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citr's new home i holy hum
neck of the woods i genderdog
doxa i the backhomes
caulfield & White
\ UPCOMING SHOWS
254 East Hastings Street
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THE MAIN EVENT
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SEPTICFLESH moonspell, deathstars &
MORE. CONQUERORS OF THE WORLD 2015
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BUTCH HALLER &THE DUSTY ACES
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LIVING ROOM SESSION
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KOBEL VANCOUVER MUSIC OUT 2015
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Additional show listings, ticket sale info, videos and more: WWW.RICKSHAWTHEATRE.COM
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• Magazine §233-6138 SUB Blvd. Vancouver, B.C., V6T JZ1 TABLE of CONTENTS
MAY 2015
RADIO IS DEAD - PG.20 	
After 46 years in the SUB, CiTR and Discorder
will be moving into the new Student Union Building. The move is scheduled for May and we're
throwing a big party in June to celebrate our first
broadcast, but first, here's a little history lesson.
DOXA-PG.22	
When it comes to curating Vancouver's documentary film festival, DOXA, film aficionados Selina
Crammond and Dorothy Woodend are no strangers to the selection process. They choose the most
innovative documentaries; providing a platform
for deserving artists and an entertaining experience for DOXA filmgoers.
WEIRD CANDLE - PG.28	
Weird Candle are about to embark on a European
tour to promote their debut record, Regeneration.
Before their departure, this dark wave duo gives
their opinion on local politics, gentrification, and
how both these forces have informed the creation
of their second, yet to be released, album.
NECK OF THE WOODS - PG.48	
Since their formation last year, Vancouver progressive metal quintet Neck of the Woods have
established themselves as one of the city's premier
heavy acts. The band chats to Discorder about the
release of their pulverising debut EP, Vancouver's
supportive metal scene, and their genre-defying
nature.
THE BACKHOMES - PG.52	
Victoria's dream team, The Backhomes, is a band
to watch and on the lineup for new Vancouver
offshoot of Austin Psych Fest, Levitation, hitting
Vancouver this June. Discorder catches up with
them to discuss their approach to songwriting, the
importance of geography, and their plans for the
future and their upcoming record, Tidal Wave.
HOLY HUM - PG.56	
Having recently released Appendix A + B, Holy
Hum's Andrew Lee sits down with Discorder's
Max Hill to discuss identity, death, and how musical content can be comprise solely of peaks and
crescendos.
GENDERDOG - PG.60	
Sometimes it's better to go big or go home. Meet
Genderdog: a local three piece who are following up their first tape release with a West Coast
tour. Hear about their shaky start, their upcoming
album, and the drummer's take on the Vancouver
dating scene.
VENEWS SKINNY FAT JACK'S - PG.l 0
FILMSTRIPPED MARS BARB - PG.l3
ON THE AIR RHYTHMS INDIA - PG.l 7
IN GOOD HUMOUR CAITLIN HOWDEN - PG.25
REAL LIVE ACTION - PG.32
CALENDAR- PG.36
ART PROJECT CAULFIELD & WHITE - PG.38
UNDER REVIEW - PG.42
CITR PROGRAM GUIDE - PG.65
ADVERTISE: Ad space for upcoming issues
can be booked by calling (604) 822-3017
ext. 3 or emailing■advertising@citr.ca. Rates
available upon request.
CONTRIBUTE: To submit words to
Discorder, please contact: editor.discorder@
citr.ca. To submit images, contact:
artdirector.discorder@citr.ca
SUBSCRIBE: Send in a cheque for $20 to
#233-6138 SUB Blvd., Vancouver B.C., V6T   ,
1 Zl with your address, and we will mail each
issue of Discorder right to your doorstep
for a year.
DISTRIBUTE: To distribute Discorder in your
business, email dfetro.discorder@citr.ca We
are always looking for new friends.
DONATE: We are part of CiTR, a registered
non-profit, and accept, donations so we can
provide you with the content you love. To
donate visit www.citr.ca/donate.
Writers: Evan Brow,
Esmee Colbourne, Garth
Covernton, Fraser Dobbs,
Blake Haarstad, Jon
Hernandez, Max Hill,
Erin Jardine, Gary Jarvis,
Jon Kew, Mike Klassen,
Julia Lehn, Erica Leiren,
Charmaine Anne Li,
Theano Pavlidou, Keagan
Perlette, Andrew Reeves,
Ewan Thompson, Jordan
Wade, Jasper Wrinch,
Mathieu Youdan
Photographers &
Illustrators: Sara Baar,
Tara Bigdeli, Josh Conrad,
Melissa Fischer, Jules
Francisco, Amelia Garvin,
Yuko Inoue, Dana Kearley,
Kafena Mackiewicz,
Jaqueline Manoukian,
Connor McCabe, Jenna
Milsom, Emma Potter,
Max Power, Lauren Ray,
Aaron Read, Alison Sadler,
Alysha Seriani, Karl
Ventura
Cover: Photography by
Tara Bigdeli
Editors: Robert Catherall
& Alex de Boer
Art Director: Ricky
Castanedo-Laredo
Under Review Editor:
Alex de Boer
Real Live Action Editor:
Robert Catherall
Ad Coordinator:
Nashlyn Lloyd
Proofreaders: Alex de
Boer, Ricky Castanedo-
Laredo, Robert Catherall,
Joshua Gabert-Doyon,
Nashlyn Lloyd
Calendar Listings:
Sarah Cordingley
Accounts Manager:
Eleanor Wearing
Student Liason: Joshua
Gabert-Doyon
Web Editor: Avery Rawden
CiTR Station Manager
Brenda Grunau
Publisher Student Radio
Society of UBC
EDITORIAL CUTOFF: April 28, 2015
©Discorder 2014 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 8,000. Discorder is published almost
monthly by CiTR, which can be heard at 101.9 FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White
Rock. Call the CiTR DJ line at (604) 822-2487, CiTR's office at (604) 822-3017, email CiTR at stationmanager@citr.ca, or pick up a pen and write #233-6138
SUB Blvd., Vancouver, B.C., V6T 1Z1, Canada. -y^XP
EDITORS' NOTE
WE'RE BACK!
Illustrations by Josh Conrad
Lucky you, Rob and I are back at co-Edi-
tors-in-Chief! Again the two of us fill up the
magazine's masthead, as EIC, Under Review
editor, and Real Live Action editor.
This May we are featuring some exceptional emerging bands. From new age metal
to ambient orchestral tunes, Neck of the
Woods and Holy Hum grace Discorder's
pages and both ends of the musical spectrum.
Our content also includes recent Hockey
Dad addition, Genderdog, semi-paradoxical
goth-EBM duo Weird Candle, Victoria psych
sweethearts The Backhomes, as well as the
tiny, aptly named venue, Skinny Fat Jack's.
As a magazine based out of and apart of
CiTR, Discorder's coverage has historically
been on local music. Whether that has meant
highlighting bands, festivals, or labels, music
as an art form has always been centre stage
here at Discorder.
As half of the current Editor-in-Chief team,
I can say with confidence that our affinity for
music is as unshaken as ever. In the same
breath, I would also like to communicate an
expansion of this focus. Recently, we on the
masthead have been reaching out into the
wider world of art. Last month's features did
this by way of philosophizing on the significance and integrity of music journalism; this
month we venture towards an entirely separate subject matter: film.
Of course we often include film reviews —
of films which exclusively pertain to music
— in our Filmstripped column. This month
includes that column, but this time the criteria for its inclusion is not its musical focus.
Instead a short, ten minute documentary was
featured because its creator, Milena Salazar,
is a local filmmaker. As a local filmmaker, we
want to shine the spotlight on her work, and
in doing so give some much deserved credit
to the existence of Vancouver's filmmaking
community.
Vancouver's annual documentary film
festival, DOXA, is another of Discorder's
features this month. With Salazar's film pre-
miering at DOXA, this festival is another
excellent example of Vancouver's resonant
filmmaking and film-going scene.
EDITORS' NOTE The point of all this film fawning is that, it
is my desire that Discorder host more content
on local filmmakers and film-happenings!
Sure, and why shouldn't we give the big
screen a chance? Because we're not a film
magazine? Well, Back in the era of silent
films, right before the 'talkies' made it big, it
was customary to have a man seated at a piano and play along to it. There's still as much
music in film as there is film in music these
days; it's just integrated more seamlessly, so
I don't see that as a problem.
No, whether it's go-go dancers or album
art, music always has its accoutrements and
film is no different. In fact, most live music
I see nowadays has some kind of visual element added to it behind the stage or projecting on to the performers. As pop culture begins to embrace new media forms, it solidifies
the multimedia nature of this era, and we'd
like Discorder to reflect that too.
Speaking of new media forms, we've got a
couple projects in the works for the coming
months. Did we mention our office is moving
along with CiTR into the fancy new Student
Union Building at UBC? Yup, we're moving
along with the station so drop us a line if you
have a sturdy back and are keen to help move
some office supplies! Big changes are in the
works, but this is just the beginning so stay
tuned and keep your ears and eyes peeled as
we bring the magazine into a brand new era.
As always,
Alex & Rob
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EDITORS' NOTE CTDIPTIV TUC DEC?
HUMMIN6HYMNS0FAPRIL2015
ARTIST
1 Faith Healer*
2 Kimmortal*+
3 Twin River*+
4 Weed*+
5 Chastity Belt
6 Wand
7 lsotopes*+
8 Les Chausettes*+
9 Viet Cong*
10 Joel Plaskett*
11 Tough Age*+
12 Courtney Barnett
13 Moon Duo
14 Freak Heat Waves*
15 Purity Ring*
16 B.A. Johnston*
ALBUM
Cosmic Troubles
Sincerity
Should the light
go out
Running Back
Time to Go Home
Golem
Nuclear Strikezone
Kate b/w Volcanoes
LABEL
(Mint)
(Self-Released)
(Light Organ)
(Lefse)
(Hardly Art)
(In The Red)
. (Stomp)
(Punk Fox)
Continental Shelf        (Self-Released)
17
Lee Harvey
Osmond*
18   Lightning Bolt
The Real
McKenzies*+
20 Colleen
21 Doldrums*
King Khan &BBQ
Show*
23 Lower Dens
24 Liturgy
25 Kappa Chow*
The Park Avenue
Sobriety Test
Plays Cub's Hot
Dog Day
Sometimes I Sit And Think,
And Sometimes I Just Sit
Shadow Of The Sun
Bonnie's State of
Mind
Another Eternity
Shit Sucks
Beautiful Scars
Fantasy Empire
Rats In The Burlap
Captain of None
The Air Conditioned
Nightmare
Bad News Boys
Escape From Evil
The Ark Work
Collected Output
(Pheromone
Recordings)
(Mint)
(Mom + Pop)
(Sacred Bones)
(Hockey Dad)
(Last Gang)
(Mammoth Cave)
(Latent)
(Thrill Jockey)
(Stomp)
(Thrill Jockey)
(Sub Pop)
(In The Red)
(Ribbon)
(Thrill Jockey)
(Self-Released)
ARTIST
ALBUM
LABEL
26
Sarah Davachi*+
Baron's Court
(Students of Decay)
27
Sur Une Plage*+
Legerdemain
EarthEE
(Self-Released)
(Sub Pop)
28
THEESatisfaction
29
First Base*
You^ve Got A Hold
On Me
(Hosehead)
30
Six Organs Of
Admittance
Hexadic
(Drag City)
31
Melanie Durrant*
Anticipation
(Melo-ds)
32
BadBadNotGood &
Ghostface Killah
Sour Soul
(Lex)
33
Hello Blue Roses*+
WZO
(Jaz)
34
Adrian Teacher and
The Subs*+
Sorta Hafta
(Self-Reieased)
35
The Backhomes*
Tidalwave
(Self-Released)
36
Twerps
Range Anxiety
OK Jazz
(Merge)
(Self-Released)
37
OK Jazz*
(Thrill Jockey)
(Buzz Records)
38
Eternal Tapestry
Wild Strawberries
Sallows
39
Anamai*
Notta Comet*
Success with Houseplants
(Self-Released)
40
41
Baptists*+
Bloodmines
(Southern Lord)
42
Colleen Green
Ibeyi
I Want To Grow Up
(Hardly Art)
43
Ibeyi
(XL Recordings)
44
The Population
Drops*+
Way Down
(Self-Released)
45
Pow Wows*
Broken Curses
(Get Hip)
(Self-Released)
46
Towanda*
Black Sheep EP
47
Did You Die*+
All That Is Now
(Self-Released)
48
The Lad Mags*
Hypnotized / Alien
Bride
(Self-Released)
49
A Place To Bury
Strangers
Transfixiation
Noontide
(Dead Oceans)                         ^
(Hybridity Music)
50
Humans*+
CiTR's charts reflect what's been played on the air by CiTR's lovely DJs last month. Records with asterisks (*) are Canadian and those marked (+) are local. Most of these excellent albums can be
found at fine independent music stores across Vancouver. If you can't find them, give CiTR's music coordinator a shout at (604) 822-8733. Her name is Sarah Corclingley. If you ask nicely she'll
tell you how to find them. Check out other great campus/community radio charts at www.earshot-online.com,
CHARTS CiTR HAS
GREAT
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1 free bag of popcorn
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BAND MERCH CANADA
20% off   VENEWS
SKINNY FAT JACK'S
by Jasper Wrinch
Photography by Sara Baar
Illustrations by Alison Sadler As I sit with restauranteur Mika Zalman
in his pint-sized concert venue and discuss
how Skinny Fat Jack's came into being, the
350 square foot room seems almost spacious.
However, knowing what it's like when it's
packed to the brim with upwards of forty music-loving Vancouverites, I know how cozy
Skinny Fat Jack's can be.
"You have 25 people back here, and that's
a good crowd," says Zalman. With such limited floor space, the musicians and the audience are forced to occupy the same spheres.
"It's not that type of venue where you're twice
removed from the performers."
And performers seem to appreciate the
intimacy, considering four to five nights a
week, Skinny Fat Jack's hosts a wealth of
musicians, poets, actors, and entertainers
alike. Since its inception mid-summer 2014,
the venue has been constantly accommodating both up and coming performers, as well
as seasoned veterans looking to try something new.
"There's been a lot of people who can play
much larger venues who were drawn to the
intimacy of what Skinny Fat Jack's is," says
Zalman. "It's also a really good sized room
for people who are starting out... Everybody's
got to start in smaller venues like this."
Confined to a back room of his established
Main  St.  breakfast diner,  Slickity  Jim's,
Zalman sees benefits and detriments that
arise from the venue's covert location. "In
some ways the back-alley entrance gives it
that sort of 'you have to be in the know' sort
of vibe. But it also kind of eliminates the
exposure." With nary more than five or six
tables, a bar smaller than most closets, and a
corner of the room hardly space enough for
one set aside for bands to set up, it's plain to
see how "this cozy little room" can fly under
the radar of most. Yet Zalman has managed
to keep Skinny Fat Jack's alive and well, despite its small footprint.
Much of the venue's success Zalman credits to Chandler McMurray-Ives. "I think that
she's been very instrumental in making it
more successful just because she was well
acquainted with a lot of musicians and she
really loves it," says Zalman.
Starting as just a server for Slickity Jim's,
McMurray-Ives' experience and knowledge
within the Vancouver arts community quickly
led to her booking shows and being the medium through which Zalman can showcase
local talent. "She really cares about music
11
VENEWS and what she's doing, making sure people get
exposed to music and making sure musicians
are treated well." Together, both McMurray-
Ives and Zalman have helped push Skinny
Fat Jack's from an empty back room into a
thriving cultural centre for Vancouver's creators.
For Zalman, having someone else on board
to help widen the variety of performers helps
him out a great deal. "Given my choice, the
music I would have in here would be totally
inappropriate for the size of this room. But
that's me, and it's not really about me."
What it is about is providing a space in
which art can be created, performed, and enjoyed by those lucky enough to fit into the
room. "I'm open to everything," says Zalman.
"To me, it's kind of like a blank canvas."
From local country legend Marcel Petunia
to Spectral Theatre's radio plays, Skinny Fat
Jack's exists as a place in which the pleasure
of creating and experiencing art is a priority.
Amateurs can get a taste for performing, professionals can hone their craft, and a small
group of spectators can spend an evening experiencing it all alongside the artists.
Despite considering his own venue "a terrible business model," Zalman persists in his
commitment to keeping Skinny Fat Jack's
thriving. "No one's getting rich from running
a music venue... But I think it's important
that people keep the live music scene going
in Vancouver, because it can disappear quite
quickly."
12
VENEWS FILMSTRIPPED
MARS BARB
by Jon Kew II Illustrations by Dana Kearley
Last year, Christopher Nolan's Interstellar launched with an explicit desire to bring
space travel back into the popular imagination. Accordingly, leftist gadflies fell into
formation. For socialist publication Jacobin,
Eileen Jones contributed "Reactionaries in
Space." A quotable blurb from the article
reads:yx Inter stellar celebrates American-style
frontier expansion and retrograde masculinity. It's an ideological monstrosity." Personally, I took the opportunity to revisit Gil Scott
Heron. Really, this criticism came to wit over
four decades ago: "You know, the man just
upped my rent last night / Cause Whitey's on
the moon / No hot water, no toilets, no lights
/ But Whitey's on the moon."
Local filmmaker Milena Salazar's short-
documentary Mars Barb  opens  with the
titular Barbara Keith talking about her lifetime in Vancouver and the city's consistent
ranking as one of the most livable on Earth.
This opening interview, shot during a typically dour Cascadian afternoon, might encourage jaded locals to ask "Most livable for
whom?" Nonetheless, Keith — who has never left the city and was enamoured by moon
landings as a child — envisions her only upwards movement as movement.into space: a
potential that the Mars One mission makes
possible.
A quick primer: Mars One is a privately
funded initiative to send four individuals on
a one way trip to Mars to begin the establishment of a permanent colony. Keith is among
the entrants to make it into the second stage of
processing. Sequences of Keith engaging in
13
FILMSTRIPPED physical labour — "I live for my after-hours"
— invite thoughts on the inequitable access
to such projects, historically. Mars One is exciting because you don't have to be a Yalie
or Richard Branson to travel into space. The
American Dream is fiction, but perhaps we
can achieve the Transnational Dream (pending the approval of Mars One's television
production heads and corporate sponsors).
This is all to say that Utopian visions are
contestable. Mars Barb does not concern itself with a qualification of space travel. Its
ten minute runtime documents the beautiful
ideas that space travel conjure itself. And
what's more, that one of us could travel to
Mars. There is audacious delight in that: a
woman from Surrey finding herself Mars-
bound!
Keith is rightfully excited and engaging.
As an advocate for the speculative impulse
of space travel, she makes a great raconteur.
For her, that inaugural moon landing lent
humanity a source of constant optimism and
aspiration.
The film relishes in this without much fanfare. The camera is content to linger, follow,
or capture the familiar, from hazy proximities
or odd angles. At times Mars Barb takes on
the aspect of a high-concept home video, alternating between direct interview and shots
of Keith's day-to-day. Salazar's other work
shows a patient and inquisitive curiosity.
There's a link on her Vimeo to a short film Album, which explores people's relationships to
photographs and the worlds that those images
conjure. Throughout Mars Barb, Keith looks
at space through metaphors: brochures, Planetarium exhibits, and footage of the Apollo
13 landing.
In this sense the film loves to make us look
— look closer, look at the ordinary until it
becomes extraordinary, look at the tactile surface of this statue, or at this sunwashed scoreboard in Surrey. The film itself ends with a
shot of someone looking through a telescope. Handicam shots follow the ground,
trace Keith's actions, allow us to read what
she reads from behind her head. The camera
takes us, with Keith, to a running track, a
cosmic roller rink, to a field of grass touched
with particles of frost, unearthing an alien vibrancy in the everyday.
During that sequence on the track, Keith
explains her workout routine. She claims the
red running track she trains on will better acclimate her to Mars' red surface. And she describes the feeling of serenity one attains after hours of running, becoming "at peace with
the universe." There's something to be said
for the valorization of the everyday: finding
Mars on Earth. Salazar's strength with close
attention manifests in the uncanny and often
gorgeous capture of ordinary scenes. Here in
Vancouver, with glistening towers reiterating
the question — "Most livable for whom?" —
we could afford taking a brief respite from
looking skywards.
14
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ON THE AIR
RHYTHMS INDIA
by Theano Pavlidou II Photography by Yuko Inoue
II Illustrations by Connor McCabe
"Do you like figs?" asked Nalini Bhui,
host of Rhythms India, with a genuine smile
as she was trying to catch her breath. "Let's
have one."
She had just entered the Granville Island
Public Market. The place was once again
bursting with life and mingled aromas but
suddenly all I could smell were the spices, all
I could hear were the sitars' whispering, and
all I could see were the flowing seven seas in
her eyes. "Promise kept," I thought as I felt
the moisture in the air increasing; I was already sailing on an adventure to the Far East.
YOU SPEAK MORE THAN EIGHT DIFFERENT LANGUAGES, IF I'M NOT WRONG. DO
YOU THINK MUSIC IS A LANGUAGE TOO?
Yes, for sure. Music is a universal language
and I think it crosses all the barriers across all
countries, across all types of people, people
with all kinds of backgrounds, interests, et
cetera. So, yes, I do. But the eight languages that I've talked about, they are literally
ones, I didn't include music as one of them!
[Laughs].
WHAT IS THAT SPECIAL INGREDIENT
THAT MAKES INDIAN MUSIC UNIQUE?
It touches you. Every genre of Indian music touches you in a different way. The original Indian music has a lot of meaning, the
words have a lot of meaning. So, let's say, for
example, folk music. Folk music involved
life, and living, environment, and nature so
it gave lessons to the youngsters as to what
to expect in life, how to deal with situations
in life and then they would try to include humour in the picture so that, you know, it's interesting!
"17
ON THE AIR DO YOU BELIEVE TRADITIONAL/ETHNIC
MUSIC IS GIVEN ENOUGH SPACE AND OPPORTUNITY IN THE RADIO NOWADAYS,
AND HOW IMPORTANT IS THAT?
I don't believe that traditional ethnic music
is given importance, simply because I think
life has taken a different turn, and for the
younger generation in particular, whom all
these media have targeted; they have not necessarily been exposed to or have learned all
the bases to be able to appreciate it. There are
some youth, though, where a very conscious
effort is made by the parents to actually drive
these kids to the places or the teachers or the
lessons that are available and some of them
have very, very good understanding.
BESIDES MUSIC, IS THERE ANY OTHER
FORM OF ART THAT YOU ARE INTERESTED
IN OR PRACTICE?
I used to be a classical ballet native dancer.
Actually, my mother was a classical carnatic
singer so I danced, she sang; that's how we
used to be. So dance is a big passion. As I
grow older, it is a little harder to keep up with
the practice, especially because of some accidents and other things that my body has
suffered throughout the years; the recovery
takes a bit of time. But despite all that, once
music and dance are a passion, it's there, it's
18
in your body, in every cell of your body and
that's only what brings you peace, relaxation,
and happiness.
WHAT'S THE BEST REWARD AND WHAT'S
THE BIGGEST CHALLENGE OF BEING A RADIO PRODUCER?
The biggest challenge is the amount of time
it takes! My first show took me nine hours to
prepare! I wanted it to be perfect! The technical aspect of it is also a challenge. My tech
skills need work, even though I know my
... buttons! And the station is moving. That
throws it all again; new equipment, new challenge ahead! [Laughs]. But the rewards are
many.
Often I encourage people to exercise during music and ask them to do something simple, to do the same step, for example. That
resulted in some very positive audience feedback about stress release! Also, I encourage
the marginalised to participate; being able to
mobilize them is another great reward.
WHY SHOULD SOMEONE TUNE IN TO
RHYTHMS INDIA?
Because it's a different choice. There's a lot
of Indian music around on different stations
but from what I understand they focus on
ON THE AIR either Bollywood, Punjabi, or Hindi music;
that is to say, they are very specific whereas
I attempt to open it up to different languages
and "mix it up." I also try to encourage and
make this show a podium for young artists
who are local and Canadian; that's how I believe we can keep our ethnic spirit alive.
IF THERE'S ONE INDIAN SONG YOU
COULD DEDICATE TO VANCOUVER, WHICH
ONE WOULD IT BE?
The song is originally written by a young
man for a young woman and the song goes
like this [she starts singing in an Indian language] ... I will tell you thp meaning: "How
can I praise the one that made you? / Your
eyes that are blue like the skies / Your face is
as shining as the moon / The colour of your
hair is so unique / So, there is some special
mystery in this / So how can I praise the one
that has made this unique you?" and really
that would apply to Vancouver because Vancouver is so beautiful, so mysterious, so
amazing. That's my choice.
She sang with her eyes closed but with her
heart open as a lotus flower. A wife and proud
mother of three, a multi-award winning professional, and CiTR radio producer, Nalini
Bhui is that hero among us. As I was watching the sunset, the fig's sweet taste came back
to my mouth; it was the taste of her kindness
and courage that will be returning every Sunday at 8 p.m. through the sounds of Rhythms
India on CiTR.
* This interview has been condensed and
edited to meet this format.
19
ON THE AIR RADIO IS DEAD. LONG LIVE RADIO HELL
by Mike Klassen II Illustrations by Jules Francisco
II Photos courtesy of CiTR
In the age of the podcast and digital music
downloads it is almost hard to imagine the
passion for radio broadcasting that pulled me
and a school chum like a magnet through the
doors of CiTR in the summer of 1981. Getting course credits in order to graduate might
have been a higher priority in life, but back
then getting behind a microphone and playing music that you loved seemed to matter
just as much.
35 years later I am astounded by the influence that decision to join the UBC campus
radio station has had on my life, my relationships, and my career. I had been a radio fan
boy since the timfc when top 40 stations lit up
my youth during long summers. Then came
the heyday of album-oriented FM stations
when deep-voiced deejays played deep album tracks.
A series of mainstream music artists
emerged in Vancouver thanks to the success
of Heart, recorded locally at the legendary
Mushroom Records studio on West 6th Avenue. But a defiant and determined hardcore
sound exploded here soon after like a crack
in the Earth's crust. CiTR was the first radio
station to truly embrace the artists and the attitude brought on by music's new wave.
While other campus stations aspired to
sound like their mainstream counterparts,
CiTR was always the outlier. This was partly
due to the station itself being tucked away in
a remote set of rooms on the second floor of
the SUB in the outer reaches of West Point
Grey. When we showed up at the station for
our first interview by then-Station President
Jeff Kearney, my pal Dave Jamieson and I
feared we might be too button-down when
PiL t-shirts ruled the joint.
Nonetheless, we got our shift and kept
a show going through the next couple of
years, including a summertime weekend slot
memorable mostly for the on-air hangovers.
During that period two significant milestones
20
RADIO IS DEAD. LONG LIVE RADIO HELL FOR SOME REASON WRITING UNDER A NOM DEPLUME SEEMED LIKE
A COOL IDEA, WHICH IS WHY MY FIRST PUBLISHED STORY "THE
LAURIE PARTRIDGE DIARIES" HAD THE MAN SHERBET AS A BYLINE.
happened for the station: getting CRTC approval for a radio signal, and the launch of
the Discorder monthly newspaper.
I had long graduated from UBC when I returned to the station in 1988 to pitch myself
as a Discorder contributor. For some reason
writing under a nom de plume seemed like
a cool ideat, which is why my first published
story "The Laurie Partridge Diaries" had The
Mail Sherbet as a byline. It was an unexpected delight when a photo I took of the Cobalt
Hotel made a collection of Discorder's best
covers years later.
Of all the profound relationships and fond
memories CiTR brings, none rivals the fact
that I later married a fellow radio station
alumnus. Having so many CiTR connections
in common undoubtedly helped in my first
encounter with Stacey.
CiTR's prominent place in the new SUB
is a big change from its former bunker-like
location. But Radio Hell will live on, driven
by the same passion that has led so many of
us through the doors over the years.
Mike Klassen is a principal at TCG Public
Affairs and a political columnist
.:
ON THE HISTORY AND FUTURE OF j"HE CITR J STATION
::illP"
CiTR (legally the Student Radio Society of UBC) hoi in September 1937, operating as
a student club called RadSoc that broadcast Vat sity Hour, a weekly radio program on CJOR.
During this time, a small radio unit was set up in the ha ment of the Aggie Building and by
1945, membership had grown to 1(H) students. Then hundredth member precipitated a move
to the basement of Brock HalL which was renovai *48 v\ iih two sound-proof studios,
one large enough for a small orchestra or choir. Surviving afire in 54, RadSoc continued
to cover student issue* and campus new and sportf all while broadc ming closed circuit. In
1969, to say goodbye Jo Brock Studios, RadSoc th^ew at least fifteen pa>rth before moving
to the Student Union Building. The new studios hci^l the latest and most versW^^quipment
available at the time. RmdSoc became known at CYfR - UBC Radio, and got tem^^^h shut
down in 1973 for operating without a license after regulations changed. In 1975, CYvW^§nt
cable, gained a permanent home at 101.9fin on Aprijl 1,1982, and launched Discorder in ll
After 46 years in the SUB, ( i i R and Discorder pill be moving into the new Stud^aff&fUon
Building. The new station will have over two hundred additional square feet, witi0nore space
for studios, our music library, an J our growing st^ffand volunteer baseJUman upgrade in
space alsp comes an upgrade in location CiJTl cM Discorder wi be situated off of the main
atrium, where passersby can see and ftem the magic in our udios. Our main wall will fold
open to invite people into the station and rreau-1 ; < ^numce space for bands to play out
into the new SUB. Local musicians and artist v iU <j\ e great outlet for sharing their music
with the UBC community. The move is schedule } fvi May and we're throwing a big party in
June to celebrate our first broadcast — keep your\ea *      I eyes peeled for the announcement! j
	
RADIO IS DEAD. LONG LIVE RADU MELL DOCUMENrARY
&-:^^ y-^'F/FF^^^ CFAF^?;W|^^^^ by Jordan Wade II Illustrations by Emma Potter
One of the films to premiere last year at
DOXA was Virunga, which received an Oscar nomination for best documentary feature.
It premiered at DOXA, before Tribecca and
Hot docs, but the film almost never got off
the ground.
Virunga filmmaker, Orlando Von Einsie-
del, was feeling overwhelmed when he sent
in his rough cut to DOXA. "It was a little
rough around the edges" says Director of
Programming, Dorothy Woodend. "But it
was such an incredible story. You watched
and you feel your eyes bug out of your head.
Right away we said we want it, and we want
it for opening." When she emailed him to say
it had been accepted at DOXA, it turned out
to be the vote of confidence he needed to actually continue with it. And of course the film
went on to achieve ridiculous success.
I sat down with Dorothy Woodend and
DOXA Programming and Education Coordinator, Selina Crammond, to learn more
about Vancouver's premiere documentary
festival, now in its 14th year. "Documentaries were much less mainstream 15 years ago
then they are now. The growth of the genre
has paralleled the festival itself in many
ways." Explains Woodend, a film critic, who
used to work with VIFF before joining the
DOXA team in 2008. Along with her fellow
programming committee members, she tries
to keep up with all the latest developments,
trends, and filmmakers, to honor DOXA's
"more .eclectic" selection, compared with
other festivals.
"We have an open call for submissions that
goes out in September that goes around the
world. Anyone that can afford $20 can basically submit a film." This year they received
over 1,200 films and through the .diligent
work of their screening committee — each
of the 14 members were tasked with watching 50 films over the course of six months —
they eventually whittled it down to a grand
total of 91 films.
"Every year the criteria changes based on
the theme" adds Crammond. "We take into
account all the different types of films we
receive and build the program around a thematic concept."
This year's spotlight is on the theme of
"Satire & Subversion," which includes films
like The Yes Men Are Revolting, where (for
the third film in a series) the Yes Men stage
phony press conferences and outrageous
stunts to undermine big corporations and
government attitudes on climate change. In
Tab Hunter Confidential, we learn the real
story of the 1950's hunky blond, all-Ameri-
can heartthrob who, in order to maintain his
leading man roles, was forced to live in the
closet until 2006.
Also in the spotlight is the directorial debut of Vancouverite Kurt Walker called Hit 2
Pass, a local film that pleasantly surprised the
programming committee. "It's about a race
in Prince George, kind of a cross between a
stock car race and demolition derby. And it's
full-on experimental, art house meets... ya
know, Prince George."
Woodend first stumbled upon it by accident as she was screening for Doclisboa, a
prestigious film festival in Portugal. It was
showing alongside some heavy hitters in the
documentary world. "I saw it and I thought,
huh, what's this doing here?!" She chuckles.
Yet it went on to win the best international
feature prize.
Woodend and Crammond both are quick
to praise the film for being original, honest,
funny and weird. And they want to continue
to give those kind of filmmakers a platform.
"That's who we want to support, especially in
Vancouver. We think you have a hell of a career ahead of you and we want to help you."
Another distinctive aspect of DOXA is
their Justice Forum, now in its 6th year. The
forum is a selection of 10 issue-driven films,
each paired with a panel discussion. This is
23
DOXA "WE TAKE INTO ACCOUNT ALL THE DIFFERENT TYPES OF FILMS WE
RECEIVE AND BUILD THE PROGRAM AROUND A THEMATIC CONCEPT."
either with the filmmaker or an associated
person from the community, like an academic
or activist.
This years' selection includes Running On
Climate, a film about climate-scientist turned
Green Party candidate Andrew Weaver's
campaign trail in BC and his concern for
global warming; and Tell Spring Not to Come
This Year, a UK film about NATO pulling
out of Afghanistan and leaving the Afghan's
to fend for themselves in the war on terror.
In both cases the filmmaker will be in attendance for a post-film discussion.
When it comes to music films, one of the
most notable ones screening at DOXA this
year is Don't Think I've Forgotten: Cambodia's Lost Rock and Roll. "I was really impressed," explains Crammond, herself a musician with the Vancouver group Supermoon.
"Usually music docs are more bio-pics and
focused on one artist. This film interweaves
the political story as well, with the Cambodian genocide in the 1970's."
After watching literally hundreds of documentaries this past winter, Crammond's passion for the film community shines through
when talking about why people should check
out DOXA. "What's really awesome for me,
is jumping into these different worlds. My
favorite part is ending up next to somebody
you've never met before, but they have a passion for cinema and they'll start talking with
you and before you know it you're chatting
with someone new about film."
For Woodend, the thing that's really critical about going to a festival vs. sitting in
your living room is that it's a social event.
"There's going to be a panel. You get to talk
about these larger ideas, these larger things
that are happening in the world, via this conduit, the story. It's a way of telling stories
that you wouldn't see otherwise, especially
in the long form. You can't tell those stories
in 25 characters. And life is complicated. But
documentary is a vessel that can contain all
of that stuff."
Come be part of the audience and maybe
discover the next Virunga before it appears
on Netflix or support an up-and-coming Canadian filmmaker. You never know who you
might end up sitting next to, what larger
conversation you may take part in, and what
other ideas and discussions will grow from
there.
The DOXA documentary festival is screening at various venues throughout Vancouver
from April 30th to May 10. IN GOOD HUMOUR
CAITLIN HOWDEN
by Evan Brow II Illustrations by Melissa Fischer
Caitlin Howden must be playing some sort
of Canadian city bingo, because she has hit
a trifecta of Canadian comedy. Whether it's
in Montreal, Toronto, or currently in Vancouver, she has always found humour wherever
she lands. As an improviser and a comedian,
Howden is confident and committed, with laser focus on finding what's funny in a scene,
even if that means playing the character of a
"butt demon" as she confesses to have been
at a recent show. Her approach to improv is to
"be funny first, care about your scene partner,
and have the intention to entertain an audience."
Howden's pursuit into comedy began with
Uncalled For, a Montreal improv group she
co-founded during her time in Quebec's CE-
GEP. The group was loose, funny, and bonded Howden to the energy of improv. It was
only after Howden went to Ryerson for an
acting degree that she realized how much she
missed comedy.
"Every summer Uncalled For would tour
the fringe festivals," says Howden. "We had
a shortbus that we bought and spray-painted
black, and then we got a local Montreal graffiti crew to tag our bus for us. It was cool.
We had these little aliens on the side. It was
amazing. And we'd do fringe festivals in the
summer and I'd go back to school and think,
'Ugh, I miss that playfulness, that fun.' So I
just started doing shows in Toronto. Well, I
went to a lot of shows. I went to every single
show that I could in Toronto. I was a total
fangirl, and I asked them to do their shows. I
said, 'Can I perform?!' And they'd go, 'Uhh,
I don't know who you are. So... no.' And I
just kept wearing them down until one person
saw me do a fringe show in the summer and
say, 'Oh, no, she's actually good' and that's
how I got into the Toronto comedy community."
It wasn't long in Toronto until Howden hit
it big. She auditioned for The Second City
and was immediately cast in the Second City
Touring Company. Howden was in the Touring Company for six months when she moved
up again, into the mainstage cast. The relentless mental taxation she endured co-creating
IN GOOD HUMOUR
25 four mainstage sketch revue shows are what
Howden describes as "the best job she ever
had." With this quick rise and with Howden's
drive to pursue the next goal, it shouldn't
come as a surprise that she was cast in The
Second City Project, the company's brand
new TV show that aired its 30-minute pilot
April 19th.
"I auditioned for it three years ago. That's
how long TV takes," says Howden. "They
made the cuts and I kept making it. And I
made it to the callbacks. They flew us to Toronto for an audition and then I flew back to
Vancouver. And then a few months later they
said, 'Okay, we want a smaller group to fly
to Chicago.' So I flew to Chicago and that's
where they decided the cast. Then we flew
back and that's when I got word that I was
cast in the Second City TV show. And the
crazy part was we didn't know what the show
was. They just said, 'We want you to write a
sketch show and we don't know what it's going to be, so here you go.'"
While Howden became crafted as a comedian at The Second City, Vancouver's The
Sunday Service has been her comedy home
for the past three years. Joining the group
in 2013, Howden blends into the hilarious,
eclectic group of improvisers so well.
"I think it helps that we're all best friends,"
says Howden. "We see each other during the
daytime. I say that and I think, 'Why is that
such a big deal?' But it is a big deal. To see
someone in the daytime? That's friendship.
Not just at a bar one night where you're like,
'Hey buddy, what's up?' It's like, 'No no no,
I'm going to see you in the daytime. We're
going to hang out... in the daytime.'"
Howden has built quite the comedy resume. And with an active mind and a funny,
energetic voice that flows like a buttery waterfall, she continues to thrive in comedy.
Whether contributing to the nationally-recognized Second City or trailblazing loose,
exciting improv with The Sunday Service,
Howden is certainly accomplished. And what
do groups like these mean to her? Well, only
Howden can say.
"I don't know if I'd still be here if it weren't
for The Sunday Service. I mean, I wouldn't
be dead. I just don't know if I'd be here doing
an interview about being a comedian."
Interested in seeing Caitlin Howden perform? You can catch her every Sunday at 9
pm. at the Fox Cabaret as part of The Sunday Service or from the comfort of your own
home on The Second City Project at globaltv.
com/thesecondcityproject
26
IN GOOD HUMOUR "vT
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27 INDUSTRIOUS  IN  A TIME  OF
CHANGE
by Gary Jarvis II Photography by  Tara
Bigdeli II Illustrations by Amelia Garvin
Kilroy Katerwol and Caleb Blag — the duo
that make up Weird Candle — are creatures
of the night, and it is in the early evening that
introductions take place at their studio deep
within the art space and music venue on East
Hastings, known as Red Gate.
Walking through the corridors of Red Gate
to their studio deep within the building, you
can't help but notice the impromptu art and
scribbles. It's a creative environment and
Weird Candle are flourishing in the anarchic,
but homely atmosphere. It's a good fit for
them and Katerwoldeclares, "Red Gate is
our home ice." *
In their bunker-like studio surrounded by
keyboards and samplers, Blag and Katerwol
enthuse about their second album, which is
leaning towards a synthetic-industrial and
28
electronic body music sound. This is a shift
from Regeneration, their first LP, set to be released this May.
It would be easy to describe Weird Candle
as music for goths, and Katerwol's uncompromising vocal delivery is certainly gothic.
It is music of the night in every sense — sex-
tinged lyrics over a barrage of electronic keyboards, played for the most part by Blag.
Regeneration's release on Weyrd Son Records, is a natural fit given the bounty of dark
wave and industrial acts already on the Belgian label. It is certainly a busy time for the
band. A week into May they will have completed work on their second album, arrived
in Europe for their first tour outside of North
America, and celebrated the release of Regeneration.
On their Bandcamp, Weird Candle have uploaded three songs from Regeneration. These
include "Psychic Controller," "Night Freak,"
and "Science." The first of the trio, "Psychic
Controller" is a neurotic fuelled anthem for
dark wave aficionados, with crossover appeal
to listeners of electronica. It starts like classic
late '80s or early '90s Euro hard house but
quickly gives way to something more sinister as Katerwol wails: "Psychic controller /
Psychic controller / Plastic dominatrix." The
pounding beats intensify, suffocating the vocals.
During the track "Night Freak," Weird
Candle demonstrate a lighter touch. As Katerwol sings the line ''He's a Freak in the
night" over and over, a tender woodblock
sound emerges. It reveals a lighter aspect of
their sound. Yet in all three tracks Katerwol
belts out the vocals, providing satisfaction
to the listener as well as himself. "Screaming into a microphone's a good outlet when
WEIRD CANDLE  ..    y  y     ':":'■:■'.     .   .        ■ , •        ■' ■   ■ ■       '.''■■    '■
:'."::'.::'".■:■: y .   ' .   >   "■ . ■   ■. ,y  . ■     ■     .     ■   .y        :        : .'"       '     y •* •   y "THERE MIGHT NOT BE ANOTHER BAND IN VANCOUVER WHO SO
DEFTLY DEFINE THE CITY'S POLITICAL AND CULTURAL CLIMATE."
you're sponging up everything around you,"
savs Katerwol.
says Katerwol.
There might not be another band in Vancouver who so deftly define the city's political and cultural climate. Without hesitation,
Weird Candle harangue the rapid advance of
gentrification throughout the city. The impacts of this gentrification have had a direct
influence on the band.
Most recently, the deaths oftwo homeless
people in a warehouse fire near Red Gate studios on Hastings upset the tight knit community of the Downtown Eastside. Katerwol explains, "I've been really depressed since that
happened. It's really sad. Two people who
probably just didn't want to be in the rain."
The new record has more politically driven
songs than Weird Candle's previous work.
Take the poetry of opener "Western Culture:"
"To live or destroy / Too anxious to enjoy /
It's the decline of western culture / Like cancer like ulcers / Here come the vultures / It's
the decline of western culture."
At the mention of the anti-terrorism legislation, Bill C-51, Katerwol despairs, "If it
wasn't for all of our friends and people we
collaborate and do shows with here, I would
try to move." Currently, the only move Weird
Candle has scheduled is a European tour
commencing May 18 until mid June.x
On their musical partnership, Katerwol
says, "Luckily we work really well together.
Sometimes it's hectic; we're both yelling at
each other, freaking out. At the end we're like
shit, we got something we can work with. It's
a really funny relationship."
Not only do Weird Candle work well together, they work fast. Katerwol comments
on their creative process, "Caleb will write
a drum [beat], I'll record a bass line, put the
bass in, put in some cymbals. I'll put in a
woodblock part. I'll write some vocals, he'll
write a synth and within an hour or two we'll
have a song flushed but and it shocks us
sometimes how fast something can happen."
Their recording space — a tiny floor-to-
ceiling tiled room — is a little intimidating.
When asked what he thinks its previous use
was, Katerwol speculates, "Maybe a slaughterhouse? With all the tile on the wall it
would be easy to clean up blood." After a lot
of laughing Katerwol continues, "Some people have jokingly called it the murder room
and I can assure you it's only creative and
productive endeavours in here now. It's just
a dark lair that we can stay up all night and
make noise in."
The band's political edge is matched with
a real generosity of Spirit. As we close the
interview and Discorder photographer Tara
Bigdeli prepares to take photos, Katerwol
walks over to a fridge. Seconds later he is
gone. He reappears some five minutes later
with beers to share having stepped out to the
liquor store. He puts on some of Weird Candle's music and there's a really great energy
at work.
It's an energy that is all inviting aijd reminiscent of their live performance. The photo
shoot becomes a mock gig with Katerwol and
Blag proudly hugging their keyboards. They
put everything into their poses for Bigdeli.
It's tremendously exciting to witness. Match
this sparkle with the politically fuelled music
and wow, what an exciting musical prospect
for this city. Here is a band that Vancouveri-
tes can boast about now and into the future.
WEIRD CANDLE HEAL LIVE ACTION.
APRIL 2015
VEXX / CHASTITY BELT / WAND
APRIL 11/ THE COBALT
Going to an early show at the Cobalt is
confusing. When getting there two minutes
before the first band is supposed to go on, and
finding yourself staring at an orange drum kit
while desperately trying not to make eye contact with the dozen or so people who are also
there unfashionably on time to pre-drink or
set up camp, is there a social code?
"Turn up the vocals"
"We can't, this place is haunted." (Dump-
Opening the show was VEXX, a punk
band from Olympia. A classic punk performance, VEXX came across like an acrobatic.
Dumphe, the frontwoman, slipped and slid
around the stage, somehow always ending up
on the floor below, putting on a show for the
crowd. The irony though, was with the audience, who at the ending of each small act of
performance art would clap politely like they
were at the ballet.
In complete contrast in sound and energy.
Chastity Belt, Seattle's all-female post punk
femme band quietly took the stage. Their first
show in Canada, their vibe was ied
when one m lal
from her aci<
setup. I was not disap]
In the zone, their rolling West Coast licks
melded with a slightly glum, introspective
vibe. It was oddly captivating, and had the
audience, which was steadily growing bigger, in a trance - arms folded, beers clutched
to their chest, rocking and head nodding to
Chastity Belt's rhythmic sounds.
the front, drinking st arriving
in time to see wh ext.
Wand, from LA am their release Golem, was what ng for.
A reputation for playing o Fnres,
the band's warm up was ini aving
in and out of "Old Man" ig.
Not giving the audience ig, Wand
started to play. Loud.
The first words in my 1
shit."
1 didn't know the p is going
to be behind their soi ild do
some damage, weavin
each song, never
a chance to breathe. The crash of heads was
unanimous. A
they made it \
sounds to lull the crowd into a false sense of
security, before grabbing our tiny attention
spans by blasting us with hard bass that felt
like h the
floor.
Unfortunately, it had
started. Wand stopped playing. Slight confu-
t was
clear, the show was over. Even as people
were leaving, letting a pie in
for the late show, there was a hope that they
would ignore the time limit and just keep
pi ay i ng. — Esmee Co I bourne
B.A. JOHNSTON / ACE MARTENS / UP-
TIGHTS / JOEL BUTLER / APRIL
ASTORIA
Alternatively titled: B.A. Johnston's On r
Us: A paran< action of the events tl
lead to this article
As Chastity Belt left the stage, a buzz start- "Johnston's   first   song   was   a   self-pro-
I as people prepared themselves, moving to      claimed test of Vancouver's tolerance to bad
REAL LIVE ACTION th photo (pg.32-33) courtesy of
songs. "1 Forget When Trash Day Is" From
there, Johnston traded hi
man which he cdnspicuou
referred to as his iPhone 5C.
mistook the mp3 recordings oi
a "jay-pegs," which he loaded occa
could sense that Johnston was uncomfi
revealing too much to this audience.
And then, after searching behind the bar,
through the kitchen, and around the tables,
Johnston finally found Discorder's representative, me. He stood beside me on a bar stool,
singing to a crowd who yelled back with enthusiasm about GST cheques. Johnston even
managed to unintentionally embarrass me for
taking notes on my 2006 LG flip phone.
I knew my cover was blown, and signalling
to the photographer I quickly headed to the
relative safety of the washroom. But just as I
flushed the urinal, Johnston revealed himself
again. This time, he was standing on the sink
with a guitar, and the bathroom was quickly
crowding full of his fans...""
—Mathieu Youdan
*To read the rest of this review, head over
to www.discorder.ca
NEKO CASE AND THE ALIALUJAH CHOIR
APRIL 15/ VOUGUE THEATRE
"...Neko's band was exceptionally talented
and utilized many different el string
instruments for a surprisingly simpLf sound.
The audience, though sealed, was wjith Neko
every step of the way, wii opting
during each opening chords of w|jl-known
favourites. Plenty or emotio
the Vogue as Ca kly-L,
Kelly Hogan,  J haven't been t< lercial
Drive in a while, but even think
t the ravioli store, i love those ladies
Jo make that ravioli.\.." — &m Jardine
Ho read the rest of //
■<vw.discorder.ca
head over
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At 5 p.m. Noise Fest moved eastward to
collectively run, volunteer-based punk space
The Black Lab. It was a significantly smaller
venue but the limited spacing proved to compliment the claustrophobic noise produced
by the second line-up of artists. Attendees
flipped through the venue's library of anarchist and phenomenological literature as the
artists took stage beneath a lifeless disco ball.
Molena, Depasser, The Nausea, and
Bubby introduced what would be a much
harsher palette of sounds in the second set.
This harsher, more terrifying noise was also
received with increasingly genuine enthusiasm and excitement from the crowd. Bubby,
clothed in a black garbage bag and balaclava,
loosed a tide of muffled screams and howls
under murky synths. It seemed as though the
ghosts of the machines and electronics destroyed at the Hindenburg had come back to
haunt The Black Lab.
Victoria, was met with awe as he slashed the
air with microphones and metal instruments.
As the evening surged to a close, Headlining acts Xiphoid Dementia, Flat Grey, and
Gordon Ash worth displayed their powerful drones to audience that had brought the
venue to capacity. AshworoYs experimental
sound collages added to the heightened sense
of danger that Vancouver's noise scene feeds
off of. All in all, the industrial soundscapes
provided by Vancouver's increasingly successful annual Noise Fest offered Vancouver-
ites an escape from the city's populist — albeit "livable" — malaise — Blake Haarstad
Twilight eventually gave way to darkness
and Vancouverites Rusalka and Sistrenatus
painted a bleak portrait of white noise and
ambient textures. The harrowing!y industrial
Worker took shots in the dark with screeches
of power electronics and flashes of sparks.
Although the obvious tire hazard was met
by some with unease, the sense of volatile*
was welcomed with thunderous api
Similarly, Griefer, a crowd favourii
REAL LIVE ACTION  UESI
WEDI
THI
V-
Fv\
ti
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Seoul, Ballet School,
® The Media Club
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Neil Hagerty & The
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The Biltmore
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The Rezillos, Kid
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ionism 0 Rickshaw
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and Discorder Sponsored
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SATURDAY
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Lt. Frank Dickens, Mourning Coup, S.P.
Davis 0 Toast Collective
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Woodwards
-Ponderosa Lineup Party © ANZA Club
Drone Day 0 Remington Gallery
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Spoon, Future Islands © Malkin Bowl
Father John Misty © Commodore
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The War On Drugs ©Vogue Theatn
Anchoress, The Graceful, Floorboards,
Leveler (early show) © The Media Club
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NOTTA COMET
Success With Houseplants
(Self-Released)
"What I'm trying to get across is that the
music still has a rhythm and something you
can get into but there is something about it
that is off or wrong." — Eli Kaufman
While technically their debut album, Notta
Comet's new self-released LP, Success With
Houseplants, acts as a semi-logical continuation of their prior musical releases. Originally a moniker for guitarist/vocalist Alex
Williams' spoken-word endeavours, Notta
Comet has morphed and shifted away from
lo-fi, electro-jazz backed poetry readings into
its current state: a math-, art-, jazz-, indie-,
bike-rock trio making some of the strangest
and most original music coming out of Montreal today.
Success With Houseplants9 eight tracks
clock in at under half an hour, but that doesn't
stop them from covering a wide range of
genres and sounds. Despite the vast array
of disparate and unlikely musical styles that
Notta Comet incorporates into this one record, cohesion is not abandoned. Throughout
the entire album, guitar lines jerk across vast
expanses of spoken word, and poly-rhythmic
drum beats inhabiting prime number time
signatures combine with bass lines straight
from Motown. Even with a wide variety of
genres and styles, sonic unity is achieved.
The first track of the album, "Colonial
Authorities," jumps back and forth between
sharp and minimal verses characterized by
talk-singing and grand hollered choruses
with wide open chords and crashing cymbals.
It acts as a perfect example of Notta Comet's
sonic adventurousness and knack for experi-
mentatidn.
The rest of the record maintains those elements of unexpectedness: Williams' sharp
and dissonant guitar lines, Crawford Smith's
steady and melodic bass lines, and Eli
Kaufman's breathtaking and irregular drum
beats. After seven tracks of key changes and
musical surprises, the listener almost expects
to be taken aback at every song.
That is, until the final track, "Don't Upset
My God."
Starting as a Remain in Light-era, Talking
Heads throwback, complete with sprawling
bass lines, quick and tight drumming, and
nearly nonsensical vocals, the track suddenly
shifts. After rising to a noisy climax a minute and a half into the track, the song calms
down into a slow, swinging jazz jam. "Don't
Upset My God" slides by, lazy and serene,
with gentle improvisations floating by one
another.
After an album teeming with surprises,
Notta Comet's final shock comes in ending
Success With Houseplants with absolute euphony.- Jasper Wrinch
42
UNDER REVIEW C.DIAB
No Perfect Wave
(Self-Released)
In some respects, describing No Perfect
Wave in words is a similarly frustrating experience to penning a musical score to describe
a poem — while the mediums may compliment each other, it seems a convoluted way
of passing on ideas to one's audience. No
Perfect Wave, the third album in as many
years by Vancouver's CDiab, is a record that
forgives its listener with its opening note.
Beyond an obvious structure and template
lifted from his past two releases, Beacons
and Interludes, there is no simple way to relate the beauty and wisdom contained within
this latest release without recounting the vast
personal journeys and intimate memories
that No Perfect Wave seems to so closely
soundtrack.
The instrument of choice here remains the
same: an acoustic guitar, played with a cello
bow, and wrung through guitar effects, pedals, and amplifiers until rendered indistinct.
Here, sonorous drones take a more prominent position in Diab's compositions, while
elsewhere he experiments with a drastically
reduced and archaically menacing progression ("Silent, Still"). Recorded by Recital's
Ian William Craig, reel-to-reel tape mangling
bends and twists some songs ("Lying in The
Back of The Car on Highway One") while
remaining complacent and out-of-the-way on
others.
No Perfect Wave represents, more than
ever, the honing of C.Diab's craft. His emotionally devastating drones and compositions are as haunting as they are nostalgic
and noteworthy. More than almost any other
musical output today, No Perfect Wave is
the most pure example of a muse desperate
to escape its host, and the result captured to
tape is nothing short of extraordinary. -Fraser Dobbs
FRIENDLY GHOST
No Way Jose
(Self-Released)
In the "About" section of Friendly Ghost's
Facebook page, there is a link to a Wiki-
How article on creating your very own Best
Friends Club. Fitting, considering their recently released EP, No Way Jose, sounds like
a warm summer night driving around with
good friends. The tracks are at once present and nostalgic, mixing classic shoegaze
melancholy with the bright and unexpected
sounds of trumpet and bass riffs that could
almost be described as cute.
This album is immersive. It sounds the way
sitting on cool grass in a warm sunset feels,
or like the chill on the back of your legs when
you peel your thighs off a sweaty leather car
seat. You might want to put this EP on after
everyone has left your house party and you
want to dance in the kitchen with someone
you, like, might have a bit of a crush on.
"Cruising the Royale" features a sudden
43
UNDER REVIEW start — no intro needed — straight into
bright guitar reverb and easy, cheerful drums.
"Beverly Saints" has a fantastic guitar line
and has lead vocalist Kyle Hull singing in
a quiet shout, filled with longing, like his
voice is reaching out for something. Watch
out for "Lazer Berman" — a lay back on the
bed and watch the fading light on the ceiling
kind of song, which might make you tear up
a bit with its echoing guitars and slow, high
vocals. If you're not already feeling a little
weepy, "Wolf Shirts" may just do you in with
its lilting, haunting trumpet.
Friendly Ghost is currently finishing up
their first LP and given the skill, artistic capability, and emotional awareness of No Way
Jose, it promises to be a wonderful debut.
- Keagan Perlette
HUMANS
Noontide
(Hybridity Music)
Noontide — the first long play record from
Vancouver electronic duo Humans — delivers a fresh taste of indie electronica. Despite
it being their first long play release, Peter
Ricq and Robbie Slade have been treating
local audiences to their unique dance music
since 2009. The duo met when Ricq was doing merch for Slade's band at the time. Ricq
brought an ESX-1 sampler to play with at
a merch meeting, and Humans were born.
The duo have been refining their sound ever
since, and Noontide is stagnant evidence of
their polished and sophisticated take on indie
electronica.
Noontide begins with "Tell Me," a pulsating pop track, before sliding into the roaring
synths and gentle beats of "Over Again." The
most impressive transition on the first half of
the record is "Over Again" into "Ennio," a
haunting slow build track which will hook
you into listening to the rest of the record
if you were riot already convinced. On" Ennio," an echoing vocal sample repeats the
line "You just keep me waiting" over building synth waves; making this track seem a*
lot shorter than 7:12.1 recommend the repeat
button for this one.
Noontide works well as a long play —
with no breaks between tracks, it makes for
an easy, cohesive listen. The record does run
a little on the long side, with the latter half
dragging due to the faster pace of the first
half.
Although dance records can be easily overlooked as a result of their stigma as "party
music," do not let yourself pass this record
off. The catchy songs are mixed amongst
soothing transitional tracks; spontaneously
growing and descending in waves of synth.
Noontide has incredible flow between tracks,
yet maintains a dynamic feel. - Julia Lehn
PURITY RING
Another Eternity
(4AD)
The second album from dream-pop darlings, Purity Ring, is distinct from its predecessor in ways that are difficult to pin down.
Almost three years have passed since the
summer of 2012 saw Purity Ring's heavily-lauded debut release, Shrines, released
on 4AD. At that time, their sound was still
pretty novel; a few months earlier, label-mate
Grimes had released her seminal LP, Visions,
and a significant cultural threshold seemed to
have been crossed where underground electronic dance music was joining in a particular
way, with organic-feeling pop songwriting
sensibilities.
Purity Ring was, and remains, a sort of al-
44
UNDER REVIEW There are a few gimmicky production
things that get tiresome, such as the excessive
use of autotune effects and echoing vocals,
but these are forgivable. With this release,
Purity Ring is certain to continue their trajectory towards massive popularity.
- Andrew Reeves
chemical marriage between the digitized
solar intellect of Corin Roddick's laptop
compositions and the emotive, lunar heart
of Megan James' succulent vocal melodies.
Unlike Shrines, which was written by emailing audio files back and forth while Roddick
and James lived in different cities, Another
Eternity was composed with the two band
members in the same place. The songs feel
tightly structured and more confident; almost
brazenly flaunting their pop aesthetic. At
times the album is almost too much, too perfect — so sleek and polished, as though each
and every submolecular flaw has been corrected with such meticulous precision, that it
seems unnatural, even alienating. Something
in me recoiled, went tense and rigid, the first
few times I played the album; like a UFO ab-
ductee, paralyzed yet fully conscious as incomprehensible technologies probe the deepest, most-defended recesses of self and soul.
I finally realised the futility of struggling and
surrendered to the music. It was astonishing
how good it actually felt to succumb.
While singles like "Bodyache" and "Push
Pull," with their infectiously simple and
repetitive choruses, are quick to colonize
your ears, the best tracks are probably "Sea
Castle," "Dust Hymn," and "Stranger Than
Earth." These three songs, in particular, find
just the right balance between weird synthesizer antics and James' rhythmic birdsong
delivery of compellingly-rhymed lyrics —
which are taken to excellent effect, more-or-
less directly from her dream-journal.
SACHA MCKENNA
Poor Boy
(Self-Released)
Poor Boy is written, performed, mixed,
and produced by Vancouver artist Sacha
Mckenna; former member of local punk
group, Sisyphus. The album is a surreal, harrowing journey through the gradual inward
withdrawal of a grieving artist. As Mckenna writes on his Bandcamp page: "Caroline is Poor Boy's Muse. Caroline ends her
life and Poor Boy is left without the will to
create." With track titles like "Heads Filled
With Strange Things" and lyrics like "How
do you breathe in air?" Poor Boy is a poetic
and despairing narrative told through a fog of
haunting vocals, hypnotic guitars, and ambient city scape sounds.
The record opens with "They Meet In A
Ballroom," a scene-setting soundscape abuzz
with activity. — possibly people talking or
cars moving — you can just barely identify.
Out of that emerges a series of ballads driven
by guitars high on echo and reverb mourning
out minor and open chords. Poignant, ambient vocals smooth over the upper levels of
45
UNDER REVIEW the soundscape. There's a brief, lighthearted
highlight with track six, "Poor Boy, I Think
You Should Be Happy," as this instrumental
mixes busy human chatter with a guitar jamming out a syncopated riff. However, anxiety
eventually wriggles through as a new sound
is looped in, accentuated with unidentifiable
yelps that mix straight into the next track. The
last tracks, "A Tower And Below A Beautiful
Town" and "He Was A Poor Boy, A Waste Of
Time" suggest to the listener the demise of
Poor Boy.
Mckenna's album is strangely melodious
and somewhat shoegaze-y; it's Slowdive-
esque with narrative power and emotional
rawness reminiscent of The Good Life's Album of the Year. Tracks are expertly woven,
but perhaps a little too much so. The album's
sound, though effective, becomes uniform
and familiar too quickly. The vocals are heavily laden with effects to blur out their edges
and lyrics are often difficult to perceive. Yet,
Poor Boy manages to sound authentic and organic despite its highly produced sound; the
album is a truly impressionistic experience
that seems to play on multiple senses.
- Charmaine Anne Li
^8&JF
SUUNS & JERUSALEM IN MY HEART
S/T
(Secret City Records)
When I first learned that Montreal's dark
synth-rock outfit Suuns was digging up some
collaborative tracks from a 2012 session with
Constellation's Radwan Ghazi Moumneh, of
Jerusalem In My Heart, I didn't know what
to expect. Suuns is a hybrid of modern rock
'n' roll song structures and pummelling industrial and electro — and Moumneh is best
known for his Lebanese-infused experimental synthesizer jams and drone art. The end
result, as complicated as it is, is mesmerizing.
The self-titled album is a series of seven
sketches, although that term must be used
lightly. Although originally planned out
over a seven day recording session meant to
breathe life into rough ideas each band had on
their own, what the two groups accomplished
together is every bit as purposeful and meticulous as it is jammy and stretched-out. One
imagines that at least one of the reasons behind the delay in S&JIMH's release has to do
with the amount of recordings completed and
the careful cutting-room job necessary to create something resembling a whole.
Suuns fans may be disappointed by the
scaled-back drive exhibited on the new album, lacking the haunting bass work of
Zeroes EP and Ben Shemie's paranoid,
whispered chantings. In its place, Moum-
neh's synth-work and flange-heavy instrumentation fight for control between songs.
It's a welcome rivalry, creating an album of
jammed-out centrepieces ripe with fascinating conflict.- Fraser Dobbs
SWANK
Keep it Together
(Bonerattle Records)
Where else but in Vancouver can you see
jousting bikes (in Grandview Park) or a herd
of unicyclists heading up Mountain Highway? Where else but here could you find a
band like SWANK?
On Keep it Together, their fourth album,
SWANK unleash their full West Coast energy like a force nine gale. These 11 gems
will get you up on the dance floor and never
let you sit down. I'll put Spencer McKin-
non's rock star voice up against any talent
you care to name — he's got the goods and
charisma to burn. Surrounded by a monster
band, and set off by Marc L'Esperance's
46
UNDER REVIEW crackling production, this new release serves
notice that SWANK are ready to take their
place at the very top of the bonfire.
What makes Keep It Together so groundbreaking for SWANK, is that they leave their
good-old-boy roots behind for a full-on assault at the pop stratosphere. Super crunchy
psychedelic surf guitars from David Badanic
and Gord Smithers combine with the steamroller, riff-laden playing of bassist Phil Add-
ington and drummer Eric Lowe for a truly
incendiary sound.
Fans of previous SWANK releases will not
be disappointed. There's plenty for everyone
here, ranging from sugar-coated pop bombshells like "Lazy" and "Pieces Of My Heart"
to opening love song "Not Complaining,"
and the lovely ballad "Just Let Him Go,"
to the Stranglers-heavy dance floor mover
"Don't Try This." Of course, this wouldn't be
a SWANK album without a good train song,
and "Rockbottom Line" delivers in a witty
way that is still faithful to the beloved genre.
Also in a country style is "All In A Haze,"
with a haunting pedal steel laid down by (earlier member) Doug Liddle.
But back to that "Jousting Bike." The song
includes the immortal lines: "I'll do everything to make you mine /I'll make you stuff
I think you'll like / A ten-foot-tall jousting
bike." A quixotically surreal image, and actually not that surprising, coming from McKin-
non who is also an artist and sculptor.
Also worth mentioning is SWANK's magnificent Art Nouveau album cover by legendary Bob Masse — the artist who did covers
for The Collectors and Jimi Hendrix's Are
You Experienced. Wow!
SWANK's new release, Keep It Together is
the sound of a band that has paid its dues, and
with this fortunate spin of the dials, has come
up straight across cherries. Sweet, cherry
pqp, with a bittersweet hint of lemon to make
it just right. This album totally deserves to be
the summer's big hit. Take a listen!
- Erica Leiren
47
UNDER REVIEW  PROGRESSING METAL
by Ewan Thompson II Photography by
Jaqueline Manoukian II Illustrations by
Aaron Read
Neck of the Woods vocalist Jeff Radom-
sky pours me a whiskey from a glass skull.
Sitting at his kitchen table, I converse pleasantly with Radomsky, guitarist Dave Carr,
and drummer Jeff Brown. On a couch a few
feet away, a friend of the band works on some
mash-ups. Later on, some more friends show
up to enthusiastically exhibit their recently
purchased motorbikes. The convivial atmosphere is as intoxicating as the whiskey and
it's quite apparent that these are not the sort of
gentleman that most people — rather unfairly
— associate with extreme metal. Beards and
tattoos are present, aggressive demeanours
and misanthropic nihilism are not.
Releasing their first, self-titled EP on May
22nd, Radomsky is jubilant as he recounts
how incredibly supportive and inclusive
everyone in the local scene has been since
the band first started playing shows in early
2014. "I think that right now the metal scene
in Vancouver is the most predominate music
scene in the city," he says. Neck of the Woods
are emphatic in telling me that the hard work
of promoters such as Invisible Orange and
Nothing Is Heavy, and record labels such as
Scrape, have been instrumental in putting
on shows, bringing shows into the city, and
helping locals such as themselves open for
some of the bigger touring acts.
Metal is a subculture that is often associated with elitism and immutable genre taxonomies, but this doesn't seem to be the case
in the Vancouver scene. "There's so much
diversity," enthuses Radomsky. "Everyone is
pushing each other so hard right now."
Neck of the Woods, along with bands such
as Bushwhacker and Of Modern Architecture, are one of many heavy Vancouver bands
that are all quite sonically disparate, but share
a disposition towards refuting the constraints
of a single sub-genre. Their name was chosen precisely because it is not loaded with the
typically grisly trappings of extreme metal.
"If we were called 'Deers Dying From a
Dead Womb' or something," chuckles Carr,
"then you know what you're in for."
Neck of the Woods do not want to be held
to expectations because of a name, so they
chose a name that could easily belong to a
band of any genre. This allows them to comfortably draw upon an expansive musical
pallet. Carr says he will never discard of a
riff because it's "not metal enough" and this
openness to experimentation forms the backbone of their blistering debut EP.
Carr emphasises that the band always have
stylistic dynamics in the back of their minds
while songwriting. Their influences from the
more cerebral side of extreme metal are apparent, but there is a lot more going on with
Neck of the Woods than mere imitation of the
baffling time signatures of their idols. Genres
ricochet off each other and their EP is technically impressive to say the least. But this
is not just chops for the sake of chops. "The
cohesive whole is always taken into consideration," says Radomsky, "We all have very
different influences... that's why it's so fun to
play in this band... we can just do whatever
the fuck we want."
49
NECK OF THE WOODS "BEARDS AND TATTOOS ARE PRESENT, AGGRESSIVE DEMEANOURS
AND MISANTHROPIC NIHILISM ARE NOT."
The result of this level of freedom is the
sound of a band who have absorbed their influences and are using them to inform a piece
of work which is totally unique, without losing focus on creating solid compositions.
Complicated song structures are woven together while being anchored by a foundation
of Brown's unwaveringly impressive drumming and Radomsky's gruff roar. EP opener
"Disavow" perfectly traverses beauty and
pulverizing heaviness, experimentation, and
catchy riffs. "Left Behind" is as crushing as
it is exuberantly upbeat. "Trap Door" is an
energetic blast with its own oddly fractured
approach towards groove. "Two Smokes,"
the EP's climax, is bookended by surprisingly fragile sounding arpeggios, with all the
sweeping scope of a post-rock band trying its
hand at metal in the middle.
Neck of the Woods are masterful in the
building and releasing of tension in their
music. "If you're full on all of the time then
you lose your impact... the heavy parts are
not heavy if you're going full on all of the
time," explains Carr. Reflecting on the band's
50
tendency towards sonic experimentation,
Carr concludes, "It's pretty natural for us."
This makes sense, given that the band are of
a generation of metalheads weaned on Converge and Between the Buried and Me; playing a novel form of metal is in their musical
genetics, rather than a calculated attempt to
confound the listener.
After a few more whiskies, I leave Radom-
sky's house feeling elated. This is an incredibly interesting time for metal generally, and
Neck of the Woods are an embodiment of
this potential. The genre's modus operandi is
shifting from a rigid adherence to various sub
divisions to something more fluid. It is clear
that these guys hold a deep reverence for
heavy metal, while simultaneously not feeling constrained by it. I can't shake the feeling
that these are the early days of a band that is
about to make a huge dent in heavy metal's
landscape, and it feels incredibly exciting.
Neck Of The Woods' self-titled debut EP
will be released on May 22. Be sure to check
out their album release show on May 30 at
the Astoria.
X
NECK OF THE WOODS NECK OF THE WOODS
51 r^f r^ACkHOHE
NOT YOUR AVERAGE SUN SPECKLED PSYCH-POP DUO
by Garth Covernton II Photography by Yuko
Inoue II Illustrations by Alisa Lazear
Victoria-based psychedelic dream pop duo
The Backhomes is Kees Dekker and Aimee
van Drimmelen. Their music is engineered
for hazy, lazy summer days and long drives
with the windows down, a time-lapse of chaotic landscape rolling by. After Hissing out
to their packed Record Store Day set that saw
Dekker's moderately sized pedal board and
undulating body hold frantic sale-goers back
from purchasing anything in the 'electronic'
section, I sat down with van Drimmelen in
the alley behind Red Cat Records, sunshine
on our faces on the first official shorts day of
the spring.
Officially formed in Montreal in 2009 after
Dekker started playing with van Drimmelen's
former band The Key of K, The Backhomes'
current catalogue consists of 2013 full-length
Only Friend and 2014 single Talk/Backwards
Sunshine. Sonically, they're equally comfortable with soundscapes of shimmering, interwoven guitar and synth, an effective demonstration of the power of curated simplicity,
and unabashedly sunny psych jams all held
together by the incessant pounding of a vintage drum machine.
When asked why the band decided to move
out west in 2010, first for a nine month stint
in a cabin in Saskatchewan, and then a permanent move to Victoria, van Drimmelen's
explanation is as simple and unassuming as
the band's aesthetic. "I feel like we wouldn't
be a band if we had stayed in Montreal. We
needed to leave. We had both lived there for
10 years. After that much time we just needed
a change, and it was really beneficial."
Citing cheap rent in her grandmother's former house, a change of scene, being closer to
nature, and a cleansing of the palate as practical reasons for choosing Victoria, she's still
quick to uphold the virtue of the band's former home: "I think it's really important for
band's to move to Montreal. It does them a
lot of good ... I think everyone should get
what they can out of that city because it's still
such an awesome place."
Dekker had played with the Besnard Lakes
for a couple years and toured with them for
their first album before forming The Back-
homes. He is also a sound tech and records
bands for a living, van Drimmelen is a self-
employed visual artist and does animation
52
THE BACKHOMES ,,,FFF:
and video work when she's not making music.
Their comfort with who they are and what
they do is immediately obvious as I'm talking with van Drimmelen, and there's none of
the insecurity or hubris often found in younger bands trying to make it in a fickle world.
Apart from some recording on the first
album done in a prairie cabin, the band has
done the majority of their recording in their
living room in a quiet Victoria neighbourhood "full of old people." van Drimmelen
describes herself and Dekker as "the weirdos playing really loud music," and remarks,
"we're lucky our neighbours are pretty nice."
The Backhomes is a multi-media effort and
van Drimmelen creates visual elements that
are projected on stage during their shows as
well as mind-bending and beautiful music
videos for their songs. Indeed the band lends
itself perfectly to such an approach, given
their tendency for repetition pairing perfectly
with swirling patterns, images fading into
each other, and kaleidoscopic movement.
Whenever they do have to play live without
projections van Drimmelen states, "It just
feels weird."
She doesn't, however, think that this reliance on a visual element dictates the way in
which their songs come into being. Dekker
will build the base for a song by looping old
drum machines with organ or synth bass, and
then build on that by adding layers of guitar. Then, when they've sat on it for a while,
they'll listen to it and turn it into a song, generally coming up with vocals as the final step.
This trademark style of songwriting common to ambient and electronic music leads
to songs that are both dense and enrapturing.
The entrance and exit of flirting melodies
and textures keep the listener from boredom
while the main loop hooks the ear and relentlessly drives the song forward.
53
THE BACKHOMES "USUALLY WHEN WE SAY SOMETHING WOULD BE AWESOME, THEN IT
ENDS UP HAPPENING, OR WE END UP MAKING IT HAPPEN. NO ONE'S
GOING TO DO IT FOR YOU, RIGHT?"
The band will be releasing a new album,
Tidal Wave, on May 7th. When I ask whether
this will see the band undergo a change in
sound, van Drimmelen denies any clear direction: "We had a whole other album we
were planning on putting out, it was songs
we were playing last year live, and we tried
to record them. We got pretty far, but it just
wasn't feeling right, something wasn't working. So that was the album we had planned
to try and put out and we just couldn't force
it anymore so we said, Tuck it.' And then
Kees had - you know he always is just making stuff all the time - and he was making
these really awesome songs, and we didn't
even know what would happen with them,
and we just started listening to them after a
while and realized we really liked them. And
so all of those songs pretty much are what
our album is. It sort of came by surprise, but
54
it just felt so much better, so we went with it.
The sounds are similar, but I think that it's
kind of... I don't know. It feels like a step up
a little bit."
2015 will be an ambitious year for the
Backhomes as they begin to plan a Western
Canada tour with Dada Plan and have a tour
to LA. with Sur Une Plage booked for May.
They're also hoping to do a North American
tour in the fall, and a European tour in November or December. In the words of van
Drimmelen, "Usually when we say something would be awesome, then it ends up happening, or we end up making it happen. No
one's going to do it for you, right?"
The self-released Tidal Wave will be crashing down on record store and digital shorelines May 7th.
X
THE BACKHOMES  STRANGER IN A STRANGE LAND
by Max Hill II Photography by Alysha Seriani
II Illustrations by Karl Ventura
"I don't hold that much stake in what my
music is about. I just want it to be good." Andrew Lee, tall and contemplative, sits across
from me in his East Vancouver apartment,
which doubles as his home studio. A mesh
of wires and knobs intertwine haphazardly
around his desk. As we talk, Lee's cat Lunch-
box darts in and out of the room, pausing occasionally on Casio keys to listen.
Lee is well-known in the Vancouver music
scene for his decade plus as lead vocalist and
guitarist for local favourite In Medias Res.
Since 2013, his new project Holy Hum has
been his main focus. Named for the hypnotic
buzz of hospital equipment and evocative of
— if somewhat smirkingly ironic towards —
Lee's religious upbringing, it's an apt stage
name.
Under this moniker, Lee has released a
selection of songs that surge with the warm
atmosphere of classical and ambient music,
while undertones of frenetic urgency brim
just beneath the surface. His most recent releases are a series of auratic ambient suites
that function as a de facto trilogy; the longest,
Appendix C, runs for a full hour.
"My dad was an opera singer, so I grew up
listening to a lot of classical music," Lee says.
"In my mind, that's where I got the sense of
how a symphony has a certain mood, a certain
tone, and there's crescendos, peaks and valleys, stuff like that: Appendix C is sort of my
attempt at that."
Released on New Year's Day through Lee's
Bandcamp, the composition is melancholy,
hopeful, and cathartic — often all at once. "It
was my first time that I actually wrote a song
or a composition that had no lyrics, but for me
had content in it," he adds.
Holy Hum's recently released EP, Appendix
A + B, continues the thread of Appendix C,
though it's hardly a straightforward sequel. "I
think a lot people thought it was a mistake that
56
HOLY HUM  "/ THINK I TRY TO WRITE EVERY SONG ABOUT THE SAME THING.
WHICH IS, I GUESS, DEATH,"
I put out Appendix C first, but it was always
meant to be that way. I wanted to start from
the end, and go forward. Appendix C was the
story for me, and Appendix A + B are literally
just appendices to Appendix C." Shorter and
more richly instrumented than their predecessor, the twin tracks on Appendix A + B hint at
a more conventional sound for Holy Hum —
one that listeners will hear expanded in Lee's
upcoming studio album, White Buzz.
"I remember when I first set out to write
an album, I had bits and pieces, just small
sketches, but I really liked how they sounded. I wanted to maintain that feel, so I just
made the sketches really elaborate," Lee remembers. "I just like, hit record, make some
sounds, build on that. I didn't actually sit
down and write a song." Traces of this process can be heard throughout White Buzz.
Like the Appendix series, each track ebbs and
flows towards a climactic end. "All my songs
are just a series of crescendos," Lee jokes.
Trading the formlessness of Holy Hum's
previous work for the structure and formulae
of artists like TV on the Radio and Talk Talk,
White Buzz is an aching meditation on intimacy, vulnerability, and loss. "I was trying
to make an album that people would listen
to, but it came out in my own vocabulary, my
own language," Lee says. "I don't think I'm
that good at writing a song, and I've also never written an album entirely on my own. But
I felt like I had things that I wanted to say."
From the beginning, Holy Hum has had
one core concept. "I think I try to write every
song about the same thing... which is, I guess,
death," he laughs. "Holy Hum was kind of
birthed after the passing of my father, and
so it was something that was on my mind, it
was something that I was constantly thinking
about. For the longest time, I tried to write
an album that had nothing to do with that,
because I didn't want to deal with it. And it
wasn't until I just kind of let myself do whatever was going to come out naturally that I
58
HOLY HUM realized, well, this album is going to be about
death."
That fear of and fascination with death, for
Lee, is reason enough to get out of bed every
morning, to continue making music. "It's an
anxiety that I have that maybe I won't be understood." Lee also struggles with his sense
of himself as a Korean-Canadian. "My own
identity for me is interesting because it's so
nebulous," he says. "I'm Korean but I was
born in Winnipeg. I lived in Korea for two or
three years during my childhood, my parents
spoke to me in Korean and I spoke to them
in English. After my father died, I was like,
'well, who am I?'"
"I'm trying to discover my heritage, my
culture, my family, and trying to figure out
a way to be more rooted in it and grounded
it in — but I have to make it up, because it's
not something I lived, it's not something that
was ingrained in me. I'm returning back to
something that was never really there; it's
somewhere else that I have to go. And I have
to go pretty far."
Celebrating his first physical release in
April and anticipating a second in the fall,
Lee is anxious to continue trying new things,
to challenge the expectations of his listeners
as well as his own. "I think that I'll probably
make a dance record at some point, I'll probably make an acoustic album, I'll probably
make an album just using the flute, or something.
"I don't know how to convey that to people
— tell them that, 'you know, I'm just going
to make whatever I want.' I guess I'm just
going to do it, and if people are into it, then
they will be."
59
HOLY HUM TAKING  BABY STEPS,  ONE  INTERNATIONAL
TOUR AT A TIME
by Jon Hernandez II Photography by Jaqueline
Manoukian II Illustrations by Kalena Mackiewicz
At the magical hour of 5 p.m., on the corner of Hastings and Renfrew, it didn't take
me long to recognize the trio I had never
met nor seen, yet was assigned to interview.
Christine B., Ben E., and Katie E. walked, or
should I say, were dragged towards me by the
unofficial mascot for their band Genderdog:
a two year old black-and-white pooch named
Heffer.
The dog immediately jumped me, contrary
to the orders given by his owners, Ben and
Katie. The band offered me a beer afterwards,
perhaps to make up from Heffer's enjoyable
assault. I carefully contemplated the ethics
behind the offer — as a responsible journalist, I surely shouldn't accept. But every man
has a code, and mine would be sorely violated by turning down an ice-cold bevy. I sat
down and enjoyed a drink with Genderdog.
Getting to know them, and how they formed,
was easy.
"I think we were always surrounded by
friends who played music in their bands
and we just wanted to do it ourselves," said
Katie, bassist and vocalist for the group.
"We thought there was no good reason we
shouldn't do it."
We've all had those drunken conversations
at parties about starting a band, but very few
put the pedal to the floor and actually get it
done. Genderdog is one of the more driven
bunch: a group of good friends who thought
about making some music, but actually had
the added spice — I think it's called determination — to get their poop in a group and start
doing it. They're relatively green, and some
cases, picking things up as they go along.
"[We] really wanted to start a band and we
had a lot of energy but didn't know how to
play instruments," says Christine, Gender-
dog's resident drummer, as she sits beside
her bandmates.
"The whole run of the band has been us
slowly learning more and more how to play
music," adds Katie, the band's vocalist and
bassist.
60
GENDERDOG  "SHE EVENTUALLY OVERCAME HER FEAR OF THE DRUMS. SHE STILL
DOESN'T LIKE THE LOUD ONES THOUGH. SHE'S NOT A FAN OF THE SNARE."
The three-piece has been chipping away at
their musical talents for the past three years.
To date they've recorded an album's worth
of material and have toured across the U.S.
Their musical career is in it's infancy,, and in
Christine's case, she's had to build her drum
skills from the ground up.
"A lot of it at the beginning was me learning to be confident enough to play the drums,"
she says. Christine was forced onto the drums
after her bandmates picked up a kit for her.
"I was afraid to play it. They would let me
sneak into their place when no one was there
so I could play it alone," she says.
"She eventually overcame her fear of the
drums," says Ben E., the band's guitarist
and spiritual leader. "She still doesn't like
the loud ones though. She's not a fan of the
snare."
Ben is the most experienced musician in
the group, and also plays for Industrial Priest
Overcoats. His attitude and his ear helped
bring the Genderdog together in its early
stages.
"Ben had the patience, he could deal with
us learning," says Katie. "At first we couldn't
explain things in musical terms, he really
brought it all together."
After the group formed and put on a handful of live shows, they did what all great
musicians do: hit the road. A cross-U.S. tour
featured some their most memorable shows,
stretching all the way from New York City
of Los Angeles. Of course, the trip was made
possible by a rickety van.
"We were in a van with nine people with
windows that don't open," laughs Katie.
"No air conditioning either. It was fantastic
because we were really hot and sweaty," adds
Christine.
It's easy to pick up, just by hearing the trio
interact with each other, that they're all really close friends. And their chemistry comes
out in their music. Their style has elements
of minimalist punk with a psychedelic tinge.
But the band doesn't set out to produce any
particular sound.
"We all have ideas that turn into songs, and
depending on who it was or what's going on,
it's always something different," says Christine. "It never sounds the same, and we're not
trying to make it sound any certain way. But
we all have our particular way of playing our
instruments that make it what it is. It's just us,
together, that makes it what it is."
Christine is credited with penning Gender-
dog's hit "Uhhsexual."
"Uhhsexual is my experience going out
into the world and falling in love with everybody all the time, and always becoming
so frustrated," says Christine. "No, no more.
I'm not asexual, I'm uhhsexual."
"Uhhsexual" and six other original tracks
can be heard on Genderdog's upcoming tape,
Neurosis Party, being released by Hockey
Dad Records on May 1.
"We've been working towards this tape for
a long time," said Christine, adding that the
low-cost tapes felt like the best way to get
their music out there. "The moment we got
[everything] recorded was when I felt like we
finally had accomplished something."
Genderdog's Neurosis Party release party
is on May 1st at Avenue Upstairs, followed by
a West Coast tour that stretches all the way to
San Diego.
62
GENDERDOG GENDERDOG
63 ^@nxne | ©/nxne
tickets on sale
at nxne.com
JUNE 17-21,2015
TORONTO
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ACTION BRONSON
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favourite pieces of short fiction on air. The show—one hour in
length—begins with the guest reading selections from the story
and ends with an engaging discussion of the work with Aloud
host, David Gaertner—a UBC postdoctoral fellow with a PhD in
Literature. Theme and interstitial music provided by Vancouver
musician Jason Starnes with support from UBC's First Nations
Studies Program. Read more at aloudliterature.tumblr.com and
follow us on Twitter @Aloud_Lit.
AstroTalk THU 3pm
Space is an interesting place. Marco slices up the night sky with
a new topic every week. Death Stars, Black Holes, Big Bangs, Red
Giants, the Milky Way, G-Bands, Syzygy's, Pulsars, Super Stars...
The Sector FRI 8am
Discussing the world of social justice, non-profits, charities and
activism. Join Ethan for in-depth interviews, examinations of
nonprofit missions and causes, and discussions of everything
from philanthropy to progressive politics.
Synchronicity MON 12pm
Join host Marie B and discuss spirituality, health and feeling
good. Tune in and tap into good vibrations that help you remember why you're here: to have fun!
News 101 FRI 5pm
Vancouver's only live, volunteer-produced, student and community newscast. Every week, we take a look back at the week's local, national and international news, as seen from a fully independent media perspective.
Queer FM Vancouver: Reloaded TUE 8am
Dedicated to the gay, lesbian, bisexual and transexual communities of Vancouver. Lots of human interest features, background
on current issues and great music.queerfmradio@gmail.com
Radio Free Thinker TUE 3pm
Promoting skepticism, critical thinking and science, we examine popular extraordinary claims and subject them to critical
analysis.
Cited! WED 11:30am
This is a radio program about how our world is being shaped
by the ideas of the ivory tower. Sometimes, in troubling ways.
Formerly "The Terry Project" on CiTR.
All Ears Alternating Wednesdays 1pm
(Alternating with UBC Arts On Air.) All Ears is an advice radio program targetted to the UBC community. We try to answer your
questions and address topics sent via social media and over the
phone. Interviews and segments relating to campus life will be
featured, all in our attempt to better our community and supply positive feedback.
Extraenvironmentalist WED 2pm
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.
Arts Report WED 5pm
Reviews, interviews and coverage of local arts (film, theatre,
dance, visual and performance art, comedy, and more) by host
Jake Costello and the Arts Reporters.
UBC Arts On Air Alternating Wednesdays 6pm
Ira Nadel, UBC English, offers scintillating profiles and unusual interviews with members of UBC Arts world. Tune in for programs,
people and personalities in Art
Sexy In Van City WED 10pm
Your weekly dose of education and entertainment in the realm
of relationships and sexuality, sexyinvancity.com/category/
sexy-in-vancity-radio.
The Reel Whirled THU 8am
The Reel Whirled is an hour long escapade through the world
of cinema, be it contemporary or classic, local or global. From
our perspective as the UBC Film Society, we talk about film intellectually, passionately and goofily. With select music from
our cinematic subjects, we pull your Thursday mornings into focus, from bleary eyed to sharp and worthy of the silver screen.
ubcfilmsociety.com | chairperson@ubcfilmsociety.com
The Community Living Show THU 9am
This show is produced by the disabled community and showcases special guests and artists. The focus is for a positive
outlook on programs and events for the entire community.
Originally called "The Self Advocates", from Co-Op Radio CFRO,
the show began in the 1990s We showcase BC Self Advocates
with lots of interviews from people with special needs. Tune
in for interesting music, interviews and some fun times. This program is syndicated with the NCRA (National Community and
Campus Radio Association) across BC and across Canada. Hosted
by: Kelly Reaburn, Michael Rubbin Clogs and Friends, communi-
tylivingradio.wordpress.com | communitylivingradio@gmail.com
| Community Living Radio Show | @clivingradio
| #communitylivingradio
The Social Focus Alternating Thursdays 6pm
An interview-based show about how students, past and present, have come up with creative ways to overcome social challenges in the community. Each episode will invite individuals
to share their stories of success and failure, along with actionable advice on how to start an innovative initiative that serves
the community. Hear from UBC students, alumni and others involved in the community!
The Matt & Ryan Show Alternating Thursdays 7:30pm
the Matt and Ryan show featuring Ryan and Matt. An hour and
a half of pure fun and good music. Matt and Ryan take calls,
give advice, and generally tell you what's up. The phone lines
are open.
Language to Language MON 11am
Encouraging language fluency and cultural awareness.
White Noise SAT 8pm
Need some comic relief? Join Richard Blackmore for half an
hour of weird and wonderful radio every week, as he delves
in to the most eccentric corners of radio for your listening
pleasure. Then stay tuned for the after show featuring a Q
and A with the creator, actors and a guest comic every week.
whitenoiseUBC@gmail.com
,    : : v
fti/CicyiE
The Rockers Show
Reggae inna all styles and fashion.
SUN 12pm
- H-OIK/ BJ UFF
Blood On The Saddle Alternating Sundays 3pm
Real cowshit-caught-in-yer-boots country.
Pacific Pickin' TUE 6am
Bluegrass, old-time music, and its derivatives with Arthur and
the lovely Andrea Berman. Email: pacificpickin@yahoo.com
Folk Oasis WED 8pm
Two hours of eclectic folk/roots music, with a big emphasis on
our local scene. C'mon in! A kumbaya-free zone since 1997.
Email: folkoasis@gmail.com
The Saturday Edge SAT 8am
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! Email: steveedge3@mac.com.
Code Blue SAT 3pm
From backwoods delta low-down slide to urban harp honks,
blues, and blues roots with your hosts Jim, Andy, and Paul.
Email: codeblue@paulnorton.ca
Soulship Enterprise SAT 7pm
A thematically oriented blend of classic funk, soul, r&b, jazz, and
afrobeat tunes, The Happy Hour has received great renown as
the world's foremost funky, jazzy, soulful, and delightfully awkward radio show hosted by people named Robert Gorwa and/
or Christopher Mylett Gordon Patrick Hunter III.
African Rhyhms
Website: www.africanrhythmsradio.com
FRI 7:30pm
HIP HOP
Nod on the List TUE 11pm
"Nod on the List is a program featuring new urban and alternative music, sounds of beats, hip hop, dancehail, bass, interviews, guest hosts and more every Tuesday at 11 pm.
scads_international@yahoo.com
facebook-So Salacious"
Crimes & Treasons TUE 9pm
Uncensored Hip-Hop & Trill ish. Hosted by
Jamal Steeles, Trinidad Jules & DJ Relly Rels.
Website: http://crimesandtreasons.blogspot.ca.
Email: dj@crimesandtreasons.com.
Vibes & Stuff TUE 4pm
Feeling nostalgic? Vibes and Stuff has you covered bringing
you some of the best 90s to early 2000s hip-hop artist all in
one segment. All the way from New Jersey and New York City,
DJ Bmatt and DJ Jewels will be bringing the east coast to the
west coast throughout the show. We will have you reminiscing
about the good ol' times with Vibes and Stuff every Wednesday
afternoon from 1:00pm-2:00pm PST.
E-mail: vibesandstuffhiphop@gmail.com
New Era Alternating Thursdays 7:30pm
Showcases up and coming artists who are considered "underdogs" in the music industry. The show will provide a platform
for new artists who are looking to get radio play.
Hip-Hop music from all over the world along with features of
multi-genre artists.
£ L
More Than Human SUN 7pm
Strange and wonderful electronic sounds from the past, present,
and future with host Gareth Moses. Music from parallel worlds.
Pop Drones WED 10am
Unearthing the depths of contemporary cassette and vinyl underground. Ranging from DIY bedroom pop and garage rock all
the way to harsh noise and, of course, drone.
Kew It Up WED 3pm
Abrasive fight-or-flight music played at hot loud volumes, uncooperative songs for things that are not alright. Punk, Noise-Rock,
Post-Punk, Experimental, Industrial, Noisy, ad nauseum La Fiesta Alternating Sundays 3pm
Salsa, Bachata, Merengue, Latin House, and Reggaeton with your
host Gspot DJ.
The Leo Ramirez Show MON 5pm
The   best   of   mix   of   Latin   American   music.
Email: leoramirez@canada.com
Shookshookta SUN 10am
A program targeted to Ethiopian people that encourages education and personal development.
CHINESE/KOREAN
Asian Wave WED 4pm
Tune in to Asian Wave 101 to listen to some of the best music from the Chinese language and Korean music industries, as
well the latest news coming from the two entertainment powerhouses of the Asian pop scene. The latest hits from established
artists, rookies only just debuted, independent artists and classic
songs from both industries, can all be heard on Asian Wave 101,
as well as commentary, talk and artist spotlights of unsigned
Canadian talent. Only on CiTR 101.9 FM.
ft 4J -F^ vy 1.1% IFF
NashaVolna SAT 6pm
News, arts, entertainment and music for the Russian community,
local and abroad. Website: nashavolna.ca.
^t-fiyy
Rhythmsindia
Alternating Sundays 8pm
Featuring a wide range of music from India, including popular music from
the 1930s to the present; Ghazals and Bhajans, Qawwalisr pop
and regional language numbers.
P! N
Simorgh THU 5pm
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.
Mantra SAT 5pm
An electic mix of electronic and acoustic beats and layers, chants and medicine song. Exploring the diversity of the
worlds sacred sounds - traditional, contemporary and futuristic.
Email: mantraradioshow@gmail.com
/ ELECTA
Copy/Paste THU 11pm
If it makes you move your feet (or nod your head), it'll be heard
on copy/paste. Tune in every week for a full hour DJ mix by
Autonomy, running the gamut from cloud rap to new jack
techno and everything in between.
Techno Progressive Alternating Sundays 8pm
A mix of the latest house music, tech-house, prog-house and
techno.
Trancendance SUN 10pm
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, Platipus Records and Nukleuz.
Email: djsmileymike @ t r a n ce n d a n ce . n et.
Website: www.trancendance.net.
Inside Out
TUE8pm
Radio Zero FRI 2pm
An international mix of super-fresh weekend party jams from
NewWave to foreign electro, baile, Bollywood, and whatever
else. Website: Wwwjadiozero.com
Synaptic Sandwich SAT 9pm
If you like everything from electro/techno/trance/8-
bit music/retro '80s, this is the show for you!
Website: synapticsandwich.net
The Late Night Show FRI 1230am
The Late Night Show features music from the underground
Jungle and Drum & Bass scene, which progresses to Industrial,
Noise and Alternative No Beat into the early morning. Following
the music, we then play TZM broadcasts, beginning at 6 a.m.
Inner Space Alternating Wednesdays 6:30pm
Dedicated to underground electronic music, both experimental
and dance-oriented. Live DJ sets and guests throughout.
Bootlegs & B-Sides SUN 9pm
Hosted by Doe Ran, tune in for the finest remixes from soul to
dubstep and ghetto funk to electro swing. Nominated finalist
for 'Canadian college radio show of the year 2012' Pioneer DJ
Stylus Awards. Soundcloud.com/doe-ran and search "Doe-Ran"
on Facebook. of lighthearted twin talk and rad tunes from a variety of artists who have been featured on our website. What website?
thepermanentrainpress.com
Canada Post-Rock FRI 10pm
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" infront of. Transition State                                                        THU 11 am
High quality music with a special guest interview from the
Crescendo                                                                 SUN 6pm Pharmaceutical Sciences. Frank discussions and music that
Starting with some serene chill tracks at the beginning and can save the world
building to the INSANEST FACE MELTERS OF ALL TIMEEE,
Crescendo will take you on a musical magic carpet ride that Shine On                                                                    TUE 1pm
you couldn't imagine in your wildest dreams. Besides oversell- An eclectic mix of the latest, greatest tunes from the Vancouver
ing his show, Jed will play an eclectic set list that builds through- underground and beyond, connected through a different theme
out the hour and features both old classics, and all the greatest each week. Join your host Shea every Tuesday for a groovy mu-
new tracks that the hipsters think they know about before any- sical experience!
one else does.  ;	
Soul Sandwich THU 4pm
Dave Radio with Radio Dave                                      FRI 12pm A myriad of your favourite music tastes all cooked into one show.
Your noon-hour guide to what's happening in Music and Theatre From Hip Hop to Indie rock to African jams, Ola will play through
in Vancouver. Lots of tunes and talk. a whirlwind of different genres, each sandwiched between an-
;   ' other. This perfect layering of yummy goodness will blowyour
Discorder Radio                                                          TUE 5pm mind. AND, it beats subway.
Discorder Magazine now has its own radio show! Join us to hear
excerpts of interviews, reviews and more! The Shakespeare Show                                          WED 12pm
Dan Shakespeare is here with music for your ear. Kick back with
Duncan's Donuts                                                   THU 12pm gems of the previous years.
Sweet treats from the pop underground. Hosted by Duncan,
sponsored by donuts. http://duncansdonuts.wordpress.com. Up on the Roof                                                           FRI 9am
Friday Mornings got you down? Climb Up On the Roof and wake
Spice of Life THU 2pm up with Robin and Jake! Weekly segments include improvised
The spice extends life. The spice expands consciousness. The crime-noir radio dramas, trivia contents, on-air calls to Jake's
Spice of Life brings you a variety of Post-Rock, Shoegaze, Math older brother and MORE! We'll be spinning old classics, new fa-
Rock and anything that else that progresses. Join host Ben Life vourites, and lots of ultra-fresh local bands!
as he meanders whimsically through whatever comes to mind
on the walk to CITR. Breakfast With The Browns                •                   MON 8am
Your favourite Brownsters, James and Peter, offer a savoury
Samsquantch's Hideaway             Alternating Wednesdays 6:30pm blend of the familiar and exotic in a blend of aural delights.
All-Canadian music with a focus on indie-rock/pop. Email: breakfastwiththebrowns@hotmail.com.
Email: anitabinder@hotmail.com.
Parts Unknown MON 1pm
An indie pop show since 1999, it's like a marshmallow sandwich:
soft and sweet and best enjoyed when poked with a stick and
held close to a fire.
The Cat's Pajams •      FRI 11am
The cat's pajamas: a phrase to describe something/someone super awesome or cool. The Cat's Pajams: a super awesome and
cool radio show featuring the latest and greatest indie pop, rock,
lofi and more from Vancouver and beyond!
The Burrow MON 3pm
Noise Rock, Alternative, Post-Rock, with a nice blend of old
'classics' and newer releases. Interviews and live performances
The Permanent Rain Radio Alternating Thursdays 1pm
Music-based, pop culture-spanning program with a focus on
the local scene. Join co-hosts Chloe and Natalie for an hour
Chthonic Boom! SUN 5pm
A show dedicated to playing psychedelic music from parts of the
spectrum (rock, pop, electronic) as well as garage and noise rock.
The Morning After Show TUE 11:30am
The Morning After Show with Oswaldo Perez every Tuesday at
11:30a.m. Playing your favourite songs for 13 years. The morning after what? The morning after whatever you did last night.
Eclectic show with live music, local talent and music you won't
hear anywhere else.
Hans Von Kloss' Misery Hour
Pretty much the best thing on radio.
WED 11pm
Suburban Jungle WED 8am
Live from the Jungle Room, join radio host Jack Velvet for an
eclectic mix of music, sound bites, information and inanity.
Email: dj@jackvelvet.net. Are You Aware Alternating Thursdays 6pm
Celebrating the message behind the music: Profiling music and musicians that take the route of positive action over
apathy.
Peanut Butter 'n' jams Alternating Thursdays 6:30pm
Explore local music and food with your hosts, Brenda and Jordie.
You'll hear interviews and reviews on eats and tunes from your
neighbourhood, and a weekly pairing for your date calendar.
Live From Thunderbird Radio Hell THU 9pm
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.
Aural Tentacles THU 12am
It could be global, trance, spoken word, rock, the unusual and
the weird, or it could be something different. Hosted by DJ
Pierre. Email: auraltentacles@hotmail.com
FemConcept FRI 1pm
Entirely Femcon music as well as spoken word content relevant
to women's issues (interviews with campus groups such as the
Women's Center, SASC, etc.). Musical genres include indie-rock,
electronic, punk, with an emphasis on local and Canadian Artists.
Nardwuar FRI 3:30pm
Join Nardwuar the Human Serviette for Clam Chowder flavoured entertainment. Doot doola doot doo...doot doo!
Email: nardwuar@nardwuar.com
The Medicine Show FRI 11PM
A variety show, featuring musicians, poets and entertainment industry guests whose material is considered to be therapeutic. We encourage and promote independent original, local live music and art.
Randophonic SAT 11pm
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.
Stranded FRI 6pm
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.
Wize Men . MON 6pm
Join your hosts Dan and Austin for an exuberant adventure filled
with drama, suspense, action, romance and most importantly
wisdom. Our musical tastes span across genres and each week
there is a new theme!
G4E Alternating Tuesdays 12-2am
Vinyl mixes, exclusive local tunes, good vibes from around the
world, a thought and a dream or two. Reggae, House, Techno,
Ambient, Dance Hall, Hip Hop, African, Psychedelic, Noise,
Experimental, Eclectic.
Student Special Hour
Students play music.
TUES2pm
BVP Radio Alternating Wednesdays 1pm
BVPradio is Blank Vinyl Project's radio show companion on CiTR.
It features musicians from UBC and its surrounding community.
Interviews, performances live on air, and advice to developing
bands.
A Face for Radio THU 10am
A show about music with interludes about nothing. From Punk
to Indie Rock and beyond.
Exploding Head Movies MON 7pm
Join gak as he explores music from the movies, tunes from television and any other cinematic source, along with atmospheric
pieces, cutting edge new tracks and strange old goodies that
could be used in a soundtrack to be.
The Jazz Show MON 9pm
Vancouver's longest running prime-time Jazz program. Hosted
by Gavin Walker. Features begin after the theme and spoken intro at 9pm. May 4: The debut recording under his own name of
John Coltrane. Well conceived and planned."Coltrane" is a great
beginning to a legendary career.
May 11: The deep spiritual music of a person who will be appearing at this year's Jazz Festival. Pianist/ composer Abdullah
Ibrahim and his band Ekaya and the fine album called "Water
From an Ancient Well".
May 18: A very rare broadcast recording by trumpet great
Kenny Dorham and his band also featuring some of the earliest recordings of Dorham with future tenor saxophone great
Joe Henderson. Recorded at "The Flamboyan"club in Queens,
New York.
May 25: Drummer/composer/pianist Jack DeJohnette and his
great band from the early 80s: "Special Edition" with saxophone
greats David Murray and "Black" Arthur Blythe. Edgy and innovative music from this great band.
Little Bit of Soul MON 4pm
Little Bit of Soul plays, primarily, old recordings of jazz, swing,
big band, blues, oldies and motown.
DRAMA / POETRY
Skald's Hall FRI 9pm
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 on Twitter:
@Skalds_Hall.
• - s Sports Is Fun THU 3:30pm
PUNK
Rocket from Russia TUES 10:30am
Hello hello hello! I interview bands and play new, international
and local punk rock music. Great Success! P.S. Broadcasted in
brokenish English. Hosted by Russian Tim. Website: http://rock-
etfromrussia.tumblr.com. Email: rocketfrom russiacitr@gmail.
com. Facebook: https://www.facebook.comRocketFromRussia.
Twitter: http://twitter.com/tima_tzar.
Generation Annihilation SAT 12pm
On the air since 2002, playing old and new punk on the noncommercial side of the spectrum. Hosts: Aaron Brown, Jeff "The
Foat" Kraft. Website: generationannihilation.com. Facebook:
facebook.com/generationannihilation..
* *■    -   F
Power Chord SAT 1pm
Vancouver's longest running metal show. If you're into music
that's on the heavier/darker side of the spectrum, then you'll like
it. Sonic assault provided by Geoff, Marcia, and Andy.
Flex Your Head TUE 6pm
Punk rock and hardcore since 1989. Bands and guests from
around the world.
Heavy Metal Helps MON 12am
Heavy Metal Helps proposes that Heavy Metaf music has positive
effects for individuals and society. Serena searches the web for research and talks to fellow musicians about this music they hold
dear to their heart and how it is helped them in their lives. AH of
this good knowledge is paired with Heavy Metal songs of course!
The Absolute Value of Insomnia SAT 2am
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.
71 vinylrecords
Vancouver
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OPEN 12-6 PM DAILY
321W HASTINGS ST
©VICTORY SQUARE
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CHECK OUT DAVID LOVE JONES' AFRICAN RHYTHMS RADIO
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www.africanrhythmsradio.com
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