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 I
Hi
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M DID LIVE! «DRIVE!
DISCORDER REVISITED: JENNIFER FAHfpI
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WITH:
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^umot    f^p/iy MARCH 8th
JLS" Wm «TS - 304 wwuw
*35* •s.'SSSSSSSSS'm
.UPCOMING SHOWS
ANOIIENTS
Witch Mountain, Tobeatic, Gaglamex and more
NOMEANSNO  *
Hie Invasives, Ford Pier and Strength of Materials
SWIN6IN'UTTERS
Wild Roses, Slip-Ons
MARDUK
Moonspell, Inquisition, The Foreshadowing, Death Wolf
15 door
tickets online: liveatrickshaw.com
$22;^
«.D door
tickets onfine: liveatrickshaw.com
in store: Red Cat, Highiife,
Scrape, Neptoon
$1i;n
tickets online: northemtickets.com
in store: Red Cat, Highiife,
Scrape, Neptoon, Zulu   j
1911
LOBBY HOP W/ FRIENDS WITH THE HELP $5
THROW JAMES w/RCTHAHAZARD and more
HOLLYWOOD UNDEAD
Abandon Mi Ships
OVER THE COALS
Dead Asylum, Altered Throne, Harvest the Infecl
THE DREADNOUGHTS
Corrtshed and Princess Die
TODAYISTHEOAY
with guests Ken Mode, Black Tusk, and more
$10^
IZ door
\*®z
tickets online: ticketweb.ca
in store: Scrape
ts available at door only
tesontne-.tJcketfly.com
we: Scrape, Zulu
tickets online: liveatrickshaw.com
in store: Scrape
tickets online: northemtickets.com
ticketzone.com In store:
Highiife, Red Cat, Neptoon, Zulu
tickets online: llveafttekshaw.com
ticketweb.ca in store:
Scrape, Millennium, Neptoon
doors
8PM
doors
8PM
doors
9PM
doors
7PM
doors
7PM
doors
7PM
WCKSHAW
254 East Hastings Street • 604.681.8915
APRIL HIGHLIGHTS
APR 2   SOILWORK Jeff Loomis, and more
$28+S/Cadv.   $67.50 W   DOORS 6PM
APR 6 REUS OF GREEN ^T
$12+S/Cadv.   DOORS 8PM
APR 7   ENSIFERUM Tyr, Heidevolk, and more
$30+S/C adv.   DOORS 6PM
APR 10   GOATWHORE TYRANTS BLOOD, and more
 $20+S/Cadv.   DOORS 7PM
APR 12   PICKWICK plus guests
$14+S/Cadv.   DOORS 9PM
Additional show listings, ticket info, band bt||f|, videos<rfoid more $|r^J||j$he at
www.liveatrickshaw.com EDITOR'S NOTE: ON ONE-YEAR MILESTONES THAT ARE MORE MEMORABLE THAN GROWING A TOOTH
Spring is springing and with it, evidently, babies. There's been a bloom of
little humans these days, which has taken me for a trip down memory lane
to carefree days of being a teeny bawling googly drooling bobble-headed pile
of goo in my mother's arms.
Okay, you got me. But don'tyou sometimes wish you could remember the
womb or your first birthday or seeing daylight for the first time? On the other
hand, if I've learned one thing from new moms, it's that childbirth isn't pretty.
Maybe remembering those early days would just be traumatic. Regardless,
wish while I may, I'll revel in other one-year-milestones.
Like March, 2013. This issue marks my one-year with Discorder. While the
past 12 months have been the zaniest, busiest, and craziest to date, they've
also contributed to more growth in mind and music taste than in neck-rolls,
knee-chub, and soother-suckery. In a metaphorically muddy way, I'm saying
hell yeah to being a grown-up, experiencing, remembering, standing up,
and falling down.
As a reader, you don't see everything that happens behind the scenes, but
after 12 months I say confidendy that Discorder has been instrumental to growing up, hopefully not just for me but for everyone involved: the writers, artists,
CiTR staff, musicians, comedians, and you. If Discorder has had a fraction of
the gravity in those lives as it has in mine, then it's doing its job.
Gushfest, complete. In this issue we continue the 30th birthday celebration
with party-worthy content from doom-grunge trio War Baby, who have come
a long way since last chatting with them one year ago. In Discorder Revisited,
founding co-editor Jennifer Fahrni talks about her personal favourite issue
(March, 1983), the highs of its conception, the lows of her eventual departure,
and the sharp-shooting cover featuring Annie Oakley (see inset below).
Speaking of power ladies, CiTRhas special programming for International
Women's Day on March 8. Speaking of special programming Fundrive, the
annual phone-in fundraising marathon to support this community-powered
station—and in turn, this magazine—begins February 28 and wraps on
March 8 with a big party and auction at Chapel Arts. For more details, flip
to page 11.
Birthdays. Milestones. Celebrations. Music. March. And on that note...
Read on and stay rad,
Laurel Borrowman
FEATURES
REGULARS
09- Discorder Revisited Founding co-editor Jennifer Fahrni
talks about the aftermath and excitement of issue two and
why it was her favourite. By Jordan Wade
11 • Fundrive! 2013 If you think CiTR 101.9 runs on fat cash
from Big Oil and flashy handbag ads, you are wrong. It runs
• largely on generous donations from people like you.
ByBrenda Grunau
12 - SHiNDiG, Part Two: Praying For Greater Portland
CiTR 101.9's annual battle-of-the-bands winner doesn't play
cock-rock, but penises are indeed part of the Vancouver-via-
Reno musician's subject matter. By Jordan Wade
14-War Baby Meet the dudes who prove that a hardcore
shopping habit doesn't mean a lifetime of maxxed-out Visas.
Quite the opposite, as we learn how vintage jeans funded the
upcoming Jesus Horse. By Robert Catherall
16-Ivan Decker A red panda, a mustachioed tap-dancer,
and a priest walk into a bar. Vancouver comedian Ivan Decker
slays them with laughter. The end. By Evan Brow
18 • Naomi Kavka From the heart of Prince George to the far
reaches of Canada's east coast, the prog-folk prowess of the
songwriter/cellist resonates loud and clear on Slammed Doors
& Severance. By Shane Scott-Travis
38 ■ Are You That DJ? Part Two: Noodl Not just a witty
name, Jeff Fenoli, a.k.a. Noodl, chats with Discorder about
winning CiTR's annual DJ competition and why he likes playing music for you. By Josefa Cameron
04 Here's The Thing
The B.C. General Election
06 Funny Bones
Shit Harper Did Live!
07 Venews
China Cloud
20 Calendar Noah Butkus, Tom Sewell
22 Program Guide
26 Real Live Action
29 Under Review
33 Art Project RommyGhaly
39 Charts
Correction: In February's RLA for One Last Time! An East Van Departure Party, we bylined Sarah Berman. The review was written by Nathan Pike. Our apologies, Nathan.
Editor
Laurel Borrowman
Art Director
Jaz HaUoran
Copy Editors
Jordan Ardanaz,
Steve Louie
Ad Coordinator
Maegan Thomas
Under Review Editor
Jordan Ardanaz
RLA Editor
Steve Louie
Web Editor
Chirag Mahajan
Calendar Listings
Claire Eagle, Sarah
Cordingley, Brenda Grunau
Accounts Manager
Corey Ratch
Official Tweeter
Dorothy Neufeld
CiTR Station Manager
Brenda Grunau
Publisher
Student Radio Society
of UBC
Student Liasons
Zarah Cheng,
Dorothy Neufeld
Proofreaders
Jordan Ardanaz
Photographers & Illustrators
Britta Bacchus, Paul Bucci, Noah Butkus,
Leigh Eldridge, Anne Emberline, Rommy
Ghaly, Mark Hall-Patch, Kati Jenson,
Victoria Johnson, Jade Jordancin, Dana
Kearley, Paul Kerbrat, Gina MacKay, Kim
Pringle, Tom Sewell, Mel Zee,
Cover Photo
Victoria Johnson
Writers
Sarah Berman, Evan Brow, Robert
Catherall, Penny Clark, Alex De Boer,
Fraser Dobbs, Jacey Gibb, Brenda
Grunau, Brent Mattson, Matt Meuse, Mark
PaulHus, Will Pedley, Shane Scott-Travis,
Cali Travis, Jordan Wade, Max Wainwright,
Bob Woolsey, Angela Yen
Cover Logo Lettering
Mark Hall-Patch
Advertise
Ad space for upcoming issues
can be booked by calling (604)
822-3017 ext. 3 or emailing
advertising@citr.ca. Rates
available upon request.
Contribute
To submit words to Discorder,
please contact: editor.
discorder@citr.ca. To submit
images, contact: artdirector.
discorder@citr.ca
Subscribe
Send in a cheque for $20
to #233-6138 SUB Blvd.,
Vancouver, B.C., V6T 1Z1 with
your address, and we will mail
each issue of Discorder right to
your doorstep for a year.
Distribute
To distribute Discorder in
your business, email distro.
discorder@citr.ca We are
always looking for new friends.
Donate
We are part of CiTR, a
registered non-profit, and
accept donations so we can
provide you with the content
you love. To donate visit www.
citr.ca/donate.
3r 2013 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 9,000. Discorder is published almost monthly by CiTR, which
can be heard at 101.9 FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at (604) 822-2487,
CiTR's office at (604) 822-3017, email CiTR at stationmanager@citr.ca. or pick up a pen and write #233-6138 SUB Blvd., Vancouver, B.C., V6T1Z1, Canada. THE B C
GENERAL ELECTION
by BOB
WOOLSEY
illlustration by
BRITTA BACCHUS
The first time I ever voted was in the 2001 provincial election. The NDP had been in power
for a decade and it was clear that their time was
up. Being a rookie to elections and an eternal
optimist, I voted with my heart instead of my
brain; I voted for the party who best represented
my values and had a platform that I agreed with
most. On the way home from the polling station
my dad asked me whom I had voted for. I didn't
tell him. After all, a person's democratic right
is theirs and theirs alone. Mostly though, I was
just embarrassed that I had voted for a candidate that would surely lose. I voted for the Green
Party candidate. We lived in Prince George.
The angry ashtray of the North.
Since that first experience in a voting booth
I've become much more savvy about all the factors that actually decide elections. (Note: when
talking about politics, the word "savvy" can be
interchanged with "disillusioned," "jaded,"
or "fed up" in any instance.) The key issues
(whether those issues mean anything to me or
not), the voting history of any given area, and
the voter turnout add up to a Pythagorean theorem of frustration. I never really look at the big
clothes. Over the past 30 years, B.C.'s voters
seem to have become much more savvy. In 1983,
70 per cent of eligible voters in our province
turned up at the polls. In 2005 that number fell
to 58%.
Despite my hard knock education in politics
over the years, I do retain a deep-seated sense of
responsibility to our democratic system, thanks
mainly to my high school Social Studies teacher,
Mr. Thalheimer. This sense of obligation has
been pulled on in many ad campaigns over the
past few years and I can report the wonderful
news that voter turnout amongst celebrities in
the U.S.A. seems to be phenomenal. In demographics that matter, not so much.
Specifically those ever savvy young voters.
This dichotomy has created an interesting phenomenon. With all the kids being on Facebook
and the Twitter these days, there's a sense that
voting is the cool thing to do.
Leading up to the last federal
election, I was inundated with
status updates, social media
campaigns, and general excitement to get out do our civic duty.
My optimistic heart quickened
with hope. Then the voter turn
out only narrowly beat the lowest
turnout of all time!
I think I know what happened
here. I'm wondering if everyone was 100 per cent honest with
their voting enthusiasm. I'd like
to venture a theory that perhaps
many of these people who talked
about voting on their Tumblr
page didn't actually get out and
vote. From where I sit, it seems
like it was way easier to just write
a quick update about how important it is to vote instead of artu-
I CAN REPORT THE WONDERFUL NEWS THAT VOTER
TURNOUT AMONGST CELEBRITIES IN THE U.S.A.
SEEMS TO BE PHENOMENAL. IN DEMOGRAPHICS
THAT MATTER, NOT SO MUCH.
But here's the thing about voting: it's hard.
You have to do paperwork. You have to do
research that's going to tell you that 60 to 80
per cent of what's going on doesn't to matter to
you. And that's the system working properly. It's
not broken; it's just the least shitty way we've
figured out so far. Our next provincial election
is in May. Start prepping your pro-democracy
Facebook statuses now. Then register and vote.
Author's Note: I love Prince George. I've
spent many years there, but it's literally is an
angry ashtray. It's located in a geographic
depression shaped like an ashtray that catches
smog, and it often smells like a pulp mill.
Get qfjyour ass and vote this year. Visit elections,
bc.ca or call 1.800.661.8683 to have all your
questions answered.
picture anymore and that hurts my optimistic
heart. These days, my voting strategy almost
always comes down to a single issue: which
leader do I like better?
Of course, this feeling of "sawiness" can
often lead people to tune out and not vote at all,
which I totally get. Politics are like watching a
game of cricket. It's confusing, outdated, and
dominated by old white guys wearing strange
ally voting. Now, that's not to say
that everyone is a bunch of stinking liars. I know many people
had the best of intentions. They
fully intended to go vote, but they
hadn't registered or they hadn't
properly changed their address
since they last moved. Their voter
prep wasn't done properly. ¥
EVENTS CALENDAR
MARCH 2013
(AND NOT NECESSARILY »N THAT ORDER)
WEDNESDAY
SATURDAY
NIGHTHEAT
PRESENTS:
BLUES CONTROL,
VON BINGEN,
DREAM SALON
GANG SIGNS EP
I RELEASE W/ FUN
FUN FUN DJ*S
BLKOUT W/
NADASTROM
CHEAP THRILLS
KARAOKE & THE
QUIET LIFE PING
PONG
iruM i ic cr»o      3       CAR BOO &
.     JOIN US FOR /»D/MA/CKICCT
DINNER CROWSNEST
UlNNfcK pREE SHOW
HOUSEWARMING^ Pl ,, a~rFTh /
W/DJSKRA.& S|^S5g;
LUU9.   jk\l COLIN COWAN
TIMBRE
PRESENTS:
AUTRE NE
VEUT, MAJICAL
CLOUDS
BURGER
RECORDS\
THE COURTNEYS,
NERVOUS TALK,
TOUGH AGE, THE
JOLTS
FUN FUN FUN W/
ROSKA (UK)
CHEAP THRILLS
KARAOKE & THE
QUIET LIFE PING
PONG
HOUSEWARMING
W/ DJS KRAI &
LOUST
EVOLUTION 109
PRESENTS:
GOOD FOR
GRAPES,
*   TOUGH LOVERS,
I CHIMPANZEBRAS
FUN FUN FUN W/
GRIZZANDOLE &
HARVEY HARVEY )
BROOKS
ROBERTSON W/
TBA
CHEAP THRILLS
KARAOKE & THE
QUIET LIFE PING
PONG
HOUSEWARMING
W/DJS KRAI &
LOUST
POWDER
ROCKET
PRESENTS:
PORN FOR THE
BLIND, CRIMINAL
CATERPILLAR,
MARCHING MIND
BLUE MORRIS
BURLESQUE
FUN FUN FUN
W/ SLOW DJS - 2
ROOMS
JOIN US FOR
DINNER
CHEAP THRILLS
KARAOKE & THE
QUIET LIFE PING
PONG
SEALED WITH A
KISS PRESENTS:
DUCKTAILS WITH
GUESTS
HOUSEWARMING
:    W/ DJS KRAI &    j
LOUST
BLACK HEN
CONCERT SERIES
W/BARNEY
BENTALL
LIVE NATION
PRESENTS:
MATT COSTA
TIMBRE
PRESENTS:
I     FLUME WITH
GUESTS
FUN FUN FUN W/
SLEEPY TOM &
GUESTS
ELECTRICOWL.CA
926 MAIN STREET, VANCOUVER  I  reservations « electricowl.cn SHIT HARPER DID LIVE!
by SARAH BERMAN
illustration by
PAULBUCCI
"Comedy is an escape—not jrom truth, but despair."
-some dead playwright.
Consuming political news is not often a pleasant experience.
Like taking your vitamins (or perhaps more
accurately, watching overgrown toddlers battling for attention), engaging with Canada's politicians/pundits/pipelines is generally the opposite of entertaining.
Enter Vancouver comedian Sean Devlin in
April 2011. Devlin and bunch of Vancouver cre-
atives, including producer/musician Cameron
Reed, launched a simple website: it took
unfortunate facts about our current prime minister and paired them with relevant jokes and
news links.
The result was a vortex of nation-wide clicks,
likes, and shares that stimulated just the right
youth-dissatisfaction receptors. ShitHarperDid
.com amassed 4.1 million hits in its first 72
hours, just a few weeks ahead of the federal
election. Accompanying videos proclaiming
"Stephen Harper is an Evil Astronaut" and other
curiosities ramped up the social media buzz.
Sunday Service comedian Kevin Lee vividly
remembers the launch. "I didn't really have a
concept about what it meant at the time. I just
sat riveted in front of my computer." After helping craft a few of the site's juicy one-liners, Lee
stepped into YouTube's commenting arena for
the first time. "Oh man!" Lee recalls, shaking
his head at the misguided decision to defend his
politics on an anonymous Internet forum. "It
was like if somebody threw a bag of nails and
glass into some quicksand and I jumped into it.
Just awful."
Lee found himself battling backlash that
hurled "dirty hipster" insults alongside New
Democratic Party (NDP) conspiracy claims.
"They'd call us out for our glasses and bear,ds,"
says Lee. "Which I feel was referring directly
to me."
While Lee has since retired from the
YouTube commenting game, his involvement
I«P
with ShitHarperDid.com is expanding. For the
month of March, he and many of the comedians
and creators behind the website are taking a live
act on the road.
"In a sense, it's not that different, because
there's a lot of absurd things that happen in
politics," says Lee of the improv-based performance. Along with award-winning podcaster
Graham Clark, the Sunday Service will perform
at six campuses across the Lower Mainland.
"We already had a lot of shit at the time of
the website," he says, "and it has continued to
pile up." Later in the month, the ShitHarperDid
.com team plan to relaunch their web presence
with fresh interactive content. "Harper has not
stopped shitting—which is kind of good for us,
but terrible for everything else."
Lee shares a little-known Sunday Service fact,
that Devlin was briefly a member of the award-
winning improv troupe in 2006. Devlin left
before the group found their weekly home at the
Hennessy, now called the KozmikZoo.
Devlin and Brigette DePape (an activist
known for holding up a "Stop Harper" sign
in Canada's House of Commons) will close
the event with their own colourful political
commentary.
"With the tour, we're trying to reach those
people who were a lot like me when this all
started," Lee explains. "I knew I had certain
opinions, but I felt somewhat intimidated by
the news ... I didn't know how to engage or be
useful."
With a set of fresh gags that incorporate virtually every stereotype from classic college films,
Lee hopes to spark the interest of folks that care
more about hockey and Harlem Shake videos
than voting.
"It'll be pretty wild and loose," says Lee,
promising sex, drugs, toilet humour, keg
stands, and at least one reference to the
Centurion. After the show, Lee hopes audiences will connect wi± their own sexy political
opinions. "The website really did that for me
and I think it did that for a lot of young people
as well."
ShitHarperDid.com Live! comes to the Norm Theatre
in the UBC SUB on March 18. For more details and dates
in the Lower Mainland, visit ShitHarperDid.com
Live! Comedy Tour on Facebook. CHINA CLOUD
bvALEXDEBOER
illustration by
GINAMACKAY
In Chinatown's chipped-paint patchwork, it's easy to miss.
Between colourful shops, non-commercial doors on Main
Street disguise themselves as unnoticed outlines. Locked tight, one
entrance is particularly lacklustre. Only one marking catches the
observant eye. It is the image of a cartoon cloud. One might even call it,
a China cloud.
In pseudo C.S. Lewis style, this mysterious door unfolds inwardly.
Just inside and up a ribbon of stairs, roughly twenty artists coexist peacefully. Their creative projects include Mood Hut, Pump Trolley, the Hero
Show, Big in Japan Recordings, and Friends with Wood. Managed by
Colin Cowen, the China Cloud is much more than an average studio
space. It thrives as a multi-purpose locale, the front room functioning as
an occasional event venue and the back garage as a woodworking shop.
The Cloud's uniqueness is also derived from its inventive climate. Filled
with a variety of individuals working in close-quarters, the spirit of creativity is contagious.
As Big in Japan Recordings pioneer and chief Walter Green says, "A lot
gets done in here. Everybody's kind of on their own page doing their own
thing in their room. They're making very good use of creative space."
Named in 2009, Green explains that the China Cloud began as a core
group of about five guys (who will remain unnamed) who turned the loft
into the art space it is today. His friendship with the group landed him a
room in the building, which he turned into a recording studio. Since then,
his regular recording work has developed into projects like the live concert series inspired by Live at the Old Quarter, by Townes Van Zandt. With the
front room available for shows, and Big in Japan Recording studio right
down the hall, Green has recorded the Live at the China Cloud series with considerable ease. Without the Cloud's distinctive multi-purpose structure,
this series might be impossible.
Another creative force in the Cloud is visual artist Brad Radwood. As
his moniker suggests, Radwood's work is wood-focused. Using primarily found wood objects as canvas, Radwood paints, designs, and/or crafts
images according to the contours and grooves of the wood and its knots.
Like Green, Radwood benefits hugely from the Cloud's communal, multi
purpose nature. He has frequently exhibited art at events run by fellow
Cloud artists. He is, however, working towards his own independent and
reoccurring art exhibit called The China Cloud Gallery. Always a lover of puns,
his first show on March 7 is titled Re-Porpoised Wood, and is open to the public. Having been at the Cloud for nearly three years, Radwood discusses how
the space might best survive in this art-antagonizing city. The key, it seems,
is secrecy.'
"We like the way it is right now. I would say we do invite everybody, but
it's not for everybody." From the beginning he was told not to over-expose
the place, as its creators wanted to keep it special. "Don't blow up the spot,"
he repeats the caution jokingly. But the spot exploding is a real fear. "YOU
hear about places that are a bit underground or word-of-mouth and then it's
over because people get too caught up in ego." With a little extra attention, it
doesn't take much to delegitimize an art space in government eyes.
Gauging Green's opinion on this matter, I ask if the Cloud could play a
more inclusive cultural role in the city, perhaps in place of the recently closed
Waldorf. Green's response is similar.
"We're all still pretty hung up about the Waldorf, but the reality is that
a venue is a business and that's why this is an art space and not a venue,
because it's not about money at all."
Cxposure can be a romanticized concept. When it comes to art spaces,
sometimes pensive privacy is the best catalyst for creation. And so floats
the China Cloud, without ads, or calendars, or flashing arrows herding
people inside. When you hear about an art exhibit or music performance,
look for the fading cloud on the door and enjoy your night. It won't happen every weekend.
For more info on Radwood's work, events, and March 7 show, visit bradleymesserart
.com or surf over to the Facebook machine. RB55S*-188
If   V0TW6BE61MS
i/i/ATTH THE WtO$
\m f acebooj
JsSisgj«s-l
D| VOTE AT:
FACEB00K.COM/AMSUBCEVENTS
WINNER OPENS BLOCK PARTY 2013!
MARKYOUR CALENDAR FOR APRIL 5TH
Eli
♦••■ The May 1991 issue featured SHiNDiG 100,
the 1991 Reader's Survey, and Vancouver: Who I Hate.
Some folks in this city never change.
Oogle this cover and 29 others in Disorder's
15-month wall calendar.
' f /
®       CL
playing Isft Of<©ntr©    f»/l*
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Headline piays # liiPMyI
ttoitt.*i: a "supptr club* With a
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you hang out and unite with
others who shaft a passion for
electronic music & art!
Hours
0tPM ■ HAM
La na Lou's
362 powell st, .   ^* / * c i -t" €i £i *
by JORDAN
WADE
lettering by
MEL ZEE
photos by
VICTORIA JOHNSON
For Disorder's 30th anniversary issue in February,
we revisited the magazine's past with founding co-
editors Mike Mines and Jennifer Fahrni (via phone
from Hawaii, at the time). These days, Fahrni
travels frequently as PR manager for the Irish Rovers. While home in the midst of a busy touring
schedule, I jumped at the opportunity to chat with
her face to face and visit Discorder's birthplace: her
childhood home.
Fahrni grew up in an old character house at 2nd
and Blanca in Point Grey. It was there on her parents' massive dining room table that she, Mines,
and fellow CiTR alumni Harry Hertscheg held
paste-up-parties, where they would physically
assemble those first issues of Discorder.
Three decades later, I'm plopping the glossy,
full-colour 30th anniversary issue on that same
table. It's a powerful feeling and I can sense the
energy in the room. With me, I have a copy of—
according to Fahrni, from previous conversation—
her favourite issue: March 1983. Volume one, issue
two. A huge smile grows on Fahrni's face as she
peers through the pages. With candid confidence,
takes me for a trip down memory lane.
"The second issue had to be better than the
first. 25,000 copies was a lot to get out Back then,
the city was a much smaller place. There were
fewer cafSs and less competition. So if you got it -•♦ out there, it really made an impression. Up until
that point, there was only the Georgia Straight."
By the second issue, Fahrni and Mines knew
they had Vancouver's attention and knew their
cover would make an impression.
"We did this feature on [L.A. cowpunk band]
Rank & File and I thought I didn't want to have
them on the cover, because the magazine was
more than just that one band or one feature."
She never wanted a band on the cover, preferring that they promote the inspiration behind
the music rather than the eommerciality of it.
Instead, for the first six issues of Discorder, they
used only old photographs and artwork. For
issue two, she scoured through photos from the
old west and got this great photo of notorious
late nineteenth century American sharpshooter,
Annie Oakley, shooting at the camera.
"So much of it was that photograph. With
Annie shooting out of the magazine at you
through her gun, it was like us saying, 'Look at
this playlist. Go down to Zulu. Go buy some of
these albums. Have a listen,' like we were trying to pound this information into people... It
was like a shot right into the Vancouver music
psyche."
Inside the issue's eight pages of black-and-
white newsprint featured Rank & File, who
were playing a show in the SUB Ballroom that
month, Celtic rockabilly band the Pyramids,
and reviews of new albums by Echo & The
Bunnymen, the Eurythmics, Jah Wobble, and
the Stranglers.
The morning after our meeting, Fahrni calls
me. Early. After looking through the magazine,
thoughts woke her up in the middle of the night.
"I remembered now what that last meeting
at CiTR was like." She explains how in August,
1983, she was offered an oh-air job in Calgary,
which she was excited to begin right away. She
Jennifer Fahrni,
on the evolution 0/Discorder:
"Every editor comes in and makes it
their own. And that's what makes
it last. You can't have something
the same. It's got to keep changing. It's the voice of whatever music
scene is happening at the station,
and it's so great to see that I'm so
grateful I was a part of that with all
those fabulous guys that I worked
with all those years ago."
-IT—
T March, 1983
Volume 1, Issue 2
was still owed $250 by the station, about $600
by today's standards.
"[Then station manager] Sonya Mysko told
me, 'We can pay you the money we owe and this
will be the last issue of Discorder, or we don't
pay you and we try to keep it going." It was just
the facts. CiTR had no money and they were
accountable to a printer. Fahrni recalls it being
a dark meeting: It was "her baby," but as a poor
student, was torn.
"I'm touched seeing this new issue, seeing the old magazine right here in colour in
2013. How I felt leaving at that last meeting. I
thought, 'How long is this thing going to last?'
But then thank god it got into that rhythm, like
trying to start an old car. Getting it going is so
hard and then it goes cha-chUg, cha-chqg, cha-
chug, and before you know it, you're off."
While it was indeed difficult for Fahrni to
leave, the blow was softened by the dedicated
group of people who took over and injected the
fuel Discorder needed to carry on financially and
creatively. CiTR member and regular contributor
Chris Dafoe lead the group as the next editor.
The rest is history. FUNDRIVE!
by BRENDA
GRUNAU
illustration by
PAULBUCCI
mm
mm
mm
Every year, I ask my Dad to support CiTR and Discorder,
and every year he says, "Why do you guys need more
money? I donated last year." The answer is simple: without
your contribution, we couldn't do the work we do. Every
year, we ask you—our readers and listeners, our volunteers and our friends—to support independent campus
radio and print. We call this FUNDRIVE!
This year Fundrive runs from February 28 to March 8.
For one week, we ask people over the airwaves to support
us with a donation, and offer great prizes in return. Our
10 REASONS TO SUPPORT YOUR CAMPUS
RADIO STATION AND (THIS) INDIE MUSIC MAG
(THAT'S IN YOUR PAWS RIGHT NOW):
goal is to raise $30,000 for CiTR and Discorder operations,
and hopefully to purchase new broadcast boards for all
three studios. Our current boards are in a sorry state, and
a matching set will ease training for new broadcasters.
Production Coordinator Ryan Rosell quips, "Most people
know that the soundboard in Studio B emits a horrible
buzzing sound. What most people don't know is that it
also killed my parents."
We're continuing to celebrate our 75th anniversary
this year, as well as 30 years on the FM dial and 30 years
of Discorder magazine. We're asking people to support
another 75 years of independent campus media, and have
theme swag to show for it. These include our Friends of
CiTR card (offering discounts at over forty local business), the Diamond Radioversary T-shirt, and Diamond
Radioversary tote bag. CiTR's logo from the '80s makes a
reprise on the "75 years of UBC Radio" Tee, and we have
30 Years of Discorder Magazine calendars. This year's top
item is the CiTR& Mint Records Pop Alliance Compilation,
Volume III on vinyl, which will accompany each donation
of $101.9 or more.
The first CiTR compilation was curated by Duncan
McHugh (Duncan's Donuts), Chrisarrific (host of Parts
Unknown), and Becky Sandler (host of This Side of
Mondays). Released in D.I.Y. fashion as a burned CD,
the comp was given to donors supporting the three radio
programs. The following year, McHugh piqued the interest of Shena Yoshida at Mint Records, beginning a series
of clandestine meetings in donut shops that eventually
lead to the compilation's current incarnation.
"It is a totally stacked bill. I looked for bands that were
active, that represented a cross-section of what was going
on in pop music, and were fun to listen to," says McHugh
of the 2013 edition, which features artwork by local artist
Melanie Coles, and music by Movieland, Bankrobber,
Babysitter, Jay Arner, Peace, Gal Gracen, Fanshaw, Aaron
Read, Korean Gut, Sleuth, Weed, Puppies, Needles//Kns,
and the Courtneys.
"Volume two was a lot of fun," added Yoshida, after
many giggles. "We are doing this because CiTR is where
Mint began and we love all of these bands too. It's a fun
way to support the local music community and create a
record of what's going on in Vancouver."
Fundrive will end with the Fundrive Finale, a celebration of the funds raised and a release party for Pop Alliance.
Movieland, Gal Gracen, Sleuth, Peace, Babysitter, and
Bankrobber will play at Chapel Arts on March 8, along
with DJs and a silent auction.
1.   .You'll never get bored. We play       3.   We are community-driven
5.   We train and showcase aspiring      8.   We support local festivals,
the craziest shit you'll ever hear
We provide constant coverage
of Vancouver bands and
media. That means you. Be the
media!
4.   We are the longest running
independent music publication
in Vancouver.
broadcasters and writers.
6. We make space for
underrepresented voices.
7. We're focused on local content,
relevant to people within our
community.
shows, and events.
9. We provide niche, alternative
• programming, in many languages, on many topics.
10. There's nothing else like it FIRST PLACE WINNER
PRAYING FOR
GREATER PORTLAND
by JORDAN
WADE
photos by VICTORIAJOHNSON
lettering by MEL ZEE
When it comes to cock talk, Clint Sleeper
doesn't shy away. After his experimental multi-
instrumental one-man project, Praying For
Greater Portland (P4GP), was victorious in
SHiNDiG 2012, we talk a bit about the rock, but
more about the cock. After 13 weeks of 27 bands
battling for top honours, host Ben Lai announces
the official winner and Discorder finds the least
chaotic corner of the Railway Club to chat with
the man behind P4GP.
"I'm really stoked. I'm amped," says the
Reno, Nevada, transplantee, in a subdued tone,
perhaps indicative of shock. "I like this bar. It's
got a funny reputation. Every time I was here,
Ben Lai was really great [His] dick jokes were
really great I mean penis jokes... Is penis more
acceptable?"
Sleeper, who flocked north in August last
year to begin his Masters of Fine Arts at Simon
Fraser University, first heard about SHiNDiG
from his friends in the band Flash Summer,
who suggested he sign up. Ironically, P4PG
played against them—and won—on the competition's first night "That was weird, but I still
love them a lot"
He wasn't necessarily expected to win, facing stiff competition in the final from Greenback
High and Teapot Hill, who placed second and
third respectively. "I'm probably pretty lucky, to
be quite honest with you. These songs are kind of
weird and maybe a little bit different and I guess
that's what the judges were after."
With music obscure as his moniker, Sleeper
tells us the story behind the name, taken from a
bumper sticker he saw in Pprtland, Oregon.
"There was a man who moved [there] with
this idea that he was going to sanctify the city.
And of course, the way to sanctify the city is to
make bumper stickers," he jokes. Evidently
those bumper stickers got around and covered
Cars for a short time. "As we can see, it was probably not all that successful. Portland was probably not sanctified, but I just like the idea of going
somewhere and doing so in such a strange,
obscure way." Like the name, Sleeper sees himself as just weird enough to fit a niche, describing his music as "moody guitar rock."
The incentive to win SHiNDiG isn't just
for bragging rights, but also a prize pack that
includes free music labour, band merch, spots
in future music showcases, and 20 hours of free
studio time.
"It's not a career," he says, "but I've had
an idea for an album for a while so it'll be nice
to get some time to work on that... I'm really
looking forward to making more music."
He won the first round playing "Atilla The
Hun With A Sense Of Humor," "Regarding A
Trip That I Was On Recently," and "A Box Of
Sculptured Cocks," one of the most ear-opening titles that we've played on Discorder Radio.
"I had an art professor in Reno—Howard
Rosenburg, and yes he's getting outed right
now—who is fairly convinced that all of the
cocks were chiseled off of (Vatican] sculptures
at some point in history. And what they do with
all those cocks is put them in a shoebox and bury
them in the basement in the Vatican. He hasn't
gone and looked for it or found it, but I think
he really believes that there is a Converse box
of marble dicks in the Vatican basement," he
laughs. "The idea of that was just so," he calms
and ponders, "well, I used to be a little more
ironic with song title naming. I just thought that
it was a funny thing to say and had to include it"
He jokes about imagining the sculptor
responsible for the chiseling of those cocks.
"Maybe that was somebody's job? It's not easy to
be the dick chiseler. And he, or she, had to work
maybe around the clock, maybe for years, maybe
their whole life. And that's how they fed their
kids: on dick chiseling. And we respect that. We
know what it's like to work, man."
It's obvious that despite his virtues of vagueness and being weird, Sleeper is a man that values hard work. We'll accept the fact that the 2012
SHiNDiG winner gave us a good show and didn't
go into great detail about much else; his music
speaks for itself. In the meantime, we're happy
to laugh it up with him over cock jokes. Or penis
jokes, if that is more acceptable. HMHH mm.
f. WAR BABY
by ROBERT
CATHERALL
photos by
VICTORIAJOHNSON
lettering by
MEL ZEE
"Big Daddy Cumbuckets ... I have no fuckin'    •
idea who they were," Kirby Fisher of Vancouver
doom pop trio War Baby says, explaining his
favourite band shirt. Considering both he and
guitarist Jon Redditt pick vintage clothes for
a living, this was the last thing I expected him
to say. The band's latest recordings were even
. commissioned off a pair of vintage jeans that
Fisher sold. Yet I still hesitate to believe this
shirt even exists. This was just one of the pos-
' sible half-truths War Baby tell me while cracking jokes and drinking beer under the dim
light of Pat's Pub to discuss their debut full-
length album, Jesus Horse, Aussie radio, and
gay pride.
It's been just over four years since the core
duo of Jon Redditt (guitar/vocals) and Kirby
Fisher (drums/vocals) first convinced Wendy
13 to let them play the Cobalt in 2008. The
following year their Permanent Frown EP was
recorded under the guidance of Jordan Koop
at FaderMaster Studios. The EP garnered local
attention, but immigration troubles stifled War
Baby's progression as Fisher was forced home
to Australia twice to renew his Canadian visa.
Not much for his listless hometown and
determined not to lose the momentum of
Permanent Frown, War Baby made plans for a
full-length recording and enlisted bassist and
tugboat captain Aaron Weiss to round out their
riffs. Koop was again enlisted to record Jesus
Horse, although this time at Noise Floor Studios
in Ladysmith, B.C., giving War Baby the perfect
excuse to visit an old friend.
" [Koop] is just the greatest guy and it's just
a cheeky bonus that he's really good at what he
does," Fisher says endearingly.
Available April 5 via Bummer Records, the
debut full-length conjures the notoriously indiscernible and haphazard lyrics of'90s grunge
bands like Mudhoney or Silverchair to confront themes of alienation and, what Fisher
simply describes as pure rage. The dark/light
dichotomy found on both "Cave" and "Bat A
Lash" illustrates their grunge influences, with
Redditt's vocals eerily reminiscent to Mark
Arm's heroin-induced drawl and indiscernible
screams championed by the Seattle sound in thei
early '90s.
The influence on Redditt's forlorn aggression comes as no surprise as he admits the
MuchMusic program he grew up on, City Limits,
still influences his songwriting.
"Friday night from 10 to 12. It was two or
three hours of good music videos and I always
checked that out."
Echoing this, Fisher jokes, "I was lucky to
live in a place that was fucking terrible, but I had
an amazing group of friends that also thought
it was terrible, so we just stuck together and we
made it entertaining." Turning to crate-digging
friends and the best, but only, Australian station available in his hometown, Triple J Radio,
Fisher found an instant affinity to Dave Grohl's
frenetic drumming. "Nirvana!" he exclaims. "It
was all of a sudden so huge for me, but it was
more from a Dave Grohl standpoint than their
songs... It was like the first thing I ever understood. Ever."
"When confusion resolves to something that
makes sense, it's really powerful," Redditt adds.
Nevertheless, grunge may not be entirely
responsible for their sound, "I listen to Phil
Collins way more than Nirvana though," Fisher
proudly admits.
I never suspected this confession, given
the precarious journey into personal darkness
driven by a rhythm section that could easily be
mistaken for the crumbling riffs of Master 0/
Reality-era Iommi sludge on "Coalmine Canary."
Likewise on "Melting Witch," as it opens with
a furious 16-bar snare roll before galloping into
unnerving scenes overrun with silverfish and
black cradle graves. The raucous "Black Swan,"
whose D.I.Y. music video includes wildlife pop-
. up books and flip book comics depicting the
evolution of imagined entities, is the quintessential illustration for the band's playful relationship with dark fantasy.
Amidst technical and thematic playfulness
that resonates on the same frequencies as local
metal pioneers 3 Inches of Blood, War Baby still
feel alone in their persistent adolescence.
Maybe that's because starting a band was
never about the rock'n'roll image for Fisher and
Redditt. In true Generation X fashion, it was
instead a way to cope with boredom.
"It was like a boxing bag," Fisher says with
a grin. And I have no choice but to believe
him. The calculated abruptness of their tempo
changes and waves of distortion that act as fills,
exemplify the riotous approach the band takes
to songwriting, their instruments, and life in
general. Well past their teenage years, War Baby
admit there is still a lingering feeling of alienation as they struggle to find a place within the
Vancouver scene.
This could change, however, with their
recent lineup shuffle. As War Baby realized they '
were becoming more serious, Redditt invited
bassist Brock Allen to fill in for Weiss at their
2012 slot at Sled Island in his hometown of
Calgary and, according to Fisher, "It's just been
so much fun [since]." Having played together
in the equally caustic Big Nothing and wild rose
country outfit A Pale Blue, the guitarist was confident Allen would be a natural fit. Although, fitting in seems to be the least of their concerns.
"Comedy seems to influence so much of
our band," Fisher explains. Determined not to
let isolation consume their lightheartedness,
the jokes became more exaggerated. "I wish .
the gay pride parade would have a punk tent,"
Fisher says.
I agreed. "Fuck it, I'm approaching them.
It's on. Let's do it!"
As the conversation headed toward half-
cut fictions, the trio became elusive about their
supporting tour for Jesus Horse. "All we know
is come summertime, we're hitting the road."
Nevertheless, as I headed into the downtown
eastside, it was refreshing to know that bands
were still out to make rock'n'roll, free of
stage glamour and self indulgence, genuinely
seeking a couple laughs to go with their musical
catharsis.
War Baby play Interurban Gallery April 5 for their
Jesus Horse release party urith local heavies Black
Wizard and Astrakhan. 1
n
j
mmM-j
1
!
IVAN
DECKER
photos by
LEIGH ELDRIDGE
by EVAN
BROW
lettering by
ANNE EMBERLINE
Standing at the heart of Vancouver's stand-up scene is Ivan Decker, a
27-year-old middle child who just wants to make people laugh. Decker
began stand-up at 19, debuting at Yuk Yuk's (now the Comedy Mix) on
Burrard to a less-than-thrilling reaction. "My first time on stage was
okay," says Decker. "After that my second night I got booed offstage,
which I thought was something that would happen commonly. I was
like, 'Oh yeah, this probably happens to people. Whatever.' And in the
eight years that I've been doing comedy since then, I've never seen that
happen to anyone else at that club, ever."
Despite this early seitback, Decker strode on, simply craving the feeling of comedy and its process. While many working comedians can coast
on their constructed stand-up hour for years, Decker explains that he feels
an obligation to constantly improve and update his material, to engage in
the craft of comedy. While he has other pursuits that include sketch comedy, improv, scene work, and a potential sitcom script he's working on with
local comedian Adam Pateman, Decker's first love remains stand-up.
"That's why live shows are so great," says Decker, defending stand-up
like it's under siege. "You're always going to be able to find something
funnier than me on YouTube. I mean, you can watch ten minutes of people
getting kicked in the nuts at home. So you don't need to come out to a
comedy show, but it's that 'together' experience that makes it so amazing.
When you're like, 'How can I say something that will make everyone in this
room come together and laugh?'"
Decker recently quit his day job at Science World to become a full time
working comedian. The hours he's put in on the road and in yarious clubs
■ is have fosteredjmariy insights into the practice of
stand-up. Speaking from experience, he states,
"There's a big difference between city audiences
and small town audiences, because as a working
comedian, well, get ready to go to a lot of places
that don't like observational material. You better be ready to tell dick jokes or they're going to
stab you in the face." And discussing his experience with hecklers, Decker states, "I was told
this very early in stand-up. You should never ask
a question you're not prepared to not get the
answer you want."
Recently, Decker took part in a new project
that has challenged the way stand-up is being
delivered online. Following Louis C.K.'s model
of DRM-free, online comedy special distribution, local comic and stand-up producer Paul
Breau brought together ten comedians, including Graham Clark, Erica Sigurdson, and Peter
Kelamis, to record full sets at the now defunct
Waldorf Hotel. Those sets were then put online,
culminating in a project called The Stand Up
Comedians. In this new age of comedy, stand-up
is being delivered straight to the viewer from the
comic. And while this idea of direct online distribution appeals to Decker, his next goal is to
develop something physical to give away as well,
to complement his online presence. "I like the
idea of a CD, actually," Decker says, "Because
videos, as much as people like them, their attention spans are too short for something like that*
Most people are like, 'Alright now I've got to
set aside an hour to watch this.' That's hard to
find nowadays. With a CD, you can listen to it
on the bus, on the train, whenever you're going
to places."
While stand-up is Decker's muse, he's purr-
suing other forms of comedy as a way of diversifying his talents. "I've looked at where just
stand-up will take you in Canada," says Decker.
"It will take you to northern parts of provinces to entertain oil riggers or to England." To
combat this, Decker has begun taking improv
. classes with Instant Theatre's Conservatory
program and performed his first improv show
in January. Before he began classes, Decker's
improv skills were very much influenced by his
stand-up mentality.
"When I tried to do improv before I had any
training," says Decker, "I would just destroy
improv scenes, because I would find whatever
the fastest joke was, but it would kill the scene.
I'd be like, 'I'm actually a totem pole,' and everyone else is like, 'What? Where do we go with
this now? You're just not in the scene anymore?
I hate you.'"
One can see why Decker is a rising star in
Vancouver's comedy scene. He's deeply committed to what he does and strives to improve
himself at every turn. But all in all, it comes
down to Decker's simple love for comedy. "I'm
a huge fan of laughing because it's just this pure
emotional response of happiness," says Decker.
"And yes, I know that makes me sound like a
crystal hippie."
Decker will be headlining the Comedy Mix fiom March
28-30. Visitthestandupcomedians.com to download
specials by Decker and other Vancouver junny jblks.
DECKER, ON HIS WORST SHOW:
"It was in Williams Lake, B.C., and the local radio station had this idea to
do a thing called the "Rolling Stones Stone-Face Contest." I was the opening act. I was only supposed to do 20 minutes. I had never done comedy
outside the city before. I was 19 years old. The "Rolling Stones Stone-Face
Contest" was a group of 20 people who were selected to sit in the front row
of a comedy show and not laugh. If they could keep a 'stone-face,' they
would win Rolling Stones tickets. So you've already got 20 people purposely not enjoying the show. And they were allowed to close their eyes, so
they're all squinting and they've got their palms mashed against their eyes.
And another thing was that there were rows of people with their back to
the stage looking at those people's faces to make sure they don't crack a
smile and laugh. So now you've got 40 people not enjoying the show, and
they're up front And at the back of the show, they didn't even set up tables.
There's just people walking around in the bar and they're telling people,
'Well, if you want to come up and mess with these people, that's cool too.'
And I was thinking, this is not the environment for stand-up." NAOMI
KAVKA
by SHANE
SCOTT-TRAVIS
I
photo by
PAULKERBRAT
illustration by
KIM PR1NGLE
Have you ever dreamt of a place you've never
been to? A place that exists, perceptibly perhaps, in the imagination, though you're certain
of its rhyme and rhythm. You can get around
and speak the language there. Listening to "Old
Boulder," a cut from Naomi Kavka's forthcoming EP, Slammed Doors & Severance, carries with it
all the hallmarks of visiting such a place, evoking a desolate yet stirring exuberance, as sure as
hearts break and rebuild.
"I feel like I'm reaching a point in my songwriting where it's matured a lot," Kavka says,
on the line from St. John's, NL, where she's
currently studying cello and musicology at
Memorial University. "I'm really happy with the
structures and the whole package and I don't
feel that these are songs that I'm going to lose
confidence in. I'm going to be very sure of their
strengths for a very long time."
Kavka is no stranger to the strengths or
the glamour and grace of pop music, having
stemmed from Prince George, B.C., with the
prog-pop outfit the Arbitrarys and later with
Victoria-based alt-country duo Pocket Knife.
Both bands are still active, though on hiatus
(Pocket Knife recently released the heavenly Broke
& Heartbroke EP and the Arbitrarys have teased
about a double album, Canary, maybe later this
year), as she engages in her scholarly pursuits
and still finds time to play in St. John's folk rock
act the Bloomsbury Group.
"I'm really lucky to be in a position in my life
right now where I can pursue a lot of interests,"
Kavka continues. "I try to do things that are
really fun and engaging."
"Old Boulder" is indeed engaging. Its gravity instantly pulls you in, evoking a startling
beauty with its colour, a Keatsian parable, where
Kavka's voice is honey-sweet, quiet at times, but
. big when it has to be. Easily caught in her emotional retina, Kavka's cello, aided by a three- ;
piece string-section, reaps maximum emotional effect in a skintight and streamlined four-
plus minutes. It's a small-scale symphony that
expertly overwhelms.
"These songs span a fair bit of time for me
and if there's a theme it's one of apprehension. Many of these songs were written when I
was moving someplace new or I was leaving a
relationship or I was going through frontiers in
my life that I was very scared of. It's a little bit
poignant... Like 'Old Boulder' is about being.
scared of having to live alone at a time when I
still had a partner. Some of the other songs are
more about coming to terms with that and moving on." Kavka's voice trails off for a moment
and I can hear the distance between us in the
quiet "There's a lot of talk about relationships
"Buggin' Out" a playful, rollicking rural
Appalachia number, offering bits of bluegrass
with dashes of Emmylou Harris and old-time
shades of Hazel Dickens that are so contagious
it might require an inoculation.
"In terms of style, this EP is a little bit
country and a little bit rock, I guess," says
Kavka before crumbling into laughter once
more. "I can't believe I just said that That
sounds horrible! There's an Americana influence, like Pocket Knife, but a lot of the harmonies that I developed a taste for with the
Arbitrarys are there, too, but it's a lot different In my other bands there had always been
another voice present where here the voice is
just mine. It's intimidating as I'm used to hav-
WHILE SLAMMED DOORS & SEVERANCE
REFLECTS SOME OF THOSE SINGER/SONGWRITER
TROPES THAT MAKES KAVKA CRINGE, SHE'S
MODEST IN HER APPRAISAL
and standards, the sort of thing you'd expect to
find in a female singer/songwriter's bad country
album," Kavka says, breaking into self-effacing
laughter.
While Slammed Doors & Severance reflects some
of those singer/songwriter tropes that makes
Kavka cringe, she's modest in her appraisal.
ing someone else there providing the support
musically and emotionally. This EP is just me.
That rhyme was unintentional," Kavka giggles,
good-naturedly mocking herself.
Kavka, you may have gathered, is a bit of
a gut-buster. Talking and laughing nineteen
to the dozen, it seems that she's paradoxical,
considering the bare and brave song cycle that
she's conceived. But while trouble can incite the
muse, it isn't all windswept misery.
"One of my great joys is making music with
other people," Kavka says. "Even in this solo
project I've been working with lots of amazing people. I'm particularly excited for people
to hear Carole Bestvater, a fantastic violinist
that I met through the music program here.
She's great She completes the songs in a way
I couldn't by myself and that may be the single
best reason I'm excited to get it out."
More than just a shining songwriter, vocalist and multi-instrumentalist, Kavka is an ingenious rara avis. Her noir-country nods and neo-
traditional folk flourishes find her, at times,
under the pink moon of Nick Drake or on the
soul journey of Gillian Welch, but she stands
her ground fiercely, sweet-sounding seafarer
that she is.
"I'm nervous about the recording process
on this one," says Kavka candidly about the
nearly finished album. "I really want it to be a
good representation of how I sound live. I feel
very competent in my abilities as a live performer so I'm excited and anxious and really,
really proud of it"
Slammed Doors & Severance will be released independently on March z6 with B.C. tour dates in July.  SSHRiJ* ■§ «• •
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SUN
MON
TUES
WED
THURS
FRI
SAT
9
10
11
Bepi Crespan Presents..,
'''''$0a#t Music)
Classical Chaos
(Classical)
Breakfast With The Browns j
(Eclectic)
The Rockers Show
Blood On
The Saddle
'(Roots)
Shake A
CSouW&B)
Good Morning
My Friends
Ska-T's Scenic Drive
Synchronicity (Talk)
Parts Unknown (Pop)
The All Canadian
, Farm Show
The lee Ramirez Show
#feF«)
Pacific Pickin' (Roots)
Queer FM Vancouver •.
Reloaded
(Talk)
Mind Voyage
(Ambient)
Morning After Show
(Eclectic)
Suburban Jungle
(Eclectic)
Student Special Hour
(Eclectic)
TenyPiDJect    Democracy
PodcastOalk)   Now (Talk)
Extraenvironmentalist
(Talk)
Butta on
the Bread
End of the World News
(Talk)
Rocket from Russia
(Punk)
Relentlessly Awesome
Duncan's Donuts
(Eclectic)
Definition Soundwave
(Rock/Folk)
Programming Training
Thunderbird Eye
Mante ',
(EcJeettejpj
Sounds of the City
(Eclectic)
Stereo Blues
(Blues/Eclectic)
It Ain't Easy Being Green
(Eclectic)
Skald's Hall
(Drama/Poetry)
Nardwuar Presents
{Nardwuar)
Radio Nezate
(Eritrian)
The Saturday Edge
(Roots)
Generation
Annihilation (Punk)
Code Blue
(Roots)
Chips
(Pop)
Student
Fill-in Skit
Arts Report (Talk)
Campus Lectures
(Talk)
11
So Salacious
(Electro/Hip Hop)
Neil's Hidden Tracks
'  $fenan Music)
ts Project      U6C Arts On Air
More Than Human
(Electronic/Experimental)
Flex Your Head
(Hardcore)
Rhythms      Techno
(World)     Progressivo
Exploding Head Movies
(Cinematic)
Ssnt- «
X u SuP
squantch ... m
(Eel) W°r,d?
Are You
Aware
(Eclectic)
Peanut
Butter'n'
Jaws
(Eclectic)
Stranded
(Eclectic)
Nasfta Volna (World)
Stereoscopic Redoubt
(Experimental)
African Rhythms
(World) -
Student
Fill-in Slot
;s & B-Sides
(Dance/Electronic)
Traocendance
(Dance)
The Jazz Show
(MM
Crimes And Treasons
(Hip-hop)
Sexy In Van City (Talk)
Live From Thunderbird
Radio Hell
(live)
The Bassment
(Dance/Electronic)
Synaptic Sandwich
(Dance/Electronic/
Eclectic)
Student Fiil-in Slot
Hans Von Kloss
Misery Hour
Canada Post-Rock (Rock)
Randophonic
(Eclectic)
Vampire's Ball
(Industrial)
Aurat Tentacles
(Eclectic)
The Vampire's Ba
(industrial)
The Absolute
Value of Insomnia
(Generative) \ music, tech-house, prog-house
; and techno.
BEPI CRESPAN PRESENTS...
(Difficult Music) 7'-9am
Bepi Crespan Presents... CiTR's
24 Hours Of Radio Art in a snack
size format! Difficult music,
harsh electronics, spoken word,
cut-up/collage and general
Crespan© weirdness. Twitter:
©bepicrespan Blog: bepicrespan.
blogspot.ca
CLASSICAL CHAOS
(Classical) 9-10am
From the Ancient World to the 21st
century, join host Marguerite in exploring and celebrating classical
music from around the world.
SH00KSH00KTA
(Talk) 10am-12pm
A program targeted to Ethiopian
people that encourages education
and personal development.
THE ROCKERS SHOW
;J 12-3pm
inna  all  styles and
fashion.
BLOOD ON THE SADDLE
(Roots) 3-5pm
Alternating Sundays
Real cowshit-caught-in-yer-boots
country.
SHAKE A TAIL FEATHER
(Soul/R&B)3-5pm
Alternating Sundays
The finest in classic soul and
rhythm & blues from the late '50s
to the early 70s, including lesser
known artists, regional hits and lost
soul gems.
CHIPSWITHEVERYTHrNG
(Pop) 5-6pm
Alternating Sundays
British pop music from all decades.
International pop (Japanese, French,
Swedish, British, US, etc.), '60s
soundtracks and lounge.
SOSALAClbuS
(Electro/Hip Hop) 6-7pm
Skadz and Sprocket Doyle bring you
Electro Swing, Alternative Hip Hop,
Dubstep, Acid Jazz, Trip Hop, Local
and Canadian Content-good and
dirty beats.
MORE THAN HUMAN
(Electronic/Experimental) 7-8pm
Strange and wonderful electronic
sounds from the past, present, and
future with host Gareth Moses. Music from parallel worlds.
RHYTHMSINblA
(World) 8-9pm
Alternating Sundays
Featuring a wide range of music
from India, including popular music
from the 1930s to the present; Ghaz-
als and Bhajans, Qawwalis, pop and
regional language numbers.
(Dance) 8-9pm
Alternating Sundays
A  mix of the  latest  house
BOOTLEGS & B-SIDES
(Dance/Electronic) 9-10pm
TRANCENDANCE
(Dance) 10pm-12am
Hosted by DJ Smiley Mike and DJ
Caddyshack, Trancendance has
been broadcasting from Vancouver, B.C. since 2001. We favour
Psytrance, Hard Trance and Epic
Trance, but also play Acid Trance,
Deep Trance, Hard Dance and even
some Breakbeat. We also love
a good Classic Trance Anthem,
especially if it's remixed. Current
influences include Sander van
Doom, Gareth Emery, Nick Sentience, Ovnimoon, Ace Ventura, Save
the Robot, Liquid Soul and Astrix.
Older influences include Union Jack,.
Carl Cox, Christopher Lawrence,
Whoop! Records, Tidy Trax, Plati-
pus Records and Nukleuz. Email:
djsmileymike ©trancendance.net.
Website: www.trancendance.net.
GOOD MORNING MY FRIENDS
(Upbeat Music) 6:3 0-8a m
BREAKFAST WITH THE BROWNS
(Eclectic) %-Uam
Your   favourite    Brownsters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights.
breakfast with the browns®
hotmail.com.
skim scenic drive
(S/f3jllam-12pm
SYNCHRONICS
(Talk) 12-lpm
Join host Marie B and discuss spirituality, health and feeling good.
Tune in and tap into good vibrations that help you remember why
you're here: to have fun!
PARTSUNKNOWN
(Pop) l-3pm
An indie pop show since 1999, it's
like a marsfimallow sandwich: soft
and sweet and best enjoyed when
poked with a stick and held close
to a fire.
THEALLCANADiANFARM"^
(Pop) 3-4pm
The All Canadian Farm Show cultivates new and old indie jams from
across genres and provinces. Tune
in to hear the a fresh crop of CiTR
volunteers take you on a musical
cross-country road trip!
THE LEOWlR~EZSHOW
(World) 4-5pm
The best of mix of Latin American
music, leoramirez@canada.com
NEWsioi
(Talk) 5-6pm
Vancouver's only live, volunteer-
produced, student and community
newscast. Every week, we take
a look back at the week's local,
i national and international news,
■ as seen from a fully independent
■ media perspective.
NEIL'S: HIDDEN TRACKS
(Korean Music) 6-7'pm
I Korea has had briliant indie mu-
; sicians since 1980s. However, we
\ don't know who they are and what
\ musicthey play. Alsothey have had
; no chance to be introduced over-
I seas. With Korean DJ Neil Choi, on
! every Monday 6 p.m., we can find
\ out many hidden musicians who are
i really awesome like famous world
rock'n'roll stars.
™.„„_„_.™._„.
: (Cinematic) 7'-9pm
Join gak as he explores music from
\ the movies, tunes from television
I and any other cinematic source,
along with atmospheric pieces, cut-
' ting edge new tracks and strange
old goodies that could be used in
a soundtrack to be.
THE JAZZ SHOW
I (Jazz) 9pm-12am
Vancouver's   longest   running
: prime-time jazz program. Hosted
[ by Gavin Walker. Features at 11pm.
March 4: Pianist/composer Horace
I Silver and his group culled from
I various albums. We will interject
! some reminders to contribute to the
! 2013 Fun Drive so this will not be
\ the usual uninterrupted Feature.
i March 11: Trumpeter extraordi-
: naire Lee Morgan's only recording
in 1962. Lee with tenor saxophonist Clifford Jordan and pianist
1 Barry Harrfs. "Take Twelve" cooks!
\ March 18: A rare item by one of
the best organized bands in Jazz.
j Composer/leader/pianist George
Russell leads his Sextet through
six great tunes. March 25: Another
| great band was alto saxophonist
! Julian "Cannonball" Adderley's
\ Sextet with cornetist Nat Adderley
and multi-instrumentalist Yusef
Lateef. "Cannonball in Europe".
Powerhouse!
PACIFIC PICKIN'
(Roots) 6-8am
Bluegrass, old-time music, and
its derivatives with Arthur and
the lovely Andrea Berman.pa-
cificpickin@yahoo.com
QUEER FM
VANCOUVER: RELOADED
(TaW8-10:30am
Dedicated to the gay, lesbian, bisexual and transexual communities of Vancouver. Lots of human
interest features, background on
current issues and great music.
queerfmradio@gmail.com
mTndvoyage
f£c/ecf/'c; 10:30-ll:30am
Mind Voyage presents cosmic tones
of celestial counterpoint on CiTR!
Experience weekly encounters of
synth, ambient, witchy and new
classical items in a one-hour with
DJTall Jamal.
MORNING AFTER SHOW
(Fc/etf/c;ll:30am-lpm
An eclectic mix of Canadian indie
with rock, experimental, world, reg- !
gae, punk and ska from Canada,
Latin America and Europe. Hosted
by Oswaldo Perez (
MANTIS CABINET
(Eclectic) l-2pm
blend of music and banter about
campus and community news,
arts, and pop culture. Drop-ins
welcome!
TERRY PROJECT POOCAST
(Talk) 1-2 pm
GIVE EM THE BOOT
(World) 2-tym
Sample the various flavours of
Italian folk music from north to
south, traditional to modern on
this bilingual show, givetheboot®
gmail.com • http://giveemtheboot.
wordpress.com
PROGRAMMING TRAINING
(TaW3-3:30pm
RADIO FREE THINKER
(7i//7es;3:30-4:30pm
Promoting skepticism, critical
thinking and science, we examine
popular extraordinary claims and
subject them'to critical analysis.
DISCORDER RADIO
(Tunes) 4:30-5pm
Discorder Magazine now has its own
radio show! Join us to hear excerpts
of interviews, reviews and more!
THECITY
<7a//y5-6pm
An alternative and critical look
at our changing urban spaces.
New website: www.thecityfm.org.
New twitter handle: @thecity_fm.
FLEX YOUR HEAD "
(Hardcore) 6-8pm
Punk rock and hardcore since 1989.
Bands and guests from around the
world.
INSIDE OUT
(Dance) 8-9pm
CRIMES & TREASONS
(Hip-hop) B-Uw
crimesandtreasons@gmail.com
WEDNESDAY
TWEETS & TUNES
(New) 6:30-8am
We practice what we Tweet! Showcasing local indie music and bringing bands, artists and fans together
through social media. Website:
tweetsandtunes.com Twitter:
©tweetsandtunes.
SUBURBAN JUNGLE
f£c/ecf/c; 8-10am
Live from the Jungle Room, join radio
host Jack Velvet for an eclectic mix of
music, sound bites, information and
inanity, dj@jackvelvet.net.
POPDRONES
(Eclectic) 10-11:30am
STUDENT SPECIAL HOUR
(£cfert/c,Hl:30arn-lprri
Various members of the CiTR's student executive sit in and host this
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.
DEMOCRACY NOW
(Talk) l-2pm
EXTRAENVIRONMENTALIST
(7aW2-3pm
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.
SM-WAYLH
4-5 pm
In many Coast Salish dialects,
"sne'waylh" is the word for
teachings or laws. The aboriginal language-learning program
begins with the teachings of the
skwxwu7mesh snichim (Squamish
language). Originally aired on Coop
Radio CFRO 100.5 FM in Vancouver,
Tuesdays 1-2 p.m.
ARTS REPORT
(73//r75-6pm
Reviews, interviews and coverage of
local arts (film, theatre, dance, visual and performance art, comedy,
and more) by host Maegan Thomas
and the Arts Reporters.      *$?s?
ARTSPROJECT
(73W6-6:30pm
Alternating with UBC Arts On Air
Stay tuned after the Arts Report for
Arts Project Interviews, documentaries and artsy stuff that doesn't fit
into CiTR's original artsihem *ai
UBCARTSONAIR
(Ta//y6-6:30prrj
Alternating with Arts Extra!
Ira Nadel, UBC English, offers scintillating profiles and unusual interviews with members of the UBC Arts
world. Tune in for programs, people
and personalities in Arts.
(Eclectic) SAMpm
Alternating Wednesdays
All-Canadian music with a focus
on indie-rock/pop. anitabinder®
hotmail.com
SUP WORLD?
(&fecfity6:30-8pm
Alternating Wednesdays
Fuzzy and sweet, a total treat! Tune
in to hear the latest and greatest
tracks from independent and Vancouver bands.
FbLKOASIS
(floors; 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
sWrnVANCITY
(Talk) 10-1 lpm
Your weekly dose of education
and entertainment in the realm
of relationships and sexuality.
sexyinvancity.com/category/sexy-
in-vancity-radio
HANSTVON KLOSS-WSERYHOUR
(Hans Von Kloss) llpm-lam
Pretty much the best thing on
radio.
THE VAMPIRE'S BALL
(Industrial) l-5am
Industrial, electro, noise, experimental, and synth-based music.
thevampiresball@gmail.com the-
vampiresballoncitr.com
THURSDAY
END OF THE WORLD NEWS
(Talk) 8-10am
ROCKET FROM RUSsiA
(Punk) 10-1 lam
Punk rock, indie pop and whatever else I deem worthy. Hosted
by a closet nerd. http-.//www.
weallfalldowncitr.blogspot.ca
RElEim^'JWKOME
llam-12pm
Vancouver'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.
DUNCAN'SDONUTS
(Eclectic) 12-lpm
Sweet treats from the pop underground. Hosted by Duncan, sponsored by donuts. http://duncans
donuts.wordpress.com
guests. Email: mantraradioshow®
j gmail.com. Website: mantraradio.
[ co. Genre: World.
j CAMPUSi LECTURES
j (7a//r;5-6pm
! Lectures on and around campus are
i recorded all throughout the year,
I bringing a wide array of topics and
, disciplines to radio.
\ ARE: YOUI AWARE
; (Eclectic) Alternating Thursdays
: 6-7:30pm
1 Celebrating the message behind the
I music: Profiling music and musi-
, cians that take the route of positive
i action over apathy.
j PEANUT^BUTTERTJAMS
I (Eclectic) Alternating Thursdays
[ 6-7:30pm
I Explore local music and food with
I your hosts, Brenda and Jordie. You'll
I hear interviews and reviews on eats
: and tunes from your neighbourhood,
! and a weekly pairing for your date
\ calendar
; STEREOSCOPIC^REDOUBT
; (Experimental) 7:30-9pm
recitals, and drama. Established
and upcoming artists join host Brian
MacDonald. Interested in performing
on air? Contact us: ©Skalds Jail.
RADlbzERO
(Dance) 2-3:30pm
An international mix of super-
fresh weekend party jams from
New Wave to foreign electro, baile,
Bollywood, and whatever else.
www.radiozero.com
LIVE FROM THUNDERBIRD
RADIO HELL
(Live Music) 9-U\m\
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. -
MOONGROK
llpm-12am
1 AlRALTENmES
; (Eclectic) 12-6am
j It could be global, trance, spoken
i word, rock, the unusual and the
; weird, or it could be something
: different. Hosted by DJ Pierre.
: auraltentacles@hotmail.com
Kn
Cu
Ho
L
DEFINITION SOUNDWAVE
(Rock/Folk) l-2pm
The now of folk. The now of rock.
The now of alternative. Join Evan
as he explores what's new, what's
good, and what's so awesome it
fights dragons in its spare time. As
always, Evan ends the show with a
special Top 5 list that's always fun
and always entertaining.
VwksTubs
(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.
tWhoeSdeye
(Sports; 3:30-4pm
Your weekly roundup of UBC Thunderbird sports action from on campus
and off with your host Wilson Wong.
MANTRA
(Eclectic) 4-5 pm
Kirtan, Mantra, Chanting and
Culture. There's no place like Om.
Hosted by Raghunath with special
! MOON GROK
| 7:30-10am
SOUNDS OF THE CITY
I (Eclectic) 10-1 lam
| Promoting upcoming live concerts
: and shows in Vancouver, be they
; local, national, or international
| acts.
! STEREO BLUES
; (Blues/Eclectic) l.lam-12pm
! Every Friday host Dorothy Neufeld
| sinks into blues, garage and rock
i n'roll goodies!
! if AIN'T EASY BEING GREEN
; (£o/ecf/c)12-lpm
CiTR has revived it's long-dormant
; beginner's show It Ain't Easy Being
I 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.
SKALD'SHALL
(Drama/Poetry) l-2pm
Skald's Hall entertains with the spoken word via story readings, poetry
NARDWUAR
(Nardwuar) 3-30-bpm
Join Nardwuar the Human Serviette for Clam Chowder flavoured
entertainment. Doot doola doot
doo...doot doo! nardwuar®
nardwuar.com
NEWSIoi
(7a//r;5-6pm
See Monday for description.
STRANDED
(£c/eof/c; 6-7:30pm
Join your host Matthew for a weekly
mix of exciting sounds, past and
present, from his Australian homeland. And journey with him as he
features fresh tunes and explores
the alternative musical heritage
of Canada.
AFRICAN RHYHMS
(World) 7:30-9pm
www.africanrhythmsradio.com
THEBASSMENT
(Dance/Electronic) 9-10:30pm
The Bassment is Vancouver's only
bass-driven radio show, playing
Glitch, Dubstep, Drum^nd Bass,
Ghetto Funk, Crunk, Breaks, and UK
Funky, while focusing on Canadian
talent and highlighting Vancouver
DJs, producers, and the parties
they throw.
CANADTra
(Rock) 10:30pm-12am
Formerly on CKXU, Canada Post-
Rock now resides on the west coast
but it's still committed to the best
in post-rock, drone, ambient, experimental, noise and basically
anything your host Pbone can put
the word "post" in front of.
SATURDAY
THE SATURDAY EDGE
(Roots) 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!
steveedge3@mac.com
G EN E R AT I ON ANN IHILATI6 N
(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.generationannihilation.com.
Facebook: www.facebook.com/
generationannihilation".
POWER CHORD
(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.
CODEBLUE
(Roots) 3-5pm
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy, and Paul, codeblue®
buddy-system.org
SIMORGH
(Education) 5-6pm
Simorgh Radio is devoted to the
education and literacy for the Persian speaking communities and
those interested in connecting to
Persian oral and written literature.
Simorgh takes you through a journey
of ecological sustainability evolving
within cultural and social literacy.
Simorgh the mythological multiplicity of tale-figures, lands-in as
your mythological narrator in the
storyland; the contingent space of
beings, connecting Persian peoples
within and to Indigenous peoples, j
NASHAVOLNA
(World) §-7\>m
News, arts, entertainment and*mu- j
sic for the Russian community, local
and abroad, nashavolna.ca
LaTiESTA
(World) 7-Zvm
Salsa, Bachata, Merengue, Latin i
House, and Reggaeton with your ;
host GspotDJ.
SYNAPTICrSANDWiCH
(Dance/Electronic) 9-1 lpm
If you like everything from electro/ :
techno/trance/8-bit music/retro '
'80s, this is the show for you! j
www.synapticsandwich.net
RANboPHONIC
(£c/ecf/c; llpm-2am
Randophonic is best thought of as
an intraversal jukebox which has
no concept of genre, style, political
boundaries, or even space-time
relevance. But it does know good
sounds from bad. Lately, the program
has been focused on Philip Random's
All Vinyl Countdown + Apocalypse
(the 1,111 greatest records you probably haven't heard). And we're not
afraid of noise.
THE ABSOLUTE VALUE OF INSOMNIA
(Generative) 2-bam
Four solid hours of fresh generative
music c/o the Absolute Value of Noise
and its world famous Generator. Ideal
for enhancing your dreams or, if sleep
is not on your agenda, your reveries. (ocfreefof station memiiersl
(212) Productions
454 W Cordova St.
Baru Latino
Dunlevy Snack Bar
Neptoon Records
3561 Main Street
. Scratch Records
2535 Alma St
433 Dunlevy Ave
shows at Interurban
25% off
10% off
10% off
10% off used, $1 off new
Art Gallery
1 East Hastings
Antisocial
Beatstreet Records
The Eatery
Pacific
20% entry discount
Skateboard Shop
439 W Hastings St.
3431 W Broadway
Cinematheque
1131 Howe St.
2337 Main St.
10% off used vinyl
10% off
Temple of the
15% off clothing
10% off everything else
1 free bag of popcorn
Modern Girl
BigMama Textbooks
1100-1200 West 73 Ave
The Fall Tattooing
2695 Main St.
644 Seymour St.
10% off
People's Co-op
Bookstore
15% off vintage, 20%
Australian Boot Co
10% off
off new
1968 West 4th Ave
1391 Commercial Dr.
$30 off Blundstones and
The Bike Kitchen
Fortune Sound Club
10% off
UBC Bookstore
RM Williams
6138 SUB Blvd.
147 East Pender St.
6200 University Blvd.
10% off new parts and
No cover Saturdays (excluding special events)
Perch
10% off clothing, gifts,
Audiopile
2016 Commercial Dr.
accessories
337 East Hastings
stationery
10% off
10%offLPs/CDs
Bonerattle Music
Fresh is Best Salsa
Vancouver Music
2012 Commercial Dr.
2972 W Broadway
Project Space
Gallery
Bad Bird Media
10% off
10% off
222 E Georgia St.
118 Hanes Ave, North Van
www.badbirdmedia.com
10% off
12% off
10% off
The Cove
Gargoyles Tap+Grill
3357 W Broadway
3681 West 4th Ave.
Prussin Music
Vinyl Records
The Baker &
10% off food
10%
3607 W Broadway
319 W Hastings St.
The Chef Sandwich
10% off
15% off
Cafe
Dentry's Pub
Highiife Records
1317 Commrecial Dr.
320 Cambie St.
4450 West 10th Ave.
Red Cat Records
The Wallflower
10% off
10% off regular priced
10% off
4332 Main St.
Modern Diner
items
10% off
2420 Main St.
Band Merch Canada
Hitz Boutique
316 W Cordova St.
10% off
www.bandmerch.ca
Devil May Wear
The Regional
Assembly of Text
20% off
3957 Main St.
15% off regular priced
Woo Vintage
10% off
clothing and shoes
3934 Main St.
Clothing
Bang-On T-Shirts
1 free make-your-own button with purchases over $5
4393 Main St.
Robson, Cherrybomb,
Displace Hashery
Limelight Video
2505 Alma St.
10% off
Metrotown locations
3293 West 4th Ave.
10% off
10%
10% off
R/X Comics
2418 Main St.
Zoo Zhop
223 Main St.
Banyen Books
3608 W 4th Ave.
Dream Apparel +
Articles for People
311 W Cordova St.
Lucky's Comics
3972 Main St.
12% off
10% off used
10% off
10% off
Rufus' Guitar Shop
10% off
2621 Alma St.
10% off everything but
instruments and amps
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!
www.citr.ca
jj GSTS / NEEDS / WAR BABY / LOSSES
I February 1 / the Astoria
It's been too damn long since this writer was at
a hardcore show. It's easy to forget in a city overbrimming with sub-genres, but messy, high-gain
guitar and ludicrous-speed kick drumming still
have a home in venues just as messy as the Astoria.
Losses opened with half-finished songs, spastic
trio breakdowns, and a distinct new-car smell.
Songs that borrowed heavily from the legacy of
mathcore bands like Drive Like Jehu came wrapped
in an angry-youth package: alternated screaming,
flailing, shouting, and some seriously impressive riffage. Even though the dumb stage banter
sounded like the band trying to cover their lack of
confidence, Losses played a ridiculously tight set
for being so fresh-faced.
War Baby have improved immensely since I
saw them last, at the Princeton Pub two years ago,
or maybe I was just more prepared for their heavy
volume this time around. Grunge-meets-noise-
rock—a la A Place To Bury Strangers, but without
all the artistic flourishes—War Baby pummelled
through a lead-handed series of doomy jams led
by guitarist Jon Redditt. Even though Redditt did
his best Cobain impression throughout their stage
time, focusing on Kirby Fisher's absolutely phenomenal drumming wasn't a bad way to spend
a half hour.
About Needs: we get it, you like Les Savy Fav.
Seeing singer Sean Orr dive around, spit confetti,
and humD bandmates would have been a lot more
I fun if it didn't reek with ironic self-mocking. The I
I brilliant thing about [Les Savy Fav frontman] Tim I
Harrington is that his stage presence is genuine
and heartfelt, if bizarre. Luckily, the rest of Needs
more than makes up for an antsy frontman with
impressive talent and psychedelic hardcore breaks.
While one could argue that without Al Boyle (You
Say Party, the sadly defunct Hard Feelings) on
guitar anymore, the band's golden age has passed,
but they still have more than enough kineticism
and twice as much playfulness than in their shows
of the past.
It's perfecdy reasonable, given the band's history, to like the idea, but not the execution, behind
GSTS. Moronic, inside-joke-ridden insults thrown
from the band members to the audience like roses,
sloppy-drunk songs played twelve times faster
than the musicians can handle—these are things
we've come to expect and, oddly, enjoy whenever
GSTS play a bill. Numerous lineup changes over
the past year don't subtract from the fact that this
group of barely-legals know how to get everyone in
a venue moving. Songs share the breakneck pace
of openers Losses (to be expected, considering
the bands share a drummer), but come across as
more primal, eschewing the post-hardcore and
emo slant of Drive Like Jehu for the harder punk-
driven tone found in bands like [DLH frontman]
Rick Froberg's Hot Snakes. Yes, drummer Tyler
Corbett was wearing a Hot Snakes T-shirt. GSTS
aren't exacdy a band of subdety.
—Fraser Dobbs
WATERMELON / GAL GRACEN /
AARON READ
| February 8 / the Astoria
j Behind the stage, a water-like light projection I
j rippled on the wall. Vivid and organic, the Astoria's
j high-ceilinged arches hunched darkly in contrast.
I As the image splashed, the surrounding dimness
j seemed almost arid. The pub was thirsty and the
I stage shimmered with the promise of tunes. As
I those scattered in attendance slowly formed an
I audience, local artist/musician Aaron Read knelt I
[on stage, carefully adjusting a colourful palette I
I of looping pedals. Picking at the electric guitar,
I his light notes spilled forward and spread. Gende I
psych drones began lapping against every corner
of the Astoria. Read's fans were presented with a
medley of extraterrestrial looping and layering,
using selections of electric guitar, glassy vocals,
and violin, for punctuation. All combined, the
result was something like a drug-induced twenty-
minute trip through space. But by the end, swerving cartoon planets got a bit boring. Admittedly
pleasant, Read's performance wasn't a worthy
reflection of his new Green Burrito release, Even
Rats Can Feel the Sun. This tape is better left to speak
for itself.
Also promoting their Green Burrito cassette
release, Blue Hearts in Exile, dream synth trio Gal
Gracen played next. Comprised of local talents,
Patrick Geraghty of Role Mach (lead guitar),
Adrian Teacher of Apollo Ghosts (bassist), and
Jay Arner (keyboard), ±e pub's energy was thick
with anticipation. As a pre-recorded keyboard tune
rolled out, the set's airy soundscape emerged.
Stencilling defined guitar notes over the key beat,
Geraghty and Teacher infused their dungeon pop
with elements ofnewwavejangliness. Geraghty's
commanding vocals were a highlight of the set's
third song, "Miss June Goth." In sync with every
guitar step, his voice eased the song's key-shifting
climb. With the brief explanation, "this song is
about being pregnant forever," Gal Gracen began
a slower tune tided "Sylvan Tragedy." Its pensive
Dace became a bemoanine trudee when couDled with Geraghty's pain-stricken singing. Stretched
over a steady key beat, there was no hiding the
song's sincerity. The set's-sixth and final tune was
a weaving of melodies. The key notes orbited as
Teacher took a seat at the drums for the first time
during the set. As the song sped up, the crowd's
general enjoyment took form in some drunken
moshing. With the final assault of chords, Gal
Gracen was nodded into the echelons of one of
Vancouver's best new bands.
Taking stage in the early a.m., Watermelon
faced a bit of a fading audience. Comprised of
Thom Lougheed (lead vocals, guitar), Sophie
Sweedand (vocals, bass), and Akanee Yamaki
(drummer), the garage pop group are veterans
when it comes to playing Vancouver's indie venues.
Although playing ten well-delivered low-fi tunes,
the group's single "How I Came" proved itself,
still the definitive crowd pleaser. The set indulged
in an enjoyable mix of Lougheed's smudged solo
vocals, and his pop chant duets with Sweedand.
Set to Yamaki's timely drum trails, Watermelon
gave their audience all the catchy riffs and fuzzy
distortion they have grown to know and love. It
was a suiting end to a night filled with impressive
tunes both live and on cassette.
—Alex de Boer
GROWLERS/NIGHT BEATS/
CHAINS OF LOVE
February 13 / the Electric Owl
Chains of Love frontwoman Nathalia Pizzaro
had, at that very moment, christened the evening
with her unmistakable sultry caw upon our entry
into the tangled web of bleach blondes, black
toques, and greased-back ponies that clustered
in the Electric Owl on February 13. Donned in
black and delivering their treasure trove of goth-
spiked-garage meets lustrously gritty doo-wop,
the five-piece pleased, despite a pesky migrating
kick-drum. Promising new material peppered
a setlist full of by-now local classics, including
mega-fave "He's Leaving (With Me)." Pizzaro's
dark mane blazing, studio-perfect pitches, and
relendess tambourine ratding may have been the
on-stage energy-peak of the night.
Following the lump of solid local gold, Night
Beats had the stage preheated for them. The trio
from Seatde had accrued some thick buzz after
opening for Ty Segall in December, and surpassed
expectations. Big time. Their seriously snug
garage-surf rode the swelling psychedelic wave,
which—thanks to the likes of recent touring pals
the Black Angels — is in full renaissance. Night
Beats battered through an unforgettable setwhile
the sluggishly moshing crowd picked up some of
the radiating momentum.
A blisteringly loud kickdrum and drowned-out
vocals attested to the Electric Owl's not-quite-
right sound-mixing, but failed to effect the three
dudes dolling out soul-influenced surfer scuzz riffs
and catchy-as-hell melodies. Tarek Wegner (bass/
vocals) careened around stage, while in his matching bolo-tie, Danny Lee Blackwell (lead vocals/
guitar) had his vintage Airline guitar adorned
with beads by Growlers frontman Brooks Nielsen.
Somewhere in the back James Traeger (drums)
toppled his floor torn and smashed a cymbal to
the floor.
It is rare and magical when a wicked band with
an undetectable ego is so in their element, comfortable, and solid that there is nary an on-stage
fuck to be given. Huge red glossy wig on Nielsen:
sure. Shots of whiskey: of course. No apologies for
the technical problems with the projections, just a
simple, "We missed the soundcheck because the
border really likes us," probably has something to
do with the awesome and superbly tacky pro-pot
Growlers merch.
Once again, the continually touring five-
piece- proved they have their shit mastered.
'6os-influenced "Beach Goth" seething with
surf and psychedelia, trademarked by an ever-
laid back Nielsen's gravelly croons and yips.
The tangled crowd josded and danced happily, if not hypnotically, to "Graveyard's Full," "Something Someone Jr," and "Wet Dreams."
Nielsen's take-it-or-leave-it swagger and inviting antics made the stage feel like a highschool
sleepover with an excellent soundtrack.
Completing the night culturally, art by Bud
Snow, a.k.a. local artist Julia Davis, adorned the
brick walls. An impressive collection of dark and
whimsical simple line drawings alongside large
scale bright graphic paintings left the impression
of an artist to follow.
It was a solid night at Electric Owl, and the
dizzy crowd left in a heavy plume of nostalgia for
a moment only just passed.
—Cali Travis
TWIN CRYSTALS / APOLLO GHOSTS /
INHERENT VICES / AQUANAUT / Ut
February 15 / the Astoria
The Astoria Pub, by all rights, shouldn't be the
east-side cultural mecca that it is: walls covered
with nothing but beer adverts and a glass-covered
dance floor don't exacdy scream "Friday night,"
but when it's filled with good people it's hard to
doubt its charm as a local venue. I arrived around
11 p.m., banking on the bar's infamous late starts,
but missed openers Lie by a hair's-width.
Aquanaut is either Black Sabbath filtered
through an experimental psych-rock meat-grinder,
or the Desert Sessions with sludgy down-tempo
guitar muck in lieu of Josh Homme. The band
played a heavy 30-minute tirade of head-banging and slow, cascading waves of doom. David
Rogers (Basketball, Trail Of Broken Treaties) led
the quartet with white-noise screaming and serious guitar-tapping prowess, and it was nice to
see Keith Wecker trade in his organ for a Flying
V to mash out Marshall-backed power chords in
distortion bliss.
Inherent Vices haven't gotten anymore refined
since the last time they've played - frontman Chris
Burnside obviously doesn't give a shit about whining feedback, and the idea of muting his guitar
before he tunes still hasn't occurred to him —
but the punk trio had more than enough power
behind their songs to make up for it. Burnside —
whose inter-song quips like, "That could have been
worse," weren't exacdy endearing—has an impressive vocal range, and it saved their early-Saturday-
morning set from being just "good." Particularly on
songs like "You'll Never Break My Heart," Inherent
Vices actually have a lot of momentum behind
their just-fast-enough LA-inspired garage rock.
Although it was hard to hear over the hum of tube
amps and a loud audience, Inherent Vices packed
a lot of interesting meaning and philosophy into
songs clocking less than two-minutes.
It was obvious by the crowd that gathered right
next to the stage between sets that many had come
to see Apollo Ghosts, and the joyous dancing commenced as soon as Adrian Teacher had a hand on
his guitar. The band that can do no wrong rocked a
solid lineup of songs both new and old, highlighted
by their recendy-released single "Nightwitch," and
debuted a few fresh jams that featured two bass guitars dueling on-stage. Despite all the low notes, the
quartet never sounded muddy or unfocussed, and
even if their set wasn't quite as monumental and
celebratory as some of their shows from yesteryear,
it still soared with enthusiasm and positivity.
Twin Crystals have been keeping themselves in
the dark over the past year, so it was refreshing to
see the three noise-makers that comprise the band
returning to form. The band, ostensibly labeled
"punk," but with a harsh, depressing synth undercurrent, sounded even better than remembered,
with no sugar-cOating on vocals either bellowed or
shrieked. Songs hinged on depressing or invigorating, but always played with a dark, alley-wandering intensity; the time guitarist Jesse Taylor spent
in Shearing Pinx has added a level of refinement
to Twin Crystals' normal chaos. Veterans of Fake
Jazz found a lot to be nostalgic for in the closer's
set, but what's most interesting is this punk band's
future. —FraserDobbs
Cover Me
March 8 • Russian Hall
Early Show at 8pm • $10
Tickets available at both
doors - The Chapel (19+)
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MARCH 2013
BAPTISTS
(Southern Lord)
It's been awhile since Baptists' first recording
emerged, in the form of their eponymous seven-
inch, but the wait has definitely been worth it.
Picking up where they left off two years ago, the
Vancouver four-piece continue to create a savage
amalgam of punk and metal. But, where metal-
core mosdy comes across as sanitised packaged
rebellion, Baptists are raw and genuinely vicious.
Thankfully, they also sound nothing like that most
.creatively bereft of genres, despite sharking a musical genealogy.
While the bulk of Bushcrajf. is made up of short,
sharp bursts of raging hardcore, such as the frenetic rush of opener "Betterment," what makes
the record work so well as a whole is when the
band slows things down a bit The more measured
tempo of "Still Melt" recalls the malevolent creep
of the Jesus Lizard, while "Soiled Roots" sees the
band incorporating elements of sludge into their
sound, resulting in the album's standout track.
Ably recorded by Kurt Ballou, who's been
behind some of the best metal releases of the past
few years (Black Cobra, High On Fire, Torche), he
faultlessly captures the band's ragged zeal. As with
Baptists' debut single, Bushcrqft is being released
through the ever-awesome Southern Lord; certainly a fitting home for this excellent contribution
to the Vancouver punk and metal canon.
—WillPedley.
It's hard to know what to make of Legs' new EP
Dark Rituals, even after multiple listens.
Maybe they're a group of heartbroken losers,
led by the enigmatic and compelling Allie Sheldan,
who pours her heart out over slow, sparsely accompanied torch songs like a down-and-out Lana Del
Rey (if Del Rey was authentic and dabbled in the
occult).
Dark Rituals begins at a glorious snail's pace
with the haunting "Gypsy Woman." The song
slowly builds from ham-fisted organ chords and
guitar harmonics that burn like hot embers, before
warming into Sheldan's throaty bellow, as she
eventually coaxes and seduces the sleepy instruments into a banging crescendo of knife-edged
organ stabs and rollicking drums.
"Fiction" warms the mood of this ice queen's
psyche as keyboard effects wrap around the listener's ears like a homemade quilt But this soothing
music is just an anesthetic for the punch-to-the-
face lyrics such as "I know what I am / Do you
know what you are? / You are the one that keeps
me faithless."
Clearly Legs also know how to rock out, as
heard on the album's emotionally cathartic centrepiece, "Killer," where brothers Michael and
Chris Weiss fill the room with buzzing spy-guitar
riffs and rollicking, drums, and Sheldan taunts
the listener with what's sure to be this summer's
hipster anthem, "You don't need Jesus with a body
like that, girl!"
The EP's first three songs seem to build up to
this euphoric release, while the tracks that follow
are like the comedown from the high.
This slow race to die end finishes with "There's
a Sadness" where Sheldan sounds so choked up
that she might burst into tears at any moment,
singing over the most minimalist strums of electric
guitar. A weaker personality would sound affected
singing something so dramatic—see the Alabama
Shakes' debut—^but Sheldan owns it, and with this
EP emerges as fully formed musical force.
—Brent Mattson
THE LUDVICO TREATMENT
(Independent)
—*-■•■■ ;$
• RBI Bill
Uncollected', the Ludvico Treatment's new album
presents a layered sound, full ofbusy frantic instruments and heavy drums wrapped in a swathe of
jaded, dreamy vocals. Though this instrumental/
vocal style remains noticeably consistent throughout the album, the mood varies enough to make
each song distinct.
For the most part, Uncollected is as interesting
as the band makes it seem on their Bandcamp
page, but it can at times stray close to the overproduced sound of the early 2000s, most noticeably
in the song "Listing" and with the piano part on
"Philomena," which is a little too reminiscent of
Vanessa Carlton (of course, many people would
enjoy that).
Uncollected is at its bestwhen itlayers additional,
surprising genres over the band's basic sound.
The songs "Reducing the Patient by Physic" and
"Panacea" are pleasandy bitter and benefit from
unexpected country and grunge influences, creating an interesting contrast with the glamorous
psychedelic pop that predominates the album.
Uncollected is an experimental album that can
appeal to a wide audience and provides enough variety to capture the attention of listeners with
short spans. Though the band claim they were
originally going to leave these songs unreleased,
the album sounds tailor-made for radio. Expect
to hear it often.
—Penny Clark
THE REPOSSESSORS
(Independent)
People like to throw the term "angular" around a
lot to describe guitar playing. That said, angular
just doesn't quite cut it for AH Fixed Up, the debut
full-length from Vancouver garage-rock duo, the
Repossessors. On the opener "Homecoming," wily
frontman/ax-slinger, CJ Brabant explodes from
the starting gate with a buzzsaw guitar onslaught
packed with enough petulance to shred up more
than a few speaker cones. As soon as the manic
drumming of Kyle Valade joins the fracas, the
Repossessors set off on an escalating death race
of venomous punk-sass that drains all its fuel in 34
minutes before crashing to a sudden halt.
Brabant's lyrics are often sung so close to an
all-out wail that it seems he's either competing
with the fervor of Valade's drum storm or just
getting some kind of masochistic zeal from tearing his throat apart. It makes me wonder if "Let's
Dance" is really about dancing or something more
sinister—especially since it follows the doomy
prisoner's story of "Room 403." The Repossessors
are also more than thrilled to grind punkabilly
down to its most abraded state in "Living In The
City" and "My Section 8 Home."
One could say All Fixed Up is a straight-up guitar/
vocals/drums album, but it's really more of an
anti-bass album. The mix's distinct lack of low-end
frequencies first draws the listener's attention to
the thrashy riffage of the guitar, then to the unsettling void at the album's core. The Repossessors
launch all their aggression around this vortex
without thinking twice. This is a refreshing turn
from many two-piece garage-rock artists who often
round out the form with the wall-of-sound and
amps approach. The stark production also seems
fitting for a band featuring prominent imagery of a
lobotomy on its album cover, with terrifying focus
on sometiiinggtabtracted.
—Max Wainwright
SAM DAVIDSON
THE CASE FOR SPACE EP
(Independent)
This EP's four tracks feel like they could serve as
a soundtrack tS an astronaut-centric short film,
with The Case for Space laying the groundwork for
the film's beginning. Never before have wind
instruments and the piano been used to such an
intergalactic extent. With the beginning of "Deep
Field," a likely reference to the collage of several
different images taken of the Ursa Major constellation, the pace changes to one of urgency, with a
sense of gravity taking a hold.
By the halfway point however, like an astronaut
stranded amongst the cosmos, I too felt lost. The
strength of an instrumental piece usually lies in its
ability to remain ambiguous and yet still provide
some direction for the listener, but the latter half of
the EP feels disconnected from what's established
in the opening tracks.
The grand finale, "He Was Awesome," may
actually be the most enjoyable track on the
album, but it suffers from a sense of being anti-
climactic. The 13-minute run time of the Case for
Space is likely what's holding the EP back from
being a standout collection. While the listener
is certainly taken on a musical journey, that
journey is cut short, ending right when the
exciting momentum begins.
—Jacey Gibb
(Secretly Canadian)
On their sophomore effort, Images Du Futur, Suuns
have effortlessly created a consuming collection of
tracks by extrapolating their affinity for simplicity.
Breaking from their formal jazz training, the young
Montreal-based quartet again show they will not
easily be pigeon-holed to a lone genre. Recorded
during last year's Quebec student riots, Images'
uncomplicated compositions allude to a time of
uproar and confusion, while employing diverse
themes and structured hierarchies to formulate an
album that finds strength in this diversity, while
simultaneously creating a coherent whole. The
most baffling part is Suuns' ability to pull this off
with such subtle grace.
Using their various musical tastes to craft an
eclectic record that bounces from Krautrock to
haunting post-punk to uncomplicated dream-
pop, the opener "Powers of Ten" is a microcosm
for Images Du Futur's multifaceted vision. It eases
listeners in with a patient grandeur that builds to
a riotous cowbell-infused post-punk explosion.
"2020" focuses on Joseph Yarmush's lead guitar
as it nervously ascends, slinking toward an anxiety
inducing rhythm that finds its groove in a tempo
just outside of pop music's comfort zone.
It is not until nearly the halfway point that Ben
Shemie's out-of-focus vocals find comfort in their
blotted charm. It is tracks like "Edie's Dream"
and "Sunspot" where the imperceptibility of his
vocals are at their finest as they drag listlessly
through rhythms that are as heavily indebted to
British post-punk revival records as they are '70s
Krautrock.
The album poignantly closes as the title track's
subdued ambience segues to the album's final
juncture, "Music Won't Save You." As an extension
ofZeroes QC's unwillingness to be labelled, Images
Du Futur is exacdy what fans should be asking for:
it's a record that, like Suuns, is difficult to categorize, inspired by the authenticity of a population
seeking functional solutions to its diversity.
—Robert Catherall SWISSLIZZ
(Young and Now)
LEIF VOLLEBEKK
(Outside Music)
Often with hip-hop, the artist's vigor and self
confidence are just as important as skill when it
comes to gaining an attentive audience. Vancouver
producer/MC Swisslizz seems to have attacked the
Murk Season mixtape, his third release, with this
in mind. Full of poise and creative energy, Murk
Season holds true to the hip-hop mixtape tradition
offering a variety of tracks that showcase the artist's versatility.
Swisslizz starts off slowly with "Ether Kill,"
an earnest mission statement laid over a simple
piano track and a steady beat. Things quickly pick
up and head down south with "My Cup," a toast
to purple drank, Lil Wayne style. Swisslizz then
quickly busts west, cruising through Too $hort's
'hood on "Bad Bitch Status." Things get heavy on
the title track, "Murkseason (Bonfire Remix)," a
dark display of rap bravado that just may get you
believing that this young Vancouverite might be
the new shit.
Swisslizz drops things right down for a decent
R&B jam on "My Girl," before heading to the club
with friends DatboiYc on "City Lights," T-West
Cost on "T-Swagg," and Addyie on "Stay Fly,"
the clapping beat of "T-Swagg" being the most
infectious.
Swisslizz ends the mixtape with the truest display of a rapper's prowess and skill on the freestyle
track, ''Shock the World." A valiant effort that,
if nothing else, attests to Swisslizz's relentless
confidence and his undying passion for everything hip-hop. After listening to Murk Season, it's
evident that Swisslizz isn't backing down anytime
soon, he's just going to keep coming at us rhyme
after rhyme.
—MarkPaulHus
Leif Vollebekk just might be Canada's answer to
the Tallest Man On Earth. With Vollebekk's second
release, North Americana, he has managed to capture a woodsy soundscape with a minimal set-up,
producing a delicate roots treasure. While the
album features various moments of bass, drums,
violin, and tenor sax, Vollebekk's acoustic guitar
and vocals command the focus. His warmth and
impassioned conviction brighten the isolationist
mood he projects. It's a comfortable isolation,
one where you smile contentedly after a long
mountain hike.
Vollebekk shows offhis worth as a folk musician when he's at his simplest On "OffThe Main
Drag," he takes a slow-paced melody and exposes
its emotional honesty through his strong, tender
voice. His tone is beautiful, shaky, yet dedicated; a
perfect mixture of strength and sensitivity. As the
track's inner beauty comes to a close, Vollebekk
ends the song with a reserved harmonica, adding
a touch of Bob Dylan to his sound.
While Vollebekk thrives with his low-key
musical style, songs like "A Wildfire Took Down
Rosenberg" and "From The Fourth" inducing
a tear-jerking simplicity, his loudest and most
confident, "When the Subway Comes Above the
Ground," conjures up all of Vollebekk's hidden
passions and creates his strongest track on the
album. Its barreling, assertive nature is helped
by its nearly seven-minute length, a rhythmic,
emotional journey of a song.
Vollebekk is truly an honest musician and North
Americana is a well-crafted folk album. His voice
is pure and his guitar is worn with character. Leif
Vollebekk will surely be a name in the Canadian
roots scene for a while to come.
—Evan Brow
f The June 1992 issue featured Teenage Fanclub,
Buffalo Tom, Music West, arid Courtney Love. Swoon.
Holler at this cover and 29 others in Discorder's
15-month wail calendar.
Introducing the new
LiveVan.com AfP
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ROMMY
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PROJECT   GHALY
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gBOSUS by JOSEFA
CAMERON
NOODL photo by
JADEJQRDANCIN
lettering by
DANAKEARLEY
1ST PLACE
NOODL
(A.K.A. JEFF FENOLI)
Every year, CiTR holds its legendary "Are You That DJ?" competition. The event has been the
fire to heat the protostar before
shooting off for many DJs. This
year's spin-to-the-death was
held at the Pit Pub in November,
where eight DJs competed. The
top three won CiTR swag, slots
on air, and live sets at both
Fortune Sound Club and TLC
Wednesdays at the Biltmore.
In February, we learned all
about second and third place winners Sqrrl and 626. This month,
we chat with first place winner
Noodl (a.k.a. JeffFenoli).
Discorder: When did you start
DJing and why?
Jeff Fenoli: At the beginning of
the 2012 school year, CiTR offered
free DJing classes. So this is officially a huge thanks to you guys
and the instructor Oker Chen.
It was in Montreal that I really
got into electronic dance music,
started mixing, and wanted to DJ.
I'd download a bunch of stuff
from blogs and listened while I
worked. I started putting some
playlists together and spent hours
thinking about the progression
and what song should come next.
I found myself most comfortable
at parties when I was picking the
next song. I started to produce
some electronic music and a
friend told me I should look into
DJing. I thought I wasn't really
interested, but I realize now that I
was already doing it.
D: Who got you interested in "Are
You That DJ?"
JF: I heard about it from Oker and
started practicing right away. I
also had a Kiwi roommate who
won third a few years back and I
thought it would be cool to have
that experience to share with him.
Most importantly, I just wanted a
chance to get to try it out for real
and to get people to dance!
D: How did you pick your DJ
name?
JF: One of my friends used to
call me "noodle" because my last
name is Fenoli. I stuck with it.
D: What equipment do you use?
JF: I'm using a borrowed MIDI
controller (M-Audio X Session
Pro) and my computer with Virtual
DJ Free.
D: Who are you listening to right
now?
JF: Lots of DJ Q, DJ Jayhood, St.
Vincent, Radiohead, the Knife,
Gorillaz, Peter, Paul and Mary, Yes,
King Crimson, Eric Whitacre, and
Telepopmusik. I also really
like Mother Mother's 0 My Heart.
D: Does what you are listening to
majorly influence your DJing?
JF: Not so much yet. I'm trying to
push into new territory.
D: What genre would you categorize your mixes as?
JF: Sexy, garage-leaning house
with sprinkles of ghetto club.
D: Is there a particular band/artist
you play frequently?
JF: Lately, I've been hitting up
Duke Dumont quite a lot. Bla-
wan, French Fries, and Boddika
a lot too.
D: What advice do you have for fellow or beginner DJs?
JF: Find your own sound. Play
what you love. Don't limit yourself by genre or time period. Study
and listen to other mixes and DJs.
Think about the direction and flow
of your mix, and listen and dance
to them.
D: What is your favorite part about
being a DJ?
JF: Getting lost in the music
while seeing people get down and
excited about it.
D: What are you most looking
forward to in the year 2013 in the
music world?
JF: Sexy vocal samples, bass-heavy
techno, and more subtle house
music.
D: How has CiTR played a role in
your life as a DJ?
JF: The CiTR 101.9 DJing classes
got me started. This competition
was my first chance to play outside of a house!
D: Where do you see your future as
a DJ from here?
JF: I'm graduating this year and
after that I'm planning to DJ. I'd
also like to spend more time
producing. CITR 101.9 FM CHARTS MSSBST
SU. ™51 h / w, ' f m e1 **?£?on the air to c,m lovelJ Djs last month-ReMfds w* asterisks (*) are Canadian and
those marked (+) are local. Most of these excellent albums can be found at fine independent music stores across Vancouver If vo
can t find them give CiTRs music coordinator a shout at (604) 822-8733. Her name is Sarah Cordingley If you ask nicely she'll
tell you how to find them. Check out other great campus/community radio charts at mme^SSm.
ARTIST
1 Babysitter*
2 LeE HARVeY OsMOND*
fl^tf- The Falcons*+
4 Thee Ahs*+
5 Glass Armonica*+
6 Boats*
7 Cuff The Duke*
8 Doldrums*
9 Lisa's Hoteakes*+
10 Car 87*+
11 iu.'»fr
12 Renny Wilson*
13 Kolapore*
14 Daniel Romano*
15 Pugs and Crows Band*+
16 The Shilohs*+
17 Various
18 Scott Walker
19 Lost Animal
20 Slow Learners*+
21 The Soft Moon
22 My Bloody Valentine
23 Unknown Mortal Orchestra
24 Hidden Towers*+
25 The Good Lovelies*
ALBUM
Eye
The Folk Sinner
Rebel Jukebox
Future Without Her
LABEL
Psychic Handshake
Latent
Falcon Beach Music
Self-Released
UaitSthjctitre
Trapped
Gem FatCat
Sugarglider Mint
Come Cry With Me Normaltown
Fantastic Pictures Self-Released
So Wild Light Organ
Django Unchained Republic
Bish Bosch 4AD
Ex-Tropical Hardly Art
Habit b/w Party Police Perfect Master
Zeros
Captured Tracks
Self-Released
Olympus Mons
Live At Revolution
Defiled Under Music (DU:M)
ARTIST
26 Jennah Barry*
27 The Luyas*
28 Bating My$elf*+
29 maQLu*+
30 typrios*+
ALBUM
Young Men
Animator
LABEL
Self-Released
Paper Bag
Self-Released
Self-Released
The Lap Dog
Self-Released
31
Godspeed You! Black
Emperor*
'Allelujah! Don't Bend!
Ascend!
Constellation
Paper Bag
'mm
Eternal Tapestry
A World Out Of Time
Thrill Jockey
Arbutus
33
Sex With Strangers**
Behaviours
Big Dada
Self-Released
'M
Dear Suzy*+
Die Holle Orchestra
Hive Creative Lafis
Self-Released
35
Mountains
Centra lia
Thrill Jockey
Have Not Been The Same:
The Ca nRock Renaissance Pheromone
1985-1995
Light Echoes Cuneiform
Shut Down The Streets Last Gang
The Marriage Of True Minds    Thrill Jockey
40 Widowspeak
41 Dum Dum Girls
42 This Hisses*
43 The Matinee*+
44 Psychic Ills
45 Yacht Club*
46 10 Echo
47 Relic*
48 YoLaTengo
49 Lust For Youth
50 Warm Soda
Almanac
We Swore We'd See The
Sunrise
Nonnavera + Flash
Self-Released
Sub Pop
Transistor 66
Light Organ
Sacred Bones
Pretty Pretty
lamsound
Fade
Growing Seeds
Someone for You L $ 0- H T OR JAN R&C Q RD 3
WE ARE 9SO WILD*
ABOUT YOU! |
Znln Records saltites
the smooth .sotmd of
VaBcouver's label
to watch****
THE HATINEE
WE SWORE WE'D SEE THE SUNRISE
| twltter.com/zulurecords
,    .    . T facebook.com/people/
tacebook zuluRecords-Store/680210042
tlimblr. zulurecords.tumblr.com
K£WW&
Zulu Records
1972-1976 W-4th Ave
Vancouver, BC
tel 604 738.3232
STORE HOURS

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