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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2013-09-01

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IfefEfrEMBER 2013 | That Magazine From CiTR 101.9 FM | Free! | Supportir^ir^^^Snaefe^^^^W9^^;3D Years shindig
Shindig flam Tues^
Three tettesMfig bands nightly, and Jokes for Beer.
Visit wwwxitrxa/shindtg fw Mi schedule.
iman&wuto our sponsors
Band Merch Canada
Canadian Musk Week
Fader Master Studios Nimbus School of Recording Arts
Rain City Recorders NXNI
Long & McQuade Vogvilie Receding
Mint Records Zulu Records
Musk Waste
wiUi Shawn Mzarek Lives!
with The Maldives, The Wild North
with Titan's Eire, Expain, Terrifier
with Radiation City, The Nautical Mites
with Black Wizard, Lord Dying,
Ramming Speed
il YEAR 33 TOUR, with Magneticring
j with Gord Grdina's Haram
with Biaze Ya Dead Homie, Potluck
I withAlcest,Mammifer
with Bat Sabbath
witt White Knights Finish Last Slush
■ with Titan's Eve
witt La Chinga, War Baby, If We Are
with The Coathangers and Coward
with Rower Trip Code Orange Kids
wilt! guests
with Holy Grail, Lazer/Wulf, 88 Mite Trip
with Hell Shovel
with the Blind Shake and OBNIlls
V.Vecker Ensemble and Basketball
254 East Hastings Street
604 681.8915
|J with Exhumed, Devourment, Abiotic,
with Robert Ellis
with In Solitude, Tribulation
with Special Guest Matthew E. White
fcafiff with My Goodness, The Vicious Cycles
Additional show listings, ticket info, band bios, videos and more are online at: WWW. IJVGcltnCkShclW. COITI EDITOR'S NOTE: IT'S ALL HAPPENING
Those three words get me every time. The mantra of Kate Hudson's character
in Almost Famous has a resounding effect on me, not only because it's one of
my all-time favourite films, but largely because I can relate. It's been three
years since I transplanted myself from the wheat-and-oil-mecca of Alberta
to this fine city of Vancouver and it still seems like life is just getting started.
But first, allow me to introduce myself: the name's Jacey and I'm pleased to
announce that I'll be your new Editor-in-chief. It's nice to meet you.
Your outgoing Editor, the enthralling Laurel Borrowman, wrote in her
sendoff that "life is a series of one anti-climactic event after another," which
I'm sure many of you can agree with. When I first met with Laurel to begin my
transition into the position, I wasn't sure what to expect. Would she hand off
a novelty-sized master key that opens every concert venue in the city? Might I
finally learn the coveted secret-Editor handshake that has been passed down
for generations? In keeping with the anti-climatic theme, none of this actually
transpired. We mostly just talked about the billion people I would need to be
emailing in the near future and discussed deadlines.
While I can attest to Laurel's hypothesis, I simply must object. Sure, the
years are filled with busts when there should have been booms, but I feel like
Laurel left out one important factor: life is fucking full of climatic events.
Like when I won a watermelon eating contest in grade nine. Or the first
time I did a keg stand and no one dropped me. Or last month when I found
myself standing out on my balcony, on the phone, accepting the job as next
Editor-in-chief of Discorder. Your climactic moments will no doubt vary from
mine, but I can assure you that they do exist.
But enough about me; let's talk about this here September issue. I suppose I might be biased, but this first-ever issue I got to co-edit with Laurel is
one of my favourites. Bob Woolsey is back with a piece tackling adulthood
and what the heck that word even means; Discorder chats with the stand-up
comedian/slacker extraordinaire Kyle Bottom; we take a look at the upcoming St. Ambroise Fringe Bar and how it's grown over the years; and our cover
wonder-children Weed talk about their first full-length album. I could easily
go on for another ioo words about the other great stuff we've got waiting for
you inside this issue, but I don't want to give it all away on the second page.
As for what you can expect from Discorder going forward: a lot of the same
great content that was already filling the pages, but also a snazzy redesign
slated for this fall. Our Art Director, Jaz Halloran, has been in creative labour
for the last nine months and the fruits of his efforts finally have a due date.
Mark your calendars folks, 'cause this will be a memorable one.
So while you can get stuck looking at all the ho-hum moments, let's shift
the focus to all the amazing things on the horizon. As Ms. Hudson would
say, it's all happening.
So it goes,
Jacey Gibb
t Cover photos by
logo lettering by
6—Fringe Bar It takes a city to raise a bar,
as the St. Ambroise Fringe Bar gears up for
its biggest year yet. We take a look back at
how the Bar has evolved and share some of
the highlights along the way.
by Elliot Chan
8—Rain City Recorders When God closes
a door, he opens up a recording studio in
Mount Pleasant. Following the demise of The
Hive Creative Labs, we talk to soundboard
whiz Jesse Gander about what to expect from
the East Van creative hub. by Jordan Ardanaz
10—Bankrobber If you can't be a
bankrobber, then you might as well name
your band after one. Frontman Jordan
Minkoff gives us some backstory on the
new album, Life's Nutso, and also forecasts
what's in store for Bankrobber. by Jacey Gibb
13—Napkin Records Discorder has a chat
with a variety of Napkin Records delegates
to talk about the year-and-a-half old record
label, by Robert Catherall
15—Weed Local grunge rockers Weed
sit down with Discorderat McDonald's to
discuss their debut full-length, Deserve, the
challenges behind booking all-ages gigs,
and the transition away from "shit-fi" to
in-studio recording, by Fraser Dobbs
18—Kyle Bottom We shine the spotlight on
local comedy once again. Kyle Bottom talks
moustaches, finding a balance between
funny/offensive, and the time he kind-of met
Craig Robinson.
by Evan Brow
4 Here's The Thing Thirty
20 Calendar Leef Evans,
Ariel Kirk-Gushowaty & Lisa Walker
22 Program Guide
26 Art Project Joel Rich
28 Under Review
33 Real Live Action
35 Discorder's Staff Sound-off
38 On The Air Crimes & Treasons
39 Charts
Laurel Borrowman/
Jacey Gibb
Art Director
Jaz Halloran
Copy Editors
Robin Schroffel,
Steve Louie
Ad Coordinator
Curtis Michael Davey
Under Review Editor
Robin Schroffel
RLA Editor
Steve Louie
Web Editor
Chirag Mahajan
Calendar Listings
Claire Eagle
Accounts Manager
Corey Ratch
Official Tweeter
Dorothy Neufeld
CiTR Station Manager
Brenda Grunau
Student Radio Society
of UBC
Student Liasons
Zarah Cheng,
Dorothy Neufeld
Photographers & Illustrators
Britta Bacchus, Tyler Crich, Jonathan Dy,
Leef Evans, Rommy Ghaly, Dana Kearley,
Steve Louie, Gina MacKay, Moses Magee,
Chirag Mahajan, Lachlan McAdam, Tierney
Milne, Kim Pringle, Michael Shantz,
Andrew Volk, Eleanor Wearing, Priscilla Yu
Jordan Ardanaz, Josefa Cameron, Robert
Catherall, Craig Robinson, Curtis Michael
Davey, Evan Brow, Elliot Chan, Fraser
Dobbs, Sam Hawkins, Marty Hurley,
Coleman Ingram, Chirag Mahajan, James
Olson, Chris Schonfeldt, Max Wainwright,
Bob Woolsey, Justin White
Ad space for upcoming issues
can be booked by calling (604)
822-3017 ext. 3 or emailing Rates
available upon request.
To submit words to Discorder,
please contact: editor. To submit
images, contact: artdirector.
Send in a cheque for $20
to #233-6138 SUB Blvd.,
Vancouver, B.C., V6T1Z1 with
your address, and we will mail
each issue of Discorder right to
your doorstep for a year.
To distribute Discorder in
your business, email distro. We are
always looking for new friends.
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
©Discorder 2013 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 10,200. Discorder is published almost monthly by CiTR, which
can be heard at 101.9 FM, online at, 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, or pick up a pen and write #233-6138 SUB Blvd., Vancouver, B.C., V6T1Z1, Canada.
Editorial cutoff: August 23,2013 This month, I turn 30 years old. And I'm okay
with it.
At least, I was until everyone starting telling me what a huge milestone it is and how it
means you're an adult now and you're supposed
to have things figured out. Meanwhile, I look
at my life and I see a guy who's not married,
doesn't own property, doesn't have kids, is still
in debt from school, and sometimes eats candy
for breakfast. The conclusion is apparent: I am
indeed an adult. Not because I have a mortgage
or have taken on the responsibility of raising new humans but
because I no longer feel the need to examine my standing as
an adult.
In my early 20s I thought I had this whole adult thing figured out. I was on my own, in school, and figuring out who I
was. Surely this intrepid adventure was what adulthood was
all about—late nights, sexual experiences, and philosophical
arguments with other 20-somethings made me feel alive and
like I was headed towards something. Now that I'm turning
30,1 realize just how naive I was. The fact that I was preoccupied with thinking about how great it was to be an adult was
evidence that I was actually far from one.
There are a few weird things about turning 30. One of the
strangest is that I'm now at an age where I can clearly remember my parents being. When my dad was 30,1 was eight.
When my mum was 30,1 was 10. Needless to say, my life at 30
is vasdy different from what their lives were like at the same
age. Growing up in a small town in northern British Columbia tends to limit your oudootein the possibilities in life. You
can work at the mine or you can work at the mill. Or you go
to university and become a teacher. This was my thought process when I graduated from high school. Thankfully places
like Vancouver are a little more encouraging to young people.
What I could've predicted then if I wasn't in deep, deep,
surprisingly resilient and uncontrollably fierce denial about
my sexual orientation is that I would one day have to break
free of those preconceived notions of who I was and what I
was supposed to do with my life. Being a gay kid in the north
was tough, but at the same time it forced me to throw out the
mould I had in my mind of how my future was preordained
... eventually. Coming out was probably the hardest thing I've
ever done but one of the wonderful side effects of that painful experience was that it gave me a blank slate to rebuild my
identity. Of course, I didn't really change at all—but the perceptions of what I was obligated to do with my life did. At
least to me.
I have to apologize to all the straight people out there. You
don't get the luxury of relieving yourself of the prejudiced
ideas of who you're supposed to grow up to be so easily. You
have to take matters into your own hands. You must be brave
and honest with yourself and let the true you through. You
have to come out as yourself. The closet doesn't just belong
to the gays anymore. Weed your way through those corduroy
pants and button-down Sears shirts your parents bought you
when you were 17 and step into the daylight. You can wear
those skinny jeans if you want to. You can't pull them off, but
who cares? If it makes you happy, then do it!
You see, here's the thing about being a grown up: turning any milestone age isn't so much about the possessions or
responsibilities you may or may not have. It's about how comfortable you are with yourself at that place and time. If you
spend your days living up to anyone's idea of who you should
be then you're screwed, turning 30 will suck, and you'll have
wasted a really good reason for a party.  THE WATERING HOLE by ELLIOT CHAN
illustration by TIERNEY MILNE
An actor, a musician, and a dancer walk into the
Fringe Bar—the rest is unpredictable.
Before you judge this article based solely on
my poorly crafted joke, know that the Vancouver
Fringe Festival is all about experimenting. And
when it comes to conducting experiments and
exploring the chemistry of "us," there is no better
place than the social laboratory a.k.a. the Bar.
The Fringe Bar is the watering hole for the
festival's wildlife before, in-between, and during
shows. The St. Ambroise Fringe Bar has fostered
some of the city's most creative live performances
over the years, and still nobody knows what to
expect this time around. Dramatic routines,
balloon animal gymnastics, or banjo-playing
burlesque dancers; it's always a mystery bag of
"It constantly re-invents itself every year," says
David Jordan, Executive Director of the Vancouver
Fringe Festival. "We can't get stale because of the
way we program the festival. When you're drawing
artists out of a hat, you'll never get stuck in a rut."
The festival's evolutionary tree has branches
sprouting in every direction, with one attractive
limb being the Fringe Bar. It accommodates performers, spectators, and anyone else seeking a
thirst-quencher and an experience.
"Fringe Festival in Canada is very artist-centric
and there are a lot of touring artists," said Jordan. "So we needed
to give these people some place
to hang out—and beer was a
natural fit."
The Fringe Bar humbly began
at Planet Bingo and the Legion
on Mount Pleasant. In 2007, the
Fringe community moved outside
and incorporated five music to
the social heartbeat. Dan Mangan
performed that year and since
then the Fringe Bar became a permanent fixture. It got spectators moving and offered an
experience that extended beyond the theatre seats.
"It's amazing playing for theatre people, because they like to
get theatrical," said Tristan Orchard, a local DJ and musician.
"They're pretty much my favourite audience to play for, because
everyone is performing and they have that post-performance
good vibes."
In 2009, Railspur Alley became the festival's central hub.
Outdoor stages and bright lights fashioned onto the tree canopies created a starlit atmosphere down the promenade. Festival
goers, performers, and passersby alike can enjoy the high calibre artists, while getting a litde pick-me-up at one of Granville
Island's outdoor patios.
Outdoor patios? In September? Is that another joke?
Weather-pending is something Vancouverites hear often, but
anything goes during the festival. The outdoor components for
the Fringe Bar were incorporated in 2010, after witnessing other
successful beer gardens at Fringe Festivals across the country.
"I was always a little wary," said Jordan. "It's September.
Can we get people to be hanging outdoors? It's going to rain.
But it's awesome."
Curse the rain all you want, but one ofjordan's favourite Fringe
memories happened during a rainstorm. It was 1 a.m., a cabaret
show just ended, and a torrential shower had the city drenched.
Undaunted, Jordan accompanied by his Fringe confidants, in true
West Coast spirit, dove into the bar with a splash.
"There was a huge puddle, 12-feetlong," said Jordan, "and a
foot deep at some places. I looked at it and was like 'We are going
to be dancing in that puddle for sure.' And within 20 minutes,
everyone was in that puddle. It was a great time. There was a
kind of spontaneous exuberance to that."
"It was a monsoon," said Orchard, who remembered performing during the storm. "It was just a great experience where
people decided to forget about the rain, dance in puddles, and
slide across tables. Everyone was completely soaked. It was just
a beautiful moment where everyone lost themselves and it was
just a wonderful time."
Promoting impulsiveness and spontaneity is all part of the
Entertainment Coordinator's job. Taking the helm at this year's
Fringe Festival is Corbin Murdoch, who knows that first-class
preparation is foremost when it comes to quality improvisation.
"We anticipate spontaneity and we anticipate a diverse crowd
each and every night," said Murdoch. "On the back end, we need
to be as organized as possible so that we can be quick on our feet."
From September 5 to 15, the St. Ambroise Fringe Bar at Argo
Cafe* and the green space nearby will be the Fringe epicenter. New
additions to this year's festival include food carts (La Taqueria,
Reel Mac and Cheese, Urban Wood Fired Pizza), square dancing,
and the Fringe Talk Show hosted by comedian, Fuel Hahn, which
features candid conversations with Fringe artists.
So what do you think? Maybe you can help me workshop my
opening joke: An actor, a musician, and a dancer walk into the
Fringe Bar—(insert your own experience here).
The St. Ambroise Fringe Bar is open every day of the Fringe Festival, which
runsjrom September 5 until September 15. The bar's hours are 7p.m. until
late at 13 63 Railspur Alley on Granville Island.
O ROGERS     (§>&teffi*   16j**V¥i
Tito On Ice (Sweden/Germany/Bosnia, 77 min.)
On a barnstorming tour of the former Yugoslavia, graphic novelists
Max Andersson (who directs, with Helena Ahonen) and Lars
Sjunneson bring a macabre "mummy" of Marshal Tito along for
the ride. Astonishing stop-motion animation sequences render their
journey all the more surreal while a Balkan New Wave soundtrack
affirms this doc's punk-rock spirit.
The Great Flood (USA, 80 min.)
Director Bill Morrison weaves together compelling archival footage of
the great Mississippi flood of 1927 complemented by a very well-
considered Bill Frisell original score. This flood led to an exodus
of sharecroppers, all heading north. The result? Chicago blues,
rhythm & biues and, ultimately, rock 'n' roll...
"RAP IS WAR" (viva cuba libre)
(USA/Cuba, 74 min.)
Refused airplay, the nevertheless
very popular Cuban protest
rappers Los Aldeanos soldier
on, playing secret shows island
wide. Jesse Acevedo's vita!
documentary offers incredible
insight into Cuba now and is a
testament to the power of both
guerrilla filmmaking and underground music. Winner, Audience
Award, Miami 2013.
Pussy Riot: A Punk Prayer
(USA/Cuba, 86 min.)
The saga of Russian feminist
punk collective Pussy Riot is
well-known by now, but the
lives of the three brave young
women beneath the balaclavas
much less so. Mike Lerner and
Maxim Pozdorovkin change
that with this smart and exclusive behind-the-scenes look
at the group. The result is "the
most important film at Sundance
this year,"—Moviemaker Magazine
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MADE IN VANCOUVER. Jesse Gander is undoubtedly one of Vancouver's best independent recording engineers. He's the kind of person who, despite
the impressive resume that he's built over the past 12 years, still
has the work ethic of a younger, hungry journeyman. There's an
unmistakable workmanlike quality to the 30-something studio
man, who, as one of the major driving forces at the Hive Creative
Labs—one of the city's most well-known independent recording
studios—is now about to set up shop in one of the newest.
This October, the Hive Creative Labs will be closing its doors
for business, leaving its founder, Colin Stewart and staff to pursue
new ventures. The studio is renowned for its model of low-cost/
high-quality recordings, as well as for featuring the talents of
Stewart and Gander, who have effectively made names for themselves there over its 10-year run. But Stewart and Gander knew that
they wouldn't keep it past the 10-year mark, as Gander explains
with a wry look, "We announced that we were
closing the studio like six months ago. But
I knew for a fact two years ago that we were
going to do it."
To Vancouver musicians of all tiers, the
Hive is legendary, and it's difficult to overstate
the studio's cultural footprint during its run
with Stewart and Gander. The influence that
they have affected over the past decade has
made a deep impact on the tone and character
of music coming out of Vancouver. In the
. past few years alone, the Hive has been the
birthplace of albums from Black Mountain,
Japandroids, White Lung, Destroyer, and Bison B.C., and looking
back to the beginning: about seven- or eight-hundred others.
Enter Rain City Recorders. Built and operated by fellow audio
engineer Stuart McKillop in 2012, the studio is an archetype
of the East Van ethos: small, independent, and consummately
welcoming. Not to mention that it's situated in the heart of the
local music scene, surrounded by rehearsal spaces on a relatively
quiet but idiosyncratic street in Mt. Pleasant, hidden in plain sight
between detached houses and industrial workspaces. The studio
is tiny compared to the Hive's 3,000-square foot space, but in lieu
of its modest footprint, Rain City is warm and familiar. Inside the
lettering by
photos by
control room, filled with racks of expensive-looking audio gear
and a vintage guitar and bass amplifiers nestled within beautiful
walnut cabinets, the space imparts a wistful sense of reverence;
as if something important could happen here if you wanted it to.
And now Rain City Recorders is about to ramp up in a big way
with the addition of Gander. "Essentially it will be pretty much an
extension of what I've already been doing," he explains, sitting on
a futon couch in the studio's main hallway that's lined with dozens
of framed records. "I don't want to go crazy. I just want to take
baby steps and make the place work, and you know, have a price
low enough that people can afford to come; and have the expenses
low enough that I don't have to freak out [about making rent]."
It's an easy fit for the two friends, who fostered a strong partnership grown out of Gander's mentorship of McKillop almost
12 years ago at Profile Sound Studios on Commercial Drive. The
duo eventually shared space for eight more years together at the
Hive, with McKillop filling in time in Gander's schedule. And
earlier this year—a year after McKillop left the Hive to start Rain
City Recorders—he invited Gander to join him. "The fact that
Stu already had a nice place going that I could just Slip n' Slide
right into makes it great, and it completes the cycle," Gander
says, "and it also really validates to me how sharing technique
and information... and not being competitive, but instead being
allies to one another is ultimately the way to go."
Now on the brink of his new adventure, Gander eulogises for
a moment on the passing of the Hive: "I just feel really grateful
about all the people that came out and kept that studio alive, and
kept bread on the table for the last 10 years. It was an amazing
experience, and everything I wanted to get out of being there, I
feel like I did. I'm going to miss being there with Colin and stuff
like that, but I'm really excited about the new future too." BANKROBBER
■       GIBB
photos by
illustration by
It's one of those Saturday afternoons when the weather just
can't seem to get its act together—the sun peeks out on occasion, but a thin blanket of grey keeps the blue skies hidden.
I'm sitting at a table outside of Marmalady Catering in East
Van, across from Jordan Minkoff, singer and guitarist of the
local group Bankrobber. The other members of Bankrobber,
Tanner Matt (drums) and Aden Collinge (bass), are unable to
make the interview, but MinkofFis confident that he'll be able
to share enough lore about the Victoria-imported band. We've
just ordered a pair of sandwiches and he's telling me the origin of Life's Nutso, Bankrobber's first full-length and the latest
upload to their Bandcamp page.
"The people that recorded [Life's Nutso], they really wanted
to see things happen with it," Minkoff explains. Though the
LP just had its online debut in August, the album itself has
been complete for almost a year. Recording started in'2011 and
while there was initial interest from a few labels and "some
kind-of exciting stuff almost happened," the excitement wore
offand Nutso got comfortable sitting on Minkoff's hard drive.
In fact, having the release date on Bandcamp as January 2037
is a jab at how long the gap was between completion and
release. "That was a joke because it's taken so fucking long."
The main reason why most labels were hesitant about
releasing Nutso is simple: in order for an album to be profitable, the band has to tour. And it's difficult to tour when
you're juggling being a part of three bands—especially when ■
Minkoff is'simmering in success right now from his other band, Slam
Dunk, who will be touring with punk-rock idols Built to Spill later this fall.
Like most musicians in Vancouver, Minkoff belongs to a number of different groups: there's Bankrobber, the Victoria-based rock outfit Slam Dunk
(which he also sings and plays guitar for), and his solo project, Wetface, an
act where Minkoff plays an old combo organ to the effect of what sounds
like a full, cheesy *8os band. In Minkoff's words, the resulting sound falls
"somewhere between Aqua and Leonard Cohen."
What strikes me the most about Minkoff is his noticeably goofy
approach to his music and just life in general. Every time the conversation
seems to steer towards a tone of seriousness, Minkoff counteracts with
either a humorous story or light quip. It's refreshing to see someone take
such a relaxed approach to music, even when it's your livelihood.
"I think I said it while at a Slam Dunk show at the end of a song. It's a
funny line. I hate the word Nutso; it's stupid. But it's the best advice I could
give someone who's having an existential crisis. Just lighten the mood. The
album's a bit serious, so in my mind 'Oh, that sounds a bit serious. Better
give the album a dumb title.' It makes me uncomfortable when things get
too serious."
In some ways, Nutso was an album n years in the making. Since Minkoff
was 15-years-old, he's been writing music, initially under the moniker
Blank. A large chunk of the album had already been written before Matt and
Collinge were even band members. And while Bankrobber has mainly been
a studio project in the past, Minkoff still enjoys performing Bankrobber
songs live because of the change of pace it offers from Slam Dunk's trademark rambunctious stage presence. "Everything's kind of like half-time. I
like playing [Bankrobber songs] because they're more chill."
Though in the past Bankrobber has taken a backseat to Minkoff's other
projects, with Nutso again collecting buzz, a potential keyboardist being
added to the band's line up, and a release party in the works, the ingredients are present for the heist of the century. "Bankrobber is back," Minkoff
decrees near the end of our interview. "You didn't know it was gone, well
now it's back. 1     [or, free for stafion members]«
Beatstreet Records
Fortune Sound Club
Save On Meats
Skateboard Shop
439 W Hastings St.
147 East Pender St.
1131 Howe St.
43 W Hastings St.
2337 Main St.
10% off used vinyl
No cover Saturdays (excluding special events)
10% off food
10% off
1 free bag of popcorn
The Bike Kitchen
UBC Bookstore
Australian Boot Co
6138 SUB Blvd.
Fresh is Best Salsa
People's Co-op
6200 University Blvd.
1968 West 4th Ave
10% off new parts and
2972 W Broadway
10% off clothing, gifts,
$30 off Blundstones and
10% off
1391 Commercial Dr.
RM Williams
10% off
Bonerattle Music
Gargoyles Tap+Griil
3357 W Broadway
Used House of
2016 Commercial Dr.
2012 Commercial Dr.
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337 East Hastings
Granville, Robson St.
10% off
The Cove
Highlife Records
1317 Commrecial Dr.
10% off
Bad Bird Media
3681 West 4th Ave.
The Portside Pub
10% off food
10% off
7 Alexander St.
Vancouver Music
10% off
10% off
Dentry's Pub
Hitz Boutique
316 W Cordova St.
118 Hanes Ave, North Van
The Baker &
4450 West tOth Ave.
Prussin Music
12% off
The Chef Sandwich
$6.99 wings, $11.99
15% off regular priced
3607 W Broadway
clothing and shoes
10% off
Vinyl Records
320 Cambie St.
319 W Hastings St.
10% off
Devil May Wear
Limelight Video
2505 Alma St.
Red Cat Records
15% off
3957 Main St.
4332 Main St.
Band Merch Canada
10% off
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The Wallflower
Modern Diner
20% off
Displace Hashery
Lotus Land Tattoo
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c i t r. c a by ROBERT
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"Damn hippies," I hear a barfly
mumble from his stool as a dozen
young musicians and artists pour in
through the front doors of Pat's Pub,
one of them cradling a baby.
"It's my sister's kid," says Industrial
Priest Overcoats drummer David
Madge. "I had to catch a ride with
her." She waves to me from the end
of the table.
Some of them sit. Fewer stand.
And I watch as the jugs of Pat's lager
begin to empty through the din of a
toy xylophone being played off-key
and labelmates antagonizing each
other with the bashfulness of teenage
romance. Hanging out amidst this
unbridled energy, beer flowing and friends chiding each other,
is a nostalgic reminder of what punk means to me.
This is Napkin Records. In true d.i.y or die fashion, everything short of pressing vinyl happens
in a non-descript East Van basement. From writing songs to keeping their religious recitations
in check, creating the album art and giving bands
a place to crash, it's a tightly knit group of musicians, artists, friends, and lovers that rely on each
other for success.
"When things need to get done, sometimes it
starts out as a big knot and we all slowly untie it.
Sometimes we yell at each other, sometimes it's
dysfunctional, but in the end we always get done
everything we need to," explains Robert Tunold, president of
Napkin Records.
Simultaneously volatile and endearing, Napkin is a label
shirking the past When I ask about their backgrounds and the
label's origins, both Tunold and I.P.O. guitarist Ben Beckett
remain evasive. Eventually it surfaces that the label was born in
February of last year, shortly after multi-instrumentalist, singer,
and the label's principal songwriter Trevor McEachran left his
laptop on the back of a night bus. "There were over 900 songs
on his laptop [that he had written]," says Tunold. Instead of
getting bummed out over the loss, Tunold and a handful of his
other friends did what any group of young punks would do and
pooled their gear together to create a platform for McEachran's
tireless output: Napkin Records.
I can't decide if Tunold is embellishing this tragedy and it's
a cruel trick that McEachran isn't around to confirm it. "He's
gone fishing," I'm assured by Tunold, who also plays bass for
I.P.O. I don't buy it though. The distressed and prolific young
songwriter just doesn't seem like the outdoors type. But Tunold
keeps going, detailing how McEachran wrote all the parts and
recorded nearly all the tracks on I.P.O.'s debut full-length Defiant
Mortals by himself.
An air of seriousness suddenly rises as 10 other voices echo
Tunold's story. Everyone is in agreement: McEachran was the reason for the label's formation. Recalling his fits of self-deprecation
and explosive stage presence atLP.O's Music Waste show earlier
this summer, the story is becoming believable.
Back at Pat's, Max Zaitlin's head rises from his bible with some insight on the label's beginnings.
"Actually, it all started with Vanity Records,"
he argues. As much as the paranoid front-
man for Lesser Pissers insists Vanity was
a precursor to Napkin, it currently exists
as little more than a platform for Zaitlin's
delirious ascension under the believeh
Zaitlin's religious antics, which he describes as simply a
"divine interruption," come in the form of biblical recitations
that replace the lyrics to Lesser Pissers songs. "I have occasional
interstellar feedback ...The cruel son of a bitch [God] is always
calling my name," Zaitlin says in defense, claiming music facilitates the cosmic conversation.
It's a habit that has gone so far as to prompt Beckett (who
does double duty as Lesser Pissers' guitarist) to exit this year's
Music Waste gig on the premonitory last words "Never again."
Then, when "last Lesser Pissers show EVER" appeared on the
Napkin Records Facebook wall the next day, everyone figured
the band was finished. But to my surprise Zaitlin tells me, "We're
playing a show on August 30," insisting that Lesser Pissers
haven't broken up.
With that affirmation, Napkin Records is officially home
to 12 local bands and scarcely twice as many musicians, with
people like Tunold and Beckett sharing duties in up to four
bands at any given time. The label's collective efforts have been
compiled on the annual Napkin Records, Vol. 1 sampler that was
released in March, with local artist and Napkin member Gillian
Cole looking after the album art. On the record White Poppy's
Ian Kinakin covers guitar and vocals in Mossfett (previously
Hemogoblin), a drums/guitar duo that blends garage doom
with spastic vocals while Snit's unnerving "Can't Trust Your
Neighbours" exemplify the band's adderall-riddled anxieties.
Meanwhile the Night Detective throws sub-minute cuts of Germs'
style blitzkrieg-punk that contrast the greater pop sensibilities
of bands like Girl Dracula.
Blunt and unabashed, the year-and-a-half-old label produces
fast, bitter releases that face the anxieties many have chosen to
sidestep. While some are opting to join the local dream-pop
roster, Napkin is a beacon of authenticity looking to illustrate the
obdurate confrontation of punk's timeless struggle. Getwasted,
throw on Defiant Mortals, and shamelessly ruin your life to it.
Napkin's jtrst jull-len^jth release Defiant Mortals by Industrial Priest
Overcoats was released on August 6. They are currently on a tireless coast-
to-coast North American tour with labelmates Ann, Snit, and Genderdog
that covers 25 cities over 20, days. by FRASER
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Across from me, the members of Weed are gathered to discuss their first LP, Deserve. Guitarist
Kevin Doherty is chomping into a Big Mac and
drummer Bobby Siadat is staring vacantly at the
television close-captioned behind me. Why the
sludge-fuzz rock band decided to conduct our
interview at a McDonald's is beyond me, unless
this is the only place where Siadat can get his
WNBA fix, but along with Will Anderson (guitar)
and Hugo Noriega (bass), the band seem to be a
lot more comfortable here than I am.
It's been about a year since I last sat down
with Weed—over their self-described "shit-fi" EP Gun Control.
A band known for its d.i.y. aesthetic and a punishing touring schedule, not much seems to have changed between then
and now besides a whole lot more of everything, including
two tours with contemporaries Cascadia. "It was intense...
with seven people," says Noriega of their time spent in a van.
"There were moments, it got claustrophobic for sure." No
road trip is without its troubles, and Anderson is optimistic
about their highway habits in the future. "We do two or three
every year, and each one's been better than the last."
. As if touring tri-annually around North America wasn't
hard enough, Weed take it one step further by refusing to play
shows with a strict age limit—a move that's more about being
open to younger crowds than it is trying to avoid bar fees.
Anderson is obviously the driving force behind the decision:
"We used to play shows at [places like] 360 Glen, but we've
tried to move away from shows that, while technically all-ages,
aren't really accessible to young people... It's hard to find a
balance between cool and accessible, but places like that can
have a big role in young people's lives." Few bands are willing
to put their ethos in front of their ability to stay on the road—
particularly when broke and touring through Nowhereseville,
The band have come out of the woodwork on this occasion to talk about their long-awaited long-play, Deserve. It's
not your traditional Vancouver record sampling—probably because Weed isn't your traditional Vancouver band. With half
the members originating from south of the border, and stronger affinity for Cascadia than BC, the record hardly sounds
like native fare. And, for a band whose ethos was so steeped
in d.Ly. for their previous seven inches (all released under
Anderson's label, Cruising USA), Deserve was a chance to step
outside of their norm by stepping into a studio. Anderson
found the change oddly comfortable.
"We went out of our self-producing mode," he says, "and
recorded in Redmond at the Old Firehouse. It made it a lot easier for us because we had four days, and that was it. Whatever
came out of that, we were over it."
One might think that removing a band from their d.i.y.
environment would feel limiting, but according to Doherty
the opposite was true. "There's a lot we didn't get out of our
previous recordings," he explains. "There's a big step up in
quality, it's not as gritty... or as shitty."
While Anderson remarks that Deserve might be a "less intimate" record for the production invested, it's safe to say that
he's happy with the finished product. "Yeah, of course I miss
the fuzz," he ruminates, "but we made up for it completely.
There's a certain amount that has carried over, as far as the
distortion and the loudness is concerned."
And to be clear, Deserve sounds amazing. The ideal blend
of muddy, fuzz-perfect guitar riffs and tight energy that was
first demonstrated on Weed's fantastic single With Dnifl/Ei^hty
finally makes a return, turning each of the nine tracks on the
LP into anthemic lo-fi masterpieces. Take the perfect guitar-
rock noisiness of Yo La Tengo's "Sugarcube," "Deeper Into
Movies," or "Today Is The Day," add a Big Muff or three to the ^^^K^^^%«
mix, and a dash of shits-and-giggles noise-making, and you
start to get an idea of how Deserve will pipe apart your brain.
Every song on the record islsltidgy and brilliant.
The 12 " isn't without its head-scratching moments—
particularly the walls of feedback that tend to intro and
outro the album's catchiest songs. Anderson recounts,
"In an earlier version of the album, there was a full three
or four minutes of just feedback [at the end of opener
"Heal"]. I loved it. I thought it was weird and abrasive.
Maybe turn some people away, make them skip to the next
song." Turns out, trying to turn away listeners was an
unpopular decision inside of the band. "We did have one
giant internal band fight about that section of the song,"
he says. "We left the original version on a tour tape we
made, but now it's nothing." There's still plenty of freak
noise, scratching, and feedback left to satiate Anderson's
As the interview winds down and conversation wanders, Anderson has a habit of covering up the microphone
and mumbling "Don't print that" over the gabbing. Considering we're talking in a McDonald's on Terminal, I
didn't think there was much off the table, but for transparency, the list of unprintables is fairly small: straightedge tattoos, parking lot shows, and border-crossing procedures. There's not too much "off the record" to stack up
against Deserve, as honest and raw a record as you'll find.
And, whether you see Weed play in an all-ages alleyway in
Vancouver or somewhere off the face of the Earth in Wisconsin, the delivery is similarly raw. "I do stand-up, I work at my job, and I play
DV t_Vr\l«        League of Legends. That's me in a nutshell,"
says Kyle Bottom, quite bluntly. The 31-year-
old comic is very much your modern comedian:
laid-back, humble, but addicted to laughter.
"I used to monopolize my friends' time
when we hung out. I'd always be trying a wisecrack or getting people's attention," says
Bottom. "I started doing stand-up because I
thought I'd give my friends a break."
Despite his self-professed attention-seeking,
Bottom is not the Vegas showboat type, winking and nudging every important person in the room, schmoozing like it's
nobody's business. No, Bottom is, as described on his website, "a nerd in a
slacker's body."
"My favourite things are League of Legends and Magic cards, so I have
nerdy hobbies," says Bottom. "But I don't think you have to be a nerd in
lettering by
illustration by
order to be a slacker. You just have to be inactive to be a slacker."
When asked how his nerdiness related to his comedy, Bottom says he
tries to write nerdy jokes, but it's always hard to tell what's relatable.
"I did a Magic cards joke for a while that I really like, but people would
come up to me after shows and didn't get it at all. They'd be like, 'So you do
magic tricks?' and I was like, 'Aw, no. It's like a really popular trading card
game. Ah, never mind.'"
However, while Bottom's nerd tendencies ring true, he seems to shed
the slacker image when describing his dedication to comedy and what it
takes to become a professional comic.
"Confidence is one of those things that you build over time," says
Bottom, shifting into his comedy-guru mentality. "You build it by working
on your material a lot and by performing as many shows as you can. If you
only do two shows a week and still consider yourself a serious stand-up,
you need to re-evaluate what you're doing."
Bottom even shows dedication to comedy in the jokes he tells, straddling the line between comic and method actor, albeit in a silly way. "MY OPENER USED TO BE A MOUSTACHE JOKE
"My opener used to be a moustache joke and I used to wear a moustache
for two years just to tell the joke, which was a horrible life decision," he
says, going on to lament the moustache even as a concept. "I won't do the
joke unless I want to pull it out at a big show, which I can, because I have a
full beard now, so I still have a moustache but it's just hidden."
While Bottom's moustache is currently on sabbatical, he has moved on
to a new opener, one that he rather enjoys.
"I have names for all my jokes. This joke is called 'What Women Want.'
I talk about how I'm single and how it's confusing to me because I give
women what they want Like when I'm walking down the street and I see a
beautiful woman, and we make eye contact, I know she's thinking, 'Mm,
hope this guy doesn't talk to me.'"
Bottom's passion for stand-up has even evolved to the point where he
teaches stand-up comedy classes for Instant Theatre. When asked how one
goes about teaching stand-up, Bottom is once again blunt but succinct.
"You can't Because stand-up is an individual art form, there's nothing
I can really teach. I'm more of a coach. It's really hard to tell people how to
do stand-up, but it's easy to watch them do it and then tell
them what they're doing wrong."
And while teaching students how to create their own
stage persona is difficult, Bottom seems to have his own
stand-up mentality down.
"Lately my jokes have been a little cheeky," says Bottom,
a description he mentions was used by both his mom and CBC Radio. "I
try to be funny and at the same time walk the line between what is offensive
and what is not. I don't ever want to offend people, but I don't mind putting them on edge for a minute or two. I have a joke about feminists and it's
really fun to tell because I know I'm going to offend people in the audience
when I tell it. The premise is that I recently decided to become a feminist,
because when I found out there was an organization by women for women,
I said, 'Well they're going to need a man around.'"
And what's next for Bottom? Well, it's quite simple. He'll keep doing
shows and he'll keep being "a nerd." And hey, the next time you're playing
League of Legends, remember that you might be placing turrets and killing
monsters with one of Vancouver's hottest, cheekiest comedians.
Bottom headlines the Comedy Mix September 12 to 14.
Bottom also runs the show Comedy at the Koz urith Ivan Decker every third
Thursday at the Kozmtk Zoo. The next shotv is September 19.
"One time I was hosting at the Comedy Mix.,.when
Craig Robinson from The Ofjice showed up. And he was
hammered. He came back into the green room and
he didn't want to do a spot or anything, so we just sat
around the back room, just me, Craig, and Simon King,
and then out of nowhere, Craig picks up a water bottle
and whips it at Simon's head. And Simon grabs it out
of the air and goes, 'Whaf s going on?'
And Craig said, 'I don't know.' Then I had to go up
after Simon's set I say, 'Simon King, ladies and gentlemen,' and then everyone starts screaming because
S^^^fest walks through the curtain, puts his arm
around me, grabs the mic, and screams, 'What's up
Vancouver?' then walks offstage. And no one got a picture of it, but it was a really cool moment"
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aver Hour aka Rossin
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(Difficult Music) 1'-9am
Bepi Crespan Presents... CiTR's
24 Hours Of Radio Art in a snack
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Crespan© weirdness. Twitter:
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(Classical) 9-10am
From the Ancient World to the 21st
century, join host Marguerite in exploring and celebrating classical
music from around the world.
A program targeted to Ethiopian
people that encourages education
and personal development.
(Reggae) 12-3pm
Reggae  inna  all  styles and
(Roots) 3-5pm
Alternating Sundays
Real cowshit-caught-in-yer-boots
(Soul/R&B) Z-^m
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.
(Pop) 5-6pm
Alternating Sundays
British pop music from all decades. International pop (Japanese,
French, Swedish, British, US, etc.),
'60s soundtracks and lounge.
(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.
(Electronic/Experimental) 7-8pm
Strange and wonderful electronic
sounds from the past, present, and
future with host Gareth Moses. Music from paralJel worlds.
(World) S-9pm
Alternating Sundays
Featuring a wide range of music
from India, including popular music
from the 1930s to the present; Ghaz-
als and Bhajans, Qawwalis, pop and
regional language numbers.
(Dance) 8-9pm
Alternating Sundays
I A mix of the latest house music,
; tech-house, prog-house and techno.
| (Dance/Electronic) 9-10pm
| Hosted by Doe-Ran, the show was
I a nominated finalist for "Canadian
; College Radio Showoffheyear2012
\ in the Pioneer DJ Stylus Awards". A
; com plete mixbag every week, cover-
i ing: Ghetto funk, Breakbeat, Hip-
Hop, Funk & Soul, Chillout, Drum
' & Bass, Mashups, Electro House
I and loads of other crackin' tunes,
j Search'Doe Ran'at percussionlab.
; com and on
(Dance) 10pm-12am
Hosted by DJ Smiley Mike and DJ
Caddyshack, Trancendance has
been broadcasting from Vancouver, B.C. since 2001. We favour
Psytrance, Hard Trance and Epic
Trance, but also play Acid Trance,
Deep Trance, Hard Dance and even
some Breakbeat. We also love
a good Classic Trance Anthem,
especially if it's remixed. Current
influences include Sander van
Doom, Gareth Emery, Nick Sentience, Ovnimoon, Ace Ventura, Save
the Robot, Liquid Soul and Astrix.
Older influences include Union Jack,
Carl Cox, Christopher Lawrence,
Whoop! Records, Tidy Trax, Plati-
pus Records and Nukleuz. Email:
djsmileymike ©
: cross-country road trip!
; (World) 4-5pm
| The best of mix of Latin American
; music,
Vancouver's only live, volunteer-
I produced, student and community
newscast. Every week, we take
; a look back at the week's local,
1 national and international news,
; as seen from a fully independent
media perspective.
| 4'331/3
(Contemporary Classical and
\ Experimental) 6-7pm
I This program showcases "new
: music"—contemporary classical
\ and experimental music, especially
! highlighting Vancouver's local per-
| formers and composers of new mu-
: sic, to uncover a new musical niche
j to the broader public in a friendly
and accessible manner.
(Upbeat Music) S-.M-Zam
(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.
Join host Marie B and discuss spirituality, health and feeling good.
Tune in anti.tap into good vibrations that help you remember why
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(Pop) l-3pm
An indie pop show since 1999, it's
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(Pop) 34pm
The All Canadian Farm Show cultivates new and old indie jams from
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Join gak as he explores music from
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(Jazz) 9pm- 12am
Vancouver's longest running
prime-time Jazz program. Hosted
by Gavin Walker. Features at 11 pm
Sept. 2: In honour of the great pianist/composer's birthday today:
Horace Silver's classic "Six Pieces
of Silver." Sept. 9: Our traditional
"back to school" Feature. Alto
saxophone master Julian "Can-
nonball" Adderley narrates "A
History of Jazz." Sept 16: One more
for the "back to school" series. The
great Leonard Bernstein narrates
"What is Jazz." Sept.23: Today is
John Coltrane's birthday and we
feature one of Utmost requested
albums: "Blue Train." Sept.30: We
go from one of the most famous
in Mr. Coltrane to one of the least
known saxophone masters: tenorist
Rudolph Johnson. "Spring Rain."
interest features, background on
current issues and great music.
(Ec/ecf/cJ 10:30-ll:30am
Mind Voyage presents cosmic tones
of celestial counterpoint on CiTR!
Experience weekly encounters of
synth, ambient, witchy and new
classical items in one-hour with
DJ Tall Jamal.
ffc/ecf/c) ll:30am-lpm
An eclectic mix of Canadian indie
with rock, experimental, world, reggae, punk and ska from Canada,
Latin America and Europe. Hosted
by Oswaldo Perez Cabrera.
(Eclectic) l-2pm
(World) 2-3pm
Sample the various flavours
of Italian music from north to
south, traditional to modern on
this bilingual show. Folk, singer-
songwriter, jazz and much more. Un
programma bilingue che esplora
il mondo delta musica italiana.
bands, artists and fans together
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(Eclectio) %-lQam
Live from the Jungle Room, join radio
host Jack Velvet foran eclectic mix of
music, sound bites, information and
(Eclectic) 10-11:30am
(Skepticism) 3-4pm
Promoting skepticism, critical
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popular extraordinary claims and ;
subject them to.critical analysis.
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An alternative and critical look :
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New website: j
New twitter handle: ©thecityjm.  |
(Hardcore) 6-8pm
Punk rock and hardcore since 1989. ;
Bands and guests from around the i
(Dance) 8-9pm
(Roots) S-Zam
Bluegrass,   old-time   music,
and its derivatives with Arthur
and the lovely Andrea Berman.
Dedicated to the gay, lesbian, bisexual and transexual communities of Vancouver. Lots of human
(Hip-hop) 9-Upm
(World Ghetto) Upm-Uam
Emma vs music.
We practice what we Tweet! Showcasing local indie music and bringing
Alternates with "Smart People"
Talking to artists, entrepreneurs,
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Various members of the CiTR's student executive sit in and host this
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Alternating Wednesdays
There once was a project named
Terry, That wanted to make people
wary, Of things going on In the world
that are wrong without making it all
seem too scary.
(Talk) l-2pm
Alternating Wednesdays
(Talk) 2-3pm
Exploring the mindset of an
outsider looking in on Earth.
Featuring interviews with leading
thinkers in the area of sustainable
economics and our global ecological crisis.
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 pm ARTS REPORT
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.  *
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.
Alternating with Arts Extra!
On break from June-September
Alternating Wednesdays
All-Canadian music with a focus
on indie-rock/pop. anitabinder©
(Eclectic) B:30-Spm
Alternating Wednesdays
Fuzzy and sweet, a total treat! Tune
in to hear the latest and greatest
tracks from independent and Vancouver bands.
(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©
(Talk) 10-1 lpm
Your weekly dose of education
and entertainment in the realm
of relationships and sexuality.
(Hans Von Kloss) llpm-lam
Pretty much the best thing on radio.
(Industrial) l-5am
Industrial, electro, noise, experimental, and synth-based music. the-
(Punk Rock/Pop Punk) 10-1 lam
Hello hello hello! I interview bands
and play new, international and
local punk rock music. Great Success! PS. Broadcasted in brokenish
English. Hosted by Russian Tim.
Website: http://rocketfromrussia. Email: rocketfrom Facebook:
FromRussia. Twitter: http://twitter.
Vancouver's got a fever, and the only
prescription is CiTR's "Relentlessly
Awesome." Each and every week,
Jason attempts to offer adrenaline-
pumping, heart-stopping, hands-
over-the-eyes suspense. He is a fan
of various genres, and a supporter
of local music.
(Eclectic) 12-lpm
Sweet treats from the pop underground. Hosted by Duncan, sponsored by donuts. http://duncans
chipsn bip
(Underground Pop, Garage, Lo-Fi)
Dip in every Thursday afternoon with
host Hanna Fazio for the freshest
local indie pop tracks and upcoming shows.
(Talk) 2-3pm
Underground and indie comix. Each
week, we interview a different creator to get their unique perspective
on comix and discuss their upcoming works.
(Sports) 3.-30-4pm
Your weekly roundup of UBC Thunderbird sports action from on campus
and off with your host Wilson Wong.
(World) Wpm
Kirtan, Mantra, Chanting and
Culture. There's no place like Om.
Hosted by Raghunath with special
guests. Email: mantraradioshow® Website: mantraradio.
(Persian Literacy) 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.
(Eclectic) Alternating Thursdays
Celebrating the message behind the
music: Profiling music and musicians that take the route of positive
action over apathy.
(Eclectic) Alternating Thursdays
Explore local music and food with
your hosts, Brenda and Jordie. You'll
hear interviews and reviews on eats
and tunes from your neighbourhood,
and a weekly pairing for your date
(Experimental) 7:30-9pm
(Live Music) 9-11pm
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.
(Talk & Underground Electronic)
Discussing music copyright topics
and issues and mixing freely available music.
NEWS 101
See Monday for description.
(£c/ecf/cJ 6-7:30pm
Join your host Matthew for a weekly
mix of exciting sounds, past and
present, from his Australian homeland. And journey with him as he
features fresh tunes and explores
the alternative musical heritage
of Canada.
and blues roots with your hosts
Jim, Andy, and Paul, codeblue®
(Eclectic) 12-6am
It could be global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
different. Hosted by DJ Pierre.
(Eclectic) 10-11 am
Promoting upcoming live concerts
and shows in Vancouver, be they local, national, or international acts.
(Blues/Eclectic) llam-12pm
Every Friday host Dorothy Neufeld
sinks into blues, garage and rock
n' roll goodies!
if mnteasvbeIngi green
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.
(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: @Skalds_Hall.
f03/?ce; 2-3:30pm
An international mix of super-
fresh weekend party jams from
New Wave to foreign electro, baile,
Bollywood, and whatever else.
(Nardwuar) 3:30-5pm
Join Nardwuar the Human Serviette for Clam Chowder flavoured
entertainment. Doot doola doot
doo...doot doo! nardwuar©
(Dance/Electronic) 9-10:30pm
The Bassment is Vancouver's only j
bass-driven radio show, playing \
Glitch, Dubstep, Drum and Bass, |
Ghetto Funk, Crunk, Breaks, and UK i
Funky, while focusing on Canadian j
talent and highlighting Vancouver j
DJs, producers, and the parties ;
they throw.
(Rock) 10:30pm-12am
Formerly on CKXU, Canada Post-
Rock now resides on the west coast
but it's still committed to the best
in post-rock, drone, ambient, experimental, noise and basically
anything your host Pbone can put
the word "post" in front of.
(Drum+Bass, Ambient, Industrial...) i
Drum+Bass, Ambient, Industrial,
Noise, artist profiles with DJ Rea.
(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!
(Punk) 12-lpm
On the air since 2002, j
playing old and new punk on \
the non-commercial side of the
spectrum. Hosts: Aaron Brown, ;
Jeff "The Foat" Kraft. Website: i :
(Metal) l-3pm
Vancouver's longest running metal j
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.
From backwoods delta low-down
slide to urban harp honks, blues,
(World) B-Tw
News, arts, entertainment and music for the Russian community, local
and abroad,
(World) 7-Spm
Salsa, Bachata, Merengue, Latin
House, and Reggaeton with your
host GspotDJ.
(Dance/Electronic) 9-11 pm
If you like everything from electro/
techno/trance/8-bit music/retro
'80s, this is the show for you!
Randophonic is best thought of as
an intraversal jukebox which has
no concept of genre, style, political
boundaries, or even space-time
relevance. But it does know good
sounds from bad. Lately, the program
has been focused on Philip Random's
All Vinyl Countdown + Apocalypse
(the 1,111 greatest records you probably haven't heard). And we're not
afraid of noise.
(Generative) 2-bam
Four solid hours of fresh generative
music c/o the Absolute Value of Noise
and its world famous Generator. Ideal
for enhancing your dreams or, if sleep
is not on your agenda, your reveries.
and soft, melodic vocals. The band throws down
a folky, orchestral piece in "Aden's Song." The
Celtic violin and danceable beat makes for a perfect
late-summer's sunset jingle. "The End" wraps
up the list with Minkoff's humming and speedy
instruments. The song reminds me of a less chilled
out "What Do I Want To Be When I Grow Up"
If you want to take my full advice, either buy
Life's Nutso on tape when it comes out next month,
download it now, or both. Oh and don't miss their
shows, which are always a good time.
—Josefa Cameron
guitar refrain and beautifully melancholic lyrics.
Mathew Letersky displays impressive work behind
the kit throughout this song and the album as
the whole, pulling double duty as lead vocalist
and drummer.
The journey ends with "Take on Another One,"
a bouncy, joyful tune carried by a walking bassline, -
melodic guitar, and stately piano. Over the course
of Scotland's nine tracks, the listener is invited
to pause and enjoy the quieter moments of life.
Ghost Cousin's compositions allow for plenty of
breathing room while still remaining fresh and
intriguing upon repeated listens. Scotland is the
perfect soundtrack for the final days of summer.
—James Olson
Jordan Minkoff (Wetface, Slam Dunk), Tanner
Matt (Mood Hut), and Aden Collinge (Babysitter)
make up Bankrobber, a three-piece group who put
together their junior full-length at the Noise Floor
with Jordan Koop about a year ago. Life's Nutso,
released early August, is a delicious array of dark,
silken Nicky Thomas vocals, moody energy, and
suspenseful guitar flings.
"Boym'n" initiates the seven-track album with
a tonic bang. Dirty guitar, brazen vocals, and powerful drums like that of Gary Powell hit hard and
plunge through the track. The sound resembles
a more upbeat Night Beats with obvious hints of
Minkoff's main project, Slam Dunk. Equally as
bubbly, "Soon" comes next Minkoff sings with
such vitality, you feel as if you are watching the
band jump around live. You can almostsee the guitar-fuzzed air and smell the drum roll sweat. "JD,"
their single (also found on the Vancouver Pop Alliance
compilation), is a masterpiece. Tribal rhythm,
gypsy- esque horns, and fiddle pound through the
speakers accompanied by Joe Strummer-style wails
and yells. The track spins into a correspondingly
fervent "Tanner's Tower," my personal favourite.
The guitar riffs bleed into the ghostly vocal notes
with deep torn drumbeats, making for a haunting
but heartwarming piece.
The diversity of the album makes it hard to
determine where the sound fits; it's far from any
cookie-cutter genre. It's smoother than garage
rock, sassier than alt, and cooler than pop. I'd
coin it nomad wave or, perhaps, nothing other
than really, really good. A groovy bass line like
thatofBabyshambles' "French Dog Blues" begins
a beachy, fresh "Bankrobber." The track picks
up the beat with airy guitar hurls, catchy beats,
(Old Uflhj Recording Co.)
Ghost Cousin's first full-length release is enigmatic, to say the least. The Edmonton four-piece
has crafted a distinctive sound, fusing elements
of ambient indie pop in the vein of Grizzly Bear
and Midlake with traditional jazz rock a la Steely
Dan. Scotland is an album in the purest sense of
the word, a complete song cycle that is ambient,
thought-provoking, and evocative.
Like the first rays of the rising sun, "Breakfast
and Tea" eases the listener into Ghost Cousin's
swirling, psychedelic musical world. Warm keys,
minimal percussion, deftly constructed guitar,
and peaceful harmonized vocals coalesce to create
a very peaceful and thoroughly enjoyable track.
"Auntie Anne" showcases the band's more progressive songwriting as a tale of loss, hope, and
redemption is woven through a variety of dynamic,
jazz-inflected passages. No other track epitomizes
the tone of the record better than "In Any Place,"
which boasts a spacey extended keyboard intro,
a shuffling swing lead by a simplistic yet effective
I first learned of Vancouver-via-Dublin's House
of Dolls when a friend tipped me that they'd relocated to Vancouver last spring. Immediately being
intrigued with why the fuck a band would want to
relocate to Vancouver of all cities in the first place,
I immediately got hold of their debut full-length
Welcome to the Department of Nuclear Medicine and was
pleasantly surprised. What I heard was excellent,
noisy, rock 'n' roll being played by people that
seemed to understand what rock 'n' roll is actually
about, in that beautiful UK-style drug vibe that
nobody from Vancouver could pretend to nail.
All of the good stuff: a little bit Primal Scream, a
little bit Jesus & Mary Chain, a little bit all of the
good records you own.
With their brand new The Gods All Suck EP,
House of Dolls starts where they left off on Nuclear
Medicine. A looser set of four songs that show the
band is on the right path to better their debut
album while expanding on a style they already own. Opener "How It Ends" invites you in with a
nice loose-yet-tight drumbeat that surrenders to a
dialed-in bass groove surrounded by atmospheric
guitarmelodies that eventually let the real money
kick in: singer Stephen White's perfectly blended-
in voice. He just has a sixth sense when it comes
to melodies and a singing style that matches the
music perfectly. It doesn't stop there as it goes into
"Inquisition," a beautifully mellow mood-setter
that almost sounds halfway between country and
shoegaze without being either. Easily a song you
can find yourself lost in and a perfect song to end
any late-night shenanigans you may have found
yourself up to. The next one, "Low," picks the
pace back up while still letting you reel in the feel
of the prior songs. Its beautiful wall-of-sound
middle section ups the ante as it takes you on
a minor trip that never forces you to leave the
comfortable seat House of Dolls has set up for
you. EP closer "TV Trash" ends with a gloriously
melodic hypnotic clang.
The Gods All Suck serves the exact purpose of
what a true EP should do: a bridge between two
albums showing a little of the old with a peek at
the new. I'm pretty happy House of Dolls now calls
Vancouver home.
—Marty Hurley
(Light Organ Records)
Japanese Girls are a rare kind of beast. Much like
the bear-dolphin-butterfly creature that adorns the
cover of their debut release, this local four-piece's
sound is a fascinating hybrid of funk, indie, and
alternative hard-rock sensibilities. Each of the five
tracks on The Sharkweek EP presents a different facet
of Japanese Girls' artistic identity while still maintaining cohesiveness and clarity in their vision.
Opening track "Vancouver Grizzly" features
a deliriously weird chorus over pulsating, thick-
as-a-brick funk rock grooves. Vocalist Charlie
Kerr channels his inner Mike Patton as he shifts
between desperate yells, warped crooning, and
appropriately timed falsetto all within the same
track. "Margaret" gives further indication of
Japanese Girls' penchant for the bizarre as Kerr
spouts head-scratching non-sequiturs such as
"Margaret was target practice you actors can go
fuck a cactus." This tune is definitely the most driving and energetic of the pack and is reminiscent
of Incubus at their prime, especially in the bass
work of Christopher McClelland.
The Sharkweek EP is a balanced collection of
songs that progresses in logical fashion from the
aggression of the first three songs to the more tempered fare of "Monarch Butterfly" and "Friday the
13th." However, one would be remiss to mistake
tempered for subdued as "Monarch Butterfly"
is a cleverly orchestrated ballad punctuated by
rapid-fire rhythmic passages and moments of
sweeping beauty. The final track is Japanese Girls'
most experimental song to date (no small feat to
the say the least) featuring strings and Phoneix-
esque keyboards.
Bold, creative, and delightfully offbeat, Japanese Girls are a force to be reckoned with. The
Sharkweek EP is a refreshing listening experience
for fans of truly unique modern rock.
r-James Olson
(Hybridtty Music)
The steady trickle of the xx-inspired minimalism continues to drop into the bucket of pop,
this time in the form of Vancouver duo Ladyfrnd.
Their self-tided debut is an effort of restraint; Peter
Ricq's role as producer is all about the removal of
unnecessary sounds behind Yuki Holland's silky-
smooth vocals.
Between the beats of each track—mostly
big-bass thumps and drum machine snare hits
caked in '80s stadium reverb—Ricq's synthwork
provides a steady, if predictable, environment of
rhythm-based bleeps and bloops with which to
contain Holland's lyrical prowess. Smooth is the
word, with the washy echo on each key hit tailored
to avoid drawing too much attention to itself.
The instrumentation is necessarily sparse, in the
likeness of Chromatics, putting big pressure on
Holland's voice to provide the momentum for
most songs.
Standout track "Home" shows off Holland's
buttery-soft delivery next to sharp piano melodies.
The obvious R&B and lounge influences churn up
a song full of simple meaning and plain speaking
masked in a sea of cabaret haze, with a tranquil-
izing effect The vocal back-and-forth between the
duo ending the song is one of the most perfectly
sombre outros in recent pop memory.
The nine original songs on Ladyfrnd are accompanied with three remixes. Unfortunately, the DJ
tracks are largely fluff, failing to alter Ladyfrnd's
original sounds into something obviously new
or strikingly different While Humans give their
very best by adding some refreshing treble onto
"Un Petit Message," that each remix is confined
within a forced minimalism is frustrating. While
a really bizarre or stylized alteration might have
been an interesting risk (Justice covering Death
From Above 1979, anyone?), this trio of songs
plays it safe and ends up feeling pretty safe, too.
—Fraser Dobbs
Study and a
CiTR   »#<•*»=*
The Electric Owl
fortune Sound Cli
The Vogue Theatre
The Media Club
Come to our OPEN
HOUSE! 12-5 PM on
Jay Arner, Thee Ahs, Praying
for Greater Portland, Lie, Sleuth
5 - Room 233 in the
Stop In for a station
tour, weekdays
at noon. Email
vo! for
more info.
How to Host a Radio Sh
Event Planning 101
101.9FM on the dial. Lr Loscil's Sine Studies 1, like CliffMartinez' soundtrack
to the film Drive, pulsates with a fluidity and minimalism that seems to emphasize the backdrop with
which it is set. Both sides A, "Elements," and B,
"Unit Circle," are amorphous tracks composed
entirely of sine waves, and that the 7-inch is successful in spite of its bleak landscape is due entirely to the
masterful restraint with which the artist, otherwise
known as Scott Morgan, has assembled the pieces.
The concept, that each long-drawn drum hit and
chimey synth melody stem from the same waveform,
is the perfect fit for a 45-rpm single. Each side paints
a poignantly blank canvas with which to splatter the
listener's imagination or mood onto, and it is in
this hollow space that Sine Studies 1 finds meaning.
—Fraser Dobbs
If you haven't heard of them yet, there is no doubt
you will, sooner than later. Peer Support's dreamy
EP, Far From Here, a sudden and pleasant surprise,
bubbled amidst the beige prairies and the dirty flood
of Calgary. Listening to their new release, you'd think
the five-piece spend their time skateboarding on
Venice Beach or surfing Malibu.
The uplifting, dream drenched "Island" push
starts the six-track release, taking the listener
through a trip of pasty-coloured guitar twirls and
beautiful female vocals. The driving guitar work
and rumbling drums of "Nonchalant" resembles a
female-fronted Spiritualized. The lyrics evoke within
the listener an alluring nostalgia and a freeing, airy
emotion. A mix of lo-fi dream pop and garage indie
fades the line between ±e genres as rock-out banger
"Panger" drifts into a haunting "Forest Burn" with
both sinister female and sexy male vocals.
The bass drills throughout the entire EP like a
droning rap backbeat with effects similar to that of
Hibou and the drums shatter the expectations of the
listener, only to get the head bobbing to the catchy
rhythm. In short, Peer Support is like chillwave
played with actual instruments, surf-dream pop
but emerging from inland Canada, and a perfect
midsummer's listen. I'd term it free wave.
If you happen to be road tripping, sailing, skateboarding, or simply doing your dishes within the
near future, I'd advise you to put on this EP—you'll
find yourself smiling and singing along in moments.
—Josefa Cameron
(Hosehead Records)
For those who are familiar with Steve AdamykBand,
go and buy this. It's like their older works, but with
tighter playing and better production values which
in no way betray the rough, garage-inspired feel
of the early records. Someone gave them a budget
or something, and they didn't fuck it up. Hooray!
For those who aren't familiar, I recommend this
as a great starting point. The tide track is thick and
hard like they do it out easfc think the Vapids, Head,
or parts of the more recent Kjverdales records. The
other three tracks have more of a fast and poppy
feel, without being pop-punk; think the Briefs and
Marked Men. You can't go wrong with this one.
—Justin White
Local &
Bands in the
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The Cobalt I Augus^r
. There aren't many nine-to-fivers in Vancouver's
live music scene, so it's funny that everyone seemed
to have gone to bed early on a Monday night instead
of showing up at the Cobalt for a mish-mash of
rock bands. Or maybe they were all hanging out
with their brosf at the Kurt Vile concert? A fistful of music nerds still came out to support the
imported Calgary musical community, and that's
all that was needed.
. Opener Masahiro Takahashi met the members of Half Chinese by doing exacdy what most
Vancouverites don't—approaching a band after
their set. His enthusiasm is infectious and a
breath of fresh air comparedto the cold-shoulder
approach most locals favour. Flanked by Harrison
Pratt and Enzio Verster, Takahashi's unconventional pop songs were beautiful, and a perfect
fifcfor Half Chinese. Sung mostly in his native
Japanese,Takahashi has a bossa nova styling that
is definitely a product of his homeland. The Pillows
without the overdrive, or Deerhoof without the
mangled time signatures, the band was energetic
to watch, especially when Pratt donned sunglasses
behind the drum kit.
Out-of-towners Lab Coast and Samantha
Savage Smith were nearly the same band—it
must be nice when you share so many members
between groups that you can all squeeze into one
minivan. Lab Coast played first with a R.E.M.
vibe, and were a great example of Prairie Rock:
open and honest singer-songwriter tunes turned
into pop jingles with plenty of relatively sparse
instrumentation. Gendy tugging on the crowd's
heartstrings from behind a synthesizer, frontman
David Laing was humble but emotive. Rhythm
guitarist Henry Hsieh stood out as a particularly
excellent addition to the ensemble, throwing in
some excellent tube-fed tones and just the right
amount of overdrive growl to each song.
Samantha Savage Smith's unique voice, which
wasn't showcased when playing lead guitar with
Lab Coast, is reason enough to justify her own set.
Think Joanna Newsom in a higher register with
a twang, and you wouldn't be far off. Instead of a
harp, Smith balances her vocal chords with some
straight-up country guitar and an appropriately
modest backing band. Those that stuck out the
night were richly rewarded, and they didn't even
have to put up with 300 people screaming for an
encore of "Baby's Arms."
—Fraser Dobbs
The Electric Owl / August 6
Inhabited by a familiar cast of modish band geeks
and stonewashed enthusiasts, King Tuff's second Vancouver performance in only nine months
embodied the type of carousing spirit typically
depicted in the medieval courts of slovenly aristocrats. Of all those who'd journeyed to the Electric
Owl that Tuesday night, it was the three leading
members on stage that seemed most appreciative of their current standing. A minstrel incarnate, leading man King Tuff a.k.a. Kyle Thomas,
along with Magic Jake (bass) and Garett Goddard
(drums), serenaded the audience into the kind of
impassioned scuffle most routinely reserved for
the violendy deranged.
But prior to a full blown entropic collapse,
local band and opener War Baby bludgeoned the
crowd with a roaring blend of grunge and metal.
While they were no doubt enjoyable to listen to,
the impending vigour that would later define the
audience had no place in front of War Baby's act
that evening.
Loud and heavy, gruff and gloomy, the most the
three-piece could muster was a couple of drunken
revelers among a room of bobbing heads. Although
their driving riffs and range of vocal melodies were
seemingly enjoyed, it was clear that the thoughts
of those present were elsewhere, invested in the
impending headlining performance.
Upon taking the stage, King Tuff's congenial
presence struck a certain chord within the minds
of those in attendance, and prompted a quick-
stepped skirmish throughout the room. Playing
songs off their most recent album, eponymously
tided Kitifl Tuff, as well as a few off their initial
release, Was Dead, a certain rawness, more or less
vacant on studio recordings, showed through,
creating a comfortable atmosphere that both the
band and audience could enjoy in unanimity.
And in showcasing a new track, "She's On Fire," the onlookers were treated to an expansive
catalogue of lo-fi ditties. Before wrapping up the
evening with a fan favourite, "Bad Thing," King
Tuff taught us how to be proud Canadians the
only way an American band could: by haphazardly
reciting our national anthem in appreciation of our
country's stock of beautiful women. While both
fun and a bit bizarre, King Tuff proved not only
to be a class act, but that their line of musicality
should be heralded as a leading component of
garage-rock royalty.
—Sam Hawkins
The Astoria / August 9
It's so easy to underestimate the late start times at
the Astoria. In retrospect, there was plenty of time
to catch one of the many other shows happening
Friday night before coming to see Alex Bleeker and
company—a tactic utilized by many latecomers. It
was to their detriment, though, as local openers
the High Drops and the Shilohs were well worth
the price of admission alone.
The High Drops make having fun look cool
again. A perfect summer band by any standard,
their stage presence was packed full of good
energy, even when the assembled crowd was fairly
mute to their offerings. The quartet played a tight
mash up of'70s psych-surf with Brit Invasion guitar tones, satiating those looking for sun-drenched
pop melodies and adding a healthy dose of jam-
band goodness overtop.
Songs tended to stretch on a little longer than
most of the band probably anticipated, but the
uncertain looks guitarist Alexi Baris kept throwing
his bandmates was worth the extra few minutes
of run time.
The Shilohs don't sound like a Vancouver band,
though they probably felt the most at home on the
Astoria stage. Big Star comparisons be damned,
power-pop isn't a genre that has enjoyed great
comfort in town, so getting to see some country-
tinged Kinks references was a great surprise. Their
chiming guitar hooks and general pleasantness
painted a picture of a band dressed in brown disco
suits on a TV appearance instead of up on a sweaty
bar stage—everything about their performance
took cues from the golden age of vinyl without
being ironic or tongue-in-cheek.
—Fraser Dobbs
Lanalou's/August g
Hermetic: both an airtight seal to protect from
outside influences and a Vancouver bandreleasing
an EP that sounds like it's been sealed up in a time
capsule since the '90s.
Hermetic is even going so far as to offer
Heartbreakoloflyon "glorious cassette format" for
that authentic grunge experience.
Opening band Cult Babies' first song rolled
over the crowd at LanaLou's like an ethereal mist
thickening into a fog as singer/guitarist Hasan Li's
hypnotic voice rose above the echoing guitars and
keyboard. The lo-fi sound oscillated somewhere
between Sigur Ros and Black Mountain's psychedelic side. "I'm going to live forever, " Li repeated
over the crescendo of "Good Death," one of two
songs available on their Bandcamp page.
Cult Babies closed their set by ripping into
the stoner-rock sludge master riff that opened
"Minokawa," a song sharing the name of a great
bird from Bagobo legend who lived above the sky
and once swallowed the moon. Like its namesake,
the song's reverberations threatened to consume
the crowd as Li told us everything we'll ever want
to do.
Next up: punk/grunge three-piece Diane, who
crashed into their setwith Ben Goldberg assailing
his drums like he'd played in a three-story stairwell
at Headley Grange. The understated slow-roll
vocals of singer Mel Zee and the impellent force
of her own bass held the crowd somewhere north
of head bobbing but below the mosh threshold.
Diane closed their set with "Phantoms" off of
their EP of the same name. It's a relentless and
unsetding track that doesn't seem to be promise
a good death. Although sparse lyrically, Phantoms
displayed an introspective yet pretense-less style
of songwriting that complimented the straightforward '90s throwback grunge sound of Diane:
"Full throat gut rot always fading / silent night, full
force bliss / hungry eyes never blink."
When Hermetic finally took the stage, they
launched straight into their new EP with instrumental interlude "For Sammy." Eric Axen's
soft-spoken, almost falsetto vocals layered over
the relendess forward momentum of his fuzz
chugging guitar and the force of Bart Newman's
drumming created a sound that's somehow both
aggressive and melancholy.
It's shoe-gazing punk reminiscent of early
Dinosaur Jr. or Jawbreaker. "CompanyyouKeep,"
featuring amiable whisding over a sonorous guitar riff, pairs with "Conspicuous Production" to
finish off the EP.
Hermetic devoted the end of their set to the 2012
album Civilized City, including the apparent crowd
favourite (and radio friendly) "Malingering." The
song alternated straightforward rock strumming
with a rootsy harmonica fill that never overstayed
its welcome and included just the right amount of
hoo-hooing for the crowd to sing along.
While the crowd seemed primed for an encore,
Hermetic chose to close out their setwith "Sunday
Best" and a brief plug for Diane's upcoming tour.
The doors opened, breaking the seal keeping that
little bubble of the go's inside LanaLou's and letting the atmosphere float out to PoweH Street to
mingle with the cigarette smoke and excited post
show chatter.
—Chris Schonfeldt
The Cobalt /August 18
Once the home ofVancouver's hardcore scene, the
Cobalt was sold four years ago and re-branded as a
modern alternative music venue. Three dollar cans
of Dude beer have been replaced by microbrews
on tap behind a bar that's now unpadded. Where
once the back wall of the stage was papered from
floor to ceiling in flyers from bygone shows, works
of modern art now hang. But some things remain:
Pacific Pilsner is still sold by the can and the floor
is still creatively contoured.
Sex Church's sound would have fit in nicely
with the Cobalt of old: a widening gyre of droning industrial guitar cranked to 11, turning and
turning over blood-dimmed vocals. They've been
referred to as "Death Rock," and it fits; it's a kind
of gloomy-garage blend of early Sonic Youth noise
rock with Kyuss-like stoner metal. They barely
paused between songs: each devoured the last as
their set moved inexorably forward, creating the
illusion of one long uninterrupted beast of a jam.
Once the home ofVancouver's hardcore scene,
the Cobalt was sold four years ago and re-branded
as a modern alternative music venue. Three dollar
cans of Dude beer have been replaced by micro-
brews on tap behind a bar that's now unpadded.
Where once the backwall of the stage was papered
from floor to ceiling in flyers from bygone shows,
works of modern art now hang. But some things
remain: Pacific Pilsner is still sold by the can and
the floor is still creatively contoured.
Sex Church's sound would have fit in nicely
with the Cobalt of old: a widening gyre of droning industrial guitar cranked to n, turning and
turning over blood-dimmed vocals. They've been
referred to as "Death Rock," and it fits; it's a kind
of gloomy-garage blend of early Sonic Youth noise
rock with Kyuss-like stoner metal. They barely
paused between songs: each devoured the last as
their set moved inexorably forward, creating the
illusion of one long uninterrupted beast of a jam.
—Chris Schonfeldt ■■■■
illustration by PRISCILLAYU
September is synonymous with the back-to-school season. That means an influx of students coming to Vancouver for post-secondary. While you'll undoubtedly be buried by
textbooks and syllabi over the coming months, what better way to let off some steam
than to take in a concert or seven? Sure, we've lost a few along the way (R.I.P. Richard's
on Richards, 360 Glen, and more), but Vancouver is still home to some pretty amazing venues. In this month's edition of Staff Sound-off, we asked folks to tell us about
the first concert venue they went to and what venue currently has a special place in
their music-loving hearts.
EVAN BROW Contributor
First Concert Venue- Pacific Coliseum (Rise Against): After mostly listening to whatever
songs were in Guitar Hero, a 15-year-old Evan Brow finally decided to branch into modern music. My mom drove two friends and me to a venue that played host to Zeppelin in
'68 and would go on to host Alexisonfire in '12. It was the perfect bridge between then
and now, sparking my interest in a wide spectrum of music.
Favourite Venue Now- The Orpheum: It's the mixture of operatic atmosphere with
the down-to-earth folksy musicians I've seen perform there. There's something about
Dan Mangan leading us all to sing in unison, as equals, inside a sprawling, majestic
venue thafsbeautiful.
ELLIOT CHAN  Contributor
First Concert Venue- GM Place (Green Day): Contrary to popular belief, there used to
be a lot of punk in me and I guess there still is. My three friends and I stood out pretty
badly in the stadium during the American Idiot phase because we suddenly realized that
maybe we were no longer in Green Day's youth-centred demographic.
Favourite Venue Now- Commodore Ballroom: Since the demise of Richard's on
Richards, Commodore Ballroom has been the setting for some of my favourite shows.
The worst time there was still better than the best time in many other venues.
First Concert Venue- Legion Hall on the Drive (Orkestar Slivovica): I stumbled in with
my sister and friends on her birthday. We danced, drank shots of Slivovitz, and danced
some more. An hour later, I walked outwearing a woman's dress and a 1920's football
helmet made of leather.
Favourite Venue Now- Anza Club: Because no other venue attracts such eclectic acts
and eccentric individuals on any given night.
FRASER DOBBS Contributor
First Concert Venue- The Rickshaw Theatre (You Say Party! We Say Die!): Yes, this was
the now-infamous show where drummer Devon Clifford collapsed on stage mid-set from
a brain hemorrhage. It was a terrible, confusing, and tragic night, but it's also what
pushed me head-first into music journalism.
Favourite Venue Now- The Remington Art Gallery: Every show I've seen there has
been intimate, filled with great people, and packed to the brim with positive energy. Big
points for supporting Vancouver's local drone/ambient/experimental scene.
First Concert Venue- Commodore Ballroom (Down): I was returning to Canada in '07
from overseas and luckily passed through Vancouver on the day Phil Anselmo's heavy
rock super-group was playing. I went solo and loved every minute of it. I'm still stoked
every time I get to see a band there.
Favourite Venue Now- The Rickshaw Theatre: Partly due its proximity to my house,
but mostly due to its ample seating, room to dance, stage visibility, and beer accessibility. And the range of bands they book there is fantastic. I would be happy to see every show there.
First Concert Venue- The Orpheum (B.B. King): I was just a teenager learning guitar, and
as everyone knows, every guitarist has a blues phase. My dad treated me to a gentlemen's night out and I certainly appreciated the class of both the venue and show alike.
Favourite Venue Now- The Biltmore: Mostly because of the sheer volume of amazing shows I've seen there, but also because it's great for short folk like myself. No matter how many tall people are in front of me, I always seem to get a view of the stage. Vancouver
September 5-15
festival ■ 2013
on the Barefoot Wine and Bubbly Stage
at the St. Ambroise Fringe Bar
Located at AGRO Cafe, 1363 Railspur Alley.
Tough Age
Dominique Fricot
¥• Dogwood and Dahlia
# Rob Butterfield
9?* Tonye Aganaba &
the Foundation
sf The Kingsgate Chorus
9£ Square Dancing featuring
Shout! White Dragon
* DJ Tristan Orchard
...and more!
Broken Down Suitcase
90 Plays. 11 Nights.
Tick^ron sale now at!
Pringe Box Office powered by
Program Guides available at
Blenz Coffee locations or at
va ncouveriM&^tJConfY
On and around <3ftnv||te Island
lar stmmht HH ©bv @
with Trinidad Jules, Relly Rels &
Jamal Steeles
interviewed by CHIRAG MAHAJAN
lettering by MICHAEL SHANTZ
Jules: The show originally started as Rhymes & Reasons about 15 years ago by Lauren
Burrows [along with TheTessimist and DJ9]. Lauren went on to CKNW and CBC Radio
3. Rico Uno and I took over from her around 2003 and changed the name to Crimes
& Treasons, because we felt the rap scene was changing, especially from the South
along Florida, Texas, and California. Rap had become more serious and soon there
was a resurgence of music that was fun and expressing a different tone, so we went
in that direction.
| Jules: We listened to Rhymes & Reasons growing
up! I also grew up in Victoria and listened to Sub Zero, a show hosted by DJ Arems that
aired from the basement of CFUV 101.9 FM. There were no daytime rap shows back
then, so we'd record these late night shows on tapes. I'd start my tape deck timer five
minutes early so I could hear the scratchy show intro!
Rels: I started listening to the Beastie Boys when I was 10 but I was also listening to a lot of punk, too. It wasn't till I was 14 or 15 that I started listening to a lot of
golden era hip hop and soon became obsessed with West Coast rap and down South rap.
Steeles: Definitely, but my mother also got me listening to a lot of jazz, funk, soul,
Haitian Kompa, and so on. I listened to a lot of my adopted sister's music collection
such as SWV, Jodeci, Queen Latifah, and Nas. It wasn't until grade nine that Rico Uno,
who happened to be my classmate, introduced me to music like Swollen Members,
Anticon, Josh Martinez, Diplo, Moka Only, and DJ Shadow. Later on, Rico also let me sit
in on sessions of Rhymes & Reasons.
| Jules: I think we've listened to
everything, which does sound crazy but on this show we've made a huge effort to know
every kind of rap there was and is. Lauren introduced us to so many rappers that we
wanted to know more. We find it valuable not to stay just on a particular coast, and we
play new stuff from big emerging artists and from artists that are completely unknown.
| Jules: I used to make beats on a little Yamaha sampler that recorded maybe 10 to 45 seconds on it. Before I even had a
turntable, that sampler could make a fake scratch sound, and by necessity I figured it
out. I used to go to a now-defunct place in Richmond called the Phonologic Lab where
I learnt to scratch on their turntables. I only recently got a pair of working Technics;
I've somehow always had one good turntable with a bad turntable or mixer or laptop
that didn't work. ml&riI
Rels: I've been scratching ever since I first bought turntables in 2002.1 just started
sampling and making beats over the last two years. I use an MPC for sampling and
making drum beats, and keyboards for original production.
| Jules: There are a ton of DJs who've shown
us a lot of support. DJ Marvel [The Freshest crew] who gave us a shout out on the SF
Weekly, U-Tern has been one of my favourites; DJ Kutcorners was back on this July; and
DJ Flipout, who started volunteering at CiTR in high school.
~^\ Jules: Kendrick
Lamar's good kid, m.A.A.d. city.
Rels: Too $hort's Born To Mack.
Steeles: Supreme NTM's Paris Sous Les Bombes.
| Jules: Inside Out is awesome! I
love that music as much as I love rap. If we're talking old school, DJ Avi Shack had a
vinyl-only hip hop show called These Are The Breaks, which I'd tape religiously. He now
owns Beat Street Records downtown. A shout out to Leo Ramirez, too.
Rels: Inside Out\s a rad show! Also the boys Cam Dales and Tyler Fedchuk do a really great job on Radio Zero.
Steeles: Inside Out, ya bisssh! Love our collab shows.
| Jules: We love that rap is changing all the
time and we love to stay connected to it. We want to be more involved and have a
deeper contribution to the scene, and be able to merge local and international artists.
Crimes & Treasons airs every Tuesday from g to n p.m. CITR 101.9 FM CHARTS K
CiTR's charts reflect what's bee
n played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian and
t ot these excellent albums can be found at fine independent music stores across Vancouver. If you
sic coordinator a shout at (604) 822-8733. Her name is Sarah Cordingley. If you ask nicely she'll
out other great campus/community radio charts at
ARTIST                          ALBUM                          LABEL
Civic Guilt: A Kingston
Compilation by CFRC
.1    Jtestra*
• Qtyrapia                         Paper Bag
2     Diane*+                         Phantoms                        Green Burrito
13-    *JayArner*+                    Jay Arner                        Mint
4     The Courtneys
*+               The Courtneys                   Hockey Dad
*+               Fantasy                          Jagjaguwar
Smith Westerns
Soft Will
Mom + Pop
5     Lightning Ous
6     Sean Nicholas Savage*        Othe
Life                        Arbutus
ive Object                 More Than Human
Jim Guthrie*
Grand Analog*
Takes Time
Modem Thunder
Static Clang
The Shadow Cabinet
^C The Passenger**             Nega
8     Louise Burns* +                The Midnight Mass              Light Organ
Majical Cloudz*
&     Failing**                        Failing                           Self-Released
Function Operate
10    Plays:Four*+                   Lay Doe                           More Than Human
In Kind//Amends
Flemish Eye
iHIf. yl u x   •    *                 You Can't Serve Two             „       .. „
11    The Ketamines*                »« *                       »«pfnothCave
Boards Of Canada
Tomorrow's Harvest
12    Bear Mountain*
Last Gang
The Broadway To Boundary
Gold Panda
Imaginary Cities*
Mount Kimbie
Half Of Where You Live
Fall Of Romance
Cold Spring Fault
Less Youth
Ghostly International
Hidden Pony
.vp|||f; Koban*+
14   Said The Wha
1 Love You                         Hidden Pony
15    Bertha Cool/Hemogoblin*+   Split 7"                           Napkin
San Cisco
San Cisco
16    Dead Ghosts*+                 Can't Get No                     Burger
Daughn Gibson
Me Moan
Sub Pop
17 CFCF*
18 Monomyth*
; For Objects               Paper Bag
,DoesIhis,                 Self-Released
lease You?
Nate Young
By Divine Right*
Blinding Confusion
Organized Accidents
NNA Tapes
Hand Drawn Dracula
19   Rose Windows                 The Sun Dogs                   Sub Pop
Last Gang
20    Slutever                          1994 b/w Spit                   Jade Tree
Don't Get Heavy
Last Gang
21    The Lad Mags*                  Lover b/w You Don't Love Me   Self-Released
Hooded Fang*
22    Jasper Sloan Yip*+             Foxtrot                            Self-Released
The Ballantynes**
Faith b/w Velvet
23    Gauntlet Hair                    Stills                              Dead Oceans
Shawn Mrazek Lives!
**_      Thought He Was Dead
24    No Joy*                          Wait To Pleasure                 Mexican Summer
The Tubuloids*+
Surf Fukushima
25    Open Relationship*             Poochy                           Self-Released
Oldfolks Home*
Black & Blue
Head In The Sand
i  nfko   \ar
The Worse Things Set
Right Thoughts Right Words JIMMY LAVALLE
Right Aetiofl CD/LP    ' Perils from the Sea CD/LP
Another Self Portrait
Perpetual Surrender
I Hale Music CD/LP The Evil Orwt Cfi/LP $ r BtttS Bugs CD/t^ ^ Kiss Land CD/LP Silver Gymnasium CD/UP
Virgins CD/LP i| v|&J&      Slttper CD/IP ^^iroons CS/IP      jg) Repave CO/LP       J®jp*r" Praam BJj8irJ^|P
—=————gj^jj^ljgi,-   a—if if "mmm^,]/mmm^ '""■■■■ '"■■S^teiiSI———   jjijjjjg
Vflfki Sept lst-30*jj|| |
TaceoooK    Zu|uRecorc|s.s1ore/o802l0042
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
MontoWed 10:30-7:00
ThursandFri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6=00


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