ramblers
Independent
36
Ringo Deathstarr
Colour Trip
Sonic Unyon
12
Crystal Stilts
In Love With
Oblivion
Slumberland
37
Beastie Boys
Hot Sauce
Committee Part Two
Capitol
13
Explosions In
The Sky   mfmk
Take Care, Take
Care, Take Care
Temporary
Residence
38
Okkervil River
I Am Very Far
Jagjaguwar
14
Sloan*
The Double Cross
Outside
39
Gruff Rhys
Hotel Shampoo
Wichita
15
Fleet Foxes
Helplessness Blues
Sub Pop
40
Hot Blood
Bombers*
Broke Traveling
Hungry Love
Transistor 66
16
TV On The Radio
Nine Types of Light
Interscope
41
HotPanda*+
How Come
I'm Dead?
Mint
i|S!    17
Psychedelic
Horseshit
Laced
FatCat
42
Jennifer Castle*
Castlemusic
Flemish Eye
18
Timber Timbre*
Creep On
Creepiri On
Arts & Crafts
43
Moon Duo
Mazes              .
Sacred Bones
19
TheKills
Blood Pressures
Domino.
44
The Raveonettes
Raven In The Grave
Vice     .     '    j
20
Jackie 0
Motherfucker
Earth Sound
System
Fire
45
Frederico Aubele
Berlin 13
ESL/Eighteenth
Street
21
K.D. Lang & the
Siss'Boom Band*
Sing It Loud
Nonesuch
46
The Albertans*+
New Age
Ernest Jenning
22
Radiohead
The King of Limbs
Independent
47
Les Breastfeeders*
Dans la
guele des jours
Blow The Fuse
23
Emmylou Harris
Hard Bargain
Nonesuch
48
Lumerians
Transmalinnia
Knitting Factory
24
Liturgy
Aesthetica
•
Thrill Jockey
49
I'm From
Barcelona
Forever Today
EMI
25
Metal Mountains
Golden Trees
Amish
50
Excene Cervenka
The Excitement
ofMaybe
Bloodshot
CiT
R's charts reflect whaf s been played on the a
ir by CiTR's lovel
f DJs last month. R
ecords with asterisks (*) are Canadian and tho
se with a plus (+) are
Vancoi
lver based. Most of these excellent albums ca
n be found at fine
independent musi
c stores across Vancouver. If you can't find thei
n, give CiTR's music
eoordi
nator a shout at (604) 822-8733. We can tell y<
>u how to find them. Check out other
great campus/community radio charts at www
earshof-onIine.com.
39 ZULU RECORDS'BINGO CARD
PLAY ALONG WITH US AS WE FILL UP ON JUNE'S BEST RELEASES!
tmn-mam^m^m     MttiM^iMniMiiniv .      mfos-twto®i&nf ;,:^PV:s*MWi-iW(w*ii«B»i
CM yawrtrt  MljW Ista) EMP      tomUm-tememmmZW   ft»t1iMfwf|&-(kiss sad Keys g&lP      totl>l-»^WiwH*ltatf
B
MfPPlHPpI!*»» '2»'J*»lW-ri«lwt<pBt-- Ttetote^-I^WfcTirtEtt^^ toIW^^wy':" ay^y 1 WiIW1
R-FOfflHUV. f. KaugasB-Dlmlsr'jCgtEiAP E««Vslte-UKsHleSoagsCO/IP       Ttetw*HlHN«B*'IJ^ffifV-'iflNlftJuli
L
twitter.com/zulurecords
farohnnir    w^-facebookxom/people/
racepocm    ZuluRecords-Store/680210042
tlimblr*   zulurecords.tumblr.com
7&Ca7?DS\
I Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS

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