Discorder CITR-FM (Radio station : Vancouver, B.C.) 2012-04-01

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^WMTflAftCiif^fiS INDEf eIdEnT&SIC COMll&iiTY FOlfitR 25 YEARS
So April, hey? Remember March? I barely do either, but I know it was a good
one. The Discorder Fundraiser at the Biltmore was a ram-jammin' success,
SXSW was off the charts (as social media and the real-life community told
me) and now spring is here. Although, while March was great, after going
through this issue it looks like April may be even better.
Granted, I'm sure not everyone agrees. I find myself going back and forth
between being super-duper happy and really down, and maybe some others
are too. On the upside, I'm graduating mid-month, I've lived to tell the tale
of publishing my first issue of Discorder as solo editor (although certainly not
alone), and just last Sunday I sat in a sunny patch on a bench in a park with a
T-shirt on. A T-shirt! That's something to get you jazzed about the impending festival season.
On the other hand, this month's seemingly infinite to-do list, between
work and school and work, is daunting. I've got that deer-in-the-headlights
thing going on right now, and while it will be humourous in retrospect—it
always is—it sucks when you're in the thick of it It's been one of those months
when a button falling off my cardigan put me on the verge of tears. When I
absentmindedly left my writing portfolio on a SkyTrain headed for the repair
bay last week, I couldn't help but feel that was a metaphor for where my mind
was headed: straight for the maintenance dock!
I'm exaggerating, but I don't think I'm alone. Maybe it's something to do
with the weather. Let's not forget that there have been several days recendy
when the sky alternated between blizzarding snow and blazing sun within
an hour or so. That's got to have an effect on the fair folks in this city. But as I
write this, the days getting longer and my back warmed through the window
by a 12 degree afternoon, it's hard to feel blue about anything.
I'm working on my Sunny Strolls playlist now, thanks to new music coming from some of our features this month. The Ruffled Feathers' new album
has me whistling away, and the newly-formed Dirty Spells are putting a nice
skip in my step. Red Cedar surprised the heck out of me with PFSF; I've been
humming "Dug My Grave" while in transit for weeks. I'm a bit red in the
face to say Indigo Kids are new to my speakers altogether, but I'm glad for
the introduction. Finally, with Record Store Day almost here, there are no
excuses to be lacking great music for any occasion.
And flipping through what this issue has to offer, I feel warm and fuzzy
inside. I'm reminded ofthe slew of talent and creativity that our community
thrives with, from the dozens of humans who make this magazine happen,
to the folks that inspire us to listen, watch, write, read, draw and take pictures about it-
Speaking ofthe people that make this magazine happen, we also held
the CiTR Annual General Meeting and Volunteer Appreciation night at the
end of March at Rhizome Cafe. If you were able to attend, we hope you had
a great time and feel as appreciated as appreciated could be, because we
appreciate you.
Alright, I'm getting misty again. So I'll leave you to it.
Read on and stay rad,
Laurel Borrowman
Laurel Borrowman
Jaz Halloran
Jordan Ardanaz, Steve Louie
Maegan Thomas
Jordan Ardanaz
Steve Louie
Chirag Mahajan
Corey Ratch
Dorothy Neufeld
Brenda Grunau
Student Radio Society of UBC
Zarah Cheng, Dorothy Neufeld
Katayoon Yousefbigloo
©Discorder 2012 by the Student Radio Society ofthe Uni
.     Chris Adams / Dylan Beatch / Josepha Cameron /
versity of British Columbia. All rights reserved. Circulation
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8,000. Discorder is published almost monthly by CiTR
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which can be heard atioi.9 FM, online atwww.citr.ca, as well
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*    Audrey Alexandrescu / Tyler Crich / Victoria Johnson
SUB Blvd., Vancouver, B.C., V6T1Z1, Canada.
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• Chirag Mahajan / Eli Muro Alex Stursberg / Monique
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►                              •   donate. FEATURES
/     I     /
08/ The Ruffled Feathers
Everyone has their own way of getting away from
the hubbub of life. After creating their latest project to stimulate the eyes and ears of their fans,
almost equally, the multi-talented, multi-instrumental, orchestral-pop flock of friends is more
than deserving ofa rest. No wonder Charley Wu
was fleeing the country for Sibera the day after
we chatted.
11 / Record Store Day
The massive, soulless stores, devoid of musical
emotion are tanking, but the underdog independents are stronger than ever. Discorder gives
three cheers for Record Store Day and the driving
forces behind it in Vancouver, and give you the
scoop on what's up this April 21.
12 / Indigo Kids
Sure, we don't talk about hip-hop much in
Discorder. We know that Maybe if there were
more hip-hop acts in our midst like Indigo Kids,
then we would. Fresh off their first tour with a
full band, and eager to share their new found love
for masks, the group chats with us about things
these days.
14 / Dirty Spells
So you're bored ofthe same old band lineup?
Drums, bass, guitar, vocals. Repeat. Maybe some
keys. Fine. Give Dirty Spells a listen and rejoice.
This new garage-psych ensemble has all ofthe
above times two. And saxophone. And violin. And
laser beams. That's right, laser beams.
i6~ j Red Cedar
You're saying, "Do you live under a log? Red Cedar
broke up months ago!" We're saying, "No, we
don't! And yeah, we know! And have you heard
PFSFyet?" Exactly. Sure, these psych-folk rockers
parted ways in January, but with their last recording dropping mid-March, a proper goodbye was
in order.
04 / The Overeducated
05 / Textually Active
20 / Calendar j ChristopherLeitch
22 / Program Guide
25 / Art PrOJeCt / Chris Von Szombathy
28/ Under Review
3 I Real Live Action
38 / On The Air / The jazz show
$g /Charts MY LOVE/HATE
illustration by TYLER CRICH
Over the years, there have been certain Much-
Music and MTV Canada VJs who I get giddy over
because they are awesome Canadians.
Dan Levy, a beloved Canadian TV personality,
has been one of those Canadian VJs that I liked.
I thought it was cool that him and Jessi Cruick-
shank made the Hills After Show on MTV Canada
popular. I realize that the Hills was not exactly
the greatest TV show, but the fact that a Canadian
network was known for their after show for an
American TV show is quite cool. Plus, I'm a huge
Degrassi fan and his appearance in the movie
Degrassi Goes Hollywood put him in my good books.
Then something terrible happened. I was
reading an issue of Flare, ar^tl taw that Levy had
written an article called Cents and Sensibility (good Jane Austen pun). I had never read any
of his writing before—I didn't know he wrote
at all—so I was excited. Unfortunately, the article disappointed me. While I agree that people
should appreciate things and enjoy themselves
when they indulge, the gist ofthe article really
seemed to bash spoiled people and claimed that
they don't appreciate the things that are given
to them. The worst line, the one that got me all
worked up was in reference to his high school
trip to Europe. He claimed that many of his classmates were only there because "their parents
wanted the summer off, and travel, money and
luxury were as common to them as the McDonald's McNuggets they opted to eat over the
impossibly delicious Italian fare."
First of all, generalize much? I get that a lot
of spoiled kids are stereotyped as being numb to
the things that are given to them, and he probably came across a bunch of vile, whiny rich
kids in his lifetime, but it's not really fair to say
that about everyone. What some may not know
about your fellow grumbler is that I had a dif
ficult time in my early twenties, and my parents
helped me out a lot financially during this period.
My parents have always been generous, but I've
always appreciated them and the opportunities they have given me. If you take a look at my
brothers, both are even more overeducated than
your fellow grumbler. One is a screenwriter for
a film studio in Florida, the other is getting his
PHD in I/O psychology (I don't really know what
that means either). Both will eventually support
their poor writer sister and allow her to live in
their basements. Both are doing extremely well
for themselves, are mature, well-adjusted individuals, and grew up to appreciate things and not be
spoiled jerks, despite what ±ey've been given.
Also, am I to believe that Levy hasn't been
given anything? His dad is Eugene Levy and more
than likely this had some influence in getting
him his current MTV VJ role. Sounds like he had
some advantages that other broadcast journalists did not.
This article just seemed self-indulgent. To
rant about how well brought up he was and how
everyone should be this way showed a stuck up
attitude I didn't expect from Levy. However, I feel
a little bad saying these things about him. Part of
me still adores that lovable face that would tell
me about all the gossip on the Hills. Sigh.
To put myself in a better mood, here is a list of
some of my favourite VJs of all time:
I was born in the late '80s, so grew up watching MuchMusic in the '90s. Most of my picks
are linked to my nostalgia.
1) George Stromboulopoulos: First, he hosted
my favourite MuchMusic show of all time that
turned me into a indie music nerd, the Wedge. His
bromance with Rick the Temp also made me smile
and I enjoyed watching them banter back and forth.
Then he went on to host his own show which hit a
new demographic and made news interesting for
young people. Also, fair readers, I touched his butt
at atalk he did at UBC when I was in first year. He
was very polite about it.
2) Ed the Sock: Only in Canada would a sock be
a celebrity. I loved Ed the Sock because he grumbled about all the garbage music videos and shit
that came out. Listening to him rag on everything
probably subconsciously inspired this column, or
led to its sarcasm. I used to count down the days
until the Fromage series that came out around the
new year.
3) Nardwuar: I need not explain this one. Nardwuar is a Canadian treasure.
Canadian VJs will always hold a special place in
my heart, and my love for Dan Levy as a VJ continues to run deep. It's just his writing that needs an
attitude adjustment. HOW TO PACK
written by SEAN HUBERTS, (2010)
Three words: "Bring. Flip. Flops." These are
among the many humorous yet practical words
of advice from musician ShliiQ Huberts' debut
book How To Pack Like a Rock Star. And who better
to take packing advice from than Huberts, along
with 30 or more ofthe world's top touring musicians who have spent a better part of their years
on the road, living out ofa suitcase.
The book is a photo driven how-to project
that details Huberts' infallible packing techniques and provides insights into the suitcases of
countless musicians Huberts has crossed paths
with while on the road. The objective: "to achieve
and maintain perfection in the art of packing a
suitcase, so that everything is in plain view and
each item can be seen at all times."
Sounds easy, right? For Huberts, after
years of touring, playing bass for Canada's
Tegan & Sara and more recently as a member
of Rococode, packing is as logical as a simple
game of Tetris. But
now even us non-
rock star folk can
pack with the best of   I
'em thanks to these
splendid visual
aids, complete with     ^H
commentary from        4|K
Huberts and rock
star friends.
You'll learn how        Jf"*
to use your t-shirts as
a laundry bag. You'll
learn how to fold everything from your jacket
to your leather leopard print pants. You'll learn
how to determine the number of laundry loads
required while on vacation using the "laundratic
equation" and why "bring flip flops" are three
words for touring musicians to live by.
If that's not enough to convince you it's worth
a read, the book also comes complete with a
packing checklist, advice on how to keep your
clothes wrinkle-free (well, less wrinkly), and a
detailed list of pros and cons for soft shell versus hard shell when making your next suitcase
What makes Hoto To Pack Like a Rock Star more
than just a must-have manual for the packing
impaired are the Q&A style commentaries from
seasoned suitcase packers like Vampire Weekend, Paramore, Death
Cab For Cutie, New
Found Glory, Sarah
Bareilles, Said The
Whale and others who
have all been exposed
to Huberts' "Rock Star
Method" for packing.
I||      You'll find out who
prioritizes changing
their underwear daily
and who doesn't, who always leaves their packing until the last minute, and who once regretted packing snowboarding gear while touring
through B.C.—in the summer.
Until you're too famous to pack your own
suitcase, H010 To Pack Like a Rockstar is a must-read
for anyone who ever plans to spend a night away
from home. And for both touring musicians and
regular folks alike, remember: bring flip flops.
04/28 Kelowna, BC@ The Habitat
04/29 Kelowna, BC@ The Habitat*
05/03 Vancouver, BC @ Vogue Theatre - presented by The PEAK *
05/04 Victoria, BC@Alix Soolden Hall - presented by The lone *
3    lor, free lor station members] i
212 Productions
The Bike Kitchen
Flaming Angels
The Kiss Store
Rufus' Guitar Shop
454 W Cordova St.
6138 SUB Blvd.
2621 Alma St.
4307 Main St.
Lucky's Comics
Scratch Records
Skateboard Shop
115 East Pender St.
Fresh is Best Salsa
3972 Main St.
1 East Hastings
2337 Main St.
2972 W Broadway
Bonerattle Music
Temple of the
Australian Boot
2012 Commercial Dr.
Gargoyles Tap and
1131 Howe St.
Modern Girl
2695 Main St.
1968 West 4th Ave
3357 West Broadway
Devil May Wear
3957 MairtSt
People's Co-op
Vinyl Records
2016 Commercial Dr.
319 W Hastings St.
2029 W 4th Ave.
1391 Commercial Dr.
Dr. Sun Yat-Sen
Chinese Garden
The Wallflower
Band Merch Canada
578 Carrall St.
Hart and Sole
Prussin Music
Modern Diner
Clothing Inc
3607 W Broadway
2420 Main St.
843 Granville St.
Banyen Books
Dream Apparel
604-630-3t#f li
3608 W 4th Ave.
311 W Cordova St.
Red Cat Records
UBC Bookstore
Highlife Records
4332 Main St.
6200 University Blvd
1317 Commrecial Dr.
Baru Cafe
The Eatery
2535 Alma St.
3431 W Broadway
The Regional
Woo Vintage
Hitz Boutique
Assembly of Text
316 W Cordova St.
3934 Main St.
4366 Main St.
Beatstreet Records
The Fail Tattooing
439 W Hastings St.
644 Seymour St.
R/X Comics
2418 Main St.
Zoo Zhop
223 Main St.
A Friends of CiTR Card
scores you sweet deals at
Vancouver's finest small
merchants and supports
CiTR Radio 101.9 FM.
Show it when you shop!
illustration by
The Red Gate, who were uprooted from their
long-time abode on the ioo block of West Hastings last October, may have located a new space
for Vancouver artists to thrive, unfettered by the
constraints of overpriced studios. The new location is a 20,000 square-foot warehouse in the
industrial district sandwiched between Mount
Pleasant and Strathcona, at 281 Industrial Avenue. Until recently, this city-owned property
housed a film production and prop storage company who were ending their lease just as Jim Carrico, who has managed the Red Gate since 2004,
discovered the spot. Carrico, who spoke with
Discorder in an interview on March 13, hopes
that the city will lease the space to the Red Gate
to make much needed affordable artist studio
space available in Vancouver.
As it stands, the city has not committed to any
deal nor has it responded definitively to a lease
Carrico proposed. Despite receiving favourable
words from councillors Geoff Meggs and Elizabeth Ball, progress on the possibility of renting
the warehouse has been slow and little useful
information has escaped the byzantine bureaucracy of City Hall. The administration ofthe lease
appears to sit either in the hands ofthe Real
Estate Services or Cultural Services department,
though nobody at the Red Gate has been given a
clear indication. With fortuitous timing for the
Red Gate, Meggs recently authored a motion to
City Council, passed on February 14, that encourages steps by the City toward the provision of
affordable creative space in Vancouver. However,
this policy provides few concrete and immediate outcomes that will be meaningful for artists
seeking work spaces, such as those displaced
when the Red Gate lost its home. The artists
and musicians ofthe former Red Gate, including Vancouver cultural icons the New Pornographers, have been scattered across the city with
the fortunate few finding new affordable space.
When asked where the artists from the Red Gate
have gone Carrico said, "I'm not really sure.
Some have found space here and there, others, I
have no idea."
The proposed building, built in 1928, is ideal.
It is divided into six equally sized partitions, has
16-foot ceilings several large loading docks, and
is located in a neighbourhood where the loud
noise and messy work of artistic production will
not disturb the surrounding community. The
Red Gate recently put out a call on their website
for anyone seeking "affordable studio space for
visual artists, as well as practice space for musicians, rehearsal space for theatre groups, production space for film, video, and photography,
community space for meetings and workshops,
and more." With this call, the Red Gate is seeking a supportive community response to the project as a first step toward obtaining a lease from
the City. A petition is available on their website at
http://redgate.at.org, where anyone who agrees
that affordable art space in Vancouver should be
a priority, and that Red Gate is a good candidate
to offer it, can voice their opinion.
For the time being there are no plans to provide performance or exhibition space at the new
location, which will have to wait until the building can be brought into compliance with the
appropriate safety bylaws. The project will focus
on the Red Gate's core goal of providing studio
space to foster a vital habitat for Vancouver's
cultural community. In expressing his hopes for .
the re-emerging Red Gate, Carrico described the
ways in which affordable studio spaces are necessary for culture to thrive in a city. He claims
that "sometimes people think of culture as only
flowers, cut off from the rest ofthe process of
art. Studio workspaces can be the dirt, compost, roots, stems and leaves that are absolutely
essential for flowers to bloom." In Carrico's
mind Vancouver needs to tend to its cultural soil
by doing what it can to remove economic and
bureaucratic barriers placed on artists and their
ability to create.
7 byJONI
illustration by
photos by
Having converged on Vancouver from points east, west and south and boasting 15 cities of residence between the five of them, the Ruffled Feathers are a
local band with an international pedigree and a huge diversity of influences.
Their music is often described through references to Beirut, Regina Spektor,
and early Arcade Fire; basically, bands that speak to the group's enthusiastic
employment of mandolins, ukuleles, trumpets and accordions, in addition to
the usual suspects of guitar, keys, drums and bass. But, as with most descriptions by way of comparison, these references all fall short of encapsulating
the Ruffled Feathers sound, which is a serious, yet celebratory, investigation
ofthe human experience. The band has very philosophical tendencies, yet
(as a perusal of their blog will reveal) they are also kind of silly and funny as
hell. Catching up with the band before a show at The Pit Pub, these complementary contradictions appear to be the result of that perfect kind of alchemy
that occurs between switched-on, curious and thoughtful people working
together on what they love.
Shortly before they are due to appear onstage, the four male members of
the Ruffled Feathers flock together outside The Gallery in UBC's Student Union
Building. Minutes laterwe'rejoined by Gina Loes (vocals, guitar, ukulele), the
lone female Feather, fresh from a ukulele lesson, and we abandon The Gallery
where an open mic situation is threatening to launch full-blast. Once seated someplace quiet with the genial and eager bunch, we delve
direcdy into the matter of their unusual and somewhat protracted album release
process. Their first full-length album, Oracles, is due for independent release
on April 3. But, since early January the band has pre-released two tracks off
the album as a free download every couple of weeks, meaning that eager fans
who return regularly to the band's website could potentially get the whole
album for free prior to release. They've even included a countdown clock at
theruffledfeathers.com that indicates the days, hours, minutes and seconds
until the next pair of songs will be posted to be given away for free.
"It makes the excitement of releasing an album last longer," says Gina.
"We put a lot of work into it, and if we did it just one day, one party, here you
go, that would be it [Then] what would we do all spring?"
Besides wanting to prolong the fun of releasing their first full-length album,
the Ruffled Feathers also feel an enormous debt of gratitude to their fans and
supporters. JLast year, after successfully recording the album on their own,
they opened a Kicks tarter account to raise the funds to pay for mixing Oracles.
Their goal of $3500 was exceeded by enthusiastic support from 75 backers,
and the band is now joyfully giving thanks by sharing their work.
"We really wanted to be able to spread our music out there," says Andrew
Lee (trumpet, vocals), "but it's kind of uncomfortable giving everything away
for free all at once. Also, we had a lot of success with Kickstarter to fund the
album, so it's kind of our way of giving back."
And the giving doesn't end with just the download. The pre-release tracks
that the Ruffled Feathers post on their site for free are accompanied by a constellation of complementary artwork, essays, diagrams, videos, comics and more.
The additional works, Charley Wu (keys, mandolin, guitar, vocals) points out,
are intended to give listeners a greater insight into the music. "We're treating
each song with its own personality and its own back story," he explains. "It's
nice to fill in all those details, to draw these connections. I'm trying to share
all my inspirations with people who listen to our music."
This process is also a way for the band to showcase each song in a way
that eliminates the hierarchy ofthe hit single. "I think it's kind of nice to, in
a way, force people to listen to every song," Sam MacKinnon (drums) says,
reflecting on the common experience of getting to know a new album where
a standout track or two will attract the most attention from the listener.
For a group who's writing, arranging and recording process is so entirely collaborative, his hard for them to hold up anyone
song above the others; in their eyes each one is as
considered and complete as the next
That having been said, there is one song from
Oracles that has received the royal treatment in
terms of auxiliary creative works. "Blueprints for
our Failed Revolution" is an orchestral-pop banger,
replete with battle-march drums, triumphant trumpet refrains and a chorus sung tout les ensemble
that will get just about any body moving. The band
filmed an elaborate music video for the song that is
a romantic take off on the American Civil War and
Victorian era. "I probably spent four solid months
on [the making ofthe video] and it took a year off
my life. That's why I'm going to Siberia!" quips
Wu, who is departing the day after the show for a
trip from Shanghai to Moscow via Ulaan Baatar
on the Trans-Siberian Railway. "But I would do it
all again," he adds. Loes also points out that their
newest video for the song "Mockingbird" took just
one day to film. "That's efficiency!"
Operating without the support ofa label or any
kind of management, efficiency is a key element
for the band. Each member is continually busy
responding to emails, making booking inquiries, planning shows, and making merchandise
(from their Kickstarter page: "What other band
has handmade mugs and porcelain buttons at their
merch table?"). The Ruffled Feathers approach
bandhood with an earnest and democratic energy,
and with all cylinders firing. They also bring a kind
of wisdom and discipline to the business side of I
things, uncommon in a band so young.
"It's no longer drugs, sex, rock 'n' roll," Char- |
ley asserts, "It's sweat, tears and hard work."
"We have done everything ourselves com- j
pletely," Matty Jeronimo (bass, guitar) adds.
"It's quite the learning curve," JLoes says, "but j
all the information is there, it's all on the Internet. ;
You just have to look."
The band is currently focusing their can-do ■
energy on organizing a 12 city tour ofthe west !
coast for this coming June. How are they going i
to do it? Spreadsheets.
"Andrew is an engineer, and I'm a chemist, so
we're all about spreadsheets and documentation
and stuff," Jeronimo explains.
"And flow charts," adds Lee.
Jeronimo agrees, "we've got high quality flow
chart skills."
With flow charts, blueprints and instruments
at the ready, the Ruffled Feathers seem poised on
the threshold of some big and exciting developments. As the band tumbles out ofthe SUB and
into the night to pose for a photographer, I find
myself hoping that Vancouver remains home to
this peripatetic bunch for a while yet, if only so we
can witness first-hand how it all shakes out. Ky^nA j^X^jjl^
Is there a sound any more satisfying than a
needle hitting vinyl?
Grant McDonagh, owner of Zulu Records
in Kitsilano, has invested a lot in the hopes that
there isn't. "Nothing sounds nearly as good as
vinyl," he says.
Record stores in Vancouver are still at the
heart of music culture. They provide a place for
fans to gather and trade records, and they support artists by selling independently produced
music. They often even buy music up front,
ensuring that emerging bands can pay for tours,
studio time, and of course, beer. The digitization of music has sunk mega-retailers like HMV
and Tower Records, but independent stores are
still getting by thanks to the loyal community
of audiophiles and a resurgence in vinyl record
sales. Record players and seven-inches are hot
ticket items again and the reversal is so complete that Geoff Barton, owner of Audiopile on
Commercial Drive, can point me towards to two
full aisles of new and used vinyl once occupied
entirely by CDs.
Part ofthe comeback is because of events like
Record Store Day, founded in 2007, which brings
together fans, artists and independent retailers
to celebrate all aspects of musical culture. Record
collectors enjoy sales and special releases, and
many stores feature unique in-house performances. In just five years, the event has gone
from a handful of independent retailers across
North America to hundreds around the world.
Now, it's so big that it's biannual; a second
international Record Store Day was declared in
November 2010. Coinciding with the American
Black Friday, it raised a few eyebrows and some
wondered if perhaps the unofficial holiday for
the music industry had gone too commercial.
In some cases, it has. Larger distributors and
record companies often re-release old material with a large mark up while limiting runs
to inflate value. One store owner pointed me
towards a $60 Pink Floyd three-single collection that had been on the shelf for nearly a year.
Another owner questioned this year's vinyl reissue ofthe Pretty In Pink soundtrack. Add in privateers, people who buy multiple copies of special releases during Record Store Day so that
they can gouge fans on auction sites down the
road, and this celebration of community can be
viewed as another day to make a quick buck.
In turn, some stores like Scrape Records
pass on the special releases. For owner JJ, as the
regulars call him, it's better to reward the loyal
customer base with discounts on what's already
in stock that they actually want Zoo Zhop
owner David Mattatall simply views the day as
"a good excuse for a party" and hosts an all-day
lineup of live shows in the performance space.
Like Scrape, they will be passing on the Pretty in
Pink re-release.
Music lovers will benefit from discounts that
generally range from 10 to 20 per cent on both
new and used vinyl, and often CDs. And with
Vancouver's Record Store Day lastyear enjoying
in-store performances from local acts like Yukon
Blonde, Hallow Moon, and Sex Church, expect
tonnes more this year at stores like Red Cat,
Highlife and Neptoon.
Regardless of your taste in music, count on
' finding what you like in our fair city year 'round.
In the spirit of community, stores aren't shy
about recommending another store if need be.
Their love of musk trumps the desire to make
a profit, which is what Record Store Day celebrates. As Dennis Nella, co-manager at Highlife
puts it, "Every day should be Record Store Day."
So get out to your local record store early,
and talk to the staff to find the hidden gems and
great deals. A happy Record Store Day to all! See
you April 21.
illustration by
photos by
The term "indigo children" was originally coined
in the '70s to describe select members ofthe next
generation as supernatural. These days it has come
to representa more general definition, that of kids
who are more creative, empathetic, and strong-
willed than others. In this general sense, it is a term
that suits Vancouver hip-hoppers Indigo Kids to
a tee. The group, spearheaded by MC duo Axiom
and Kapok, bursts with creative energy culled from
their surroundings to deliver uplifting rhymes over
funky, danceable beats. Since Discorder last spoke
with the kids in the summer of 2011, they have
released their sophomore effort Higher Ground and
assembled a live band that includes Nick Laggassi
(bass), Syd Beagle (drums), DJ K-Rec and Franc-
esca Bel court (vocals). Having just finished their
first string of shows, I caught up with Nick, Kapok
and Axiom for a coffee on the Drive to chat about
how things have been going and what's next
So you guys just wrapped up your gigs. How
did they go?
Axiom: Great! Our DJ, K-Rec, could only make
one of them, but it was good for us because it
gave us the opportunity to pin down the raps on
rhythm. K-Rec is just this awesome additive that
fits everywhere. Our singer Francescawas with us
for all of them except Salt Spring. How did you guys get started and how are Indigo
Kids involved in the Vancouver hip-hop scene?
Axiom: I met Tai (Kapok) shortly after moving
here at an open mic at the Anza Club and a lot of
the other people we know in the hip-hop scene
stem from that night at the Anza as well.
Kapok: Yeah we all met at the same open mic,
and basically decided to start working together
right there. I was bom in Toronto but I'm a Vancouverite. I've lived here my whole life. I'm also
part of another group called Ra Focus which is
myself, another MC, Reflections, and another
friend of ours Mosaic.
Axiom: It's a big extended family that comes from
that: Reflections, Mosaic, Jellyfish Recordings,
Headspace, Astrological and all those dudes. The
first Indigo Kids record started off as a massive
collective thing where Tai and I organized half a
dozen people to record in my old apartment on
Commercial here. Itwas exclusively Astrological
beats and we just banged it out in a week. So we
rolled with that for a while, did some gigs, then
K-Rec got involved. Then we did Higher Forms which
has got less guest spots. We kind of kept it more
focused. As for the band, I live with Syd and Nick,
so it made perfect sense.
So how would you say the Vancouver scene compares to what's been happening in Toronto, it
having become quite a landmark city for Canadian
Kapok:! think Vancouver is on the verge
of that right now. There's something happening that I feel is really gonna explode
and take off. Maybe in a different way of
how it is in Toronto, with our own west
coast vibe.
Axiom: We have a lot of friends in this
scene that like our music and are doing
great music themselves, and there are a
lot of potential collaborations. Support at shows
is the big thing. Having the band is going really
well for us right now, Syd and Nick can just kill it
They are a tight rhythm section and the fact that
we can just base it off them is awesome. Boom
bap, that's all you need; stripped down. It's cool
cause you can just focus on performing, there's
so much more energy to feed off of.
Speaking of energy, there is a lot of focus on
positivity in your music rather than materialism
or commercialism.
Axiom: I've been hearing that a lot lately,
we're positive, and I love it! (laughs)
I'm not sitting down writing a rhyme trying to
make people think I'm positive, or charge people
up with happiness; it just comes naturally with the
way Tai and I write and I really think ifs something
to be proud of. I feel like we've earned a reputation
for respecting our audience and I think that can
take us a lot further than demanding respect Like
when you say something thafs a cliche in hip-hop,
like trying to be above somebody, that pushy, "This -
is mine. I own it," kind of thing, that confidence
can be misconstrued and it doesn't come across
properly; whereas I think that you can apply that
confidence just by being yourself, and writing
what you think.
Do you guys feel like you will continue with this
stripped down format for the future and focus
on this style?
Kapok: Anything can come into play. I don't think
we should follow any particular way of doing the
music. We'll just take what we have and make
something out it I've been doing a lot of production myself, so maybe you'll hear some of Kapok's
beats on the next project (laughs). We also want to
work more with various singers; like soul hooks
and whatnot, but I think the main focus is definitely gonna be the band. Try and work on original
material together, whereas before it was just us.
We want to bring in everyone'-s ideas.
Axiom: Nick is a multi-instrumentalist as well,
so we'd like to try and bring in some more of
his stuff.
What else do you play?
Nick: I play synthesizer, drums, guitar, flutes and
- stuff. Ifs really fun playing with Harold (Axiom),
cause when we get into loop and sample-based
stuff, I can just play around and he'll find a bit he
likes that I'm not even aware of, so I can just jam
and have fun with it
You guys have started to involve some theatrics
in your performances. Can you tell us about the
Axiom: I was saying to Nick the other day, when
performers step on the stage I think they tend to
drop everything away and ifs just what they're
doing in the moment I don't think I'd ever had
that until I started wearing a mask. I'd get onstage
and I'm still me and I still got all my bullshit in
the back of my head, but when I wear this silly
mask, it goes away completely and ifs game on.
Ifs fun that way.
Catch the Indigo Kids performing for the 420 Gathering at the Vancouver Art Gallery this month! [f| kWi ■ ake more laser sounds!" I'm sitting in a swivel-chair at
H m m I Watershed Productions, a recording studio overlooking Victory Square. An hour earlier, I met Greg Pothier and Doug Phillips, the
two figureheads behind Dirty Spells, and instead of asking me where I
wanted to interview them, the first question they pitched was how much
time I had to work with. Before long, I found myself on the other side of
a soundproof booth listening to a violin mimic blaster rifles.
Dirty Spells are anything but orthodox. Along with Emily Bach, Bryce
MacLean, Graeme and Ryan Berts, and Eric Campbell, the recording
studio was bursting at the seams.
"We asked, 'what if we put two bands together?'" Pothier tells me
later over a plate of nachos at Foundation. Boasting both dueling drums
and guitars, bass, violin and sax, ifs easy to get caught up in all the
sounds going on in Dirty Spells' first EP, released at the end March.
The band,'which shares members with the likes ofthe New Values and
Sigourney Beaver, are "building a wall of noise, and each instrument is a
brick," says Pothier, but it would be a mistake to dismiss ±e psych-rock
collective as cacophonic. "We don't want to sound like seven different people playing apart," Phillips notes, "We're taking these jazz and
classical instruments and totally misusing them, trying to find a way to
incorporate them without standing out"
Back in the studio, producer Hayz Fisher,
also ofthe New Values, gives me the abbrevi-
i 11 UStratJOn by ated tour ofthe recording equipment and
ALEX STURSBERG gear. There's the usual assortment of pristine
soundboards and antique effects racks, but
what makes this space so easy to relax in is the sense of history: every
guitar, every book, every framed picture or propped-up card has a story
behind it. There's no beer-stains here, but you can tell just by the chips
of paint on the ledge ofthe sound-booth, and the worn patches on the
hardwood floor that this place has seen many a pilgrim. Ifs been a long
two days for the musicians and their producer, but the warm environment doesn't feel like a prison one bit.
On this, the final day recording, I arrive Justin time to watch Bach
lay down her parts on violin, which were more space-rock than chamber
music. "I've [been] playing classical music since I was three: really
stodgy, up-tight [and] structured. Ifs great to play in a band where I
just get to make noises instead of reading sheet music. I feel like it's an
evolution... or a devolution?" Bach's contributions to the psychedelic
"UFO" (written with an eye to Pothier's childhood growing up near the
Franconia Notch, an infamous alien hotspot) are bold slabs of paint on
an already-colourful canvas; watching her experiment on her violin to DIRTY
etch out the right frequencies is a
bit like how I expect Foley artists
operate, albeit with fewer observers. Everyone on my side ofthe
glass was either gesticulating
wildly, making laser sounds with
their mouths, or enthusiastically
nodding their heads when the perfect pitch was attained. The result
needs to be heard to be believed,
lying somewhere between Jimmy
Page's more druggy Zeppelin
moments and a guy-wire being
snapped in slow-motion.
Graeme Betts' performance
was equally mesmerizing, as he
contributed saxophone tracks
with a notable twist: he was feeding his sax through a whammy
pedal, which he used like a trucker on speed, changing the pitch of
his instrument with freakish irregularity. The end result was a psychotic blend of bluesy horn hits and what MacLane called "demon-
brass," like the sound ofa steam-engine train in a tunnel thrown
through a blender. "I feel pretty good about jamming in a psychedelic band," Betts says, "|TJ kinda get my growl on". Or, as Phillips
aptly puts, "Ifs a saxophone, but it sounds like a synthesizer." The
group had recorded guitar, bass and drums the previous day, and
most ofthe vocal work was done early in the studio, before I arrived.
They assured me that I wasn't missing much though, noting how
tedious it was to get all of those instruments just right.
As time in the studio dwindles to an end, everyone sets up to
shout out gang vocals for the track, "Hangover City". This event had
been mentioned often throughout the course ofthe day as sort ofa
milestone moment, both for signifying the end ofthe long day and
as something genuinely fun and relatively easy that the group can
relax on. The song itself is a pretty straight-forward rock tune to the
sound of late-'6os Rolling Stones, and is one ofthe only pieces on
the four-track EP that I could discern a notable influence. The lines
we were shouting, "Hangover City!" and "That girl was pretty!" were
just silly enough out-of-context to make giggling between takes
nearly impossible to avoid. The track, less psych than Americana,
has a distinct "Johnny B. Goode" feel with its walking bass line and-
thick guitar chords. And unlike what the name suggests, the track is
filled with the kind of songs-for-summer optimism that predates a
morning-after headache.
"Hangover City" also ties in to the band's methods for getting
their music heard. "The EP is entirely to put together a Sonic-
bids page to be able to apply for [music festivals such as] Music
Waste, Olio, Rifflandia, [and] Sled Island", Pothier explains.
"We're going to be printing postcards with the Bandcamp link
and 'Greetings From Hangover City' on them. Postcards are cool,
right?" The catch-phrase, which started as a joke between Ryan
Betts and the rest ofthe band, seems to fit the lunatic positive
energy that possesses the entire group.
"The only thing that sucks about this band is the parking tickets"
bemoans MacLean as we exit Watershed to a fresh batch of paper slips
on their vehicles.
Ifs likely that in the future, Dirty Spells will have an elaborate
and impossible-to-verify backstory regarding the formation of
their band, possibly with oblique references to the supposed alien
' abductions of Betty and Barney Hill, that inspired Pothier to write
UFO." Maybe they'U claim that the seven of them came together
during a witch-hunt or while searching for the elusive Ogopogo,
but the reality is a lot simpler.
"Doug and I were in a short-lived band [called] Shot Royalties,"
recalls Pothier. "I had a bunch of gigs that I [was committed to playing] ; I didn't want to play solo so I asked my friends if they wanted to
join up, and itworked great... [but] ifs still in its embryonic form."
So how likely is it that the incarnation of Dirty Spells I talked
to will be the same that is playing shows a few months from now?
According to Phillips, ifs hard to say. "Ifs an old idea that Greg
and I had, to have a rotating cast of people coming in and contributing on certain songs. It built from there, even if our setup is
more permanent now." Over the sounds of us digging into nachos
and beer, there's the noise ofa band in flux. With an EP out the
door and the prospect of festival spots in the headlights, Dirty
Spells has all the positive energy it needs to do something remarkable. Spending a few hours talking about music, art and space
aliens, I realized that their passion and warmth is contagious. If
their live sets are anywhere near as friendly and interesting, Dirty
Spells will have a lot of fun in Vancouver, even if it is Hangover City. PARTY
photo by COLIN JONES
illustration by ALEX STURSBERG
Standing in front of the formerly tided "Red Cedar House" off of Oak Street I
feel like an audience in front ofa stage. Once home to four of five members
of local psych/indie/folk band Red Cedar, many a passerby has paused in
front of this residence to hear free tunes float out into the surrounding
neighbourhood. Inside there is an overwhelming dimness; the walls are
host to dark wood panels and some ofthe doorways are rounded, adding
a subtle curve of character. Sitting in the living room among the company
ofa Miles Davis poster and an ancient built in wall-bar, I am introduced
to Colin Jones (drums, keyboard), JP Doucet (electric guitar, vocals), and
Shaunn Watt (bass, acoustic guitar, vocals). Unfortunately, the other two
band members, Andy Bishop and Bruce Ledingham are absent Hanging
out together for the hundredth time in this exceptionally malleable space,
now only Jones and Doucet call it home. Red Cedar's end, like so much of
its musical evolution, now seems evident in the house's roommate composition. It appears the band has a timeline with an address.
Officially broken up in January, Red Cedar has one final album for their
fans. Mysteriously tided PFSF, itwas released exclusively online on March
15 as a free download on their website. Considerably less folk influenced
than their previous album, Enter the Sun Gods, the guys reflected on how their
sound has evolved out ofa certain community of musical influence. Watt
explains, "When we started out there were a lot of bands we played with.
There was a sound, but now those bands are mostly gone. This record is
a by-product of moving beyond that"
Indeed Watt, Doucet and Jones seem insistent that this album moves
them far from where they began; that the songs on PFSF are not direct
impressions ofthe sound they were once immersed in, but rather are
formations of newer influences and projects. The result is at once, unique,
deliberate, and as Watt adds, "a bit more abstract"
Beyond that, the album is more ofa band record. Whereas on Enter ifte
Sun Gods, Bishop wrote most ofthe songs, PFSF is a collaborative effort
between everyone; ifs a personal production, with shared creative control.
Best articulating this sentiment, Doucet adds, "there are no songs I don't
like." Jones and Watt verify their solidarity with a nod.
After listening to the record multiple times I understand their approval
and agree with it but PFSF is a musical feat handed to listeners after a gesturing wave. And with this goodbye in mind, I ask the three why Red Cedar has
come to an end. Watt replies immediately and sincerely that the band had
reached "its inevitable conclusion." And considering that PFSF moves Red
Cedar far from its folk beginnings, it seems rational to assume that such
fundamental change might apply to more than just the music.
By definition, bands are multi-dimensional creatures; even when calmed
by collaboration. In this case, a natural drifting took place, where the weight of time and unsettled ambition pushed everyone off the same page. And
this separation is nothing if not natural; especially as Watt says, "for five
young men over a five year span." Adding wisely that such a permanent
creative focus would be, "difficult in any social setting." True, all the guys
have lives outside of this band, jobs and relationships. Where once Red
Cedar brought them all together, it is now a point from which they can
depart. And as I consider this division, Doucet adds some much needed
perspective with the comment "and that's cool too."
So it seems like a mature separation and interestingly, somehow even
detectable in their latest album. Not in an intentional or explicit way, but
rather in the style on PFSF; the album is psych-rock at its best Ifs comprised
of several incredibly multi-dimensional songs. Each track (except maybe
"Draught ofthe Land") is thickly layered with instrumentals; at times,
everyone performing boldly all at once. It's definitive and powerful, especially when the vocals converge; some ofthe most pronounced examples
being the chorus in "Ragged Voice" and "Coming Around to See the Light"
To appreciate this sonic structure though, is also to acknowledge that
each musician adds a unique element to each song, and just as everyone
sounds great together, you know each part could also stand alone. Ifs not
always an exercise in taking turns, but the vastness ofthe sound in PFSF
that makes the album so rich and impressive. It holds the kind of passion
that fans can be assured will be taken with each member as he embarks
on other musical projects. '
And they have already divided into new projects, which they were eager
to discuss. Bishop's main project White Ash Falls, is already active in the
Vancouver music scene and has included rotating members ofYukon Blonde.
Ledingham's new project is yet to be named and Watt has a solo album out
(free to download at shaunnwattcom) and drums in quickly rising Siskiyou.
Jones and Doucet have a project called Hierarchies (hierarchies. bandcamp.
com) and Jones also drums in garage/indie band Hallow Moon.
Ending the interview I got a sense that all the guys were inspired and
busy, plunging back into Vancouver's local music community. As significant as Red Cedar's break up has been for all involved, it shouldn't really
be reduced to a finite event It is a natural change, with the musicians still
active, but in new forms. With this in mind, before heading out I mention
to Doucet that they should update the note on their front door instructing against junk mail delivery, as ifs still signed "Red Cedar House." He
admitted it hadn't been working well, and seemed pessimistic that an
updated tide would help. Since 2007, on the third Saturday of April, record lovers have
rejoiced, for this is Record Store Day. So come, faithful devotees of
vinyl—and disc and cassette—and upon this month's 21st day,
flock to your local record store to enjoy the many goods and events
you shall find there. Special RSD merchandise, sales, live music
and more await you in these sonic temples. Support local music
and the brick and mortar record store, and ye shall find peace and
sweet deals. And if you have not, come RSD revelers, to page 11
of this month's Discorder and look upon an article about Record
Store Day in Vancouver:
"Regardless of your taste in music, count on finding what you
like in our fair city year 'round. In the spirit of community, stores
aren't shy about recommending another store if need be. Their
love of music trumps the desire to make a profit, which is what
Record Store Day celebrates." —Tristan Koster
^~ ^-£teaf/Jier chant
S^l l*S^   Record Stote Day Specials
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i en ©/ £ ©/ //CiTR 101.9 FM PROGRAM GUIDE
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Show presents for this month the ■
recording debuts of some famous
and lesser known Jazz artists. The ■
first is legendary trumpeter Booker
Little in a quartet setting. April 9: j
Tenor saxophonist Walter Benton's
only recording with an all-starcast '
including trumpeter Freddie Hubbard and piano great Wynton Kelly:
"OutofThisWorld." April 16: "Meet
OTiver Nelson" propelled the saxo- .
phonist/composer into the realm
of the greats. April 23: One of the \
most stunning debuts was by "the 1
Coltrane of the vibes": "This is Walt |
Dickerson!" April 30: "Presenting ;
Cannonball" put alto saxophonist
Julian "Cannonball" Adderley into
the top ranks.
(Rock) 12-LOOam
Formerly on CKXU, Canada Post-
Rock now resides on the west coast j
but it's still committed to the best '
in post-rock, drone, ambient, [
experimental, noise and basically i
anything your host Pbone can put j
the word "post" in front of.
(Roots) 6-8am
Bluegrass,   old-time   music,
and its derivatives with Arthur
and the lovely Andrea Berman.
(Talk) 9:30-10:30am
Fuzzy and sweet, a total treat! Tune !
in to hear the latest and greatest :
tracks from independent and Van- !
couver bands.
An eclectic mix of Canadian indie
with rock, experimental, world, reggae, punk and ska from Canada,
Latin America and Europe. Hosted
by Oswaldo Perez Cabrera.
(Folk/Experimental) lpm-2pm
A source text for where sonic experimentation meets the folktradftitn. \
Attention to d.i.y culture, http://1
(World) 2-3pm
Sample the various flavours of
Italian folk music from north to ;
south, traditional to modern on !
this bilingual show, givetheboot®
gmail.com • http://giveemtheboot. I
(Talk) J-3:30pm
Bringing UBC's professors on air to
talk about current/past events at
the local and international level.
Aiming to provide a space for faculty and doctoral level students to
engage in dialogue and share their
current research.http://ubcproftalk.
wordpress.com • proftalk@gmail.
Promoting skepticism, critical
thinking and science, we examine
popular extraordinary claims and
subject them to critical analysis.
An alternative and critical look
at our changing urban spaces.
Follow the program on Twitter:
(Hardcore) 6-8pm
Punk rxk and hardcore since 1989.
Bands and guests from around the
(Dance) 8-9pm
(Hip-hop) 9-11pm
For the world of Cabaret. Tune in for
interviews, skits, musical guests
and more. It's Radio with sass!
(Eclectic) 8-10am
Live from the Ju ngle Room, join radio
host Jack Velvet for a n eclectic mix of
music, sound bites, information and
inanity, dj@jackvelvet.net
(Eclectic) 10-ll:30am
(Eclectic) 11:30- lpm
Various members of the CiTR's
student executive sit in and host
this blend of music and banter
about campus and community
news, arts and pop culture. Drop
ins welcome!
(Talk) 1-2 pm
Alternating Wednesdays
There once was a project named
Terry, That wanted to make people
wary, Of things going on In the world
that are wrong without making it all
seem too scary.
(Talk) l-2pm
Alternating Wednesdays
(Talk) 2-3pm
Exploring the mindset of an outsider looking in on Earth. Featuring
interviews with leading thinkers in
the area of sustainable economics
and our global ecological crisis.
(Eclectic) 4-5pm
Alternating Wednesdays
Movie reviews and criticism.
(Talk) 6-6:30pm
Alternating Wednesdays
Discorder Magazine now has its
own radio show! Join us to hear
excerpts of interviews, reviews
and more!
Alternating Wednesdays
All-Canadian music with a focus
on indie-rock/pop. anitabinder®
(£c/ecf/c; 6:30-8pm
Alternating Wednesdays
Dedicated to giving local music
acts a crack at some airplay. When
not playing the PR shtick, you can
hear some faves you never knew
you liked.
(Roots) 8-10pm
Two hours of eclectic folk/
roots music, with a big
emphasis on our local scene. C'mon
in! A kumbaya-free zone since
1997. folkoasis@gmail.com
(Talk) 10-1 lpm
Your weekly dose of education
and entertainment in the realm
of relationships and sexuality.
sexyi nva ncity.com/category/sexy-
(Hans Kloss) 11 pm- lam
Pretty much the best thing on
(Talk) 8-10am
(Eclectic) 10-1 lam
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.
Va ncouver's got a fever, and the only
prescription is CiTR's "Relentlessly Awesome." Each and every week,
Jason attempts to offer adrenaline-
pumping, heart-stopping, hands-
over-the-eyes suspense. He is a fan
of various genres, and a supporter
of local music.
Eclectic) 12-lpm
Sweet treats from the pop underground. Hosted by Duncan, sponsored by donuts. http://duncans
(Punk) l-2pm
Punk rock, indie pop and whatever
else I deem worthy. Hosted by a
closet nerd, www.weallfalldown-
(Talk) 2-3pm
Underground and indie comix. Each
week, we interview a different creator to get their unique perspective
on comix and discuss their upcoming works.
(Sports) 3-MApm
Your weekly roundup of UBC Thunderbird sports action from on campus and off with your host Wilson
(Eclectic) 4-b pm
Playing various Mantra music, this
show is about personal and global
transformation through chanting
and utilizing sound vibration for the
development of higher consciousness. Hosted by Raghunath with
special guests.
(Eclectic) 5-6 pm
It's like mixing unicorn blood with
Christopher Walken's tears, and
then pouring it into your ears.
(Eclectic) Alternating Thursdays
Celebrating the message behind
the music: Profiling music and
musicians that take the route of
positive action over apathy.
(Eclectic) Alternating Thursdays
Explore local music and food with
your hosts, Brenda and Jordie. You'll :
hear interviews and reviews on eats j
and tunes from your neighbourhood, !
and a weekly pairing for your date
(Experimental) 7:30-9pm
(Live Music) ^-Upm
Featuring live band(s) every week
performing in the CiTR Lounge. Most
are from Vancouver, but sometimes
bands from across the country and
around the world.
(Soul/Dance) llpm-12am
Grooving out tunes with a bit of soul
and a lot of funk, from the birth of
rhythm and blues to the golden age
of motown, to contemporary dance
remixes of classic soul hits.
(Eclectic) 12-6am
It could be global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
different. Hosted by DJ Pierre.
(Eclectic) 7:30-9am
An eclectic mix of indie rock, hip-
hop and reggae to bring you up with
the sun.
Hosted by David Barsamian.
(Eclectic) 10-11 am
Promoting upcoming live concerts
and shows in Vancouver, be they
local, national, or international
(Blues/Eclectic) llam-12pm
Every Friday host Dorothy Neufeld
sinks into blues, garage and rock
n' roll goodies!
I Western
I Front
1 604 876 9343
Colin Stetson, Sarah Neufeld,
Gregory Rogove: Three Solos
Constellation recording artist
Colin Stetson (New History
Warfare Vol. 2} joins violinist
Sarah Neufeld (Arcade Fire,
Bel! Orchestre) and pianist
Gregory Rogove for a concert
of solo performances.
Presented by Western Front
New Musk in partnership
with CITR 101.9
Saturday May 5     20/15 advance
Sunday May 6     22/18 door
8pm     303 E 8th Ave
CiTR has revived it's long-dormant
beginner's show It Ain't Easy Being
Green! With the support of experienced programmers, this show
offers fully-trained CiTR members,
especially students, the opportunity
to get their feet wet on the air.
(Eclectic) l-2pm
Alternating Fridays
(Dance) 2-3:30pm
An international mix of super-
fresh weekend party jams from
New Wave to foreign electro, baile,
Bollywood and whatever else.
(Nardwuar) 3:30-5om
Join Nardwuar the Human Serviette for Clam Chowder flavoured
entertainment. Doot doola doot
doo...doot doo! nardwuar©
NEWS 101
See Monday for description.
(Eclectic) 6-7:30pm
Join your host Matthew for a weekly
mix of exciting sounds, past and
present, from his Australian homeland. And journey with him as he
features fresh tunes and explores
the alternative musical heritage
of Canada.
(World) 7:30-9pm
(Dance/Electronic) 9-10:30pm
The Bassment is Vancouver's only
bass-driven radio show, playing
Glitch, Dubstep, Drum and Bass,
Ghetto Funk, Crunk, Breaks and UK
Funky, while focusing on Canadian
talent and highlighting Vancouver
DJs, producers and the parties they
(Industrial) 12-4am
Industrial, electro, noise, experimental and synth-based music.
thevampiresball@gmail.com the-
(TPoofo) 8am-12pm
A personal guide to world and roots
music—with African, Latin and
European music in the first half,
followed by Celtic, blues, songwriters, Cajun and whatever else fits!
(Punk) 12-lpm
On the air since 2002,
playing old and new punk on the
non commercial side of the spectrum. Hosts: Aaron Brown, Jeff
"The Foat" Kraft. Website: www.
and www.facebook.com/genera-
(Metal) l-3pm
Vancouver's longest running metal
show. If you're into music that's
on the heavier/darker side of the
spectrum, then you'll like it. Sonic
assault provided by Geoff, Marcia
and Andy.
(Roots) 3-5pm
From backwoods delta low-down
slide to urban harp honks, blues
and blues roots with your hosts
Jim, Andy and Paul, codeblue®
(World) 5-5om
The best of mix of Latin American
music, leoramirez@canada.com
(World) 6-7pm
News, arts, entertainment and
music for the Russian community,
local and abroad, nashavolna.ca
(World/Eclectic) 1'-8pm
Catch the authentic, fragile,
hardcore, chill, up-beat, progressive, and low key tunes of Norway,
Sweden, Denmark, Finland and
(Electronic/Experimental) 8-9pm
Strange and wonderful electronic
sounds from the past, present and
future with host Gareth Moses.
Music from parallel worlds.
(Dance/Electronic) 9-11 pm
If you like everything from electro/
techno/trance/8-bit music/retro
'80s this is the show for you!
(Eclectic) 11pm- lam
Randophonic is best thought of as
an intraversal jukebox programmed
by a vast alien living intelligence
system which has no concept of
genre, style, nation states or even
space-time relevance. ART
/ Thought, Therefore I Was
For Goodness Sake
Chris von Szombathy is a visual
& audio artist, writer and art
director from Vancouver. He is
currently working on new books
| for Drawn & Quarterly and
Simply Read and his line with
Burton is in select stores now.
—► chrisvonszombathy.com e& Ladder: a Futile Game
acrylic on board 0^
Monumental Accident
mixed media
T 4.
Decision Dice: Pessimistic      Bad Start
mixed media mixed media
APRIL 2012
(Ernest Jennin^ Record Co.)
The Albertan's new seven-inch EP,
The Hunter, is a three-song synesthetic
masterpiece. The A-side ofthe album
is dedicated to the six-minute-long
tide track, which recounts a timeless
tale of man/boy versus nature. The
mood for the hunt is set by the pulsing
keyboard which continues like clockwork for the first two minutes ofthe
song, backed by minimal drumming
and guitar hammers as lead singer
Joel Bravo declares, "Open for the
season/ Grab a gun/ Grab a bow/ Out
there with your father."
The length ofthe track affords the
band the opportunity to build tension
to gut-wrenching heights, calling to
mind woodsy imagery of stalking and
evasion until contact is made and a
killer riff and keyboard solo signal
that the hunt is on. A shift to the heavy
side and a chorus of primal "Ooohh-
hhs," signal the slaughter and perhaps ultimately, a profound loss of
innocence. The recording of this track
is a real triumph for the Albertans
in terms of how successfully they've
managed to capture the magic and
dynamics of their live show in wax.
The B-side is equally engaging, and split between two tracks,
"Powers" and "Ohio." "Powers"
seems to borrow a bit more from the
Albertans' previous album Neui Age,
cruising within familiar realms. The
final track, "Ohio" does a great job
at capturing the bands warmth and
cleanness, blending Bravo's gently
reverberated guitar with melodic violin-style synth highlights, and rounds
the album off nicely.
—Robert Fougere
Following 2010's relatively accessible
Wilderness Heart, Year Zero: the Original
Soundtrack is a welcome return to the
vaster, heavier and more adventurous
efforts found on Black Mountain's
early material. Relying on their unique
brand of synth-driven space prog,
the latest release from Vancouver's
local beloved is another dose of acid
drenched riffs and casual, dreamy
harmonies about some rather epic
topics. Black Mountain's eerie take
on the dark and sprawling universe
is a fitting companion to director Joe
G.'s equally strange surf movie set
during the end of days. And while Year
Zero includes four previously released
songs, these undeniable hits are interspersed with enough new material to
keep you rocking out until the album
In the past, Black Mountain have
been a reliable source of sprawling,
often epic, space rock that draws on
the likes of Hawkwind or Jethro Tull, and
Year Zero is no exception. The opening "Phosphorescent Waves" plays
five minutes of woozy Mellotron
and synth beats drone to a close as
Amber Webber curiously reflects on
the post-apocalyptic haze, "Skepticism: the first days ofthe most feared
times in human existence / Rules cast
aside, we search for an answer /
How do we live in the strange
new world?" Responding, is
the exhilarating opus, "Bright
Lights," that, despite being
edited for the soundtrack, still
takes you through 13 minutes
ofthe deep intergalactic. And
in the midst of Year Zero's daze,
Black Mountain presents the
intrepid, "Mary Lou." At nearly
eight minutes, and steeped in the
band's trademark approach, this, the
album's strongest song, is a fuzzed-
out rocker that reaches the outer limits
of space and time.
If this soundtrack makes one thing
for certain about the apocalypse, it's
that you'll find it easier to cope with
the cataclysmic end to civilization if
there's a copy of Year Zero raging on
in the dark.
—Robert Catherall
Chris Alscher has been around the \
Vancouver music scene for long time, \
gaining local fame with They Shoot j
Horses, Don't They? and working with :
the sprawling indie band Collapsing i
Opposites. But he's always been more !
a live musician than a studio one; his ;
stage banter is just as interesting as j
his songs, and he seems comfortably :
sincere up there, which is a thing that !
only happens to some performers \
after a lot of practice. So in this way [
Bible Beats is a departure for him, as,
for the first time ever, Chris-a-riffic
has recorded music to be listened to i
through headphones.
Don't let that fool you though, his I
organ punk is still raw, but now it's
well-mixed and has a push/pull build- ,
ing quality. Listen to the horns come
into lead track, "Christian Witch."
Listen to the bridge in "I Can't Carry '
That" Hell, listen tt> all three songs, ■
they're worth it.
To be honest, the hardest thing
to get past is his name. What is this,
elementary school? But Chris-a-rif-
fic's nostalgia and who-cares-let's-
have-fun attitude is a huge part of
this music, so it works. And there's
another level to it, but Chris has had
the same name in at least five bands
now, so it may be a stretch. Either way,
putting "riff" in his name is perfect
for this music, as all three songs here
are based around a single riff that's
introduced at the beginning, and
then built upon until the end. This is
the same structure that Arcade Fire,
Plants & Animals, and 41st & Home
have used to great effect; one could
even call it a hallmark of Canadian
indie music.
Chris is probably going to be
uncomfortable with those comparisons; however, and I bet he's far more
comfortable on a small stage than a
big one. So don't expect him the shave
the left side of his head. But now,
finally, we can happily listen to his
music the next time he guest hosts
on CBC Radio 3.
—Jeremy Sothers
(Saued by Vinyl)
Halifax's Cousins have a brand new
album, released on March 20 through
Saved by Vinyl. What started as a solo
project for drummer Aaron Mangle
has grown into a three-piece with Pat
Ryan (guitar) and Leigh Dotey (bass).
Mangle's writing and drumming are
as good as ever, and the additional
musicians flesh out the sound a lot
more. It has grown too, from a very
stripped down garage rock, to some- COUSINS
thing that shares elements with everything from blues to classic British
rock and more.
Most of the band's previous
releases were very raw sounding and
fans of thatwill enjoy new songs like
"Jules," and the slighdy more melodic
"Throwing Rocks." Mangle's writing
is a big part of what makes the band so
unique, and it's always added a great
layer of sophistication, which is better
supported by Ryan and Dotey. But at
the same time, the whole album still
retains a purposely stripped down
feel to it.
Fans will recognize "Khyber" as
a previously released single, as well
as "Speech" and "Secret Weapon,"
which were released as a seven-inch
vinyl EP in 2011. This is a good sign,
as Palm at the End ofthe Mind is one
of those records you'll really want to
hear on vinyl.
This record is mosdy a high-octane
ride, but also hits a quieter note on
songs like "Defense" and especially
the mournful "Thunder." The sound
has really come together for Cousins,
and makes me excited to see where
they'll go next.
—Tristan Koster
(King Deluxe)
King Deluxe's first foray into releasing vinyl has a lot to say. We are living in a world of "post" genres, and
the fusion of styles heard in recent
releases from the likes ofjames Blake
and the Weeknd are a testament to
the hedonistically blissful vibes that
this often sorrowful classification
can illicit The two-piece Evy Jane,
comprised of songstress Evelyn Jane
Mason and producer Jeremiah Klein,
have captured much of this atmo- :
spheric overtone with the release of !
their first single, "SAYSO."
The title track's ambience subtly \
engulfs minimal percussion with its ':
cleverly teetering sub, as it arouses \
images of an unspoken emotional ]
stalemate. Mason's repeated mantra, \
"Didn't I tell you not to be so kind to \
me?" carries an uncanny indulgent j
hedonism that haunts throughout. ■
"OHSO" takes the vibe from shudder ;
to swing as it kicks in a sub-pulsing j
synth while subtly swaying along
with denser percussion. What could
undoubtedly be a mid-set tool for
selectors, "OHSO" shows off Klein's
ability to construct minimal dubstep
grooves that make this side of the
genre so likeable.
Local mainstays Max Ulis and Taal
Mala are respectively responsible for
remixing "OHSO" and "SAYSO."
Taal's subtle rework of "SAYSO" trans- |
forms its original melodic appeal into !
a slightly more dancefloor friendly
mix that complements the vocals with ;
rolling broken percussion and impres- I
sively moody one-shots, all supported
by the same healthy sub present on the
original. Max Ulis takes "OHSO" and
aims it directly at the dancefloor with
a well constructed 4/4 remix that truly
stands alone.
Reminiscent of works that defined ;
the genre over the past few years, this \
isn't necessarily a landmark release,
but represents the healthy progression '
ofthe fusion of R&B and what has '
come to be called "Bass Music".
—Chris Adams
Glass Kites' first record is the perfect
album to enjoy gazing out of a rain-
slicked window on a dreary day. Just
like toggling between watching the
weather and your own reflection in
the glass, instruments fade in and out
of focus seamlessly; it's a hard record
to avoid getting lost in, which isn't to
say that it's easy to ignore.
The first half of the EP plays like
a progressive-jazz record coated in
heavy oil: seamless and polished to a
mirror sheen. Standout track, "Terra"
is magnificent in its complex
arrangement and deeply-layered
instrumentation, replete with
guitar solos caked in '80s space
echo that sound straight out ofa
Super Metroid theme song. This
song is also the best example of
singer Leon Feldman's crooning
and deeply introspective vocal
delivery, which cascades dreamily through much of the song.
The record, in a word, is lush.
Shimmering keyboard pads
hang in the background of each song,
drawing attention at once towards
and away from each intricate layout
Clocking in at 10:12, "Mirror Me" is
easily the longest on the record, but
uses its time wisely to build towards
a piercing crescendo that much like
Feldman's lyrics, is powerful and
emotive while restrained by the ever-
changing mix of instruments. The
attention to detail on Glass Kites pays
off on repeated listens and reflective
—Fraser Dobbs
2012, the year Humans meet chill I
wave. The hazy sun ofthe coming
spring seems to thaw in agreement
with this as tribal-meets-pop, and j
local boys, Humans, release their
latest EP, Traps.
Released in early March on Hybrid-
ity Music, the EP opens with the aloof
beats of "Hell Me" as the duo set the j
scene for the remaining danceable, yet
soothing tracks. It is evident the band
aimed for a less aggressive sound
this time around after the release of
the first single, "De Ciel." The song i
offers a steady bass line and pulses of
dance, blurred under hypnotizingly
distant voices and airy guitar riffs. The
tribal rhythm of "On Pagaie," rolls the
album along into a frenzy of dance
able, even Latin-inspired sounds,
much like that ofthe Spanish band
Crystal Fighters. The tracks continue
on the path of matured passion and
upbeat catchiness in "Plus Rien."
"Traps," the EP's last track, leaves
the listener suspended in a sublime
mindset of bubbly Utopia. As if this
weren't enough, an added Max Ulis
remix of "De Ciel" was added to the
mix, which you may just hear once you
stop repeating "Possession."
As for me, I have a strong sense
that Traps will be gracing me through
the anguish of exams, pleasuring the
already-spoiled crowds at SXSW and
pounding through the summer road
trip speakers.
—Josepha Cameron
(Sweet Knuckle)
It's hard to anticipate what kind of
melodies an artist named Jordsy will
be treating you to. Primarily known
for his work with post-punk group Burnt Witch Survivors Group, Jordsy's
solo music acts as a showcase for the
immense potential bubbling out of the
homegrown Manitoban, as demonstrated by his latest EP, New Age.
Opener, "Safe in Sound," provides
the perfect icebreaker, introducing
the listener to a world of fuzzy vocals
and janglin' tambourines. Everyone's
favourite handheld percussion also
figures prominently into "Hmmm,"
a wandering, rang tangling number,
rich with uncertainty and one-sided
romancing. By the time titular track,
"New Age," comes along, the EP has
reached its halfway point marked
by wobbling vocal accompaniment
and accumulating a brief combined
barrage of drums and guitar.
"We got a crisis here," Jordsy
echoes throughout the closing track,
appropriately titled, "Crisis." Breaking the tone established throughout
the rest of New Age, the final number
acts as a slower, folkier piece with
undertones of Dylan, complete with
escalating vocals and sombre harmonica bits.
The 16 minute runtime seems all-
too-short, considering the breadth
covered by the EP. New Age traverses a
globe of sounds, criss-crossing genres
into an entrancing mosaic, and giving
listeners a mere taste ofthe greatness
sure to come from Jordsy.
—Jacey Gibb
(Mammoth Cave Recording Co.)
Proudly based in Lethbridge, Alberta,
the folks at Mammoth Recording Co.
are determined to prove that there is
more to the Prairies than farming,
oil and CFL football. The fourth in
a series of seven-inch compilations
put together by Mammoth, Bloodstains
features thirteen compelling and vital
bands from Saskatoon and Winnipeg.
The collected songs are weird, quirky
and at times downright creepy. But
most of all they are exciting.
The Saskatoon side is particularly
unexpected. Uandl's epic one minute and twenty second track, "Feral
Children," is strange yet absorbing,
while the ambiance of Cave's "Feed
the Plow," is somewhat unnerving.
Haunted Souls and Eyebats kick up
the fun with a couple quick blasts of
punk rock, making way for Stephen
Cooley's instrumental jaunt, "Gets Us
Nowhere." Auld Beak then conjures
up ghosts of emo-past, before leaving Trees to close out with the warbly
punk rock diddy, "Weyburn 1952."
The quality ofthe Winnipeg side is
less surprising considering the Manitoba capital's long line of stalwart
punk rock bands. Atomic Don and
the Black Sunrise start things off with
the lo-fi doo-wop ballad, "Evelyn,"
while Microdot goes for guitar driven
slow burning hardcore. Next up is
"Poison Noise Syndrome" by Plague
Rats Throughout History—enough
said. Angry Dragons and This Hisses
blaze through very differentyet equally
amazing tracks both featuring great
female vocals. Finally, RP. Tranquilizer 's "Our Love" ends things with
a smile.
With a band name like Watermelon
and a new four track EP called ...And
Meet the Sun, you might be expecting
something entirely upbeat and peppy.
But, if you've ever caught the band live
you'll know they have this knack for
making you want to hip-sway while
they remain completely subdued and
cool. Here, the Vancouver trio lives up
to those live performances by meshing
catchy, upbeat guitar riffs with some
droning post-punky vocals and a stark
rhythm section.
Recorded live, ...And Meet the Sun is
like stepping right into a spontaneous
jam session. Each song complements
the next, as they all seem to revive a
'90s noise-pop aesthetic with the min-
imalistic and laid-back arrangement.
For instance, the short and simple,
2ND & LAST SATURDAY OF EV&tf MONTH "Split Ends," opens with some blissful chords and a thumping bass line,
before breaking down to a Jesus and
Mary Chain-inspired solo.
Compared to Watermelon's earlier
single release, "How I Came," this
four track EP sounds more raw and
dark. There's always this balance of
groovy riffs and licks under a
haunting soundscape of bleak
bass and layers of distortion and
echo. But itdoesn'tquite get that
official stamp of lo-fi/shoegaze
awesomeness. In the end, it is
just a low quality recording with
the clunky drums and vocals suffocating under a tad too much
reverb. So, here's hoping for
some studio-recorded versions
of these otherwise wonderfully
chill and laid-back tunes.
—Angela Yen
They have alleged, since the name of
their band has ruffled some feathers (or is that fur?), that what they
are referring to by "Buffalo" is not
the endangered majestic beast ofthe
plains, but rock music itself, which is
a majestic beast in its own right. It is
a metaphor about seeking out genuine, honest rock music in a landscape
populated by superficial, commercial
auto-tuned garbage, and the debut
LP from these Vancouver boys is an
invitation to the listener to join in on
their hunting trip.
The odyssey begins with the hardcore break-down driven, "Strange
Sensation," where vocalist Ryan
Forsythe wails out a story about hallucinogenic experimentation. Carrying on through meditations of self on
"The Search," an instrumental, and a
King Crimson cover, the album keeps
a steady pace right to the frantic shred
fest of "Harry Barry" that concludes
the record.
The songs on this album are all
delivered in the same fuzzy stoner
rock style. However, the trio definitely bring their own individuality
to the sound. In a genre that can
get fairly muddy from being almost
entirely comprised of reworked
Black Sabbath songs, We Hunt
Buffalo float on a lighter end ofthe
spectrum, shying away from the
doom and sludge elements that can
creep into stoner rock.
Rather than focusing on the occult
or science fiction, leaving listeners in
a droning, baked reverberation, they
write about what is around them and
lean musically closer to a psychedelic
jam band. The use ofthe saxophone
especially brings up memories of early
'70s art-rockers, Audience, and We
Hunt Buffalo's cover of King Crimson's "Twenty First Century Schizoid
Man," which has also been covered by
April Wine and Swedish death met-
allers Entombed, heavily features the
baritone sax, branding the song with
a unique sound that helps it stand
out from these previous versions. At
other times, they are reminiscent of
more contemporary sounds, like on
"Someone Other," where theboysride
a Queens ofthe Stone Age vibe.
The album's thesis statement may
be "Digital Reich," which criticises
the music that they see as having
endangered rock'n'roll. Though with
bands like We Hunt Buffalo around, it
seems rock'n'roll is just fine.
—Coleman Ingram
5 60 Seymour St
Thursday April 5th
MN Events and GiNGERBEAR Todd present.
Friday April 6th
CIRQUE w/ Lazaro Casanova, Miami, USA
With residents Rachel Sehl, SKLA, Right
Hand Barber, Tyson V, Pure Addiction
Saturday April 7th
PONI w/ Picture Perfect
VariCGuver's premiere gay night
Sunday April 8th
East Sunday w/ Lipstick Jungle
Wednesday April 11th
RIG EASY Launch Party
Every Wednesday in TASTE at FIVESIXTY.
Free before 11.
Thursday April 12th
Young Liars & Valley Girls
Friday ApriM 3th
CIRQUE with residents
Rachel Sehi, SKLA, Right Hand Barber, Tyson
V, Pure Addiction
Saturday April 14th
PONI w/ Karaoke Queen
Giddy up.
Friday Aprii 20th
. CIRQUE with residents
Rachel Sehl, SKLA, Right Hand Barber, Tyson
V, Pure Addiction
Saturday April 21st
PONI w/ Chris Cox
Giddy up.
Thursday April 26th
LIL B The Based God
Wimiecooper.net's 4 year anniversary party
Friday April 27th
CIRQUE & intimate present
Claude Von Stroke w/ Justin Martin
Saturday April 28th
PONI w/ Gaymers
Thursday May 3rd
DAS RACIST w/ Too High Crew,
Lanse Bass & Wobangs
k/ Y DW
ASTE   GALLERY     LIVE         PLAY national volunteer week apr 15-21
cj/ft oeuloi WSU <*o tUrftatavc do ouuh
to get involved with CITE email Zoo Peled. our Volunteer Coordinator at volunteer^r h
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March g -TheArtbank
I love the Artbank: Standing room for
maybe a hundred people, and located
right next to the railroad tracks on
Powell Street, if the bands you're
there to see don't play loud enough
you'll be feeling the vibrations of
train cars rumble through every five
minutes. Anyone that needed a break
from the hot music space just stepped
outside and let the rain soak into their
t-shirts for a few minutes.
Jeff Johnson is a constantly-
morphing musician, and it's hard
to draw parallels between any of his
sets, except to say that he's usually
playing a guitar and goes under the
moniker OK Vancouver OK. Backed
by a bass, a tiny drum kit and a tiny
keyboard, Johnson played a simple
but thoroughly enjoyable pop set.
Johnson is a beautiful lyricist, delivering emotionally charged songs with
terrible weight and causality, like a
bard describing his life in sparkling
prose. Each tune was delivered with
the same heartfelt earnestness that
made OK Vancouver OK an installation in the city's east side for years.
After a quick intermission, the
crowd was heralded back to the stage
by Lunch Lady's singer, who was yelling nearly incomprehensibly about
getting the party started. There was
no such thing as musicianship in the
band; the trio could barely play their
|irtstruments and their frontwoman
routinely gave up trying to play her
guitar in the middle ofa song to focus
on shouting Suicidal Tendencies-
esque vocals; but that didn't matter
one iota. If DeerhooPs Satomi Mat-
suzaki was a drunken punk-rocker,
this would be her music.
For a band with obvious jitters,
Lunch Lady quelled the butterflies
in their stomachs with energy and
abandon. The crowd went ballistic for
the firecracker delivery of each super
fast punk jumble because the group
were having obvious fun performing.
Jumping on top of stage props and
snarling at the crowd, Lunch Lady!
weren't musical genius, but were
damn good entertainment.
Chris-a-riffic had a surprisingly!
tough act to follow. He set up his sig- j
nature keyboard ("he can't crowd-]
surf like Nardwuar with that thing", ]
someone piped in beside me), and
then blew our minds. Chris Alscher
is a Vancouver icon for a reason, and
playing the longest set I've ever seen
him perform (at 20 minutes) was a
maelstrom of emotional highs and
lows. Alscher played a more kinetic
performance than I'd seen from him
before, often bursting into screaming;
and shouting from behind humble!
piano symphonies that made the
crowd gasp, then move closer. Hisj
set left me feeling like I'd witnessed;
a fight between friends.
I didn' t know what to expect from
Half Chinese. To me, they were that
band I'd always meant to see but never
had the right chance, so when they'
started playing exciting, mesmerizing!
avant-garde rock music I knew I'd
been seriously missing out. There's
so much about Half Chinese that's
fascinating that it's hard to discern
just what makes them so enjoyable)
to listen to: whether it's the double'
drum-kit ratatat, jazzy musings orj
crescendoing, joyous instrumentation, or the humble, nearly-monotone!
poetic lyrics, it was impossible to
absorb everything at once.
Built out of what seems like every
corner of the East Van musical community, borrowing members from
Slight Birching and SSRIs to name
a few, Half Chinese were jaw-drop-
pingly exciting to listen to. This isn't
the kind of music people usually associate with Vancouver, but it damn well
ought to be. The crowd parted ways
taking cover under freshly-minted
Half Chinese LPs.
—Fraser Dobbs PORTAGE & MAIN /
March g • The Media Club
Standing outside in the wet, I ran a
hand through my loose misgivings
and entered the Media Club with a
cool head. Where tangled beards
and loose ink are used as emblems
by both artist and audience, deviating
from such a uniform can cause some
unwanted attention.
Standing on the outside looking
in, I watched as the harmonies of
Twin River's Courtney Ewan and Andy
Bishop, backed by Dustin Bromley
and Malcolm Jack, played "Can'tKeep
This Alive." They unified the crowd
and invited me into the gathering.
Twin River's blend of folk alternative
rock, lead by the powerfully gentle
voice of Ewan, prepped the audience
for the evening to come. On this Friday night, the kickoff for Redbird
and Portage & Main's cross-Canada
tour, the union between friend and
stranger was bridged.
Alongside John Sponarski, the
concurrent front man of Portage &
Main, as well as Ben Appeheimer
(bass) and Graham Selr (drums),
Redbird's Savannah Leigh Well-
man's unmistakable seductiveness
consigned the crowd into a prolonged frenzy. The eight months
since Redbird's release of their EP
We're All Friends and Lovers Until it Falls
Apart allowed their live resonance to
develop a fervency we don't hear on
the album.
Exemplified in their newly issued
track, "The Tower," the band that
already (quoted from their website)
"pulls from a slew of sonic inspirations," conducted the club's tenor
to their choosing. Largely playing
material publicly released over the
last year, their set included a few new
songs, such as "I Fall Again," and
"Roll Me Over." With their meticulous
riffs, conducted by Wellman's sweeping vocals, every song resounded as a
rock 'n' roll adage, fully willing and
capable of sending the horde into a
full on swing.
Taking their cue, Portage & Main
aligned themselves behind the now
central Sponarksi, and his partner
in front, Harold Donnelly. Without so much as a moment of conscious reconfiguration, Portage &
Main began heaving out sunburned
southern rock, fueling the crowd
with showers of spittle, and bringing the audience within an inch of
their vocal chords. Feeding off each
other's defining voices, Donnelly's
burly features and booming beard
were subverted by his angelic voice.
And with Sponarksi's strong recital
and striking dominance on stage, it
was clear that he was more than just a
role player alongside either Donnelly
or Wellman.
Slowing down the pace, Portage
& Main invited Wellman on stage
to perform backup vocals for their
song "Rocky Mountain Wanderer,"
lulling the crowd into peaceful sway.
But before long, they revved up their
engines, and busted out a new track
"Sweet Darling," as well as the
crowd-pleaser, "Carolina." With their
national tour officially underway, this
musical union between Redbird and
Portage & Main is distinctly appropriate. Looking further than their intersecting musicianship, each group has
a dominion over their audience that
ultimately works together. Redbird
establishes the groundwork that
Portage & Main is more than happy
to parade upon.
Amid the remnants of the show,
we said our anonymous farewells to
the three bands we had come to see.
Although I was far from knowing
those crammed into the Media Club
±at Friday night, each of us parted
with the same thought in mind: so
long and goodbye.
—Sam Hawkins
March 11-The Electric Owl
Jonathan Sherkof8o(sun) radiated a
thunderous wall of white noise as he
sat equably on the stage floor behind
his laptop. As the caustic sound began
to corrode the place just behind the
eyes, an oscillating pulse began to
tame the blinding white and carry it
in gentle transition to an organic and
disorienting atmosphere. The surrounding layers were strangely familiar, but altered; like memories from a
dream. Percussive clicks resembling
pebbles against slate peppered the
dreamy melodies that floated atop
an almost tangible blood-trembling
bass. As abruptly as he began, the
laptop was closed and a "thank you"
signaled the end of his set.
BEAMSS, a music project consisting of Sam Beatch and Sebastian
Davidson hovered over their equipment like bobbing birds and displayed their unique brand of dreamy
minimal-house. Contrasting with
8o(sun), BEAMSS' dense atmosphere
rested on a more structured and gripping percussion. Instead of getting
lost in the music you were gently
lead through the parts, as they introduced warm melodic swells atop dark
rumbling bass that escalated with a
steam generated intensity and dissipate like the rushing ofa passing
train, exemplified in the banger
tracks: "Dirrd up" and "House Juno
The tone was paradoxical, both
eerie and pleasant and somewhat
humorous in its enveloping rich atmosphere, consisting of raw and sharp
metallic tones that would dissolve
into a sound that resembled chattering robots. In their wake was left the
hopeful shouting of "Encore!" from
the elated and energetic crowd.
Blind Horses continued the atmospheric thread and built their set
around stark juxtaposing elements,
from the walking technical bass and
rhythm sections ofjackand Will Mac-
donald, to the sharp choppy foundations of Peki Hajdukovic's supporting
guitar. These parts were largely tied
together by the honey-dripping voice
of lead singer, Danny Majer's heavily manipulated guitar, which would
support and influence the individually
awkward sections towards intensity.
Such songs as "Veils" or "Hands,
Ghost" would start small and simple, beginning with a steady, raw and
rhythmic strum from Peki, or ribbons
of harmonizing a cappella falsetto.
The momentum built with glossy,
prattling seabird-toned guitar riffs
thatweaved through the elements and
wound them tightly into crescendo.
The songs rose and fell like the rolling
swells ofthe sea touched by a breathy
storm. With an energetic close to the
night they bowed to the audience and
were received with adulation.
—Dylan Beatch
m *Dunf»t©use Mmn (B&vie & P«^c)
worchestra.com GLASS KITES /
March 15 • Five Sixty
As well as being in a sort of cultural
no-mans land, Five Sixty on Seymour
Street (the old A&B Sound, to Vancouverites over 25) is itself a sort of void.
Cavernous, multi-leveled, and covered
all over with small square tiles and
whitewashed brick in a Euro toilet
chic, the venue feels like a place you're
more likely to get lost in than discover
anything new at.
There to check out ±e Glass Kites
album release show, I was ready to take
that feeling to the bank, but instead I
ended up pleasantly surprised by the
parade of talented young bands that
carried on with the night in front of
a sparse, but loving crowd. In a huge
venue like Five Sixty you really have to
feel for the opening act.
Playing to a couple dozen fans and
friends in a space that could easily
hold two hundred, Bed of Stars did
their best to banish the vacuum of
empty space. Singer Evan Konrad,
backed up by the band's beautiful,   ;
melodic pop, gave an impressive vocal
performance reminiscent of Royston
Langdon from '90s glam pop band   j
Space Hog.
"We're not disappointing you,
are we?" Konrad asked the early eve- j
ning crowd. "No? That's good," he j
replied to an unclear response from
the crowd. "At least, I hope that was
a no." Bed of Stars closed their set
with "Nothing left to Lose," a bouncy
crowd pleaser that has been seeing
regular airtime on the Peak radio station since the release of their EP I Fell
in Love in the City last August.
Next, with little ado, following
a few choice old school drum and
bass and deep house tracks DJed by
Wobangs, Facts took the stage. The
band seemed determined to give the
crowd a primer on their most significant musical influences—a bit of
Talking Heads here, some Spoon and
the Killers there, at times a Zooropa-
era U2 flavour—and so, Facts' set
read like a Wikipedia entry on Popular Rock 'n' Roll music ofthe last
40 years. The homage-melange was
surprisingly pleasing, delivered as it
was by accomplished and enthusiastic
players, making the show more entertaining and less doggedly derivative
than it could have been.
After two full sets the crowd size
noticeably increased. But, despite
the surge in numbers, the energy
remained on the mellow side for the
third band on the bill, Supercassefte.
Seemingly immune to the band's
jokes and their exuberant brand of
party-fueling synth-rock, folks proceeded to stand at a polite distance
from one another and watch Super-
cassette sweat it out.
"You don't have to be afraid to
dance," quipped the lead singer, but
the crowd didn't bite. Supercassette
played a solid, high-energy set, but
ended with a song we were told we
may "recognize from TSN." Titled
"Good Company," the song was a
departure from the rest of their playlist and, owing to its more generic
radio rock sound, kind ofa down note
to end on.
10% Off New Vinyl
20% Off Used Vinyl
Saturday April 21 st
Local &
Bands In the
Find It at:
Glass Kites, whose first full-length
album came out online January i,
served up an ambitious, all-encompassing look-see at the recently
pressed material. Playing the album
front to back, engulfed in a swirling
display of fights—sometimes like
snowflakes, sometimes like spinning
galaxies, sometimes like lush grassy
green hills disintegrating into nothingness—Glass Kites' set was one
part Laser Pink Floyd, one part Sigur
R6s junior, and one part makeout
room at a '70s high school party.
The crowd at this point had
reached peak density, huddling
close to the stage and swaying to the
band's layered, heavy, dreamy prog
rock. Between singer Leon Feldman's
acrobatic, Thom Yorke-ish vocals and
guitarist Curt Henderson's knife-
sharp Jonny Greenwood profile, the
Radiohead parallels are hard not to
make. To their credit, the band has
meticulously composed their way into
territory all their own.
After playing the album's closing
track, "Slowly (Home)", Glass Kites
shut things down with
a tonne-of-bricks-heavy
medley of two non-album
songs, "Apocalypse" and
"Redemption," a howling
and relentless jam that
broke the dial off at n.
Wobangs played the
crowd out with an appropriately far-out mix of
dance hits, from CeCe
Peniston to CSS, but perhaps not surprisingly, still
no one was dancing.
—Joni McKervey   U/Ithlf
^avin Walter
If you think you're the cat's pajamas because your
music library holds some ofthe greatest names in
jazz, you should meet Gavin Walker. Over the last
half-century, not only has he collected a library
worth drooling over, he has been (and still is)
friends with some of those musicians. As you listen
to The Jazz Show on CiTR, which Walker has hosted
since 1984, you can tell he knows more than you
could find online or on record sleeves. His encyclopedic knowledge of jazz stems from his own
experiences and skills: he plays the saxophone,
clarinet, flute, and piano. With all this in mind, his
childhood was the best place to start.
[Interview has been condensed]
Discorder: What was it like growing up listening
to jazz on the radio in the early '50s?
Gavin Walker: Growing up in Montreal and New
York, I was always fascinated by the music on the
radio. Back then, radio was almost educational.
I figured out I could tune into certain radio stations and hear this music, though I didn't know
it was jazz. But I learned new names, and liked
the beat and especially the soul. There's music in
the genes, too. My father played the flute with the
military Grenadier Guards, and my mother was a
good pianist.
When did your interest in the saxophone begin?
My dad said if I was going to learn to play saxophone
I had to first start on the clarinet, which was cool
with me because I liked Benny Goodman and Artie
Shaw. When I was nine, I heard Benny Goodman's
Carnegie Hall concert recordings on the
radio. That was just amazing. I remember
riding on my bicycle to the record store,
which was way across town in Montreal,
to buy the 2 volumes, $5.98 each, of The
Famous 1938 Carnegie Hall Jazz Concert issued on an LP [in 19.50]. Lester Young's solo
on "Honeysuckle Rose" was pivotal for me. For
this piece, Goodman invited members of Duke
Ellington's band and of Count Basie's band for a
jam session on stage. Young's saxophone solo still
tears me up. I thought that's the greatest thing ever
and that's what I want to do with my life. I got my
first saxophone when I was 12. About a year later
I started playing with a rhythm and blues band:
Frank Motley & His Motley Crew.
In the '60s, you were a familiar face in saxophonist John Handy's house in San Francisco. What
was it like to meet the musicians who frequented
his house?
I did stay with John, and he introduced me to prominent musicians like Oliver Nelson, John Coltrane,
and Miles Davis. I got to know Charles Mingus very
well. To this day, the people who are still alive are
good friends of mine. I soon got past being awed
by them. I realized they were just ordinary people
and that was a great door-opener. In the late '70s,
I toured the world with Wayne Cochran & the CC.
Riders. I was one ofa couple of saxophone players
in that band.
intra, interview
and photo by
illustration by
'■ Miles Davis once said about jazz, "Don't play
what's there. Play what's not there." What
do you think he meant?
What Miles meant was to leave something
between the notes. Music is supposed to
breathe; it should be given some space. I once
had a music lesson from Thelonious Monk
in San Francisco. I asked Charlie Rouse, who
is Monk's saxophone player and a friend of mine,
to introduce me to Monk, and he did. I got the
impression that Monk really liked me. We carried
on talking. Finally, I asked Monk if he had time to
answer some musical questions I had for him. So
he asked me to drop by his hotel room. He gave me
the name ofthe hotel and said there was a piano in
his room. Okay, I thought. The next day, I went up
to Monk's room. He opened the door, but didn't
say too much. He said have a seat, and I did. Then,
Monk played that piano for about an hour and a
half. I just sat there, not saying anything. Then he
stopped and said, "You were here for some kinda
lesson. This is your lesson." I couldn't figure out
what he meant. He said, "The lesson is the silence
between ±e notes. That's what really counts." And
that's exactly what Miles meant.
If you could only bring one album to a deserted
island, which album would it be?
For me, one ofthe greatest jazz albums is Miles
Davis' Milestones. The rhythm section was more
fiery with Philly Joe Jones, whom Miles considered
the greatest, and Red Garland and Paul Chambers.
And playing with John Coltrane and Cannonball
Adderley! What a group! Milestones just has the edge.
I could live with that one record.
What does the future hold for The Jazz Show?
Bigger and better things. I try to put the music
into perspective and add any personal information or anecdotes that I know about the recording
sessions, rather than just playing songs. There's
just so much jazz out there and it is a real privilege
to have three hours. It's kind of infinite, so I just
think... carry on.
The Jazz Show airs every Monday from 9 p.m. to
midnight. //CiTR 101.9 F
Team Mint 20
Leonard Cohen*
Nardwuar & The
Evaporators present-
Busy Doing Nothing!
Old Ideas
Bare Wires
Cheap Perfume
The Famines*
The Complete
Collected Singles
Mammoth Cave
Spaced Out
Bronx Cheerleader*
Real Punks Don't Sing
About Girls
Watermelon / My
Friend Wallis**
Split 7"
Student Loan
DJ Food
The Search Engine
Ninja Tune
Call Me When You're
Hazards, Horrors &
You Can Dig My Grave In
The Mammoth Cave:
A Sampler
Mammoth Cave
Soul Is Heavy
Of Montreal
Paralytic Stalks
Bleating Hearts**
Bleating Hearts
Ariane Moffatt*
Cuff The Duke*
In Our Time
Paper Bag
Ani Difranco
I Which Side Are
You On?
Righteous Babe
The Mallard
Yes In Blood
Balkan Beat Box
Nat Geo
B.A. Johnston*
Trailer Trash Tracys
Hi Dudes
Mammoth Cave
Double Six
A Place To Bury
Comet Gain
Onwards To The Wall
Howl Of The Lonely
Dead Oceans
Fortuna Pop
Young and Old
Fat Possum
The Diodes*
Bongo Beat
Back On Time
Ninja Tune
The Strumbellas*
My Father & The Hunter
Ookpikk and Adam
Light Limited/
Tropigogic Split
Sharon Van Etten
Sleigh Bells
Reign Of Terror
Mom + Pop
Terry Malts
Killing Time
Hairdresser Blues
Hardly Art
The Shoelaces
America Wake Up
Rough Trade
Ringo Deathstarr
Sonic Unyon
Young Liars**
Homesick Future
Cate Le Bon
Control Group
The Magnetic Fields
Love At The Bottom
Of The Ocean
Animal Bodies**
Kiss of the Fang
Sweating Tapes
Yamantaka //
Sonic Titan*
Psychic Handshake
Tender Opposites
A Sleep & A Forgetting
Guns Sex & Glory
Head In The Sand
Cousins *
The Palm At The End
Of The Mind
Saved By Vinyl
John K. Samson*
CiTR's charts reflect what's b
Most of these excellent album
at (604) 822-8733.Her name
een played on the air 1
s can be found at fine:
s Sarah Cordingley. II
>y CiTR's lovely DJs last month. Recc
ndependent music stores across Vane
you ask nicely she'll tell you how to 1
rds with asterisks (*) ar
ouver. If you can't find t
ind them. Check out otb
e Canadian and those marked (+) are local,
lem, give CiTR's music coordinator a shout
er great campus/community radio charts at
Bricks and mortar. Local. Community Minded.
WrectM BaU
Port of Morrow CD/LP
Tramp CD/LP
Every Child A Daughter,
Every Moon a Son CDAP
New Wild Everywhere
Uttle maintain CD/LP
YOUNG   4   010
Young & Old CD/LP
fountain ww^ rtft-lO
Rock and Roll Night Club
Also... fn-storss.,.
• perform acoustic and intimate
here WEDNESDAY APFttt 11th 6PM.
rjT~T~T"  facebook.com/people/
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Vancouver BC
tel 604.738.3232


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