Discorder

Discorder CITR-FM (Radio station : Vancouver, B.C.) Apr 1, 2013

Item Metadata

Download

Media
discorder-1.0200810.pdf
Metadata
JSON: discorder-1.0200810.json
JSON-LD: discorder-1.0200810-ld.json
RDF/XML (Pretty): discorder-1.0200810-rdf.xml
RDF/JSON: discorder-1.0200810-rdf.json
Turtle: discorder-1.0200810-turtle.txt
N-Triples: discorder-1.0200810-rdf-ntriples.txt
Original Record: discorder-1.0200810-source.json
Full Text
discorder-1.0200810-fulltext.txt
Citation
discorder-1.0200810.ris

Full Text

 STUBBORN BLOOD • SARA BYNOE ■ 108EATIO ■ DISCQRDER'% RECORD STORfBAY SPECTACUW • FIVE SIMPLE STEPS TO HAKIMITAS A MUSICIAN • RUA MINX & AJA ROSE BOND Limited edition!
Only 100 copies printed!
1
i     UCITR
it                         .-■ K>1.9pm/C1TR.ca
DISCORDERJHN MAGAZINE FROM CiTR,
CELEBRATES THIRTY YEARS IN PRINT.
• LIMITED EDITION 15-MONTH CALENDARS
\ AVAILABLE FOR ONLY $15.
! VISIT DISCORDER.CA TO BUY YOURS
; AND SUPPORT CiTR & DISCORDER!
UPCOMING SHOWS
ISQILWQRK
1 Loomis, Blackguard, The Browning, Wretched
DAVID NEWBERRY
| plus guests
FIELDS OFGREENEP RELEASE PARTY
H23
M
m
$12t
PAGAHFESLwithEHSIFERUM $30*
Tyr, Heidevolk, Trolffest, Heisott
GODSOFTHEGRMIteeOAIWHORE  s2Q
| TYRANTS BLOOD, EROSION, NYLITHIA and more
CASUALTIES
Dayglo Abortions
PICKWICK
m
$14:
0IR15 ROCK CAMP feat. BEND SINISTER $12^
Anchoress, Vicious Cycles & Mete Pills i *|§ fm
LA CHINOA (ALBUM RELEASE) *»3S
NO SINNER, THREE WOLF MOON & KARMA WHITE $J2 door
,_ gwiecei£bratc429WithTHESKATMJTES ;22 '
*m The Valuables, Jonny & Corey from East Van Soul Club $25 door
tickets oniine: enterthevault.com     i .
tteketweb-ca         | J??
instoreiScrape                     j 7PM
tickets available at door only      j doors
Proceeds to WISH Drop-In Centre j 6PM
tickets onftie: tiCketweb.CS
In store: Scrape
tickets onfine: fiveatrickshaw.com
northemtJckets.com in store:
Scrape, Neptoon, Bully's
in store: Scrape, Neptoon, Bully's
Gastown Tattoo, Red Cat, Zulu
tickets online: irveatrickshaw.com
ticketweb.ca In store:
Scrape, Millennium, Neptoon
doors
7PM
doors
8PM
doors
8PM
doors
8PM
254 East Hastings Street • 604.681.8915
cdSS
MAY HIGHLIGHTS
MAY1   KILLING JOKE with Czars
$20+S/Cadv,   DOORS 6PM
MAY 4   SINNED Zukuss, Excruciating Pain, Entity
$9+S/Cadv.   DOORS 8:30PM
MAY 5 KVELETRAK burning ghats, plus guests
___ $16.50+S/C adv.   DOORS 8PM
MAY 10 APOLLO GHOSTS FINAL SHOW
plus guests   $8+S/Cadv.   DOORS 8PM
MAY 13   HYPOCRISY KRiSlUN, ABORTED, and more
$30+S/Cadv.   $35 at door   DOORS 7PM
!«fditiorial showljifcings, tiqgvt info, band tap, video^gphd more are online at
twwwJiveatrickshaw.com EDITOR'S NOTE: ON GARAGE BANDS, DJS, & MUSICAL TWITTERPATION
My first band was called Lobster Stew. It was a garage band (location-wise,
not genre-wise) formed in spring of'98, a duo with my eighth grade best
friend. I played drums and yelled. She played guitar and workbench. After two
jams, things like rowing or swim practice, drinking slushies after school, and
our general musical inability set in, and we fizzled. 15 years later, I'm in my
second-ever band with my present roommate/platonic life partner (PLP). We
haven't practiced yet, but we have a few whiteboards worth of ideas, a bitchin'
band name, and I'm slowly learning to play glockenspiel and a mini Casio
to catch up with her violin and button-pushing skills. We'll keep you posted.
I've never played a show in a band, but in March, said PLP and I had a DJ
night for the first time. I know people often slog on DJs, but hear me out. We
rounded up our favourite vinyl from our collection and played records-only for
four hours at a local pub: anything we wanted, from Robert Palmer to Joan Jett
to Beastie Boys to Nick Cave to David Byrne to New Values to Black Eyes and so
on. It wasn't so technical that we had to beat match, but we got the fade down
pat by the end (!), and even turned the grimacing face of a twentysomething
fellow—clearly forced there with his family for a meal—into a chipper smiling
one through great tunes over the course of their visit. Buttons and T-shirts
were made in honour of the night. Bands and "real" DJs might guffaw, but I
had the most fun day of my life.
My point is that playing music for people is awesome, whether it's a
syncopated cacophony of sound in your garage to nobody, or playing other
people's music to a bar full of friends and strangers. I'm overwhelmed with
emotions and memories tied to songs and their settings, for myself and the
bar patrons, whether they were even listening or just yelling in conversation
with their friends over beers, or more interested in the TVs and the street folks
that stumbled in every so often. That feeling when someone approaches you
and asks, "Who is this?" with intrigue, because they're hearing someone new
who they like and want to know more.
That's our goal at Discorder every month. We encourage you to explore live
and recorded music on your own terms, but there's so much music to hear
and artists to see that it's close to impossible to discover everything on your
own. If you leaf through this issue or scroll down these pages and are intrigued
enough to say, "Who is this? I want more!" we're doing something right.
We've focused a lot of content on the heart of music this month. From
the D.LY. process of making music on page 18, to the places people practice,
in our new column Jam Space on page 11, to the then-and-now of Record
Store Day on pages 9 and 19, and heaps more, we hope to stoke the embers
in your musical soul, whether it be as an enthusiastic participant or bashful
spectator. Spring is in the air. Shake off those dull grey cobwebs and get
musically twitterpated. April is on.
Read on and stay rad,
Laurel Borrowman
FEATURES
REGULARS
9-The Evolution of Record Store Day We love Bandcamp,
Soundcloud, and Rdio just like the rest of you, but here's
a reminder about why good ol' wax and vinyl still reign
supreme.
By Alex De Boer
12- Discorder Revisited: Stubborn Blood Reunites
The winners of SHiNDiG 1986 reconvene for an April reunion
show 25 years in the making.
ByJaceyGibb
14- Tobeatic The six-headed beast has just released its first
LP. Earplugs not included, but highly recommended.
By Coleman Ingram
16 - Sara Bynoe The Vancouver facilitator-of-funny chats
crappy writing and forlorn teenage memories, and why they
are hilarious.
By Evan Brow
18- Five Simple Steps to Making it as a Musician It's D.I.Y.
and as easy as 1,2,3,4,5. More or less.
ByJaimie Kendall-Ward
19-Discorder's Record Store Day Spectacular!
Between herds of special releases and in-store performances
all around town, we know making decisions can be tough on
RSD. Fear not. We've got a mini-manual to help guide you.
By Discorder Staff
04 Here's The Thing For Love & Money
07 Filmstripped Sound City
11 Jam Space Too High Crew
20 Calendar Paul Wong
22 Program Guide
26 Art Project Rua Minx & Aja Rose Bond
29 Under Review    I
33 Real Live Action
38 On The Air Good Morning, My Friends!
39 Charts
1 CHECK DISCORDER.CA ON THE REGULAR FOR NEW ARTICLES, PHOTOS, AND ALL THINGS MUSIC RELATED!
Editor
Laurel Borrowman
Art Director
Jaz Halloran
Copy Editors
Jordan Ardanaz,
Steve Louie, Leslie
St. Marie
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
S ipjgji!
Student Liasons
Zarah Cheng,
Dorothy Neufeld
Proofreaders
Evan Brow, Tristan Koster
Photographers & Illustrators
Britta Bacchus, Tyler Crich, Jonathan Dy,
Mark Hall-Patch, Donna Huanca, Victoria
Johnson, Jade Jordancin, Dana Kearley,
Gina MacKay, Chirag Mahajan, Kim Pringle,
Aja Rose Bond, Michael Shantz, Ola Vola,
Ryan Walter Wagner, Paul Wong
Cover
illustration: Ola Vola, lettering: Kim Pringle,
Discorderlogo lettering: Michael Shantz
Writers
Jordan Ardanaz, Evan Brow, Matthew
Budden, Josefa Cameron, Robert Catherall,
Penny Clark, Alex De Boer, Fraser Dobbs,
Jacey Gibb, Coleman Ingram, Jaimie
Kendall-Ward, Brent Mattson, James Olson,
Shane Scott-Travis, Jordan Wade, Max
Wainwright, Bob Woolsey, Chris Yee
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.
©Discorder 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. H)R LOVE
& MONEY
by BOB
WOOLSEY
illlustration by
DANAKEARLEY
On BoxiKG Day, 2004,1 packed my life
into the back of a U-Haul truck and travelled
south to what was then the third largest film
production centre in North America. My mother
wept as she watched me leave. My father worried that my chosen path wouldn't support me.
I had no idea what I was doing but I knew I had
to go try it out despite the misgivings of my family. There was a clear moment when I realized
■2 flb,ajf my parents didn't quite fathom the idea of
me going to school to learn how to write creatively, much less actually finding a job that
would support me. My dad sat me down one
day as I applied for student loans, looked at me
compassionately and said, "Maybe you should
just get your electrical and, you know, have that
as a backup."
One year later I graduated from the screen-
writing program of a pretty decent institution. I
was instantly unemployed and wandering from
coffee shop to coffee shop with my resume in
hand. This was during the pre-2008 boom for
pretty much everyone in Vancouver—except
newly graduated writers .looking for someone to
hire them on the strength their epic sci-fi space
opera script. I did finally find gainful employment. Yes, it was removed from my chosen profession, but it was money and I've been supporting myself ever since.
All the while I've been hustling any way I
can to keep my dream of being a professional
writer alive. It's been a tough and winding
road. As much as I like to whine about how
hard my magnificent life free of war and poverty has been, there are a lot of Vancouverites
just like myself who are magnificent artists
be it written, musical, film related—the list
goes on and on—who serve you coffee every
morning just so they can pay the rent on their
shoebox and buy ramen noodles to sustain ■"
themselves. So why do we do this?
I believe the answer is rooted, as are many
awesome things, in the *8os. To say that I'm a
product of this decade would be an understatement. I own He-Man toys, Star Trek: The Next
Generation shaped me in a fundamental way,
±e Challenger disaster was etched upon my
toddler brain, and I believe, above all else in
this world, that I can be anything I want to be
so long as I put my mind to it. Because I was
taught that. In the '80s.
I've had my mind set on this writing thing
for a long time now and I still don't make any
money off of it. In fact, it costs me money to
continue to do what I want. My financial advisor
tells me that paying a large chunk of my income
to a "job" that's doing nothing to pay my bills
is a bad idea. He says I'll never get rich this way.
He stops short of telling me I should pick up a
trade, but I can see it in his eyes. They are the
same compassionate eyes my father had: they
care, but they don't quite understand.
While a good chunk of the population is
spending their weekends getting drunk at clubs
and watching mindless TV about catty housewives from all over the place, my artistic barista
brethren and I are out there trying to make stuff.
Good stuff that has a chance to effect an audience. Here's the thing about trying to make a go
of it in any artistic profession: at the end of the
day, it's about communication. I like expre^sX ': \
ing myself through stories about other people.
It's how I process my life and all the crazy stuff
in this world. If I wasn't trying to make a real
writer out of myself, I don't know what I'd get
out of bed in the morning for. It sure as shit
wouldn't be to fix the wiring. Even if that does
pay significantly more than my current rate of
zero dollars per hour. I
lJRlL 2111
EAT. DRINK. DANCE. PARTY.
(AND NOT NECESSARILY IN THAT ORDER)
CARIBOO PRESENTS: FREE SHOW
TIMBRE PRESENTS: DAEDALUS w/ TWO FRESH, RYAN HEMSWORTH, SAMO
SOUND BOY
FUNFUNFUN w/ SLEEPY TOM
ELECTRIC OWL & INTIMATE PRESENTS: CHRISTIAN MARTIN &
SMALL TOWN DJS w/ RYAN WELLS
COSMONAUTS // THE GARDEN // HALLOW MOON // + GUESTS
GREY EMPIRE // WHATS WRONG TOHEI // FUTURE TITS
SHEREE PLETT // VIPER CENTRAL
FUN FUN FUN W/ SLEEPY TOM & GRIZZANDOLE
THE DIRT // THE GRIZZLED MIGHTY // THIS IS THE SHOES
FU MUSIC - OLD TIME MACHINE // CORBIN MURDOCH // DAVID NEWBERRY
STUART DAVIS -ZACK DAVENPORT - DINNER SHOW
BLUE MORRIS ROCK & ROLL BURLESQUE
STOLEN ORGAN FAMILY BAND // BEACH DAY // CHAINS OF LOVE
CHI SUN COMEDY // SHERLEE GNOME
FUN FUN FUN PRESENTS: HUMANS // SABOTA // MAX ULIS // LADYFRIEND
SWAK PRESNTS: THE VEILS
NOSCHMO JAZZ DINNER CLUB w/ SQUAREHEART
TIMBRE PRESENTS: FAMILY OF THE YEAR w/SPECIAL GUESTS
DOMFRICOT//JPHOE
GOOD HOUSE KEEPING - PRINCE CLUB w/ SLOW DJS & FUNFUNFUN
MARY LAMBERT
& mmwm !
electncowlsocialclub
IHBAYSATELETEKOml
electricowl ca
electricowl ca
llJiSTRS
#* fkUU
926 MAIN STREET, VANCOUVER //  RESERVATIONS rELECTRICOWL.CA Record Store 0^^o(W,^
^WeWto^.^eco^
NewW
Check us ou,^-_
RED CAT RECORDS
ML   ^^^re^ORD STORE DAB VWTHUSI
HUGE SELECTION OP RSD ITEMS1 BANDS!
TICKET GIVEAWAYS AND PRIZES!
STOREWIDE SALE!
moreinpoat www.redeat
Record Store Day Sale
AH Used Vinyl
30% Off
1317 Commercial Drive
604-251-6964 WWWthighifaworkl.com _
Check Us Out!
April 20,11am~-6pm
SIKHESK
HEIHiniUH
439 west Hastings St   604-683-3344    »nfo@beatstreeU '.   A   -
SOUND CITY
(2013) directed by DAVE GROHL
by ANGELA
ESPINOZA
illustration by
MARK HALL-PATCH
Everybody loves an uplifting rags-to-riches
story, where the impossible becomes possible. In the case of
Sound City, there are many instances of the staple underdog tale,
but the reality is that life is like a roller coaster. To say the legendary Sound City Studios had its ups and downs is an understatement, as we see in Dave Grohl's directorial debut, Sound City.
Sound City summarizes the rises and falls (you bet that's plural) of the Van Nuys, California, recording studio. To quote the film,
it was best described as a "dump." Empty beer bottles were strewn
about, chunks were missing from the walls, and floor tiles were shattered. This, we quickly learn, was part of its charm: Sound City Studios
wasn't some glamourous high-end establishment. It was a place of raw
honesty and the home of a literal one-of-a-kind model of "the Neve
Console," a very expensive, custom Neve 8028 mixing board. This console was the studio's livelihood and brought the likes of Fleetwood Mac,
Tom Petty and the Heartbreakers, Charles Manson (yup!), Nirvana,
Weezer, Rage Against the Machine, Johnny Cash, and dozens of other
artists through the doors.
Opened in 1969, Sound City Studios had some of modern history's greatest albums recorded there in its four decades of existence. Fleetwood Mac (1975), Holy Diver (1983), and Nevermind (1991)
all were recorded at the studio, and we hear the stories of these
EMPTY BEER BOTTLES WERE STREWN ABOUT,
CHUNKS WERE MISSING FROM THE WALLS,
AND FLOOR TILES WERE SHATTERED. THIS, WE
QUICKLY LEARN, WAS PART OF ITS CHARM:
SOUND CITY STUDIOS WASN'T SOME GLAMOUROUS HIGH-END ESTABLISHMENT.
albums from the living owners and artists who worked at Sound
City. The emotional, sometimes intense stories—particularly those
of Rick Springfield—from those who were there, shed light on the
studio's importance.
However, those illuminating interviews span about 70 minutes
of the film's 108-minute run-time. The next 40 minutes follow Grohl
and several key interview subjects (Stevie Nicks, Tom Petty, Rick
Springfield) gushing over each other while recording songs dedicated
to the establishment. The problem here is that all this occurs in
Grohl's own Studio 606, not at Sound City Studios. What makes the
scene's sincerity more questionable is that Grohl, as filmed, purchased
Sound City's signature Neve Console for 606 studio in 2011, thus
bringing Sound City Studios to a close.
There's a lot tackled in Sound City that often feels jumbled and
unbalanced. That said, the studio's history and the effect modern technology has had on the recording process are important topics the
movie covers. Grohl's directorial debut is, like Sound City Studios'
own endeavours, an honest effort meant to encapsulate great moments
in music history and music's future. Unfortunately, the disconnect
between the two suggests Grohl should have considered making two separate movies.
As a music enthusiast but non-musician, I
recommend Sound City for those who have been
(or hope to be) involved in the recording process. The film is a great introduction to the art of
recording and inspiring in terms of musical development. If you're looking for a film just to pass
some time, Sound City might be the history lesson
you didn't ask for. T The February 1993 issue marked the tenth glorious
birthday of Discorder magazine. There was chocolate
cake and goodie bags for everyone.
.   Give birthday bumps to this cover and 29 others
in Discarded 15-month wall calendar.
■e&efi£&
SW1NGROWEBS
<6ood <€o
t The June 1994 issue featured Boneclub, the Inbreds,
Music Waste, and Urge Overkill. Discorder, you'll be
a woman soon.
Serenade this cover and 29 others in Discordefs
15-month wall calendar.
SEPIATONIC
POIITLAND-   OR
RU//ELL BRUHSR «   BLACKBERRY WOOD
BflfWnflFI/H DflnC€ ORCHE/TRfijft  BjEILE, DEE
THE CREAKMG PLAflK/ * JpTiPftnY B
/UPER AflD THE <SET HOT   |   HARD TlfflE/HIT PARADE
ROCK AflD ROLL BURLE/QUE Jfbj APPL8j|
.    Bonemifln acro (/eattleI * mADAmEmAEi
CAfllEQ L€CRO(ft *   D€ZID^€»DJflnGflRC€flU
I DflnrwMEL/en ^»iry ftnne
YfinCOUMER  TAP QgUCE jfipaETYw,.;dkh j|
T The May 1995 issue featured Simple Machines,
Mystery Machine, Glueleg, and cover illustration by
I, Braineater. No cats were harmed in the making of
this issue.
Gently pet this cover and 29 others in Discordefs
15-month wall calendar.
L_ Rto>Sto*£
by ALEX
DE BOER
lettering by
KIM PRINGLE
illustration by
OLA VOLA
The lineup of denim-clad dudes, hip, stroller-pushing parents,
and dreadlocked twentysomethings clog the sidewalk, the mismatched crowd eagerly
anticipating something. Judging by the varied demographics, maybe it's customer
, appreciation day at the coffee shop. Maybe the latest iPhone is finally available. Or
maybe it's April 20 outside the local independent vinyl joint, and music lovers from
miles around are flocking to take part in Record Store Day's sixth year.
Happening on the third Saturday of every April, RSD is known for its vir$rl sales, live
in-store performances, and limited edition albumifieassues. Since 2007, it has grown
from an American grassroots movement into an international event. RSD has become a
global celebration and local pulse-check of community and culture.
Independent record stores align themselves with community through their business
approach, amongst other things. RSD is often a record store's most profitable day of
the year and the special releases significandy contribute to the influx. Snatching up onetime reissues is a major priority for many collectors, just as selling them is a •-♦ "WE USED TO JOKE THAT RECORD STORES
WERE THE FIRST PLACE YOU CHECKED
INTO IN TOWN TO FIND OUT IF THERE WAS
SOMETHING GOING ON."
crucial source of revenue for many stragglingjplres.
Unfortunately, they also have Craigslist profiteejs^ compete with, who often buy and resell rec^ras ^nnV#
higher price. Still, business is business rip^^'^
Not for most independent record storesih Vancouver.
Rob Frith, owner of Vancouver oJ^ffS|ftviv|ng record
store, Neptoon Records, addresses this issue by explaining
mejjlotment and selling procedureof RSD releases. After v>
placing orders on desired jjiDrds' IBfe:(ft^^^p^^^
percentage of those that ali|e is ippis a^^^tst^^^r^g
^^S^m^^^^i only get 2,^^-says. This potential short-
^^^^^fel%cerbated by those who buy multiple copies
^^n^^^supply records just to rfSlsIl tiie^^&g
wring more for real music fanslhan making a b^p^
Fritttxplains that Neptoon will hoMofd^^^^MrM8^
theiStaff, northekbestcustomers. Instead,theyhoj|>|(||
| the sacred justice or b$§ag|lggt InMfcAs fef«^^^ted|*'--
catiojl to fairness, lfefe)on|Jso limits sales to one>cd^wi
of eA limited release per person. Most RSD releases end
up s|png out either way, but implementing Ibese rules
still fjjsks sales losses. May^S's rock 'n' roll capitalism.
d Maype it's the bonding of art and business. Eithet^ay it
l prov|| irid^peadent record stores side with culture^K^
comlferce.^^
2Mu ^B^ffl^:man%er Nic Bragg recalls host; "We used
Jo joB jwft^cp^^to^lKlft^ft^M^^bi checked
Jj||to & lo^ti ^^fij^mif there was^^ip^jping on."
Jl^oflingroJfeagg, in both the early days a^^feow, record
^^^ttbtv^W^^f^^tioned as "cultural ambassadors."
Despite their decli»Afban presence, Bragg has noticed
a revival in their on^iau&rnportance in the past few years.
Working at Zulu, he's seen how people tend to "burn out
on streaming music" and accidentally remember what it
feels like to interact with a physical piece of music. Since
it began in 2007, RSD has helped those people stuflsu^^^to
Jpileilght direction.
iffl &Wbough Zulu Records also puts a cap on the num-
^W of records customers can buy on RSD, Bragg says
over-commercialization is still an issue. He explains^^rf#
always hard to measure when something's too commercial
because efery^ting about Record Store Day is commercial,
whether it'^^a^wi^^^^'dr'tf^pf lajbet commercial." <'
; Some of the dayfs corruptions, however are more obvious '
^^^OT[^K.%ai^p^s^wws^^^^^^^^|^«
j^Sces. '^^^usua%lrar^Jra^^e^Eexlo^stpisOt
fe^&M^ Tr||y sometimes m^W0'^^m^i mmfis|p*C;'',V
\sQrfe1^es they end up on eBa^pbS'^enj-^^y|^cking <~
ot RSD onto Black Friday iSalsoVj^t^ti^lsswthat;^
Bragg likens to "arbitrarily deciding to have a Boxing Day
in the middle of the y^/_'Atife^|$^w-|ssiagated^^^#
major labels, Bragg isn'tibo quicl^p^dge. "The re#tste^
business is tough^p thS is just^oiher opportun^^^y
survive."
The goal on RSD|atfu perhaps the industry's im^nfC'il
fc#eivM tactic is, as Braggl^^^tO^m&d peop|^!^fefe%^
Be nrosic and record stores and brick-and-mortar loads    '
^^o^cMisinesses have in the ^^^fi^^^MrMt's OfMC -^
ion is Similar andjboAr ffl^mall stories of how ofeM^
the years, customersAve become friends, with some of
> mosefr4jendjfe|^w|a&ging their kidwnto the stores. A
reiodLSto/e j^^^^^fa fun meeting place," Frith sum-
^^^keS lightly and the rela^nships that rest^;'are per-     '
^i.ps the roost siheere,*e^ampie of the importance of record
'.^tes,
p^^ffl^ugh$||^riyink4^ttttprovementi|^flieday
*^M^tc<^f from Joc^-bands releasing their own Hmiied
^a^^alblaifts^wS'ieherally pleas^Woi^^S^^ jo^^ji
the way it is. And as our interview concludes, a man comes*
to the till at^^toon to buy a Solomon Bu^e-tecord'Thfi1^
f financial transaction ignites a discussion about the soul
elements of Burke's voice. Frith points out his favot^^Ss
^ song on the album, and this over-the-counter exchange
evolves iriSfeliicw |han just the purchase.
Check out local record stores ltke#$»mfe l^ghlvfe, Audtoj?ile,jR&l- -/
cat, Zulu, 7x$^^^^^^^^^^§^l^iUm^^^^^
such as the ^^Mmr%^^^^^0Mxa^ album reissuesjrom U
tltelifcesaf Bob Dylan, Elliott Smith, Built to Spill, Titus Androgens, R. &MfyMe$^y&;dti4 many, many more.
* Discorder: How long have
you practiced on the roof?
Chrissy: Dunno about practiced...
Pussy Pete: We rapped.
RyRy: Two years on the roof.
Brodie Michaels-. Two years.
What do you do when it
rains?
RR: We still go up there. Snow,
sleet. We're like mailmen.
Highchair Shorty: We have
friends that live up there
sometimes.
BM: Sometimes we rap to make
it rain.
PP: Yeah, we rap to make it
rain.
How does the roof compare'
with other spaces you've
jammed in?
RR: It smells the best.
HC: And you also get that deep
fryer smell wafting.
RR: That's true. It's like the best
of both worlds.
Have you done anything to
TOO HIGH
CREW
by ALEX
DEBOER
illustration by
MICHAEL SHANTZ
photo by
RYAN WALTER WAGNER
Who: Vancouver 25-person rap gang, Too High Crew. Where: A roof.
On a Fraser Street rooftop, above the Fray and across the road from a giant joint-
shaped shrub, I chat with five members (Chris van der Laan, a.k.a. Chrissy; Highchair
Shorty, a.k.a. Jenya Patrief; Cody Fennell, a.k.a Brodie Michaels; Ryan Wagner, a.k.a.
RyRy; and Stephen Hardie, a.k.a. Pussy Pete) of Vancouver's 25-piece rap ensemble, Too
High Crew. The subject at hand is their jam space. The object in hand is weed.
Brodie moved into the apartment above RyRy, and discovered a hole in his closet,
which led to an abandoned ladder, which led to their present practice spot. A short
climb later, these guys were on the roof of their apartment building, and what is now
their jam space. Spacious, free, and ideal for a band with no equipment, this crew only
has to deal with soft spots in the wood.
personalize the roof?
C: No, not really.
HC: We did have the bleachers
up there at one point.
RR: We pee up there a lot.
BM: Fraser Street is just perfect
the way it is, you know. We just
kind of embrace it and let it be.
C: We feel like a moon landing.
We'll leave our footprints there,
our flag flying...
PP: One of those special flags.
So you guys dont really
care about the aesthetic of
a jam space?
C: Well, at our Donkey Party [the
studio space] we have the giant
painting of Darth Vader. So we
care a little bit.
HC: At our inside jam space.
RR: We only hang up stuff that
Chris is paying for.
So you never looked for
another space?
BM: I think just being rappers
we have the luxury of not having to worry.
RR: Our jam space used to be
on top of the Bloedel Conservatory.
HC: Until you fell through.
Everyone: (Laughs)
RR: Yeah, the floor kept breaking so we had to switch, but we
like to rap on top of things. So
after that fell through...
Everyone: (Laughs)
RR: Luckily Brody moved into
that place up there and the
plumber or electrician left a
ladder behind.
BM: And that's where we started
meeting and where we really
honed our craft.
C: That's where we induct new
members into the group. It only
happens on the roof.
HC: And we throw the old ones
off.
Can you each say your
favourite thing about the
roof?
PP: Gravel. The gravel.
RR: I think I like the skylights.
CIGARETTE PAPERS
HC: I like the fans. The exhaust ■
fans.
C: The floor lighting.
BM: Just being one with nature.
Everyone: (Laughs).
HC: And you get a good tan in
the summer.
BM: Many red faces have come
down from there.
Are there any rules on the
roof?
RR: Watch where you step.
What are you watching
out for?
RR: Falling through.
HC: Yeah, we learned that at
ttelast jam space.
RR: Soft Spots.
HC: And some skylights.
BM: And it's just dangerous
getting up and down that thing,
and like 90 percent of accidents
happen on ladders.
HC: And there's usually drugs
and alcohol involved.
90 percent of all accidents
happen with ladders?
BM: Yeah, I read that.
HC: Look it up. Wikipediabitch.
com
Too High Crew celebrate 4/20 with
their next show at Zoo Zhop on
April 20. byJACEY
GIBB
illustration by
TYLER CRICH
photos courtesy of
STUBBORN BLOOD
*s\Me*JI
a|lN»fiS^b
IF I MAY, I'D LIKE TO TAKE YOU ALL ON A TRIP
back to 1986: Vancouver has just turned the
ripe age of 100-years-old, the Lower Mainland
is a-scrambling to prepare for the upcoming
Expo '86, and folks over at CiTR had just put a
wrap on their third-ever SHiNDiG .competition,
crowning local rockers Stubborn Blood as the
best up-and-coming alternative band in Vancouver. Everything's looking up for everyone.
"When we were asked about playing
SHiNDiG, we had two questions," singer/
guitarist Dan "Danger" Campbell recalls
to me over a few pints at Hops Pub in New
Westminster. "'How much
do we get paid and what's the
guest list situation like?'"
It's okay if the name
Stubborn Blood doesn't stimulate any memory muscles.
Despite winning SHiNDiG
27 years ago and enjoying
the successes that came with
it, the group was never able
to make that leap from local
favourites to mainstream
recognition. But that never stopped the musicians before; and now, after a 25-year hiatus,
Stubborn Blood is reuniting for a show at the
Railway Club on April 10.
The show has been about a year in the making. Peter Curtis, who also played guitar and
sang vocals, explains over email how the event
manifested. "Plans were being hatched for
my high school reunion. Because playing in
Stubborn Blood was such a big part of my high
school experience, I started thinking about the
band reuniting for a gig as well." After a bit of
back-and-forthing, the stage was set
Curtis and Campbell were the forefathers of
Stubborn Blood, with Darrell Stables (drums)
and Clint Murray (bass) filling out the rest
of the roster. The two founders met when
they were 15 and 19, respectively; Campbell
was already playing in a band when he was
approached by another musician, Curtis, while
in a bar in Gastown. "He saw something in
me, and I saw something in him." Campbell
remembers quitting his band at the time and
lugging all his equipment across the city
to practice with Curtis for the first time. "I
showed up and asked, 'Where's everyone else?'
and he said 'It's just me!' and there he is with
his crappy acoustic guitar."
During Stubborn Blood's heydays of the mid
'80s, the Vancouver music scene was bolstering,
full of youthful bands driven by a "We can do
it! We can take on the world!" mentality. Clubs
in downtown Vancouver like the Town Pump,
the Venue, the Arts Club Lounge, and the
Commodore made sure there was always a stage
to perform on, band lineups (like Hip Type and
Pointed Sticks) were a revolving door of local
musicians, and a group's name changed on a CAMPBELL GIVES
PARTIAL CREDIT
FOR THEIR VICTORY
TO PERFORMING
AT THE END OF THE
NIGHT. "USUALLY
THE LAST BAND
PLAYED THE BEST
BECAUSE EVERYONE
WAS SO DRUNK."
monthly basis—though Stubborn Blood,
for some unexplainable reason, managed
to retain its title.
The name came from a sign Campbell
saw in a hospital, informing how to
remove stubborn blood stains. Curtis
thought the name was too harsh, prompting them to drop the "stains" and just
go with Stubborn Blood. "Everyone
who could ever move our career forward
told us to change our name," Campbell
says, with even Paul Westerberg of the
Replacements telling them to go with
something else. "Maybe it was innocence.
Maybe it was stupidity. There was no
good reason not to."
While the Internet now reigns
as the juggernaut of music distribution, spreading the word about a band
wasn't always as easy as signing with
Bandcamp and getting Twitter. CiTR
was, and still is, a launching pad for
local musicians to gain a following and
be a part of the community. "CiTR, it
was like fresh air coming out of the radio,"
Campbell recalls fondly. "When I heard those
bands, I wanted to be a part of them... CiTR
was the medium to hear music you wanted to
hear—especially on Sunday night."
Performing gigs like UBC frat parties also
played a big part in drawing Stubborn Blood to
CiTR, A show on Sunday night's called Demo
Listen gave their demo a healthy amount of radio
play, with Stubborn Blood claiming the show's
number one spot for 22 weeks.
SHiNDiG '86 was divided between two
bars in Vancouver: the now extinct Savoy, and
the Railway Club. "Back when we were in it,
SHiNDiG gave Vancouver bands a boost in terms
of local recognition and bookings," says Curtis
about the impact the showcase has on the local
music scene. The main prizes for the winning
band that year were 24 hours of recording time,
which Stubborn Blood used to record a four-
track demo at Mushroom Studios, and a music
video with Shaw, which was shot, but was neither edited nor ever aired. Even now, Campbell is
in disbelief that the top honour ended up going
to Stubborn Blood. "We went to Round Two,
then went to Round Three, then to the Finals.
And then we won... I thought us winning was
a fluke." While the competition was tough,
Campbell gives partial credit for their victory to
performing at the end of the night. "Usually the
last band played the best because everyone was
so drunk."
The reunion show on April 10 isn't about
kickstarting a comeback or making a quick million dollars; instead, Curtis is just glad to be
doing the gig: "We hope to have a good time.
We're doing this to have fun and to indulge in
a little nostalgia." Campbell hopes to give people a taste of what music was like in Vancouver
during the '80s, even if the environment has
changed since then. "If people wanted to know
what it was like, this is what it was like."
After enjoying mild success post-SHiNDiG,
Campbell left the group and eventually formed
the band Danger Company with Stables and
Murray. The band played together for a few
years, but other life commitments led the members to drift apart Memories from the experience haven't faded though. Campbell still
believes to this day, "I'm a better person for having stood in front of a microphone, singing a
song that you wrote in your bedroom from when
you were 16." ifyi^fp i JEJ*
mm 9*
TOBEATIC
by COLEMAN
INGRAM
photos by JONATHAN DY
Illustration by MARK HALL-PATCH
"WE TRIED OUT THREE DIFFERENT
SINGERS BEFORE WE FINALLY
CAME BACK TO GORD," SAYS
GITTENS, AS THE REST OF THE
BAND JOKES ABOUT ONE DUBBED
MR. ENTERTAINMENT.
The Reverend Al Green is not the sort of music one would
expect to hear in the East Vancouver jam space of the six-headed beast that is
Tobeatic. The group—Gordon Smith on vocals and guitar, Mike Gittens on
keyboard, Rick O'Dell on bass, Joel James Lowen on drums, and Troy Horton
and Broc Machines handling guitar duties—describe themselves simply as "a
rock band," which is both reductive and expansive, depending on how one
r-.iriews-k. Though prone to the heavier end of the spectrum, Tobeatic's sound
runs the gamut of rock 'n' roll, producing music that's sludgy yet upbeat,
devastating yet melodic. The Sabbath influence is clear, but here it sounds
mixed with equal parts Thin Lizzy and Motorhead, raising the band to Corrosion of Conformity or Clutch territory. wife
^#^
imw&kimf-
1b'"
Sl«
F
*L   1
^tek,
i  \
! f\>\
ftk
So it might be surprising that the gang is jamming out to Shaolin Soul, a Wu-Tang Clan-arranged
oldies compilation, as they set up their massive
amount of gear for the evening's practice. It seems
to be this open appreciation of music that helps
define Tobeatic's sound. "We listen to all different
kinds of music." says Smith, with Maclnnes adding "It's how we end up playing with bands like
3 Inches of Blood and then opening for Howlin'
Rain, who sound totally different."
It was Smith and Maclnnes who jammed
together first before Smith met and recruited the
other four over the next year. "We tried out three
different singers before we finally came back to
Gord," says Gittens, as the rest of the band jokes
about one dubbed Mr. Entertainment.
"He bailed; said he was following a trail of
panties to California," says Lowen, laughing.
The six members that became Tobeatic formed
later in 2011 from other bands, like Cooked and
Eaten, Smith's death-grind project with Dan
And (Bison BC), who are wrapping their jam as
Tobeatic begins.
"Sometimes that's how it goes, one right
into the next," says Smith, smiling with a
half shrug. "I'm actually down to one band
now," says Gittens, laughing. "It can be tough
with all the other bands, but as long as we all
show up here Thursday nights, it works."
Work is precisely what Tobeatic has been doing
a lot of.
All to Hell, their debut full-length, took three
different recording sessions to reach its current
incarnation. "First we had someone come in and
record us here in the jam space. Then we spent a
bunch of money recording at Mushroom Studios
and the songs still didn't really sound right So we
went to work with Jesse [Gander] at the Hive," says
Gittens, to which the band all agree was an obvious and rewarding choice. "We recorded it pretty
much live off the floor," says Horton.
With that, in a swift and speedy four-day session last November, the record was finished.
When asked about the ease of working at the Hive,
Gittens adds with a laugh, "Well we better have
known the songs by then!" The seven songs, like
the band's name, are inspired by the Tobeatic
Wilderness Area in Smith's native Nova Scotia,
where he spent a lot of time before moving west
Now that Tobeatic has released All to Hell digitally (February 11), next is the physical edition
planned for June. "It's just easier sometimes to
do it yourself. You don't have to wait on anyone,"
says Gittens about the self-releasing route the
band chose. They're hoping the second release
date coincides with a short tour through Alberta,
including Calgary's Sled Island Festival, if all—
show booking, festival applications, and above
all, coordinating the schedules of six band members—goes accordingly.
"It's a miracle just getting us all in this room
once a week," says Gittens with a grin, "but as
long as we're getting together and making music,
that's all we care about"
As we wrap up and they get ready to rip, Gittens
asks, "Do you want earplugs?" and with that the
beast called Tobeatic awakes from its slumber.
The group forms a semi-circle in front of me and
plays 11-minute epic All to Hell-closer, "Frozen
Ocean," followed by the bluesy dirge of "That
Boy's Got the Devil In 'Em," crushing me in my
seat with waves of sonic heaviness. As they kick
into uptempo head-banger "The Axe and the Fire,"
one thing is certain: they definitely don't suffer
from a lack of volume.
Catch Tobeatic decimating, eardrums urith Anciients and
Wiser Fool at the Astoria on April 19. $AKM
SARA BYNOE
BY EVAN
BROW
photos by
VICTORIAJOHNSON
lettering by
GINAMACKAY ON DISCOVERING HER COMEDIC MINDSET:
"I was a punk rock kid, wore a lot of black for a while, and then as I got older I got into the rave scene, and just
thought 'I want to dance!' Maybe that was the shift, when I started to have more fun with what I did. But the
comedy thing kind of came later. I was 19 when I came up with the idea for Teen Angst Night. It was more a way
for me to stand out of acting, and I thought 'Well, this is fun. Let's read bad poetry and it'll be funny.' And I
slowly started to realize that it was kind of a stand-up show."
|l|||||§|§§|k
i»,
For Vancouver «fun facilitator"
Sara Bynoe, comedy and art are D.I.Y. projects.
"A lot of my own stuff is me just going, 'Well,
no one else is casting me in anything, so I'll just
create my own work.'" In the 13 years she's been
producing shows, she simply does what she
. wants, striving for what she describes as verbatim humour. The feeling of openness and emotional honesty a performer reveals on stage is
what Bynoe is most interested in.
"When people are earnest, you know, even
those moments on stage when a performer
is bombing and they don't know what to do?
Sometimes that's my favourite part of the show.
It's kind of painful and mean, but it's a real
moment" While she doesn't consider herself a comedian in a traditional sense, Bynoe
acknowledges the comedy she produces, as
well as her comedic mindset. "I like to just look
at something and go, well, here's 50 Shades of
Grey, and I like to get at the truth of it and highlight its absurdities. [For example] where she's
a 21-year-old virgin who's never masturbated.
What? And there's this whole thing, in the first
two chapters, where she doesn't own a computer. She's a university student in 2011. How
the fuck can't she own a computer?"
Bynoe, Studio 58 graduate, is perhaps best
known for her Teen Angst nights, a performance
in which people share their embarrassing writings that include poetry, journals, letters, songs,
sj&gT i      or anything so long as
,-,/j'j.^ it was written as a teen
ager. "I always say that
every time someone
does a reading, I fall
jijl a little bit in love with
them," says Bynoe. "It's
sort of a slumber party
feel. I get a lot of audience interaction at my
■P* shows, but it's never
mean-spirited. It'S
just that people are so
engaged with what's
going on that they have
their own punchlines,
and I'm totally fine with
that." And as Bynoe states, "The more embarrassed you are, the better it is for the audience."
Teen Angst Night began in 2000, when Bynoe was
just 19. "It was in Calgary at a restaurant called
The Newt in Kensington," she says. "There were
maybe 35 to 40 people there and it was friends
and friends of friends and we laughed so hard
we cried. I was so horrified by what I was reading, and mosdy embarrassed within a safe zone,
and couldn't believe I wrote it And it was so
funny. One of my friends literally peed herself.
You can see it through the audience's eyes the
first time you're reading it, and I'll never again
experience that sheer embarrassment that was
hilarious."
In a similar vein, Bynoe began Say Wha?!
Readings of Deliriously Rotten Writing in 2010,
a performance where people take the worst
writing they can find and read it on stage,
providing it the love and laughter only Tommy
Wiseau's The Room can sympathize with.
"Everything is covered. Self-published books,
self-help books, genre fiction, romance or
mystery novels, and celebrity-penned books,"
says Bynoe. "My favourite tides have included
How to Good-bye Depression: IfYou Constrict Anus 100
Times Everyday, Malarkey? or Effective Way? and a
title I read called How To Pick Up Topless Dancers.
That was pretty good. Oh, and a book called
Wet Goddess: Recollections of a Dolphin Lover, about •
a man who fucked a dolphin." Performers for
the show have included Tig Notaro, Cameron
MacLeod, Ivan Decker, Caitlin Howden and
Taz Van Rassel of The Sunday Service, as well
as Chip Ellis, who deconstructed the oedipal
complex in a Caillou book.
On top of these two shows, Bynoe decided
to create a weekly dance class called Dance Dance
Party Party, where there is no leader or, essentially, structure. "The official trademark is 'No
booze. No boys. No judgment' It's just a dance
class for anarchists or a dance class for girls
who like to dance, but don't want to go to the
club and get hit on." The class reflects a lot of
what Bynoe appreciates in terms of humour,
the vulnerability of a crowd and its "safe zone"
mentality, even fostering Bynoe to adopt the
name DJ Haute Couture.
"The moments I enjoy the most in that class
are when we have impromptu choreography,"
says Bynoe. "Girls are going nuts and rapping
along with the song, or we're booty shaking and
just acting ridiculous. Just being care free and
not worrying about anybody judging, and being
silly and joyful is what I enjoy the most."
From what it seems, Bynoe has no shame,
but she also seems to elude being identified as
any particular genre of work. "I straddle high
and low art a lot and I still feel not quite part of
the comedy scene. There's a lot of times when
I'm emailing the Georgia Straight and asking,
'Yeah, can you put this in the comedy listings?'
because literary people fucking hate me." But
regardless of how Bynoe defines herself, she
will continue doing whatever she so pleases,
seeing as, ultimately, it works.
For more information, visit sarabynoe.com. S£y Wha?!
Readings of Deliciously Rotten Writing is on the
third Wednesday of every month at Cottage Bistro, 4470
Main St.
Dance Dance Party Party is on Tuesdays
from 8:45 to 9:45 pm at Mount Pleasant
Community Centre. byJAIMIE
KENDALL-WARD
illustration by GINAMACKAY
IT'S AFTER 10 P.M. ON A SNOWY NIGHT IN DECEMBER.
I'm in the old Ted Harris paints building on Hastings Street,
clapping into a microphone with John Collins (New Pornog-
raphers). This is JC/DC studios, run by Collins and David Car-
swell. We're almost done recording my EP, but one track is
missing something. That something is claps.
Collins asks me why I've'burst into giggles. If someone
had told me two years ago that I'd be recording an album,
here, like a real musician, I'd have screamed, sat on them,
and demanded they told me how. It never occurred to me that
you can just do that.
Mosdy, I still have no idea how it all works, but for a couple years I've been playing shows, writings songs, and making records under the name Young James. I've been able to do
these things because my musician friends offered helpful tips
that every fledgling like myself should know.
1. music is d.i.y.
It's easy to think of musicianhood as either something that
just happens, a la Canadian Idol, or as something that comes
from taking your first instrument lesson
alongside your first steps. For years, that's
how I saw it.
But when I first met my roommate
Ryan Boeur, he was hand-gluing CD cases
for Fish and Bird, his indie-folk band that
successfully tours for over six months
every yean As I wrote an essay for school,
he was emailing venues in Calgary. He
showed me that you can just do that It's just a lot of work.
All you have to do is find and schedule a recording studio;
find and schedule someone to mix and master the album;
press it digitize it, and send it to every media outlet available;
book a tour, venues, and accommodations; make and sell
merchandise; save your receipts for tax time; and finally, practise and play music.
If you don't want to live out of a tour van, you'll be busier.
Veda Hille teaches piano lessons and collaborates with the
Leaky Heaven Circus, the Folk Fest, and the City of Vancouver.
Jenny Ritter teaches guitar and banjo, and leads two choirs.
Barry Mirochnick—drummer for Hille, Neko Case, and Jacob
Dylan—hires himself out as a studio musician. (Lucky for me,
also on my EP.)  ' j&|;V" i
2. DON'T EXPECT TO "MAKE IT" AS A MUSICIAN.
I put my student loans into recording this winter so I'd have
something to submit to music festival applications, so that
they'd book me to play next summer, bringing me fame and
fortune. Friend and fellow songwriter, David Newberry, tells
me that's not how it works and I'm missing the point
Newberry has been touring Canada off and on for years, so
he knows how to prioritize the doing of music-Recording is
fun and fulfilling in its own right and having an album forces
you to find ways to sell it.
It doesn't have to lead to a "big break." In fact, years into
a career, even your most dedicated fans "may still flake on your
shows. But if they don't, music might put some food on your
table. That's success, as far as he sees it.
3. BE NICE.
No one likes an ass-hat When you make your living being the
centre of attention, it's easy to forget that you're no more special than any other person there. If you're just as glad as they
are to be there, everyone wins.
I funded my album in part through an old fashioned music
show fundraiser at the Artbank. The event relied on people
showing up and spending money, and on professional musicians (like Newberry and Ritter) singing for free, not to mention the last-minute volunteers who worked the door and sold
raffle tickets—something I expected to do myself. The night
was fabulous and raised over half of what I spent on recording. It would have been impossible if it weren't for the relationships I have with the people who helped.
4. BE GOOD.
Being friendly doesn't make you talented, so practice a lot.
If you want it to pay your bills, spend money on lessons and
gear, then practice some more. Take it as seriously as you
want to take it, and as you want people to take you, and you
might make back in cash what you spent in time and effort.
5. HAVE FUN.
Have fun and your audience will have fun and your gas station
ham sandwich will taste better. This is a job, but if you really
want to do it, it'll be the best job you ever had.
Jaimie Kendall-Ward, a.k.a. Young James, releases We Don't
Know Anything this May. Until then, visit youngjames.bandcamp.
com, Facebook, or youngjames.com/ortunes.
_ JcU^uyuU^ xf
illustration by
BRITTA BACCHUS
^M3&o6<LCu£aJc.
/
Fair friends! Music maniacs! Vivacious purveyors of tunes
of all sorts! Pluck the headphones from your aural canals, log out of your
streaming Internet radio station, and listen up! Record Store Day 2013
is nigh, the day dedicated to good old-fashioned physical music and the
people that make it. It's one of our favourite days of the year in this fair city
of ours, and we at Discorder are here to broaden your horizons for what can
be new, overwhelming, and/or uncharted territory. It's our Record Store Day
Spectacular and you are invited. '     .
JORDAN ARDANAZ, UNDER REVIEW EDITOR
where: Definitely Neptoon Records on Main St. It's a hub for vinyl
culture in East Van, and the owners always put together an amazing lineup
of bands for RSD. If you're lucky, you'll get to peek their incredible vinyl-
stacked green room.
pick l: This year's Hendrix re-release, of course.
I'm kidding. That's awful. The Jesus and Mary Chain, Psycocandy paint-
splattered re-release is obviously going to be gone before I get there. Who
wants to hold one for me?
JOSEFA CAMERON, CONTRIBUTOR
where: Neptoon Records. It is cozy in there.
pick 1: Tame Impala, Tame Impala EP.
I love Tame Impala, I am pretty confident that they are a major gem of this
generation, one of the best. I haven't heard much of their EP but I have both
Lonerism and Innerspeaker on vinyl and listen to them all the time. They are one
of those bands that you put on and dance on your bed to.
pick 2: David Bowie, "Drive-In Saturday" / "Drive-In Saturday" (Russel
Harty Plus Pop Version)" 7-inch picture disc.
I am obsessed with everything Bowie and always have been.
ALEX DE BOER, CONTRIBUTOR
where: Neptoon Records and Red Cat to start, then hopefully all the
other record stores I have the energy to bike to.
pick 1: Ty Segall, Ty Rex 2 7-inch featuring new T. Rex
covers (1500 copies).
Kind of just want this because the name "Ty Rex" is so damn
great. Beyond that, the prospect of Ty Segall covering T. Rex
tunes in his inventive rock howls seems like an ideal RSD outfit
pick 2: Nick Drake, Nick Drake LP.
A reissue of Bryter Layter is scheduled to be out on March 25,
so it's hard to say what this RSD LP will entail. Whatever misery
pop hides in these grooves, my nostalgic side is eager to hear.
FRASER DOBBS, CONTRIBUTOR
where: Red Cat by a landslide. Seeing Apollo Ghosts
and Ladyhawk tear it up there last year was one of the defining
moments of my summer.
pick l: Various Artists, Drive Original Soundtrack picture
disc reissue.
That a soundtrack is being reissued fox RSD makes me
giddy inside; that it's Cliff Martinez' excellent score to one
of 2011's best films makes me tremble with joy. 8os-flecked
synth scores and quiet background harmony.
pick 2: Brian Jonestown Massacre, "Fist Full of Bees" /
"Food for Clouds Colored" 12-inch.
The fact that the Brian Jonestown Massacre hasn't thrown
in the towel and died is cause enough for celebration. Bring
on the overpriced limited editions to keep Anton Newcombe's heart beating.
COLEMAN INGRAM, CONTRIBUTOR
where: If Interurban/Scratch Records does anything like the no-cover,
12-band, cheap beer and vinyl extravaganza they had last year, then I will most
certainly be there. Then maybe check out K-Os's first gig at the Commodore
as an official Vancouverite with the rest of the 42bers.
pick 1: The Black Lips/Icky Blossoms, "Mamas, Don't Let Your Babies
Grow Up to Be Cowboys" (Willie Nelson & Waylon Jennings cover) / "Arabian
Knights" (Siouxsie & the Banshees cover).
There will only be 1000 pressed, so clearly I won't be able to get a copy,
just being able to hear these covers will be enough for me.
pick 2: The Genius/GZA, Liquid Sivords chess box vinyl edition.
Not only is it a re-release of a classic hip-hop album from one ofWu-Tang's
alumni, but it's also a version that comes with special liner notes, artwork,
and an actual chess set you can play on the inside of the box.
JORDAN WADE, CONTRIBUTOR AND DISCORDER RADIO CO-HOST
where: As a proud Discorderian and Kitsilano-ite, (I don't know if
either of those are actual terms, but) I am most excited about going to Zulu
Records this April 20.
pick l: The Velvet Underground & Nico, The Velvet Underground & Nico
acetate version (green vinyl).
The releases I am most looking forward-to are from two NYC bands that
helped define new territory in rock music. First, this now iconic 1967 album
with the yellow banana cover art is seen by many as the first ever '"alternative
rock" album.
pick 2: The Strokes, All The Time 7-inch.
It marks the brand new release from the band, who along with the Hives,
Vines, and White Stripes, helped spearhead the commercial breakthrough
of a post-punk/garage rock revivala decade ago, whose indie rock influence
can still be felt today.
\ Faces in the illustration, top to bottom: Kevin Parker (from Tame Impala), young David Bowie, Siouxsie, and a guy from the Black Ups. ■LA        \      / 1  f     ^J
■PHI   '
1 5
M-^Lj i
flHHl         m^KSi ^ L
      f V iff   lit
11  ^**^^    1 Jill #^
f |#»p     m^g^^
go jj.-g 3:
to e >-- •= CD
> E E
[mm
i£ > E to "J
co       * Stw 2 ■*
"<       e o » fe 3 as
CM T5T3    M-ont-
3      £•«=&•£!= I .2 _-
«       u
1
■
■
1 s
5§
E t»
Singh
mington Gallery & 5
ubuloids, Juvenile
Van Playboys
nceton Pub
E g *»
"§ £ 8
OS   o —'
i
e Q=
E £
rd Store Day
rious locations
Problems, Car 87,
kload, What's Hot
ilway Club
igh Crew
&
adia, Pups,
g Antique (Seattle
Tears, Collapsing
sites, Chrisariftic
SStorino's
, Cowards
t's Pub
■=«I
1055
5®iS .2®
to®
S<£@«S® °.
@
nuu"o@>§
as
as            .2      £
1 E
i|
RIDAY
o
ffl   u   >
3   •
—i a>
x Church, Pes
ore Cabaret
Von Bingen,
stellations, C
ed Gate
clients, Wise
as -o                                                                          '^jfrS]
S3
.22 E
i      .E w = cl
I to K £?=> .2
J to   M >>£>   o
l±i as  §  S    .. +3
J2 S»
1 I
S "  E
III
-si® CiTR 101.9 FM PROGRAM GUIDE
DISCORDER SUGGESTS LISTENING TO CiTR ONLINE AT WWW.CiTR.CA EVERY DAY.
SUN
MON
TUES
WED
THURS
FRI
SAT
6am
-
HHiNdn' (Roots)
CiTR Ghost Mir
CiTR Ghost Mix
CiTR Ghost Mix
Good Morning
My Friends
Tweets & Tunes
7
Bepi Crespan Presents...
Radio Nezate
(Eritrian)
Moon Grok
£
Mil
Music)
Breakfast With The Browns
(Eclectic)
Queer FM VajSflj^/ \
Reloaded
(Talk)
Suburban Jungle
(Eclectic)
End of the World Sews
(Talk)
The Saturday Edge
(Roots) |||11
*
■Hilll
9
Classical Chaos
(Classical)
10
Shookshookta (Talk)
Pop Drones
(Eclectic)
Rocket from Rslifi^
(Punk)
Sounds of ttfUp
(Eclectic)
Mind Voyage
(Ambient)
11
Ska-T's Scenic Drive
Relentlessly Awesome
Stereo Blues
(Blues/Eclectic)
■.~aJl^iiiD^.AftetShfflju»».
(Eclectic) - r-oSf
Student Special Hour
(Eclectic).
12
The Rockers Show
(Reggae)
SynchroniciryfTalk)   ,
Duncan's Donuts
(Eclectic)
It Ain'i Easy Being Green
(Eclectic)
Generation
Annihilation (Punk)
1
Parts Unknown (Pop)
Mantis Cabinet
Terry Project  1 Democracy
Podcast (Talk)! Now (Talk)
Definition Soundwave
(Rock/Folk)
Skald's Hall
(Drama/Poetry)
Power Chord (Metal)
2
0B$Em The Boot
Extraenvironmentalist
(Talk)
Ink Stads (Talk) .
Radio Zero (Dance)
3
The All Canadian
Farm Show
Programming Training
Butta on
the Bread
Programming Training
Code Blue
(Roots)
The Saddle
Taji Feather
Radio Freelbmkejv,
Thunderbird Eye
Nardwuar Presents m
The Leo Ramirez ShaJI
(World)
A
(Roots)
(Soul/R&B)
S^B
*
Illilil
-X OfefcOfttefRadte
(Eclectic)
5
Chips
(Pop)
Student
Fill-in Slot
News 101 (Talk)
The City
Arts Report (Talk)
Campus Lectures
(Talk)
News 101 (Talk)
Simorgh
6
'    SoSaiaeimis   <
(Etectto/ffipHop)
Weil's Midden Tracks
,  (jKwean Music)
Ftex Your Head
(Hardcore)
„ ArtsPrtaeet
UBCArtsOnAir
Are You
Pea
nut
jrlt'
Stranded
Nasha Voina (World)
squantch
(Eel)
t»p
World?
him
"(Eclectic)
to
7
More Than Human
(Electron i c/Experi mental
Exploding Head Movies
(Cinematic)
(Eclectic)
La Fiesta (World)
Stereoscopic Redoubt
(Experimental)~
African Rhythms
'    ,  '  (World)
8
Rhythms
(Wortd)
leehno*"
Progress!*
' InjKteQtfj;*   v*;
: 0ance)
Folk Oasis (Roots)
Student   " f   1
9
Bootlegs & B-Sides
(Dance/Electronic)
tfhe jazz Show
- (fees)   ^
Crimes And Treasons
(Hip-hop)
Live From Thunderbird
Radio Hell
(live)
The Bassment
(Dance/Electronic)
Synaptic Sandwich
(Dance/Electronic/
10
Trancendance
(Dance)
Sejiyiri Van City (Talk)
Canada Post-Rock (Rock)
11
Student Fill-in Slot
/' Hans Von Kloss
Misery Hoar
Moon Grok
Randophonic
(Eclectic)   ■
12
CiTR Ghost Mix
CiTR GhostMix
CiTR Ghost Mix
^ipjTR Ghost Mix
1
Vampire's Ball
(Industrial)
jjjj
3
Aural Tentacle
(Eclectic)
111
The Absolute
Value of Insomnia
i  (Generatn&j
4
SSI!
5 BEPI CRESPAN PRESENTS...
(Difficult Music) 1'-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.
SHOOKSHOOKTA
(7a//rjl0am-12pm
A program targeted to Ethiopian
people that encourages education
and personal development.
THE ROCKERS SHOW
(Reggae) 12-3pm
Reggae  inna  all  styles  and
fashion.
BLOOD ON THE SADDLE
(Roots) 3-5pm
Alternating Sundays
Real cowshit-caught-in-yer-boots
country.
SH^ATMHEAIHflR
(Soul/R&B) Z-bpm
Alternating Sundays
The finest in classic soul and
rhythm & blues from the late '50s
to the early 70s, including lesser
known artists, regional hits and lost
soul gems.
CHIPS WITH EVERYTHING
(Pop) 5-6pm
Alternating Sundays
British pop music from all decades.
International pop (Japanese, French,
Swedish, British, US, etc.), '60s
soundtracks and lounge.
SO SALACIOUS
(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.
RHYTHMSINDIA
(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.
TECHNO PROGRESSlvb
(Dance) i-Spm
Alternating Sundays
A  mix  of the' latest  house
music, tech-house, prog-house
and techno.
BOOTLEGS & B-SIDES
(Dance/Electronic) 9-10pm
\ Hosted by Doe-Ran, the show was
, a nominated finalist for "Canadian
I College Radio Show of the year 2012
in the Pioneer DJ Stylus Awards". A
j complete mixbag every week, cover-
; ing: Ghetto funk, Breakbeat, Hip-
i Hop, Funk & Soul, Chillout, Drum
; & Bass, Mashups, Electro House
and loads of other crackin' tunes.
Search 'Doe Ran1 at percussionlab.
I com and on facebook.com
| fRANCENDANCE
j (Dance) 10pm-12am
| Hosted by DJ Smiley Mike and DJ
! Caddyshack, Trancendance has
been broadcasting from Vancou-
! ver, B.C. since 2001. We favour
j 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
i the Robot, Liquid Soul and Astrix.
j Older influences include Union Jack,
i Carl Cox, Christopher Lawrence,
Whoop! Records, Tidy Trax, Plati-
pus Records and Nukleuz. Email:
\ djsmileymike ©trancendance.net.
I Website: www.trancendance.net.
33JE
GOOD MORNING MY FRIENDS
(Upbeat Music) 6:30-8am
BREAKFASTwWh THE BROWNS
(Eclectic) 8-1 lam
Your   favourite    Brownsters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights.
breakfastwiththebrowns©
hotmail.com.
SKA-T'S SCENIC DRIVE
fS/ra;ilam-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!
PARTS UNKNOWN
(Pop) l-3pm
An indie pop show since 1999, it's
like a marshmallow sandwich: soft
and sweet and best enjoyed when
poked with a stick and held close
to a fire.
THE LEO RAMIREZ SHOW
(World) 4-5pm
The best of mix of Latin American
music, leoramirez@canada.com
NEWS 101
(Talk) 5-6pm
Vancouver's only live, volunteer-
produced, student and community
newscast. Every week, we take
a look back at the week's local,
national and international news,
as seen from a fully independent
media perspective.
NEIL'S HiDDENITRACKS
(Korean Music) 6-7pm
Korea has had briliant indie musicians since 1980s. However, we
don't know who they are and what
music they play. Also they have had
no chance to be introduced overseas. With Korean DJ Neil Choi, on
every Monday 6 p.m., we can find
out many hidden musicians who are
really awesome like famous world
rock'n'roll stars.
EXPLOdTnG HEAD MOVIES
(Cinematic) 7-9pm
Join gak as he explores music from
the movies, tunes from television
and any other cinematic source,
along with atmospheric pieces, cutting edge new tracks and strange
old goodies that could be used in
a soundtrack to be.
THEJAZZSHbw
|7azzj9pm-12am
Vancouver's longest running
prime-time jazz program. Hosted
by Gavin Walker. Features at 11pm.
April 1: A famous disc recorded on
this date. The debut of multi-instrumentalist and legend Eric Dolphy.
Eric with trumpeter Freddie Hubbard. "Outward Bound." April 8: A
little known but excellent San Francisco based band led by saxophonist
Mel Martin and featuring the great
John Handy and others. "Bebop
and Beyond." April 15: Two great
Chicago-born players collaborate:
Gene Ammons (tenor saxophone)
and Bennie Green (trombone) and
co. "The Swingin'est!" April 22:
Earth Day marks the birthday of
bassist/composer Charles Mingus.
Tonight one of his oest: "The Black
Saint and The Sinner Lady." April
29: The birthday of Duke Ellington
is honoured tonight with the playing
of his "Far East Suite."
interest features, background on
current issues and great music.
queerfmradio@gmail.com
MiNDVOYAGE
(Eclectic) 10:30-11:30am
Mind Voyage presents cosmic tones
of celestial counterpoint on CiTR! .
Experience weekly encounters of ;
synth, ambient, witchy and new i
classical items in a one-hour with
DJTallJamal.
MORNING AFTER SHOW
rTc/ecfa;il:30am-lpm
An eclectic mix of Canadian indie
with rock, experimental, world, reg- i
gae, punk and ska from Canada, '
Latin America and Europe. Hosted \
by Oswaldo Perez Cabrera.
MANTIS CABINET
(Eclectic) l-2pm
GIVE EM THE BOOT
(World) 2-3pm
Sample the various flavours of
Italian folk music from north to ;
south, traditional to modern on
this bilingual show, givetheboot®
gmail.com • http://giveemtheboot.
wordpress.com
PRbGRAMMrNG TRArNiNG
(Ta/jy3-3:30pm
RADIO FREE THINKER
(7i/rtesj3:30-4:30pm
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!
THE CITY
(Talk) 5-6pm
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.
music, sound bites, information and
inanity, dj@jackvelvet.net.
POPDRONES
(Eclectic) 10-11:30am
INSIDE OUT
(Dance) 8-9pm
THE ALL CANADIAN FARM SHOW
(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!
PACIFIC PICKIN'
(Roots) 6-8am
Bluegrass, old-time music, and
its derivatives with Arthur and
the lovely Andrea Berman.pa-
cificpickin@yahoo.com
QUEERFM
VANCOUVER:RELOADED
!73//rj8-10:30am
Dedicated to the gay, lesbian, bisexual and transexual communities of Vancouver. Lots of human
CRIMES & TREASONS
(Hip-hop) V-llpm
crimesandtreasons@gmail.com
WEDNESDAY
TWEETS & TUNES
<Atew;6:30-8am
We practice what we Tweet! Showcasing local indie music and bring- j
ing 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
STUDENT SPECIAL HOUR
(Tc/ecf7'c,)ll:30am-lpm
Various members of the CiTR's student executive sit in and host this
blend of music and banter about
campus and community news, arts,
and pop culture. Drop-ins welcome!
TERRY PROJECT PODCAST
(Talk) 1-2 pm
Alternating Wednesdays
There once was a project named
Terry, That wanted to make people
wary, Of things going on In the world
that are wrong without making it all
seem too scary.
DEMOCRACY NOW
(Talk) l-2pm
Alternating Wednesdays
EXTRAENVIRON^
(Talk) 2-3pm
Exploring the mindset of an
outsider looking in on Earth.
Featuring interviews with leading
thinkers in the area of sustainable
economics and our global ecological crisis.
SNE'WAYLH
4-5pm
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
(7aW5-6pm
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.
ARTS PROJECT
(Ta/A;6-6:30pm
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 arts hour.
UBCARTSONAiR
(7<?W6-6:30pm
Alternating with Arts Extra!
Ira Nadel, UBCEnglish, offers scintillating profiles and unusual interviews with members of the UBC Arts
world. Tune in for programs, people
and personalities in Arts.
SAMSaUANTCH'S HIDEAWAY
f£c/ecf/cj 6:304RrA:-;'
Alternating~Wednesdd)fs. -\
All-Canadian music with a focus.
on indie-rock/pop. anitabinder©
hotmail.com SUP WORLD?
(£c/eef7c;6:30-8pm
Alternating Wednesdays
Fuzzy and sweet, a total treat! Tune
in to hear the latest and greatest
tracks from independent and Vancouver bands.
FOLKOASIS
(Roots) 8-10pm
Two hours of eclectic folk/roots
music, with a. big emphasis on our
local scene. C'mon in! A kumbaya-
free zone since 1997. folkoasis©
gmail.com
sSHiJiStfeWv
(M; 10-1 lpm
Your weekly dose of education
and entertainment in the realm
of relationships and sexuality.
sexyinvancity.com/category/sexy-
in-vancity-radio
HANSIVON"ttlJsFiillSERfHW'
(Hans VonKloss) 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
WCKET FROM RUSsTa
(Punk) 10-1 lam
Punk rock, indie pop and whatever else I deem worthy. Hosted
by a closet nerd. http://www.
wea llf a lldowqcitr. bEogspot.ca
REUENTLESSL^
llam-12pm
Vancouver's got a fever, and the only
1 prescription is CiTR's "Relentlessly
j Awesome." Each and every week,
: Jason attempts to offer adrenaline-
| pumping, heart-stopping, hands-
\ over-the-eyes suspense. He is a fan
j of various genres, and a supporter
j of local music.
I DUNCAN'S DONUTS
j (Eclectic) 12-lpm
I Sweet treats from the pop under-
\ ground. Hosted by Duncan, spon-
i sored by donuts. http://duncans
! donuts.wordpress.com
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
I always, Evan ends the show with a
i special Top 5 list that's always fun
j and always entertaining.
! INK STUDS
I (Talk) 2-3pm
: Underground and indie comix. Each
j week, we interview a different cre-
| atorto get their unique perspective
on comix and discuss their upcoming works.
THUNDERBIRD EYE
(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
guests. Email: mantraradioshow©
gmail.com. Website: mantraradio.
co. Genre: World.
SUBSCRIBE ffis
DISCORDER!
*H WOULD LIKE:  '
Ej; '^^annu^l swiJ^ijjftoTv
■ to Discorder 'magazine, %
ajjj[ W%$ for eaft8#afts7f<«f
H |prm s^KffLg
□  to support Discorder
magazine with a
donation of:
Discorder is Vancouver! longest
r» run A§||dependent music
* maM^How your support for
^vanftit^f independent music
coa»I^^B^» development
of hfif ^i^^Aors, designers
and artlsti'^^p to have
Discorder delivered to your door!
Fill-out this form and mail-in
cash or a cheque to:
Discorder Magazine
#233-6138 SUB Blvd.
Vancouver, B.C.
Canada, V6T1Z1
CAMPUS LECTURES
(Talk) 5-6 pm
Lectures on and around campus are
recorded all throughout the year,
bringing a wide array of topics and
disciplines to radio.
AREYOUAWARE
(Eclectic) Alternating Thursdays
6-7:30pm
Celebrating the message behind the
music: Profiling music and musicians that take the route of positive
action over apathy.
PHNUT BUTTER'N'JAMS
(Eclectic) Alternating Thursdays
6-7:30pm
Explore local music and food with
your hosts, Brenda and Jordie. You'll
hear interviews and reviews on eats
and tunes from your neighbourhood,
and a weekly pairing for your date
calendar.
STEREOSCOPIC REDOUBT
(Experimental) 7:30-9pm
LIVE FROM THUNDERBIRD
RADIO HELL
(I/VeAft/5/c^9-llpm
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
AURAL TENTACLES
(Eclectic) 12-6am
It could be global, trance, spoken '
word, rock, the unusual and the ■
weird, or it could be something !
different. Hosted by DJ Pierre. \
auraltentacles@hotmail.com
MOON GROK
7:30-10am
I SOUNDS OF THE CITY
j (Eclectic) 10-11 am
! Promoting upcoming live concerts
! and shows in Vancouver, be they lo-
! cal, national, or international acts.
| STEREO BLUES
j (Blues/Eclectic) llam-12<pm
i Every Friday host Dorothy Neufeld
; sinks into blues, garage and rock
; n' roll goodies!
; IT AIN'T EASY BEING GREEN
; (£c/ecf7'c)12-lpm .
CiTR has revived it's long-dormant
beginner's show It Ain't Easy Being
Green! With the support of experienced programmers, this show
offers fully-trained CiTR members,
\ especially students, the opportunity
to get their feet wet on the air.
SKALD'SHALL
(Drama/Poetry) l-2pm
Skald's Hall entertains with the spoken word via story readings, poetry
recitals, and drama. Established
and upcoming artists join host Brian
MacDonald. Interested in performing
on air? Contact us: ©SkaldsJiaH.
RADioZERb
(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
NARbwUAR
(Nardwuar)3:3Q-5\>m
Join Nardwuarthe Human Serviette for Clam Chowder flavoured
entertainment. Doot doola doot
doo...doot doo! nardwuar©
nardwuar.com
NEWsioi
(TaW5-6pm
See Monday for description.
STRANDED
(£c/ecf7c;6-7:30pm
Join your host Matthew for a weekly j
mix of exciting sounds, past and ;
present, from his Australian home- \
land. And journey with him as he !
features fresh tunes and explores j
the alternative musical heritage ;
of Canada.
AFRICAN RHYHMS
(M;7:30-9pm
www.africanrhythmsradio.com
THEBASSMENT
(Dance/Electronic) 9-10:30pm
The Bassment is Vancouver's only I
bass-driven radio show, playing j
Glitch, Dubstep, Drum and Bass, :
Ghetto Funk, Crunk, Breaks, and UK !
Funky, while focusing on Canadian i
talent and highlighting Vancouver \
DJs, producers, and the parties j
they throw.
CANADA POST-ROCK
(Rock) 10:30pm-12am
Formerly on CKXU, Canada Post- ]
Rock now resides on the west coast i
but it's still committed to the best ■
in post-rock, drone, ambient, ex- i
perimental, noise and basically I
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
GENERATE
(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.
CODE BLUE
(Roots) 3-5pm
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy, and Paul, codeblue®
buddy-system.org
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.
NASHAVbLNA
(World) B-Tpm
News, arts, entertainment and music for the Russian community, local
and abroad, nashavolna.ca
LAFIESfA
(World) 7-8pm
Salsa, Bachata, Merengue, Latin
House, and Reggaeton with your
host GspotDJ.
SYlttpW^DWlcii
(Dance/Electronic) 9-11 p m
If you like everything from electro/
techno/trance/8-bit music/retro
'80s, this is the show for you!
www.synapticsandwich.net
MNDOPHONIC
(Eclectic) 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 recordsyou probably haven't heard). And we're not
afraid of noise.
THE[ABSOLUTE"VALUE OF INSoMlA
(Generative) 2-6am
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. (of, free for station members)
(212) Productions
454 W Cordova St.
25% off
Antisocial
Skateboard Shop
2337 Main St.
15% off clothing
10% off everything else
Australian Boot Co
1968 West 4th Ave
$30 off Blundstones and
RM Williams
Audiopile
2016 Commercial Dr.
10% offLPs/CDs
BadBird Media
www.badbirdmedia.com
10% off
The Baker &
The Chef Sandwich
Cafe
320 Cambie St.
10% off
Band Merch Canada
www.bandmerch.ca
20% off
Bang-On T-Shirts
Robson, Cherry bomb,
Metrotown locations
10% off
Banyen Books
3608 W 4th Ave.
10% off
Baru Latino
2535 Alma St
10% off
Beatstreet Records
439 W Hastings St.
10% off used vinyl
BigMama Textbooks
1100-1200 West 73 Ave
10% off
The Bike Kitchen
6138 SUB Blvd.
10% off new parts and
accessories
Bonerattle Music
2012 Commercial Dr.
10% off
The Cove
3681 West 4th Ave.
10% off food
Dentry's Pub
4450 West 10th Ave.
10% off regular priced
items
Devil May Wear
3957 Main St.
10% off
Displace Hashery
3293 West 4th Ave.
10%
Dream Apparel +
Articles for People
311 W Cordova St.
10% off
Dunlevy Snack Bar
433 Dunlevy Ave
10% off
The Eatery
3431 W Broadway
10% off
The Fall Tattooing
644 Seymour St.
10% off
Fortune Sound Club
147 East Pender St.
No cover Saturdays (excluding special events)
Fresh is Best Salsa
2972 W Broadway
10% off
Gargoyles Tap+Grill
3357 W Broadway
Highlife Records
1317 Commreciai Dr.
10% off
Hitz Boutique
316 W Cordova St.
15% off regular priced
clothing and shoes
Limelight Video
2505 Alma St.
10% off
Lucky's Comics
3972 Main St.
10% off
Neptoon Records
3561 Main Street
10% off used, $1 off new
Pacific
Cinematheque
1131 Howe St.
1 free bag of popcorn
People's Co-op
Bookstore
1391 Commercial Dr.
10% off
Perch
337 East Hastings
10% off
Project Space
222 E Georgia St.
10% off
Prussin Music
3607 W Broadway
10% off
Red Cat Records
4332 Main St.
10% off
The Regional
Assembly of Text
3934 Main St.
1 free make-your-own button with purchases over $5
R/X Comics
2418 Main St.
12% off
Rufus' Guitar Shop
2621 Alma St.
10% off everything but
instruments and amps
Scratch Records
shows at Interurban
Art Gallery
1 East Hastings
20% entry discount
Temple of the
Modern Girl
2695 Main St.
15% off vintage, 20%
off new
UBC Bookstore
6200 University Blvd.
70% off clothing, gifts,
stationery
Vancouver Music
Gallery
118 Hanes Ave, North Van
12% off
Vinyl Records
319 W Hastings St.
15% off
The Wallflower
Modern Diner
2420 Main St.
10% off
Woo Vintage
Clothing
4393 Main St.
10% off
Zoo Zhop
223 Main St.
10% off used
A Friends of CITR Card scores
you sweet deals at Vancouver's
finest small merchants and
supports CITR Radio 101.9 FM.
Show it when you shopl
www.citr.ca w8$L
t Aja Rose Bond, Quilt of Mirrors
Donna Huanca's (a.k.a. Rua Minx) artistic practice investigates
aesthetic rituals, arrangements, and displays to construct hyper-real
narratives. Her installations, sculptures, and collages compose
multiple simulacrums with discarded materials such as clothing,
shoes, and ephemera. Huanca conveys distinctive and precise
observations on the function of the garment, as an ever evolving
manner of language production and a traditional to^j^fttfjrit;^
transmission. Aja Rose Bond is an intermedia artist with background in music, craft, and fashion respectively, drawing from the
deep influence of D.I.Y. punk, feminism, and magick.
BRAIDS: Co-residency and Collaborative Installation
by Rua Minx and Aja Rose Bond
March 4 to April 27,2013
Access Gallery (222 E Georgia St)
Rua Minx,
Untitled (Hippysh it),
textiles, wood, metal
160x60x50 cm, 2012
i
ART
RUA MINX &
PROJECT      AJA ROSE BOND T
Tod: Rua Minx,
Untitled (Fire),
textiles, wood, metal
160x20x20 cm, 2012
Bottom: Rua Minx,
Untitled (Dragon),
painting on canvas
120x140 cm, 2012
Right: Rua Minx,
SADE ONDMT, 2012
installation view ART
PROJECT §11
RUA MINX & I
AJA ROSE BOND
jE
Rua Minx,
SADEONDMT, 2012
installation view
Rua Minx,
Untitled (shirt for body),
textiles on wooden frame
160x140 cm, 2012
I 28 It seems as though this summer's tropical shabop
is last summer's surf punk. So Shalom to the noisy
mess of double snare taps, cheap cigarettes, and
grainy vocals: this year's heat wave is awaiting
the flushed bobbing of pigtailed girls in bathing
suits, with handsome boys lucidly playing their
instruments. It's as if the city has agreed, with
locals BESTiE spearheading the metamorphosis
by leaning towards the charm of Elvis over the
sweat of Dick Dale. The four-piece band bounces
through its fresh and polished EP, Pineapple, with
a cool vibrancy that makes you want to get up,
put some coral lipstick on, and twirl about in a
linen dress.
Having recorded at the Greenhouse with
Digory Smallz, the sound comes across as eager
and glossy. Pineapple carries you through a carefree,
colourful trip of Cobrasnake-esque neon bracelet party passes, and pink straws sticking out of
half cut coconuts. Tristan Orchard's voice pierces
through like a less intense version of Woodkid,
in the EP's single, "Pineapple," accompanied by
Jamaican-esque yelps, African-styled drum rolls,
and ultra-surfy guitar riffs. It's like the younger,
newer cousin oflzabo's "Summer Shade," fitting
in flawlessly with the sunny radio waves.
A less epicurean, "Asleep on the Bus," is reminiscent of Family ofThe Year's "St. Criox." Echoey
guitar picks graced by drum tottering comparable
to early Strokes, smoothly carry the listener to
a drifting Utopia invested with palm trees and
oleanders.
Both Tribe of Zebras and the Slow Waves
remixed chilled outversions of "Foolish Hearts,"
the original being my personal favorite on the
EP. The track consists of a blend of snazzy guitar
tricks similar to the band Body Language, and raw
passion like Young Galaxy's "Fall For You." It's
not often a band sounds like they are made up of
mermen, so I'd advise you to soak up BESTiE as
a fun gem of a band. Put on your pretty bathing
suits and lean towards their charm, even just for
the summer months.
—Josefa Cameron
GAL GRACEN
(Independent).
BLUE HEARTS IN EXILE
(Green Burrito)
While it's not totally out of sync with Patrick Ger-
aghty's other outfit, Role Mach, Gal Gracen feels
like a bit of an anomaly on the local scene. Instru-
mentals alternate with songs on this seven track
release, the common thread being shimmering
guitars and simple beats very reminiscent of Vini
Reilly's The Return 0/the Durutti Column.
The instrumentals are exotic and dreamy,
and that side of things takes on a more dramatic
dimension on stage with the help ofjay Arner and
Adrian Teacher. But it's the four songs that get me.
Passionate and longing R&B-tinged ballads that
bring to mind George Michael, Prince, and even
throw back to the soulful pop of Tommy lames and
the Shondells on "Love Fantasy, My Beautiful Girl."
Geraghty's soaring melodic hooks work particularly well against the ephemeral guitars. And he's
not afraid to sing it out in falsetto, which sounds
moving even on "Sylvan Tragedy," where it's hard
to fathom what he's singing about I'd love to hear
a little more Al Jackson Jr. timekeeping lending
the thrill of genuine soul in future recordings.
Nice cover photo on the Green Burrito cassette
release, but the lack of an information insert is
frustrating. —Matthew Budden
Hooves' first EP, Dear Neuada, is required listening for the edgier kids in high school. The ones
whose younger siblings might overhear Hooves
playing in the bedroom next door and dip-dye
their Barbies in glitter glue along to it If bands
were people, Hooves would be Madonna and the
Yeah Yeah Yeahs' youngest sister. Equipped with
throaty vocals, fuzzed-out pop guitar, and effectively spare drums, the band's sound is already
mature, delivering their complex dance songs
with an assured ease.
The song lyrics drift through subjects like writing a diary, wandering away from school, the stars,
Rocky Horror Picture Show, and knowing what you
want The song "Wolf Howl and the Church Bell"
shows off the band's range, with spiky guitar riffs
dancing over a shadowy bass line and winding
around psych-rock vocals. The band's sound is
consistently edged with a fun giddiness, which
dissolves into almost 20 seconds of giggling at
the end of the last track. On its Facebook page,
Hooves has been spreading rumours of an upcoming cross-Canada tour, which will likely be the
sassiest road trip ever.
—Penny Clark
JOYCE ISLAND
t (Independent)
On her debut, Joyce Island, songwriter, guitarist,
and vocalist Lisa Joyce assumes the confident
swagger of Tom Petty-styled Americana before
drenching it in blossoming female vocals that
triumphantly stand their ground against a series of
troubled experiences. Backed by the driving guitar ofMikey Manville (of the now defunct Manvils) and
rhythmic confidence of Chris Jaggers and Flavio
Cirillo, Joyce leads the quartet from heavy blues
psychedelia to modern traditionals.
There's no filler on the Vancouver songstress'
first effort, as Joyce's tenacity surfaces with raucous atonement on the opener, "Mercy on Me,"
while "World Full of Pain" explains her sordid
relationship with spirituality through the simple
yet poignant refrain, "I tried to love the lord / But
he's a world full of pain."
Joyce uses a touch of southern grace to amplify
her lush west coast charm on tracks like "Forgiven"
and the album's final lament, "Ain'tGot Y°u," to
transcend her contemporaries. Add this to the fact
that she's downright cuter than hell, and Joyce's
aural tidal wave engulfs you, leaving you gasping for air. When you catch your breath you'll
have a curious desire to continue tempting the
oceanic ebb. It's an EP that harnesses the danger
and unbridled energy of the raw elements of life
before turning them into verses of self-reflection
and doubt.
This album should be the soundtrack to summer evenings at the beach, where close friends
pass around their vulnerable introspections with
carefree exhilaration.
—Robert Catherall
REC CENTRE
TIMES A BILLION
(Independent)
The bedroom recording prpject medium has been
around long enough that it deserves its own genre,
one often typified by hushed vocals, digital reverbs,
electro flourishes, drum machines, and pensive
lyrics. It could be yet another example of form
influencing content. The process of composing,
arranging, and performing in near solitude at
a computer is conducive to these brooding and
textural sounds.
Enter the Vancouver-based Rec Center, featuring Alex Hudson at the helm. Rec Center's full-
length debut, Times A Billion, is easily categorized
as bedroom-pop (all the songs are worked around
electronic drum samples from a Roland TR-707).
However, at every other turn, it fights against this
and aims towards anthemic pop. Times A Billion
is a fitting title for the resulting expansive and
ambitious tone of these songs.
"Let's Get Divorced!" demonstrates how Rec
Center uses bedroom-pop tropes in big ways.
Hudson's roommate/producer, Jay Arner, offers
streaks of electronic texture to the propulsive drum
machine beat, which stays basically the same
throughout—but you wouldn't even notice. It's
Hudson's keen sense of melody that guides the
song around a couple of jangly guitar lines in and
out of an ascending chorus. Textures and melodies
slowly morph above steady rhythms, which give a
PERCHERON
'* • v
Krocwuoe
FRED HL6-4N trancelike sense of fluidity to the song's pacing.
All the songs on Times A Billion are concise,
catchy pop songs with distinct sonic fingerprints
(see the nu-gaze krautrock of "Look Alive" or the
muted synth-reggae of "It Won't Mean Anything").
Despite Times A Billion's relatively humble origins,
it achieves a sense of grandeur (maybe because
Hudson's voice sounds eerily similar to that of
Phoenix's Thomas Mars). But it's this understated
expansiveness that makes Rec Center's full length
debut such a charm. It's like those films about the
vastness of space projected on the ceiling of the
planetarium. There's that impression of being
dwarfed by something huge and mystifying, even
if the reality-is solely a well-executed spectacle.
—Max Wainwright
COLIN STETSON
NEW HISTORY WARFARE VOL. 3:
(Constellation)
"And In Truth" is one of the cheekiest opening
tracks on any record in decades. There's no better
setup for the practical joke Colin Stetson plays
on the legions of casual Arcade Fire and Bon Iver
fans out there who have probably sought out his
solo albums based on the bands he's in. The bass
saxophonist, whose remarkable jazz-inspired
experimental composing borders on the insane,
opens To See More Light, the conclusion to his Neu>
History Warfare trilogy, with a beautifully organic
piece accompanied by Bon Iver's Justin Vernon.
While Vernon contributes vocals to a number of
tracks on To See More Light, "And In Truth" features
his most recognizable, replete with the waves of
multi-tracked harmonies that Bon Iver is so well
known for. It's a genuinely stunning song.
It then will be no shock to new listeners when
"Hunted" takes over and slues the record into brave"
new territory, mining a field of influences from
sludge metal to industrial drone, to produce one
of the most unique offerings Constellation Records
has put out in recent memory. Stetson's amazing
approach to recording might not be evident on first
listen; the only overdubs on the record are Vernon's
vocals, for instance, and every other sound on the
album comes, live and in one take, from Stetson's
saxophone. But what is immediately obvious is that
To See More Light is the work of a once-in-a-lifetime
composer and virtuoso musician.
It's hard to fathom here just how each sound
is created, and at once, by a single instrument,
ranging from the jarring and synthetic to the lush
and melodic; Stetson's work in exploring the limits
of the bass saxophone are similar to his Finnish
contemporary Kimmo Pohjonen, whose work in
experimental accordion was the subject of the 2012
documentary Soundbreaker. While To See More light
may not be quite theatrical enough for a film crew,
its scrutiny of music itself it is no less thorough.
While the daring finale to Stetson's trilogy will not
sit well with everyone, those that are able to find
the beauty past its harsh exterior will be rewarded.
—Fraser Dobbs
VARIOUS ARTISTS
VANCOUVER POP ALLIANCE COMPILATION
(CiTR/Mint Records)
am
Am
731
If you missed the release of the third volume of
Mint Records/CiTR's Vancouver Pop Alliance and
the Fundrive finale at Chapel Arts on.March 8,
you missed out on one good night. Masterfully
compiled by Duncan McHugh and Shena Yoshida,
the album has 14 fresh Vancouver- and Victoria-
based bands, featuring a colourful array of nuovo
disco, stoner rock, gypsy pop, and garage fuzz.
A precious "1-2-3-4 Get Fucked" by Movieland
kickstarts the solid track list. The surfy girl group
mimics a less intricate Bleached, with calm vocals \
and driving fuzz. And during Peace's "Your Hand
In Mine," it's easy to imagine a heartbroken teenage boy, styling a Bowie lightning bolt across his
moonlit face.
Jay Arner's "Bad Friend 2" follows, similar
to Peace, with a Sean Nicholas Savage twist, and
quiet POND-like vocals. The fourth track, from Gal
Gracen, blends dreamy guitar riffs with a Jesus and
Mary Chain-esque vibe. Next, the soft doo-wop
tuneofPup's "Cement" suddenly and unexpectedly
transforms into a racing, surf punk tune.
After the alluring glam-wave melody of
Fanshaw, the album dives into several stoner rock
tunes hammered out by Aaron Read, Korean Gut,
and Needles//Pins, thrusting the listener in and out
of a noisy whirlwind which ends with "90210" by
the lovely Courtneys.
A molding of'90s angst and apathetic '70s
sawiness trails out of the speakers throughout
Babysitter's "Be Cool," followed by a catchy and
fluid, "JD" from Bankrobber, a personal favourite. Its buttery orchestral sound lures the listener
through tribal drum beats, drippy guitar riffs, and
spastic, gypsy-like wails.
Finally, Weed bangs out "Even Black" with fuzz
similar to Aaron Read, but with darker undertones
and heavy effects, before the album concludes with
"Apocalypse, Please Sign the Release Form First"
by Sleuth, mixing nuovo disco with '60s inspired
guitar, unimpressed vocals, and synths similar to
Molly Nilsson.
It's clear the summer months will be flooded
with good, solid music played by Vancouver's and
Victoria's best. —Josefa Cameron  ANCIENTS/WITCH MOUNTAIN/
TOBEATIC / GALGAMEX / ASTRAKHAN /
HOPELEUS
March 1 / the Rickshaw Theatre
It was fitting for the Rickshaw to hail in the month
named after Mars, the Roman god of war, with its
March i show featuring Anciients, who towered
over the crowd on a laser-lit stage like a psychedelic
Pantheon. These crown princes of Vancouver's
heavy metal scene were supported by great metal
bands in their own right—Witch Mountain, Tobeatic, Galgamex, Astrakhan, and Hopeleus—but the
stars of the show were clear. Featuring members
of other local metal bands, such as Spreadeagle,
Anciients must have felt that playing ass-kicking
rock'n'roll was getting too easy, so they created this
thundering, agile beast to destroy all in its wake.
Their sound is indefinable, even in the ill-
defined realm of heavy metal's endless list of sub-
subgenres. On "Falling in Line" they jumped from
southern rock ballad to traditional rock guitar
solo, then veered into raging speed-metal thrash-
fury and off-kilter Mastidonian time changes that
ended with a doomy coda. They accomplished
this feat with gusto, making disparate sounds fit
together throughout the set.
As quickly and cleanly as the group switched
up their music, Kenny Cook's sweetly-sung vocals
took a dark shift into a deathly scream without
taking a breath. Their dense, complicated sound
could have presented problems in the stonewalled
Rickshaw Theatre, but the sound engineer drew
the band's complexities from the venue's naturally
muddy mix.
Anciients resembled an Opeth of our own:
progressive extreme metal that maintained a
scuzzy, Pacific Northwest vibe. No matter how
out-of-left-field their ideas got, they maintained
a stoner-metal-cool, making their website's tag-
line, "Smoking the Hashes of the Pharaohs," a
fitting motto. Their love of melodic guitarmonies,
such as on "Overthrone," also placed them in the
Vancouver scene with S.T.R.E.E.T.S., Bison B.C.,
Pride Tiger, and lovers of Thin Lizzy.
Anciients were on fire from beginning to end.
Cook (lead vocals/guitar), Chris Dyck (guitar/
vocals), Aaron "Boon" Gustafson (bass), and
Mike Hannay (drums) played like a well-oiled
killing machine—the Judas Priest kind—and the
audience responded in kind, headbanging and
moshing along, even after hours of intense crowd
interaction. -■♦ If this show wasn't the crowning for these
apparent heirs, Anciient's coronation as kings
of Vancouver's metal scene may be only a few
shows away.
—Brent Mattson
EVY JANE / ORA COGAN / NAM SHUB
March 5 /theAstoria
It's not often that the Astoria is packed at 8 p.m. on
a Tuesday night. The sizeable crowd—who could
have indicated of an out-of-town couch-surfing
convention—took over the bar before bands
started setting up; the din of European languages
bouncing around the room added an interesting
buzz of mystery to the groups showing up just in
time to see openers Nam Shub.
Recently, Nam Shub have been doing a bit
of an instrumental switch-up. While the band
is still drums, guitar, bass, and synths mashed
together in a psychedelic alternate-reality version of the Beades!'hallucinogenic era, the way
those instruments interact has been changing
over the course of their last few shows. For their
Astoria show, bassist Caton Diab was responsible
for handling melody and bass leadlgfjaying his
four-string like a big guitar and leaving the synths
INTRODUCING
PosterLom
VANCOUVER   m
DIGITAL POSTERING
NETWORK
* 100  +   Locations
* NO  Wasted Posters
* NO  Competition
* Guaranteed Views
x User  Controlled
* Instant   Uploads
* Unlimited Changes
* Community  Hosted
* Accessible Rates
* For  Events   Only
MENTION  THIS AD
GET  25* OFF
NWN.POSTERLOOP,COM
INF0@P0STERL00P.COM
FB /POSTERLOOPMEDIA
604.637.5789
plenty of room for heavy low note beats. While
this arrangement might leave guitarist Bill Young
with a little too much room to twirl his fingers
between atmospherics and tremolo-picked riffs,
it proves Nam Shub are a continually evolving
post-rock amalgam.
There's no such thing as "your typical singer-
songwriter" these days. It's hard to explain without
first-hand observation just what sets Ora Cogan
apart from the rest, but the term "ethereal" comes
to mind. Cogan's stage presence is phenomenal:
part phantom, part folk, the audience was pinned
in place from the second she got on stage to
five minutes after her last song ended. Along
with a long-lost Londoner friend playing
bowed guitar, Cogan's reverbed crooning
and bright, simple chord progressions were
lush and articulate, despite some annoying
feedback issues in the first half of her set.
Complete with between-song storytelling,
her set fell between the sounds we've all heard
before and a fresh look at how to combine
them: deja vu in musical form.
Evy Jane know how to do things the hard
way. Experimental R&B could have been as
simple as a laptop, synthesizer, and singer, but
the duo of Evelyn Mason and Jeremiah Klein
instead surrounded themselves with pedals,
drum machines, and keyboards in a setup not
unlike your favourite noise or drone band. The
two are culled from the same list of British
influences that the XX might have chosen
from: a little bit Chromatics, a little bit 1930s
bar jazz, Evy Jane were smooth to the point of
dripping, even if continued feedback issues
took the crowd out of the moment every now
and again. Beats as heavy as the ones Klein was
producing were designed for carefree dancing, so it was nice to see the combination of
couch-surfers and pop enthusiasts moving to
the Astoria's improved sound system.
—Fraser Dobbs
BURGER RECORDS
REVOLUTION SHOW
THE JOLTS/THE COURTNEYS /
NERVOUS TALK/TOUGH AGE
March 8 /the Electric Owl
Where were you on March 8? That day, amongst
International Women's Day and the CiTRFundrive
Finale, the tide of revolution washed up on our
shores: the Burger Records Revolution.   .
A loose series of concerts promoted by the
southern Californian cassette and vinyl label
— which has released albums by Ty Segall and
Vancouver's own Nu Sensae — the revolution
was felt from Tel Aviv to the suburban wilds of
Fullerton, CA, the label's home base. Here on
home turf, local purveyors of garage-punk rock
'n' roll gathered at the Electric Owl, ready to blast
the audience's ears to smithereens. Oddly enough,
none were on Burger's catalogue — yet, that is.
Tough Age opened, playing its third show ever.
Featuring members of Korean Gut and Sightlines,
Tough Age dealt gritty, vaguely hardcore-tinged
pop, frontman'sMorrissey T-shirt be damned. But
the Age like to mix things up, too, and in a change
of pace, the second-to-last song was a nod to the
band's previous life as Korean Gut. It took awhile
for the crowd to warm up to them, but by the end
of the band's set, they were asking for more.
Throwback punkers Nervous Talk, featuring members of the Ballantynes, Moby Dicks,
Timecopz, and Shitty Neighbours, gratified at
least some of the audience instantly. Next, the
Courtneys charmed by opening with a freestyle
rap over real drums and bass, and continued with
a set of cool beachy slacker-pop songs about band
friends, teen soaps set in southern California, and
alien abductions.
Veteran party-punks the Jolts topped off the
night with a display of raw power and kicking jams.
Though the ensuing final-set insanity was a pretty
regular sight, it was still a fun way to end the night.
—Chris Yee ^Aw^rfJU^^fe, :
■I
■-£9'!
j^»*
•   : ..._•*: FXPFRT TATTOOING BY: ~>
GEOFF WCANN P
DAXTON BRUNFT
& CHAD WOODLEY
«• CALL FOR AN APPOINTMENT:
(778) 371-5084
3377 FRASER STMT * VANCOUVER CANADA VSV 4C2 ♦ SmTAKYFiecmcTiirToo.coM i        *4 '
2= *■*'•«£ a
111
*         K
*ac •*» ac 3
:        <
s§i|
1      a
g      <
f        <3fs
>           UJ
i
illl
j       X
s
HO-- H
S&agco 1   .*.,      ..»»   1
i,^/ I
Abraham Sualim hosts
Good Morning, My Friends, one of
CiTR's newest shows. With its time
slot of 6:30 a.m. Monday mornings,
the program plays upbeat music to
get people going about their day in
a positive mood. The always-exuberant Sualim speaks jovially about
the ethos of his show and his experience with the team at 101.9.
Discorder: What's the show about?
ABRAHAM SUALIM: Pretty much
trying to get positive energy
through the radio. Not everyone drinks coffee in the morning
so they need some other way to
get them ready to move for work,
school, or whatever they have to do
in the morning. So when you listen to my show I do just that. [My
show] is another option than just
coffee. I play whatever sounds good.
If it sounds good you're going to
hear it.
How did the show come to be?
I always wanted to be a part of
radio. I had a friend who kept on
saying, "Go do this radio thing at
CiTR." So then I went and met my
good friend Robin [Alam, Program
Manager], and it just went from
then on.
In the program guide it says you
play "upbeat music." What would
you classify as upbeat music?
Anything that's joyful. Anything
that gets you feeling good about
yourself. Anything that gets those
"feel-good chemicals" flowing
through your whole body. It's all
about energy. I get phone calls
from people saying, "Oh wow, I
like that! This is pretty good!" so I
have good taste in music [in terms
of] stuff people like. I always get
phone calls so I'm fortunate with
that. I also have a friend who sends
me a bunch of songs and I look at
it and see which I will pick from
there. A phrase I use when I'm on
the radio is, "I'm here in your ear.
You're listening to a modern mix-
tape. Old school, but still cool".
What sort of music did you grow
up listening to?
I used to listen to a lot of Bob Mar-
ley. My mother used to play it ...
on the weekends. She played it to
entertain me while she was cleaning up the house. As I was maturing and got older I started liking
a lot of upbeat music with good
rhythm.
In your collection of music do you
have an album that really gets you
going?
I like Yukon Blonde. I try to play a
lot of the [station's] Playlist stuff.
I try to make sure I play as much
CiTR stuff as I can, like Femcon
and Cancon."
What's your favorite radio show
besides your own?
I like all the people here and all the
radio shows. They're all unique.
They all bring a different blend.
Ever get yourself a nice, tasty, wonderful smoothie? You feel really
GOOD
MORNING,
MY FRIENDS!
with ABRAHAM SUALIM
by JAMES
OLSON    I
photo by
CHIRAG MAHAJAN
lettering by
iVIICHAEL SHANTZ
good. But if you're missing say, the
banana, it takes away from the
goodness experience. It all depends
on how you feel that day. I have to
say I do like DJ Smiley [from Tran-
cendance]. I appreciate what he does.
He really has great passion with
his show. He gets me into dancing mode.
You host one of the newest shows
at the station. What does the future
hold for Good Morning, My Friends?
Whatever I do, I want to make sure
the show continues to be a positive
message. I want to make sure it is
a positive show for the listeners. If
I achieve that then I feel that I've
been doing my job. No negativity
though. That doesn't happen on
my show. In the coming months,
I'll be focusing a lot more energy
on the show. I'm excited for what
the future holds. I can't wait for the
end of this year to see how far the
show has progressed. That's my
biggest joy right now: to see how
well the show has progressed.
Good Morning, My Friends airs
every Monday morning, bright and
early at 6:30 a.m. on CiTR 101.9 FM. CITR 101.9 FM CHARTS
HITZ OF MARCH
ARTIST
1 Slow Learners*+
2 Renny Wilson*
3 Babysitter*
4 Thee Ahs*+
7     Indian Wars*+
in Thao & The Get Down
u Stay Down
11 Doldrums*
12 Veronica Falls
13 WarBaby*+
14 Lee Harvey Osmond*
15 Kill City Kids*+
16 Ducktails
17 Bloodshot Bill*
18 Boats*
19 Gang Signs*+
ALBUM
Habit b/w Party Police
Sugarglider
Eye
Future Without Her
Vancouver Pop Alliance
Volume 3
Songs from the North
Nonnavera + Flash
LABEL
Perfect Master
Mint
Mint/CiTR 101.9 FM
Light Organ
Bachelor
Sub Pop
Pretty Pretty
Ribbon
Waiting For Something To
Happen
A Fairway Full of Miners Kill Rock Stars
CiTR's charts reflect what's been played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian a
those marked (+) are local. Most of these excellent albums can be found at fine independent music stores across Vancouver,
can't find them, give CiTR's music coordinator a shout at (604) 822-8733. Her name is Sarah Cordingley. If you ask nicely sh
tell you how to find them. Check out other great campus/community radio charts at www.earshot-online.com.
ARTIST
Psychic Ills*
ALBUM
One Track Mind
Malfeasance
LABEL
Sacred Bones
Self-I
No Passion All Technique        Urinal Cake
29    October Gold*
Olenka & The Autumn
Lovers*
31    Paint Fumes
images Du Futur
33    Unknown Mortal Orchestra
35    The Sumner Brothers**       I'll Be There Tomorrow
Slovenly
Secret City
Jagjaguwar
One Little Indian
A Wrenched Virile Lore Sub Pop
41    Two Hours Traffic*
42
44
Lisa's Hotcakes*+
20
My Bloody Valentine
mbv
MBV Records
45
Arbouretum
Coming Out Of The Fog
Thrill Jockey
21
22
Dear Suzy*+
Lust For Youth
Die Nolle Orchestra
Growing Seeds
Hive Creative Labs
Sacred Bones
46
Scott Walker
Bish Bosch
+              Glass Armonica
4AD
Unit Structure
47
Glass Armonica*
23
Flying Down Thunder
& Rise Ashen*
North Wind
Balanced
48
Harry Manx*
Om Suite Ohm
Dog My Cat
24
This Hisses*
Anhedonia
Transistor 66
49
Pugs and Crows
"+              Fantastic Pictures
Self-Released
25
Stephen Fearing*
Between Hurricanes
Lowden Proud
50
Daniel Romano*
Come Cry With Me
Normaltown
39 ^ -?1»,^oiijiof FlMi fa stotC/.i|
Qteck,' oma/ MIBSif I fov W detcuts to w>we.
Iiut^wcoiitiwc^.. friers u/ftatt*IR0(3CjN(H
(»4€tSe&UCHT»A0VWG
KUKTVUe
WNUN Ort A PCETTY t)A2E OO/WP VOWWE N0WWG C$VU>
BILLY III
TOOTH AM> NAM?
> Motorcycle (   - J >%
■ liKlIjERlCE
id '^idtii
twttter.com/zulurecords
t^^.     facebook.com/people/
lacepeoic    ZuluRecords-Store/680210042
tumblr.   zuIurecords.tumblr.com
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS

Cite

Citation Scheme:

        

Citations by CSL (citeproc-js)

Usage Statistics

Share

Embed

Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                        
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            src="{[{embed.src}]}"
                            data-item="{[{embed.item}]}"
                            data-collection="{[{embed.collection}]}"
                            data-metadata="{[{embed.showMetadata}]}"
                            data-width="{[{embed.width}]}"
                            async >
                            </script>
                            </div>
                        
                    
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:
http://iiif.library.ubc.ca/presentation/cdm.discorder.1-0200810/manifest

Comment

Related Items