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  254 East Hastings Street   604.681.8915
UPCOMING SHOWS
RICKSHAW 7YR ANNIVERSARY PARTY with
PICKWICK, NO SINNER, SAWIE, THE DIP
EARLY SHOW: 7PM
COMEDY SHOCKER: THE NINTH LEVEL OF
HELL JAMES KENNEDY, MARK HUGHES & MORE
EARLY SHOW: 10PM
THE JOEY ONLY OUTLAW BAND
DEVIL IN THE WOOD SHACK, CORNSHED
BLESSTHEFALL like moths to fumes, get
SCARED, PICTURESQUE
XTC, DEVO, THE REPLACEMENTS & JOY
DIVISION TRIBUTE
PERFORMED BY THE PLODES, DUMB W/ SHITLORD
FUCKERMAN, THE SLIP ONS & TIM THE MUTE
MM
LEMONADE VIEWS - A DRAKE & BEYONCE
DANCE PARTY
NEOBLIVISCARIS
BLACK CROWN INITIATES, STARKILL & MORE
PRINCE TRIBUTE NIGHT 100% ticket sales
TO CHARITY. W/ TRAILERHAWK, CASS KING & THE
NEXT RIGHT THING, LISA JOYCE & MORE
LETLIVE
SEAHAVEN, SILVER SNAKES, NIGHT VERSES
PIGS: CANADA'S MOST AUTHENTIC PINK
FLOYD TRIBUTE BAND
LANDMARK EVENTS SHOWCASE - FINALS
THROWING SHADE-LIVE PODCAST
SKELETON WITCH nylithia, skull vultures,
GROSS MISCONDUCT, WTCHDR, TORREFY
SEVERFEST feat, the mountain man,
•1 APOLLYN, EXTERMINATUS, OBSIDIAN & MORE
Additional show listings, ticket sale info, videos, and more: WWW.RICKSHAWTHEATRE.COM
^B
THEASTORIA
769 E. HASTINGS
JO PASSED   TV UGLY   WTSHKICKER
SHE!    NOIRE   KAFIRUN   CRYPTIC ENSLAVEMENT
§QH     THE DARK 80S NEW ORDER TRIBUTE
Efflfltil    POWER (USA)   WOOLWORM   WTCHDR
!W;i&l      GHOST BATH   UNDERLING
illliHEfc)    THECOURTNEYS   WINONA FOREVER
llllll&lfl    WEIRD CANDLE   SBDC   JOCK TEARS
GEEl    BURNING HEARTS SOUL CLUB
W/ THE BALLANTYNES   ISAAC ROTHER + THE PHANTOMS
ESQBl    HEAVEN FOR REAL   SLAM DUNK
WHITNEY K OTHER JESUS
jjfiBI    CASEY WEI'S ART ROCK
OTgtEfBI     SETE STAR SEPT (JAPAN)   SAVAGE
SHOOTING SPREE   OSK   SCUM HUMAN
BIF! BANG! POW! W/THEE MAGIC CIRCLE
JBEBEE     AHNA TOUR KICKOFF
pmfonmames m
OTHER JESUSr
^m?u
-ptmi DtscossfoNS-
855 E   „
 _   12-5j>m
I mm
Features
Columns
10 LES CHAUSSETTES
Flinging Who Will Read Your Mind
24 TEMPEST
The hardcore scene has
weathered the storm
48 AILEEN BRYANT
Carefully shifting shape
50 HOLY HUM + LAST LIZARD
IN CONVERSATION
Spanning continents and cultures
54 GAL GRACEN
"Romantic Nihilism" in new releases
58 INHERENT VICES
High-contrast opinions
04
EDITOR'S NOTE
HEY.I LOVE YOUR ALBUM AND WE SHOULD
DISCUSS CONSENT.
05
PUBLISHER'S NOTE
06
HOTHEAD
13
IN GOOD HUMOUR:
RANDEE NEUMEYER
17
WRISTBAND:
TIDAL - SIGNAL
20
SHELF LIFE:
HOLY SMOKES
29
REAL LIVE ACTION
36
CALENDAR (JULY + AUGUST)
38
ART PROJECT:
PUPPYTEETH
42
UNDER REVIEW
61
ON THE AIR:
MORE THAN HUMAN AT MOOG FEST
65
PROGRAM GUIDE
71
CHARTS
ADVERTISE: Ad space for upcoming issues can be
booked by calling (604) 822-4342 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.discordef@citr.ca.
SUBSCRIBE: Send in a cheque for $20 to LL500-
6133 University Blvd. V6T 1Z1, Vancouver, BC 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 advertising@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.
vvv
To inform Discorder of an upcoming album release, art
show or significant happening, please email all relevant
details 4-6 weeks in advance to Brit Bachmann, Editor-in-Chief at editor.discorder@citr.ca. You may also
direct comments, complaints and corrections via email,
or visit during office hours at CiTR Tuesdays 4-6pm.
Publisher: Student Radio Society of UBC // CiTR Station Manager:
Brenda Grunau // Volunteer Manager: Hugo Noriega // Advertising
Coordinator and Distro: Katayoon Yousefbigloo // Student
Liason: Claire Bailey // Editor-in-Chief: Brit Bachmann // Under
Review Editor: Jonathan Kew // Real Live Action Editor: Jasper
D. Wrinch // Art Director: Ricky Castanedo-Laredo // Production
Assistant: Jules Galbraith // Web Content Coordinator: Katrina
Wong // Accounts Manager: Eleanor Wearing // Charts: Andy
Resto // Discorder Radio Producers: Claire Bailey, Matt Meuse,
Jordan Wade // Online Communications Coordinator: Keagan
Perlette // Writers: Maximilian Anderson-Baier, Ivanna Maria
Besenovsky, Evan Brow, Slavko Bucifal ,Esmee Colbourne,
Natalie Dee, Dora Dubber, Leigh Empress, Dusty Exner, Courtney
Heffernan, CaJlie Hitchcock, Evangeline Hogg, Elizabeth Holliday,
Andrew Yong Hoon Lee, Alex Zhang Hungtai, Jonathan Kew,
Lucas Lund, Sam Mohseni, Gareth Moses, Theano Pavlidou,
Keagan Perlette, Christine Powell, Elijah Teed, KVW, Lili Watson //
Cover: Illustration by Puppyteeth // Photographers & Illustrators:
Olga Abeleva, Sara Baar, Shane Burzynski, Gilian Cole, Eva
Dominelli, Cristian Fowlie, Alicia Lawrence, Max Littledale, Amelia
Moses, Emma Potter, Matthew Power, Kolton Proctor, Konstantin
Prodanovic, Lauren Ray, Alison Sadler, Sofia Samshunahar,
Manny Sangha, Pat Valade, Jon Vincent // Proofreaders: Brit
Bachmann, Ivanna Maria Besenovsky, Ricky Castanedo-Laredo,
Joshua Gabert-Doyon, Jonathan Kew, Jasper D. Wrinch, Katayoon
Yousefbigloo
©Discorder 2015 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 1242, email CiTR at stationmanager® citr.ca, or pick up a pen and write LL500 - 6133 University
Blvd. V6T1Z1, Vancouver, BC, Canada. M#ca
^^^5   W   ■ ast
ast month my friend asked me to comment for an article he
vas writing on ongoing sexism and rape culture in Vancouver
arts. In retrospect, I found the interview triggering. Though I spoke
from the perspective of a music journalist, I also could have spoken
as a victim.
Almost three years ago, new to Vancouver, I found myself in a situation of questionable consent with someone active in local music. Since
becoming more involved in the community, I have realized that this person is a known sexual predator. Although this is public knowledge, the
music scene still supports them. They continue to work within the arts
without assuming accountability, without consequence.
I don't blame the arts community for sanitizing this person, and others
like them. I get it. How does someone start a conversation with a known
predator or abuser that honestly addresses accusations? —   "Hey, I love your
album, and we should discuss consent." —   But perhaps it would be healthier
to talk openly about rape and sexual exploitation instead of what happens now,
where individuals relay a combination of facts and slander through gossip, social
media and bathroom graffiti. As a community, can we not develop a safer and
more substantiating way of identifying and addressing predators?
Even as I bring up this topic now as a victim, I do not feel safe speaking publicly
about my experience or naming the predator because of their standing within the
music community. Neither of my positions as victim or as editor of a music magazine
have granted me the knowledge of how to solve this problem, but I know that I want
to encourage discussion about it. At the very least, I hope this Editor's Note can begin
to bring awareness to how artists, music-lovers, promoters, venues and media engage
with, and react to accusations of sexual exploitation and domestic violence within their
community. As an independent publication with a long history of questioning institutions and social structure, Discorder is a good place to start talking about this. The resolution of rape culture may not be as simple as exiling all known predators from the music
community, but Discorder can take a stand to not exalt known predators through promotion
or exposure.
While that would be an excellent closing to this Editor's Note, there are other things I need
to acknowledge. This is a double issue, after all —
With a combination of heavy hearts and excitement, Discordet says farewell to Station
Manager and Publisher Brenda Grunau, and Programming Manager and former Music Director
Sarah Cordingley. They are both following their passions to new projects, but we thank them
for sharing their love of music and art with Discorder for all these years.
Now let's all bike to the beach.
BB
PS. Happy birthday to the Rickshaw! July 8 marks the third anniversary of Mo's ownership,
and the fifth anniversary of the venue. Thanks to the Rickshaw for supporting Discorder over the
years through advertisements, and for supporting the local music scene we serve. Discorder loves
you and your sticky floors ;)
EDITOR'S NOTE A note from our outgoing Publisher
and CiTR Statioif Manager,
Brenda Grunau:
Dear readers,
magazines are strange beasts, and I ani supremely grateful
to all of you who pick up this beautiful magazine and read
the fruits of many growing writers each month. In the same way
Discorder allows new writers to explore the world of journalism,
I too have dabbled and written articles on topics I'm passionate
about, like Night Mayors and southern BBQ. I've benefited from
the editorial guidance of Discorder staff, interviewed smart and
engaged people, and learned how to tell and share a story.
As the publisher, it's been exciting to see Discorder evolve with
each new editor and art director. We've had ongoing conversations
about the future of publishing, what paper means to people, how
people are reading about music and what's valuable for our community. What will continue to remain constant is the opportunity
we're offering to new writers, photographers and illustrators, and
the coverage we provide for the local music community.
It truly has been a pleasure working with all of you at Discorder —
that ever changing, adventurous, and ever local CiTR magazine.
Brenda
PUBLISHER'S NOTE fit
Hot Head is for people to voice praise or concerns
about Discorder and / or the community we serve. If
you want to contribute a Hot Head, email your piece to
editor.discorder@citr.ca indicating whether or not you
want to be anonymous. You can also hand-deliver or
mail letters to CiTR addressed to the Editor-in-Chief of
Discorder. Note: whether or not Hot Head entries are
published in the print magazine are dependant on space.
A LETTER TO 01 PUNKS OF
VANCOUVER
y'all got razor blades dangling from
your ears, Crass patches on your
leather jackets, literal mohawks (hi it's
2016), covered in spikes and chains, sing
about your righteous politics yet can't
apply those politics to your own commu-
• nity. I'm not talking about all the punks
in Vancouver, I'm talking to the posers
— you know who you are. Your sink is
fuchsia from the Punky Colours you used
to die half your 'hawk while blaring "God
Save The Queen" and your girlfriend
gives herself a big A anarchy stick and
poke in a pile of empty 2 litre Growers
Cider bottles. Vancouver has a solid community of aware and community-conscious punks who are doing great work
watching out for each other, keeping the
creeps out and living the politics they
represent. But you are not them. You are
Google-Punks: the first page of results in
a Google image search of "PUNK". Why
don't you start applying the politics you
wear as patches on your leather jacket
to your own community? Is it because
you're in a cult and you're just protecting
the powerful men with the most social
capital? Or does that kind of stuff only
happen to other communities like those
garbage hipsters and loser chongos? It
would never happen in your sacred punk
community, right? Oi oi.
—anonymous
»
&
CITY OF VANCOUVER, ARE
YOU READY TO LISTEN?
you talk about wanting to enhance
night culture and caring about what
people have to say about it, but you are
so far off. In April you gave us an online
questionnaire to fill out on liquor policies with all the wrong questions, and
then only two opportunities to voice our
concerns in-person at daytime farmers markets. You think the people who
are really affected by the current laws
around nightlife events, liquor policies,
late night transit and infrastructure, and
venue policies are going to be shopping
for kale and kombucha at ioam-2pm?
Ummmm, no. You have been asking all
the wrong questions in all the wrong
ways. If you really want to know the
problems around liquor policies and/or
venues in Vancouver, contact the people
who read publications like Discorder: ask
the people who feel forced to go to illegal
venues to enjoy their music, ask places
like Red Gate and VAL, but be prepared to
listen this time. Actually. But you know
what would be a great first gesture of
faith towards this community? Give the
Lido their patio. Seriously, it's about
time. If you think a bunch of psych-loving craft beer-drinkers are gonna make
for a roudier scene than a patio on
Granville Street, you are even more off
base than I thought.
—Leigh Empress
ft
HOTHEAD SUBSCRIBE TO DISCORDER!
Discorder is Vancouver's longe ;t running, free, independent magazine.
Show your support for Vancouver's independent music community
and the development of new/writers, editors, designers and artists.
JJGjJLD LIKE AN ANNUAL SUBSCRIPTION JO DISCORDER MAGAZINE ($20 F|iR CANADA, $25 FOR U.S.)
IWOUCQME TO SUPPORT DISCORDER Wt^H A DONATION OF
SEND THIS FORMKND CASH OR CHEQUE TO:
LL500-6133 University Blvd. Vancouver. B.C., V6T1Z1 387Vixd
V6raoLMer
Sunday, July 31st
11am - 6pm • Sunset Beach
2016 PRIDE SEASON EVENTS
July 24   Pride Run & Walk + Picnic
July 25   Pride Proclamation
July 29   Davie Street Party
July 30   Terry Wallace Memorial
Breakfast
July 31    Pride Parade
July 31    Sunset Beach Festival
FIND OUT MORE:
vancouverpride.ca
FB: Vancouver Pride Society
twitterxom/vancouverpride
Presented
By:
liV  fidoi*
/M«irsh«i[ls Davie
Street
Party
////////////////
t ii   ii   ii    ii •«
x
x
July 29th, 2016 V = =        x*
6pm - Midnight
Davie St (Burrard to Jervis)
Advanced: $5 / Door: $10
bit.ly/dsbp2016 •
Presented By:
fidOfnt   55 Microsoft
X NOBODY PUTS LES CHAUSSETTES IN A DRAWER
words by Keagan Perlette // illustrations by Olga Abeleva
photo by Konstantin Prodanovic
Just inside the caged doors of recording studio Little Red Sounds, Les
Chaussettes' lead vocalist and guitarist
Jovana Golubovic leans against a folding
screen, putting pressure on her injured
back, while the band's bassist Maria
Turner goads her: "Are you gonna come
to circus tomorrow?" Golubovic gives a
sleepy wince and nods. Both women are
fresh off of a full day's work, Turner from
her teaching practicum and Golubovic
from her final shift at a pizzeria. It's 8
o'clock and, while most people might be
headed home to make dinner and curl up
with Netflix, the two are here to meet up
with their drummer, Felix Fung — pro-
LES CHAUSSETTES
ducer at Little Red Sounds — for band
practice sans guitarist and vocalist Alex
Maunders.
Golubovic and Turner are the band's
founding members, as well as fellow circus performers. It quickly becomes clear
that Les Chaussettes' musical excellence
is, in part, due to the intense discipline
the two carry over from their acrobatics,
and a commitment to making music with
the band despite hectic real life.
"These two are very disciplined,"
says Fung, "to a fault!" But this is what
attracted him to the band in the first
place. "I think sometimes people choose
to believe the myth that's sold to the
fan [that making music is] mystical," I:
he says. "It takes hours> There is a discipline to do it well, and when you're
writing songs you gotta sit down and you
have to be alone and you have to sit there
for days on end and give it its due."
Repositioning herself on her chair to
avoid irritating the massive bruising on
her upper thigh — also a circus injury —
Turner agrees. "I have a really hard time
giving myself a break," she says, "I think
that works out for me cause I accomplish
a lot of things. I'm used to being busy
so I make it work. There's something so
satisfying about it."
Golubovic is the band's lyricist and
resident true soprano (a personal accomplishment),  staying up writing songs
into the wee hours of the night. Les
Chaussettes' lyrics are reflective of
her devotion to a writing prac-H
tice that's about honing her
craft and producing polished
work.
"Writing is mostly like
bashing your head against a
wall," Golubovic says. "The
day after I write a song I'm
just beaming with energy and -fl IT 111 IIII"
joy, and if a bit of time passes   | Ht WALL
the band's sonic capabilities. "The less
skills you have, the less options you have
available and the less things you can do,"
Turner explains. "There have definitely
been times — because I didn't play the
bass at all before I started playing in this
band — when we started doing something and it was really hard for me, but
you keep practicing, and you've gotten to
the next level where you can play faster
and do more things."
hree years later, Turner is capable of
seamless bass on tracks like "Don't
Leave  Your  Lover"   and  the  record's
instrumental    gem    "Mujer,"    which
also    showcases    Latin-inspired    guitar lines from Golubovic and Maunders.
Golubovic's vocals radiate through
nil ft lO**16 entu"e album as she sings
WRIl lliu IS   about love in a way that I
believed pop music had forgotten about.
"We've     been     living
with the same five feelings for 3000 years, why
has it now all of a sudden
disappeared?"    says   Fung.
"I see a lot of the loner in the
MOSTLY LIKE
BASHING YOUR
HEAD AGAINST
and I don't have a new one, I just
hate myself. And that's normal!"
The band's debut full-length Who Will
Read Your Mind, released on June 16, is a
display of the band's relentlessness, and
an approach to music akin to painting or
poetry. What Les Chaussettes is doing
takes practice, and each time the band
gets together, on stage or in the studio,
this practice continues. "You go into the
studio and focus on [a tiny detail in the
music] that means everything and means
nothing, [and] you're completely lost in
this process," says Fung. "You're crafting something, it's like people tending to
a garden."
For Les Chaussettes, practice is a way
of opening creative doors and expanding
songs, the person who can go to
the party but isn't part of the party, and
wants some of those things like love or
relationships, but also sees the downsides of those things."
These feelings are especially clear in
"Unrequited Love" in which Golubovic
sings "You say you want my heart / but
you're my best friend's brother, baby, and
I can't see you" and "Josiah" whose lyrics include "You're so cool / I never really
understand you / Josiah, I sigh-ah for
you" and later "Josiah, good bye-ah to
you." Golubovic already knows the heart
of her listener, and sings directly into
it. Her lyrical craftsmanship extends to
songs like "Russian Boy" (with the lyric
"I want to jump your Russian bones") and
LES CHAUSSETTES
■1 "Volcanoes," which are inarguably sexy
and female gaze-y.
Who Will Read Your Mind sounds more
like a third album than a first. The band
marries decades worth of pop music,
expending all referential resources, creating an oxymoronic sense of innovative nostalgia. They recorded the album
as bands used to, where the whole band
played the songs live in the studio rather
than by piecing each part together digitally. Les Chaussettes' music recalls a
time when pop music was about musicianship rather than featured rappers on
singles. "You know what band I think
we're most like?" says Golubovic "Simon
and Garfunkel when they do the rock
stuff."
Les Chaussettes will be playing the
Project Space Fundraiser at VIVO Media
Arts Centre Saturday, July 9. Check out
leschaussettes.bandcamp.com to listen
to Who Will Read Your Mind and oth
releases. IN GOOD HUMOUR
RANDEENEUMEYER
words by Evan Brow // illustrations by Eva Dominelli
photos by Manny Sangha
'*s\ -m
**i.
♦*♦♦
Wl
Handee
Neumeyer
tells me that she's
sassy, goofy, and that
she keeps it real. She also
tells me that she has social
anxiety and that when I asked her,
"How would you describe yourself?,"
it is torture. As a Vancouver stand-up,
Neumeyer is subversive, creative, and
specializes in one-liners. Growing up
in Peace River, Alberta, she didn't really
fit in, tending to watch old sitcoms like
Three's Company, Bewitched, and I Dream of
Jeannie instead.
"Growing up I got called weird a lot,"
says Neumeyer. "My whole group of
friends was weird. And now none of them
are married. None of them have kids.
They all decided to become career women,
which is strange when you're from a
small town in Alberta."
After high school, Neumeyer's mother
wouldn't let her go to film school, so
Neumeyer moved to England and worked
instead. She cleaned hotels, served at
restaurants, and lived in hostels. After a
little over a year, she moved to Calgary and
completed a Certificate of Nutrition at the
Southern Alberta Institute of Technology,
snagging herself a job at a local hospital.
"I worked in the food department,"
says Neumeyer. "I
-got the job because
—Lsaid I was a nutritionist. But I was
tly just really good
at doing dishes."
After two years, Neumeyer
finally got to go to film school. She moved
to Vancouver and completed the Writing
for Film and Television Certificate at the
Vancouver Film School. It was there,
working on sketches, pilots, and spec
scripts, that Neumeyer realized that her
fantasy of being funny was no fantasy.
"I started a Twitter account and tweeted
constantly," says Neumeyer. "That's how
I started doing stand-up. My friend and
I said, 'Let's start Twitter accounts and
then we'll be famous,' and then, no, that
didn't happen [laughs]."
Neumeyer had always wanted to do
stand-up, but she was too afraid. Her
friend Eric had just taken Instant Theatre's
stand-up class and told her, "You're taking the next one." She joined in 2013, terrified, but a classmate told her she was
the funniest in the class and promised to
keep making her do it. Even though her
hands shook as she performed, Neumeyer
started doing the now-defunct Goldie's.
IN GOOD HUMOUR ^■t was a roller coaster," says Neumeyer.
^P"Sometimes you were super high,
and sometimes you were crying
on the bus. It's still like that.
but it's not as bad. And I
used to do really of fen- i
sive jokes. I had one joke
that went, (I saw a sign i
in a window that said,   s
"We    remember    9/u."
And I thought, 'That is so
retro."'
With two years of experience,
Neumeyer began producing her own
shows in 2015. That July, Heather Jordan
Ross landed a monthly comedy show
at Cafe Deux Soleils and when asked
who she wanted to run the show with,
she picked Neumeyer and Fatima
jl Dhowre, creating Comedy Deux
fP 0 Soleils. When Ross left the
show in order to run the
Rape Is Real and Everywhere
A| show with Emma Cooper
gte (a show that Neumeyer
^* has performed at four
^| times), Neumeyer and
Dhowre began their comedy
partnership.
"Fatima used to be a goblin," says
Neumeyer. "In our group of friends, a
goblin sponges off people and never has
m
IN GOOD HUMOUR f
NEUMEYER
WITH ONE OF
HER JOKES:
"I like things
about serial killers.
I was reading this
book called Female
Serial Killers. It's a
self-help book. In
the bOOk it SayS that never evolved. It's very strange, isn't it?
female serial killers Heneve^rewup
mostly kill people
.■• | * *      J m~,    |        Find Randee on Twitter at @randeenoodle
tney KnOW anO male and catch The List at the Havana Theatre on
serial killers most - the third Friday of the month-
ly kill strangers,
which means that
men are out there
for the thrill and
women are just sick
of your shit."
money.   There  was   a   time
: ;when she didn't have a job,
;;|%so she would just come
stay  at  my apartment
and   never   leave.   So
that's how we became
friends. But she's not
a goblin anymore. She
^ has a job and an apart-
; ment. And she buys me
things sometimes."
This past April, Neumeyer
>>"' and Dhowre expanded further and
launched another show with Ese Atawo
and Instant Theatre, creating The List: a
show where comedians present funny
lists, and then improvisers create scenes
based on the lists. Seeing herself as more
of a writer, Neumeyer just wants to do all
sorts of comedy: essay writing, television,
and of course more stand-up.
"I have a wall at home with posts
about what I should be working on," says
Neumeyer. "I have my pilot. I want to
turn my comic strip into a graphic novel.
Then just getting a TV job. I have all the
articles I want to write. I want to write
one about how Adam Sandler's humour
IN GOOD HUMOUR
J nrriANdiA
. Testi aI
SEPTEMBER 15-18, 2016
VICTORIA, BC
JURASSIC 5 • MICHAEL FRANTI & SPEARHEAD
WOLF PARADE • X AMBASSADORS
CHARLES BRADLEY & HIS EXTRAORDINAIRES
DE LA SOUL* BAND OF SKULLS • COLEMAN HELL
KEYS N'KRATES • BOMBA ESTEREO • BADBADNOTGOOD
LEE SCRATCH PERRY • DEL THE FUNKY HOMOSAPIEN • PROZZAK
JESSE ROPER • SHANE KOYCZAN KSK8S • THE ZOLAS • GOLDFISH
THE BEATNUTS • OPERATORS • ROYAL WOOD • TENNYSON
WE ARE THE CITY^THE ELWINS* FRUIT BATS
MICHAEL BERNARD FITZGERALD* JOHN RIVER
DANIEL CAESAR • GROENLAND • ENTANGADOS
CAVEBOY • DRALMS • GROSSBUSTER • JPNSGRLS
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Tickets available at Rifflandia.com and Lyle's Place WRISTBAND
TIDAL - SIGNAL
words by Natalie Dee // illustrations by Gillian Cole
//photos by Sara Baar
Take a look at any festival lineup, and
chances are that not all genders are
equally represented.
That's what SFU MFA students
Rebecca Bruton and Alexandra Spence
want to change. There are a variety of
journals, papers, and books spread across
the table when I sit down to meet with
them at Nelson the Seagull in Gastown
to talk about Tidal ~ Signal, their latest
project.
"Tidal - Signal is an experimental
music and sound festival with the intention to highlight underrepresented people within music and sound art," explains
Spence. The festival's performers are all
from Vancouver, and are all female, gen-
derqueer, trans, or intergender. Taking
place from July 30-31 at Selectors' Records,
each night will include four performers
and one DJ, featuring artists Sara Gold and
Brady Marks, as well as Discorder alumni
Mass Marriage and prOphecy sun, and
others.
The inspiration behind the festival
stemmed from the personal experiences
of Bruton and Spence, both within and
outside of academia. They have worked
extensively within the fields of electronic
music and jazz, participating under
their own names and as the duo Yaws a
Fissure. Even with the support of local
academic institutions and programming,
they have noticed a lack of equal representation within the experimental com-
m
munity: "There's a lot of (cis) men in a
lot of programming," comments Spence,
noting how that can create an alienating
environment for anyone who falls outside of that category.
Bruton and Spence have faced the
challenge of how to promote a festival
with such a unique lineup. "We've had
a lot of conversations around whether or
not we even talk about our gender inclusion as a main feature of our festival,"
says Bruton. Though they want to be
careful not to tokenize gender or make it
a selling point, the two "decided to talk
about it, because we do feel that it is an
important issue ... It creates a safe space
for certain kinds of people to come that
might not otherwise feel comfortable
coming to an experimental music festival," explains Bruton.
As the two have undertaken the intimidating task of starting a music festival
from scratch, they've received a lot of support from the community. Bruton speaks
of how often it may seem like cisgendered
men are more numerous than other artists, "but if you dig a little bit deeper, you
see that there are a lot of other artists
who are in the sound community, but for
whatever reason, they're not as visible."
Spence adds, "Some artists we've reached
out to who haven't been able to do the
show sent us links to other female and
trans artists who might be interested. It's
opened up a nice community."
WRISTBAND
m I
TJ| their time for it," says Bruton. Of course,
■^VlVlV Bruton anc* sPence noPe t0 change this in
*'J:lf.    future iterations of the festival.
**' Both organizers are unable to pick
an act they're most excited to see at the
festival, citing the diversity and depth of
the acts they've selected. Tidal - Signal
promises to highlight some of the best
experimental music Vancouver has to
offer, regardless of gender.
Tidal ~ Signal is at Selector^ Records July
30-31. Confirmed artists are Kiran Bhumber,
Sara Gold, jouisseur, Brady Marks, mdsi, Mass
Marriage, Orcana, and prOphecy sun. Space is
limited, but advance weekend and one-day
passes are available now on Eventbrite. For more
information,visityawnsafissure.wordpress.com
The name Tidal - Signal, comes in two
parts. Tidal creates a connection to
place and geography. "All of our artists
are from Vancouver, so it's about supporting the experimental scene here,"
says Spence. Signal "represents sound
and music simultaneously," adds Bruton.
One of their most monumental challenges, as it is for all Vancouver event
organizers, was finding a venue. After
considering their options — they note
that many venues they reached out
to were very supportive — Selectors'
Records was chosen. "It's nice having a
venue that's also integrative and supportive of the show. They're not taking a
backseat," says Spence.
There have been a fair amount of
other obstacles in the planning of Tidal ~
Signal, including growing a festival without any funding. The artists are donating
their time, and getting a cut of the door
as reimbursement. "It goes to show that
there's an interest and need for this kind
of event if artists are willing to volunteer
WRISTBAND f ond of tiysr•-.  kidnap k i ds i  t-n*=   oh we i i s  nerue t-uda =
fansnaw
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don t theM?  the vancuuvsr nights  eland i wxnd
3 inches of blood   elizabeth  black rice  greenbelt collective
you say party!  rnr. plow  the winks  aunts & uncles   tyranahorse
the raonawk lodge  sleuth  organ trail  roaou  my project: blue
hidden towers  half Chinese  rock'n   the .jolts   leah abramson
kids these days  the sal teens  collapsing opposites   the nasty on
clover honey   trail us. russia   wit-40   the petroleum-byproducts
the pack a.d.  safety show  hermetic   humans   thee ahs   fun iSS
the organ  witness protection program  death sentence  the ssris
makeout  the basement sweets  karen foster  adjective
operatid
1 a n g u,a g e - a r t s
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mystery Tnacmne
■ystai swells  Dossanov-:
motorama the cinch
e r.a.d. i . o. tne saddles ores brand new unit
el las   the living deadbeats   the wint ermi f f •=
ysneougar
the riff randelis  shane turner overdrive
i zerdz
5f shindig
It's that time again. Don't miss the fun.
Submissions due August 2016
Send 3 original songs to:
shindig.submissionsSgmail.com
WEBSITE/INTO/SPONSORS: http s//shindig.citr.ca
it^m'mr^Mtmkmc^MW PRESSINGMATTERS
SILKSCREEN & DESIGN
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WWW.PRESSINGMATTERS.CA SHELF LIFE
HOLY SMOKES
words by KVW // illustrations by Alison Sadler
photos courtesy of Trevor Ball
mm oly Smokes was essentially born out
■ P of frustration — a detail unrelated to
the development of its name, yet fitting if
you think about a lightbulb taking shape
from a whiff of smoke trailing out someone's ear. As they nonchalantly celebrate
their one year anniversary, co-founders
Serena Sousa and Colby Carruthers tell
Discorder about the inception of their
music promotion project, instigated by
a conflict of interest between them and
former production associates.
"We didn't really have any expectations
[in the beginning]," Carruthers remarks.
After acting as a media sponsor for Pretty
Good Not Bad and collaborating with
Shake! Fest on curating their line-up,
Holy Smokes has yet to reach the peak
of its growth. Wanting to create a virtual
space to talk about music was an impulse
that triggered interviews, reviews and
visual features that fulfill the company's
function as a pivot for Victoria's music
scene. Noting the void left behind when
the   event   production   and   promotion
SHELF LIFE
company Animal Productions disbanded,
Sousa realized that "the scene here
needed something to bring it together,
something to act like the glue," or perhaps the cytoskeleton.
Victoria's size is joked about all too
often, but a cell analogy really fits. Despite
its tiny capacity, a cell hosts numerous,
scattered organelles that rely on different
signaling pathways to perform their individual functions, altogether keeping the
cell alive. Likewise, while Victoria has tons
of independent (sometimes overlapping)
bands, they lack a cohesive home-based
structure for proper representation. For
instance, PGNB received coverage from
media based outside of Victoria, including
Discorder\ but "nobody in Victoria" covered the festival.
Enter. Holy Smokes.
"Timing is everything," Carruthers
explains. "It's not like Vancouver, where
you have a big population and you can
have a show on a Wednesday, and if it's
good then enough people show up." With I*   *
ii      #
limited DIY venues and venues in general
— especially large, licensed venues that
aren't Sugar — Victoria doesn't make it
easy for bands and the music-minded.
And let's not forget the cost of the ferry,
which has been steadily increasing over
the last decade.
These challenges seem to lose their
intimidation factor when Sousa
comments on the "close-knit culture of
people" in Victoria, and the relationships they've built in such a short time,
namely with Madi C of Shake! Records
and Phoenix Bain of Pretty Good Society.
"It's been really great. We've managed to
all work together for mutual benefit. It
doesn't feel competitive. We're all helping each other," says Sousa.
Though these symbiotic relationships
are not reserved for Victoria folk, they
seem to galvanize the deeply embedded
sense of community that accompanies
the small town / city. On meeting Madi
C, Carruthers remembers being surprised
by her enthusiasm: "Why do you think so
highly of us? We think so highly of you!"
This  reciprocated  admiration  is  what
SHELF LIFE keeps Holy Smokes on the lookout for
reliable, "capable people," like Santiago
Thompson, co-founder and illustrator,
who contributes from his new Chilean
home; Joseph Leroux, who set up their
show review platform; Olivia Perry, who
wrote all the artist bios for Shake! Fest
and helped push events through social
media; Trevor Ball, a generous photographer; and Elyse Mathes, who, well ...
"she'll go backstage even if she's not
allowed back there and get an interview
with somebody." And these are just to
name a few of the 25 to 28 individuals
comprising their macroscopic network.
■Saving kicked off this summer with
■ PLevitation and now anticipating
Otalith, Holy Smokes is bent on covering
more shows and festivals, with a greater
energy than that yellow smoke that rubs
its muzzle on the window-panes. And once
thev find the time. thev'U start devel
oping live sessions, for which Victoria's
venues and exceeding beauty will prove
advantageous.
I remember seeing Half Moon Run
at Alix Goolden Hall: listening to the
silence fall from the high ceiling of the
former sanctuary as the band gathered at the edge of the stage, took up
one guitar and sang into the vacuum.
That Victoria's venues are able to summon that kind of intimate atmosphere
is a quality that deserves appreciation.
Though Holy Smokes is still relatively
new, they have the confidence of those
who know what Victoria has to offer. For
now, that's probably enough for them to
fare forward.
Bodies has also taken on Colby Carruthers
as their new manager, and, as he put it, the
band's stuff is now in i(the ether of Holy
Smokes/* We'll keep you posted.
In the meantime, here's a suggested summer playlist compiled by Holy Smokes for
Discorder Magazine:
PAINTED FRUIT - JUDGEMENT
SMOKE EATERS - teacher
BODIES - WEAK
CROATIA - BACKSEAT
JONS - SHORT SWIM
HANSMOLE -NO devils
DEATH KART - beach bummer
SURE - FUCK FOREVER
AQUARIUS - LEXICON OF DESIRE
BRIDAL PARTY - ASS GRABBER
DEEP SIX - SOUL ON FIRE
ZUZU'S PETALS - COLOURS RUN
MOUTH BREATHER - SHRUG
DURBAN POISON - wasted
GROSSBUSTER - lonesome ella
DIE AND FIND OUT - closing in
THE PURRVERTS - WHISKEY MOON
OLD GIRL - DISAPPOINTING lovers
SHELF LIFE
M AUDIOPILE
RECORDS & CD's
EST. 2001
Anniversary
2016 Commercial Drive, Vancouver, BC
Ph: 604.253.7453
www.Audiopile.com
Saturday July 23rd and Sunday July 24th
20% oil New
and
40% off Used
Choose from an absolutely massive selection
of new and used records and CD's considering   their   contentment   with
anonymity, it's somewhat of a surprise
Tempest sat down to talk at all. Googling
them merits next to null: a Facebook page
barely a year old; a few forum entries
on poorly formatted hardcore blogs; the
occasional mention or accolade from a site
savvy enough to have tracked them down.
The root of their sphinxlike persona has
been accredited to a distaste for spotlight,
a contempt for media, and even a general
unapproachability. In reality? Tempest
are too shy for their own good.
"The short answer is that we're just not
good at it, and we never have been. One of
us will try here and there for a month to
keep up with it, but it just doesn't happen," says SD, on their lack of an online
presence. Keeping with their reputation,
Tempest have requested to use aliases for
the purpose of this interview.
"It wasn't so much about an image,
it was just about letting the music do its
thing," continues CA. "It seemed like not
a very farfetched idea at the time, and then
as time went on it almost spiralled out of
control and became somewhat lazy."
For nearly a decade, Tempest has
focused almost exclusively on how they
sound, with little regard to how they
look. Though their image may be linked
to the "mysterious guy" genre of hardcore
prevalent at the band's conception, their
output is certainly a departure. Tempest
creates sonic sodomy, the type of music
you play to scare your parents and awake
the Devil. Their guitar playing is beyond
loud, their drumming is beyond violent,
and their screaming is often beyond comprehension. Ultimately, Tempest makes
music that is not only a struggle to play,
but can be an outright struggle to listen to.
It has become something of a cliche,
but Tempest's is the style of music that
always seems to find its biggest audience
in Europe. Be it the harsher climate or
the lingering effects of despotism, hardcore and metal acts are frequently more
beloved abroad. Since returning from
their weeks-long tour on the continent
last summer, however, Tempest has been
doing their best to stay and think local.
As MK divulges: "We made a conscious
decision once we got home to take a bit
of a break from the band and not have to
worry about it. Doing it every day, all day,
for four or five weeks kind of became a
lot. It was nice to step away — some of us
jammed, some of us didn't jam, and it was
a way to just get back into real life and
hang out with people that you missed."
*"*•*
i*fc/
24      TEMMEST A*
words by
ELIJAH TEED
illustrations
by EMMA POTTER
Ihoios brMATIHEWi
*. POVT
-I
"SINCE WE'VE COME
BACK FROM THE T
DON'T KNOW WHAT IT
BUT I FEEL LIKE WE'
[ijsg.li ||i|Bi*«"":
'■V
:  ;:•.': : M ■
.     ■..-.'■
happen here. Son
it's easy to do there — but i wis
more options here for show
hat being said, Tempest have been
pleasantly surprised with the reception they've received since being back in
Vancouver. Having been a part of the city's
underground music scene for such a long
time, the band has seen crowds shrink and
grow, and seen tastes evolve and change.
But over the last year, Tempest has had
something of a resurgence in the wake of
fresh DIY venues and a heap of younger
concertgoers. f you stand in one place long enough,
musical taste will come full circle
around you," SD muses. "There was a
time when dark and crusty hardcore was
really big and there were tons of bands
doing it here, and I think that time came
and went."
His collaborators are quick to agree,
offering their takes on the current state
of hardcore in Vancouver:
"I think it's a combination of people
who haven't seen us before ending up at
one of our shows, and the young screamo
kids and groups of people we weren't
aware of," says AD.
"It's changing," concludes CA. "Since
we've come back from the tour, I don't
know what it is, but I feel like we've been
playing to different people, playing to
new people, and things are opening up
a little bit." %
While new crowds also offer the
opportunity to perform new repertoire,
Tempest's latest release (an eponymous
LP that has hi^pfme serious challenges
with distribution) % now one year old.
This is in large part due to the band's
arduous approach to songwriting. A single song can take months to complete,
as Tempest are committed to total equilibrium when it comes to any decision
involving the band — nothing is finished
until everyone is on board.
"I know on the last record, much to
everyone's chagrin, after we had recorded
a song I decided I didn't like the ending,
so we actually rewrote and recorded it,"
SD confides sheepishly. Though they
groan at the memory, the other members of the band don't hesitate to affirm,
unanimously, that it was the right call.
"We all support each other that way,"
CA explains, "because if one of us doesn't
like something, the rest of don't want
to play something that person doesn't
like ... The music that we recorded one
year ago is the first time I've had stuff
that we've done that I'm not completely
ashamed of. It's not like we've made
music that's bad by any means, but I
actually like this. I'm proud of it."
It may seem like an obvious approach,
but it speaks to both the longevity of the
band and their deep-seated friendship.
With certain members having known one
another since high school, and everyone
being tied together through jobs, living
situations, and all else, Tempest has come
to represent something far more than
their sum total on stage. They have quite
literally grown up together, from early
rehearsals in a Langley barn, to travelling the world as a legitimate hardcore
force. Considering all they've accomplished thus far, it seems only likely that
Tempest will continue to garner more
traction down the road — attention, it
can be safely assumed, they'll ymrh hard
to eschew).
Visit tempestpunk.bandcamp.com to h
their music, or follow Tempest: on Facety
for upcoming shows. They are playing J
Autarch at askananarchist Auqust / >,.    M
26      TEMPEST Heal line
Action
vvv
To have a live show considered for review in Discorder
Magazine and online, please email event details 4-6
weeks in advance to Jasper D. Wrinch, Real Live
Action Editor at rla.*discorder(g>citr.ca.
JUNE 2016
WRECKLESS ERIC /
TRANZMITORS / SORE
POINTS
JUNE1 /THE ASTORIA
■ t was pouring rain as I skulked into the
4fcP Astoria late Wednesday evening, finding
myself amongst an equally drenched but relatively animated small crowd. Sore Points had
just begun their set, a new side project from
members of the local Spectres and Nervous
Talk, which ended up being a thirty minute
energized blitz of heavy chord progression and
lilting bass lines, calling up thoughts of Stiff
Little Fingers and early work of The Clash.
With just enough time for a beer refill,
local power pop band Tranzmitors quickly took to the stage for a rare performance.
Filled with tight riffs and sweater jokes aplenty, the four-piece played an infectious set
while having a blast the whole way, closing
with their number "Dancing In The Front Row."
Without so much as an introduction, the leading
man of the night came on stage: Mr. Wreckless
Eric himself, standing at five foot nothing with
a white shock of boyish hair, dark shades and
black attire on. It has certainly been a few years
since his debut, but before any assumptions
could be made, he began scrapping with the
crowd, cheekily stating, "If you were expecting
1977, then get the fuck out."
Wreckless Eric, or Eric Goulden, of UK
cult punk fame that derived from the movie
soundtrack abused 1977 single "Whole Wide
World" was most notably aligned with Stiff
Records back in the day, along with artists like
Nick Lowe and Elvis Costello. After a push for
songwriting collaborations and backing bands
from the label, Goulden grew frustrated and
departed from the label in 1980 and continued
to produce records independently, including
2015's album amERICa.
Goulden has proven to stand by his rules
from back then, by performing with no backing band while stating how he had driven himself across North America for the tour. The first
portion of the set was dedicated to Goulden's
heckling the many talkers towards the back
of the venue, showing off his penchant for the
word "fuck."
The dance floor held a handful of rapt listeners as Mr. Wreckless ripped through a
near romantic set filled with ballads that
told meandering stories of contemplation
for the machine that is the American landscape, as seen from the window of a travelling van. Despite sticking to mostly new material, including "Sysco Trucks" and the ghostly
"Transitory Thing," he delivered a sincere rendition of his biggest hit, "Whole Wide World,"
with a level of class that you don't often see
from musicians generally known for one song.
Despite a great majority of the crowd's disposition being wince-worthy, Wreckless Eric proved
to be an untethered man of his own rules with
a set that was unabashedly politically yet pensive at points. With a modest thank you and
one last chirp to the "chatters," the mighty
man stepped off stage and into the dark, onto
his next show, proving that Goulden might be
one of the last true golden wanderers around.
— Lili Watson
REAL LIVE ACTION MUSIC WASTE PT. 1
JUNE 2/FORTUNE SOUND CLUB
Experiencing three stages in one building
^^was like being inside an ouroboros - the
ancient symbol of a snake eating its own tail.
Cyclical and dizzying, the music never stopped,
the audience flowing in and out of rooms as
if afraid of silence. Each room had its own
personality.
Hockey Dad Records Stage was the largest
in the main area of Fortune. The stage and the
bands that played there were what all good parents should be: warm, fuzzy, and dependable
in high-waisted jeans that they've had since the
'80s.
Art Waste Stage was a stark contrast to the
muted tones of the main room. It was, in my
opinion, the most engaging, probably because
everyone was crammed into a bright white room
surrounded by pink and purple mixed media art,
stimulating all senses.
The Livestock Room was tiny, dank and dark
featuring a very aggressively spinning disco ball
and black light set-up. Being the smallest room,
it was also unsurprisingly the hardest to get into
once a set had started. But once inside, it was
magical.
The bands that I saw were by no means the
only bands who played. If I had multiple bodies or disconnectable ears my experience might
have been different, but alas, I had to choose
between the nooks and crannies of a multi-
roomed venue, and the plethora of bands that
came with them. The night passed quickly...
— Esm£e Colboume
*to read the rest of this review visit www.dlscorder.ca*
MUSIC WASTE PT. 2
JUNE 3 / SELECTORS' RECORDS / RED
GATE / ASTORIA / PAT'S PUB
'Tarrived at Pat's Pub just as Spring Breaks
^T played their last notes. Sitting at a table
with a view through the pillars and crowd,
I watched MARY haul their gear on stage.
Moments later, a man sat down next to me and
introduced himself: "I'm Timo. I live upstairs."
He told me about his life, about his trip from
Sweden to Newfoundland in 1989, about how
much he hated the East Coast and the Atlantic
after spending weeks crossing it in a tiny boat
with only jerky and rice to eat, about coming to
Vancouver three weeks later and never leaving
again.
Over the course of our conversation, MARY
began to play, drowning out Timo's voice.
During a gap between songs, he leaned over to
me and said, in a soft Swedish lilt, "When I hear
this music, there's no illusion left. The world is
cut off. No one helps each other anymore." I
didn't quite know how to respond, but MARY
burst in again, playing their final explosion of
loud, melodramatic punk...
— Lucas Lund
*to read the rest of this review visit www.discorder.ca*
MUSIC WASTE PT. 3
JUNE 4 /SBC
C^or Music Waste I checked out SBC
3 Restaurant, the new incarnation of the
legendary Smiling Buddha Cabaret, to see Gun
Control, Durban Poison, Dumb and MOSFETT
for Saturday, June 4. As I found out when I
arrived, the floor in front of the stage is now a
giant half-pipe, the beer is cheap, and the venue is exactly as grimy as you'd like it to be.
The audience was a bit sparse when Gun
Control started, but singer Steve Mann entertained them by throwing candy on the floor
and kicking around an oversized balloon. Their
sound was reminiscent of '90s alt-rock a la Our
Lady Peace or the Wallflowers — radio-friendly,
even catchy at times. Despite their antics, the
band's energy was a bit shy and mismatched
overall. While Mann was sassy, the bassist was
literally hidden behind a monitor, the drummer
looked like she was concentrating really hard,
and I don't even remember the other two guitarists. I was left with the impression of a new band
■I
REAL LIVE ACTION still finding its feet.
Durban Poison was the band I was most
excited to see and enjoyed the least. Online
they sounded like early Wipers, or other classic garage or punk bands, but as soon as the
music started, singer Madi Corvette's reverb-
drenched vocals were totally inaudible against
a powerful wall of fuzzy guitar. Durban Poison
had all the style and confidence that Gun
Control lacked. The band clearly understood
the concepts of stage presence. Unfortunately,
they didn't understand the concept of live
mixing. When the sound man mentioned to
Corvette that we couldn't hear them, they
blithely replied, "That's the point." Although
more upbeat and rock than the first band,
Durban Poison's garage rock sound got lost in
the effort to be more shoegazey.
The crowd finally started to come to life
and shake their asses for Dumb. They were a
pleasant surprise of the evening, rocking a set
of proto-punk-meets-prog-meets-'90s-alt-rock.
At times singer Gal Av-Gay's voice reminded
me of a young Jello Biafra and the guitar sound
ranged from dreamy and distant to progressive and almost doom metal. Between songs
Av-Gay read rhyming couplets that related to
life in Vancouver.
The crowd had been steadily growing all
night, and MOSFETT, the final act of the night
pounded the appreciative audience with a wall
of guitar driven sound, reminiscent of QOTSA.
The songs went from mid-tempo, melodic numbers to heavier, more guitar-driven riff-rock,
although some of the solos fell a bit flat. I was
impressed with their stage presence and their
long, greasy, scumbag hair. MOSFETT struck
the perfect balance between heavy and catchy;
Blair's KinKnacker's vocals spanned the map
from screaming to sing-songy "oohs" and the
crowd appreciated it.
Overall, all the bands of the night brought
back a seriously '90s alt / punk vibe and they
had the perfect venue for it. The SBC has definitely made a new regular in me.
— Dusty Exner
MUSIC WASTE PT. 4
JUNE 5 / WISE HALL
^^M efinitely the place to be on the last night
JttP of Music Waste 2016, the Wise Hall was
like a mystical tent in the form of a local hall,
with the lights lowered and their patchy disco
ball spinning. Why didn't they use the stage
already provided? Probably because the organizers were aware of just how many other
things were going on that night. They were trying to fill the venue in a way that would encourage the performers.
As I walked in Jock Tears had already started playing, despite vocalist Lauren Ray's declaration on stage: "Sorry... I'm wasted." Their
scatter-brained, high energy punk was about
real life scenarios such as Ray getting her head
REAL LIVE ACTION split open, and people she didn't like. Fast and
choppy, I liked their sense of humour and their
sunshine demeanors.
The end of their set was a cue for many.
Waves of people entered and exited on tides
controlled by the gravity of cigarette smoke and
boredom. No one wanted to stay inside while
the equipment on the floor was changed.
Stefana Fratila was next. Her computer-based music was a. carefully curated electronic forest. Fratila's vocals were bright and
clear, cutting through the bass nicely and her
harmonies made me feel meditative. My only
qualm was that she didn't use more deep bass
like she did at the beginning of her set. When
she did, I felt it go through the floor, hit me in the
heart, and make me feel like she was connected to her audience.
I checked out a little for Kiso Island. I, like
most of the audience, was hot, sweaty and
barely there. I do love their name, though, and
I really enjoyed "Sleeper" because of its tri-lay-
ered volume.
Poor Baby were next and it felt like they had
studied all the early 2000s indie rock they could
possibly listen to. Poor Baby technically weren't
a bad band. In fact, it was inspiring that they
could get so many musicians to play so well
together, and get their hand claps in time. But
they were bland and a little disappointing. They
were an average-joe band in a festival that
was supposed to represent the DIY and the
imaginative community of Vancouver's underground scene. I don't know if they knew it but
they visibly cleared the room. People who love
music chose to leave because I'm assuming
they were bored. The only redeeming quality
was that the lead singer hugged us all and had
great, charismatic jazz hands.
After Poor Baby, I was worried. I had never heard of Swim Team, and was just hoping
that I wouldn't have to hold my breath for another set until Jay Arner came on. I was in luck,
though. Swim Team were so good. About half
way through their short set, the music felt a little broken, but the audience kept creeping closer to the stage. They were an unedited fever
dream of a 70s era Farrah Fawcett movie. The
set ended too shortly, and we all cheered for
more. Swim Team seemed a little lost, and the
encore song they dug out from their back catalogue definitely didn't match the rest of their
experimental sound, but I'm glad they had
something to play instead of leaving us wanting more.
I was waiting to see the final band all night.
It was nice to see the new generation of Jay
Arner's band in action, and observe how well
they meshed together. Music-wise, they were
easy going and fun. They felt like a distinct
change of pace from the other bands, as if
they were slowing down our manic vibes from
the previous sets and getting everyone ready
to head home for the night. Despite seeming
chilled out and happy, they still made me want
to dance with their quirky electronic sound.
Lethargy hit me as I left with some cool free
stickers I picked up from the Art Waste vendors.
I felt like I had run a musical marathon, but
was glad that I saw the night's highs and lows.
I was struck with how much more I now knew
about the intricate connections of Vancouver's
music scene, but also glad that the night was
over and I could hit the hay.
— Esmee Colbourne
KEVIN MORBY/JAYE
BARTELL
JUNE 7 / MEDIA CLUB
On what was one of the first balmy,
clothes-drenching evenings of the summer, I biked across the Georgia Viaduct, just
as the sun sank low enough for the day's heat
to (mostly) melt away. Outside The Media Club,
the sidewalk was punctuated with sad, sweaty
little faces hoping to scoop extra tickets — the
show was sold out. In the parking lot across the
way, around the sidewalk, and scattered on the
stairs, were hurried last sips of beer, cigarettes,
spliffs.
Inside, Jaye Bartell tuned his beautifully
worn, classical guitar and began to, as Kevin
Morby would later describe, "get the stage
m
REAL LIVE ACTION hot." Bartell was an endearing mix of sincerity and quirk, sporadically cheers-ing the crowd
between songs, beer bottle in hand.
It's no wonder Bartell first found lyricism
through poetry in earlier years. By the time he
moved hollowly into "Tuesdays," (from his new
album, Light Enough), a devastatingly lovely,
haunting ode to the melancholy of youth, the
room had gone entirely silent, hanging on every
phrase, every rich, baritone lilt. With his soft
gaze and timeless lyrics, Bartell's was a nostalgic performance that might have belonged to
any era.
The room buzzed in anticipation, a flood
of people inching toward the stage despite
the thick, sauna-like mugginess in the air. In
an equally meditative and avid state, Morby's
three-piece band strummed into the first song,
Kevin soon darting on stage, donning a full, toffee-toned suit, a crisp white shirt, and a bolo
tie, his hair an endearing mop of sweaty curls.
What followed was one of the most authentically compelling performances in recent
memory. The mood was fluid, ranging anywhere among ambience, folk, twangy blues,
smooth country, and jazz, all imbued with
Morby's deep, melodic drone. Unsurprisingly,
the audience shook to every cue, missing no
beats. This was largely due to Justin Sullivan's
relentless drumming: watching him meditatively pound in and out of see-saw rhythms was
nothing short of hypnotic. We entered a trance.
Luckily, Morby lured the crowd back to reality
with a swift "muchas gracias" and a cheeky
smile. He consistently extended an invitation to
cathartic thrashing, as he bounded back and
forth across the stage through much of the performance. Still, moving through favorites "All
of My Life" and "Miles, Miles, Miles" gave the
audience time to sing softly along and regain
any intimacy that had perhaps been scattered
by enthusiasm.
Halfway through the set, Morby started into
slightly awkward if not infectiously endearing banter while tuning his red Fender Jaguar,
revealing that his elementary school nickname
had been Butter Beer. After a few more adorable quips, Sullivan and guitarist Meg Duffy
chirped "come on man, let's do this!" With a
resoluteness they'd not had before, Morby and
his band moved into "Harlem River" (roughly
ten minutes of bluesy rapture), into which the
audience dissolved entirely, lost to a kind of
melodic syrup that had permeated the room.
After comedically feigning the end of the set,
joking that they'd just go "sit to the side unex-
pec-tantly before coming back," Morby bounded
off stage with a facetious "goodbye," exaggerated air quotes, and a grin. After returning to
play "Parade" and one or two more songs, the
band filtered off stage, leaving Morby to close
with Townes Van Zandt's   "No Place to Fall."
REAL LIVE ACTION
H ■E9
This being one of my most cherished songs, I
left The Media Club feeling full, knowing I'd just
experienced a performance to delicately tuck
away and treasure.
— Ivanna Maria Besenovsky
LEVITATION DAY 1
JUNE 17 / COMMODORE BALLROOM
■ was apprehensive to say the least. After
4p attending Levitation last year I had high
hopes of the whimsical outdoors, the silk tents,
and the hot sun. So when I heard that the festival would be at the Commodore Ballroom
because of 'unforeseen circumstances' and
lousy weekend weather I was disappointed.
I had so many questions: Where would the
vendors and the food trucks be from last year?
Would it feel like a festival? I assumed many
people had paid to see an outdoor show, would
they still be willing to pay high prices for a glorified concert? I wondered how many underage people had paid to attend and now couldn't
enjoy the music...
— Esm6e Colbourne
*to read the rest of this review visit www.discorder.ca*
LEVITATION DAY 2
JUNE 18 / COMMODORE BALLROOM
^rt ay two kicked off with Burger Records
Ap four-piece Cherry Glazerr. The small
crowd was rapt as they ripped through a set
that was equally '90s baby grunge and '80s
metal. With plucky and hypnotic guitar lines
and lyrical harmonies, Cherry Glazerr was all
over the map but confidently so. Bassist Sean
Redman closed out the set thanking everyone
for coming out early and being good sports
about the venue change.
The good sportsmanship rolled right over
into Hinds' infectiously fun set. Watching them
is like watching your best buds in a band that
happens to be very talented. Playing a number of songs from their debut Leave Me Alone,
Hinds' set included some surprises, complete with a kazoo solo and a make-out jam.
Hinds closed out with their cover of Thee
Headcoatees' "Davy Crockett," leaving the
crowd buzzing on their last North .American
stop before Glastonbury.
Thee Oh Sees' set was encapsulated by
the image of singer John Dwyer crushing a
Red Bull before starting. The synchronicity of
drummers Ryan Moutinho and Dan Rincon
was thrilling to watch, strategically placed centre stage in shirts screaming "Roxy Music" and
"Trump is My Sex Slave." Their impressive performance, complemented by bright bass lines
and screaming guitars, whipped the crowd into
a mosh pit that felt inevitable.
The fact the California Beach Goth gods The
Growlers had their own merch table is a good
indication of the reputation preceding them.
A dramatic opening in darkness with a sin-
REAL LIVE ACTION gle spotlight on lead guitarist Matt Taylor, they
opened with "Tijuana," the first sign that the set
would cover their wide-ranging catalog, playing from each of their studio albums. Backed
by a full percussion section, The Growlers were
relaxed and confident while exuding the quirky
grimy energy they're known for. Singer Brooks
Nielsen performed with a silly swagger, catching a cigarette break at the back of the stage
while Taylor and guitarist / keyboarder Kyle
Straka took over for "People Don't Change
Blues." Closing out with "Chinese Fountain"
beneath the disco ball, Nielsen promised that
The Growlers would be back, a show that, for
my part, can't come soon enough.
Shortly after The Growlers vacated the
stage, the curtains snapped closed for the first
time. Closing out the night was producer Steve
Ellison, a.k.a. Flying Lotus. When the curtains
opened, Ellison popped out in front to say hello,
then took position in his booth behind a scrim.
With images of tentacled robots, cosmic dust
clouds, and decapitation behind and in front
of him, watching Flying Lotus was like watching Ellison orchestrate from inside a futuristic
kaleidoscope. His sonic content was as diverse
as his visuals, ranging from film score sounds
to sampling Travis Scott's "Antidote." Again a
perfect closing choice for Malkin Bowl — the
intensity suits the outdoors. But the crowd was
densely packed with full-throttle enjoyment,
showing that despite a bumpy start, Levitation
was a time very much worth having.
— Elizabeth Holliday
HOLY FUCK / SUUNS /
SUMMERING
JUNE 17 / RICKSHAW THEATRE
Cpt a show that seemed pitted as the black
^m sheep of Levitation, it was damn good. Holy
Fuck, Suuns and Summering at the Rickshaw
didn't seem to conform to the Levitation promo
strategy: It had its own posters distributed, and
I overheard people at the show who didn't realize it was part of the festival. This isolation was
perhaps a blessing, distancing it from the chaos
of Levitation's last-minute venue switch. Festival
passholders and cheapskates commingled in
the crowd.
Summering started with their backs turned
away from the audience, which could have
been strategic: either to avoid playing to an
empty dance floor, or to avoid the distracting
Levitation vortexes projected on either side of
the stage. Regardless, it was a shy way to start
a loud show.
The band relaxed after the first couple songs,
and more people approached the stage. Paul
Stewart's distinct vocals against Summering's
stoner-psych rock was very mellow. Though
beautiful, the songs lacked variety, and the set
was almost too seamless. I overheard someone say it was as though the band had locked
themselves in a basement with Thorn Yorke's
catalogue. But who doesn't love Thorn Yorke,
right? Thankfully, the Rickshaw seats are not
unlike a comfy basement couch.
By the time Summering wrapped up their set,
the room had started filling in anticipation for
Suuns. The house lights and projections were
dimmed, and smoke gave the stage a mystical glow. A deep drone preluded the band's
entrance, making for a dramatic build-up.
When Suuns finally started playing, their energy was so dynamic and the room so charged,
that the audience started dancing immediately.
As black silhouettes against red light, the band
members' faces were hidden from the audience. The mystery intensified Suuns' set, like
being felt up blindfolded.
While the set was strong as a whole, blurring together rock and experimental genres,
"Resistance" off 2016's Hold/Still and "Edie's
Dream" off 2013's Images Du Futurwere standouts. All the band members had solos throughout the performance, perhaps a lingering influence of their jazz roots. Ben Shemie on vocals
and guitar, and Liam O'Neill on drums were
especially captivating.
I fought the urge to leave after Suuns, wanting to end the night on a high note, but Holy
Fuck was worth staying for. From the initial
REAL LIVE ACTION beat, key wizards Brian Borcherdt and Graham
Walsh brought high energy. They and their fellow bandmates pulsed and jumped to their own
beats. Holy Fuck is an analog electronic band,
their sound characterized by vintage synths.
Bathed in bright light, their set felt airy and
' playful. Their configuration was a horseshoe,
with every band member in clear sightline. The
stage setup added to the perceived improvisation of the live versions of their songs, which,
when deconstructed on stage, were more
vibrant than any recording. After an encore
chant of "Hoiy Fuck, Holy Fuck, Holy Fuck..."
they returned to the stage and performed
"Lovely Allen" off 2007's LP, the perfect closing number.
If I have one criticism from the evening, it is a
more general comment directed towards organizers and promoters in Vancouver — that the
lineup lacked diversity. Though this show was
magical and Levitation as a whole was excellent, the lineup did not represent the level of
cultural diversity I would expect in a country as
multicultural as Canada. Why is it that so many
shows in Vancouver feature primarily white
male musicians, still?
—Leigh Empress
LAUREL HALO/LOSCIL/
WAV_F0RMS
JUNE 18/ALIX GOOLDEN PERFORMANCE HALL
^rtespite WAV_FORMS' success, Loscil's
^Tsubsequent set, featuring new material
from an upcoming LP, had the most emotional
power of the evening. At first glance there's a
visual austerity to the visuals, matching Loscil's
colder textures: topographic scans of Pacific
Northwest landscapes, with snapshots to black,
suggested documentation and surveillance.
Loscil's previous work, marrying occasional
acoustics and field recordings with pulsing synthetic tones, is heavily informed by his B.C. environment. Here, horns, airy whines, and cybernetic drones created an urgency which felt political and tangible. The beat became, at times,
REAL LIVE ACTION
heavily discordant, while maintaining its inhuman advance. At one point a chorus of chopped
and arpeggiated cries rose above the din.
In spite of Loscil's percussive strikes and the
array of mechanical clamour, the wash of ethereal sound sustained and prevailed. The dimensions of Loscil's music unfolds with powerful
visual markers — as the film's objective top-
down camera lens segues into a series of envelopments and first person perspectives: below
the ocean, seaweed forests, and weightless
airscapes. In his remarkable set, Loscil married
the spiritual and scientific. Cradled by the ocean
and suspended in the clouds, the expression
approached Cascadian grace and awe...
— Jonathan Kew
*to read the rest of this review visit www.discorder.ca*
DARTO/FOUNTAIN/TOUGH
CUSTOMER/HICK
JUNE 20/RED GATE
^arrived at the Red Gate just before ten to
^Pcatch the opening acts for the night's show.
I walked into the darkened room where ten or
so other people were clustered in groups on
couches, while the DJ played '80s style remixes
of top forty songs interspersed with gunshots.
Hick took the stage around ten as more people wandered in. Their set opened with the soft
dissonance of "Travellers" but transitioned to
a heavier guitar and bass driven sound over
the course of their twenty minutes on stage.
Without distinct driving melodies, Hick's music
sounded to me like ambient punk rock — the
guitar and bass thrashed to a tune I couldn't
quite discern. To end the final song, the lead
vocalist shrieked what I heard as, "DIE, DIE,
DIE," before concluding with a graceful thank
you to the audience.
Darto's set was the night's most cohesive.
The Seattle-based group played an atmospheric mix of rock instrumentation and synth. Even
when Darto alternated between their vocal
leads,  their set was stylistically consistent. Their ambient sound was reinforced by a series
of dream-like images projected and distorted
behind them. Of all the sets I heard that night,
theirs moved me the most; when it ended, it
was like a spell was broken. The audience dis-
song in their set was the cowbell heavy "Farm of
Tom," even though the drummer's repetition of
"COW!" made me feel like I was on the outside
of an inside joke. The set concluded after a brief
twenty minutes.
persed to the couches, to smoke outside, and
to wait for the next act.
Fountain's set was characterized by its tandem vocals and off-kilter post-punk sound.
Their up-tempo set was the most fun of the
night, especially their performance of "Emerald
Dripping Flat." Rob Coslett and Evan Jeffery
chanted together the song's chorus: "Sugar,
water, cream, water." The audience was highly receptive to the dynamic set of tracks from
their EP Fountain 2. The midnight energy in
the room peaked as the audience danced to
Fountain's guitar-driven set.
By the time Tough Customer's set began at
one in the morning, the crowd had grown smaller. I realized that much of the audience was
composed of members of the bands that had
played and their friends. Tough Customer's set
was performed for those who knew the band
intimately. Vocal duties were shared among with
band's four members, with vocalists often following different melodies simultaneously. The result
was disharmony across the set. My favourite
I left the discord of the music for the late
night streets of the Downtown Eastside with the
chant, "Cow, cow, cow" in my head. Through
all of the noise, I felt like there was something I
had missed. —- Courtney Heffernan
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Heoieto
JUNE 2016
OLD GIRL
ObjetA
(Gary Cassettes)
tike taking a trip into an industrial coven,
Victoria-based Old Girl delivers a sound-
scape of beautifully crafted music, both ethereal
and brooding. It sweeps through lustrous synthetic beats, paired with airy murmurings that
ignite contemplation with its poetic sensibility
Self-taught, multi-instrumentalist, Nasstasia
Ellefsen, is the genius behind the new album
ObjetA, the second LP under the moniker, Old
Girl. Her proficiency in multiple instruments is
evident in an impressive ten spell-binding songs.
Despite her aptitude for several instruments
(which include guitar, synth, piano, and beats)
it's her enchanting voice that captures one's
attention. Her voice is distinct among the eerie
melodies, providing a strange warmth through
the ambience. It's not an album for the masses,
but for those with a soft spot for complexity.
In contrast to her last album, Eternal Idol,
Objet A does not contain the same dance-
able quality — which has been replaced with
a much darker tone. Objet A begins with "Help
L.
Iff
To submit music for review consideration in Discorder
Magazine and online, please send a physical copy to
the station addressed to Jon Kew, Under Review Editor
at CiTR 101.9FM, LL500 6133 University Blvd., Vancouver BC, V6T1Z1. Though our contributors prioritize
physical copies, you may email download codes to
underreview.discorder@citr.ca. We prioritize albums
sent prior to their official release dates.
Me To Embrace," which opens with that delicious thumping of a synth drum beat, followed
by the menacing snarl of a guitar. The song dissolves quickly into layers of electronic dissonance, accompanied by Ellefsen's other wordly
chanting. What follows is unsettling. The song
"Beast" is slow and foreboding, like entering
a nightmarish film. Ellefsen's cry drawls and
seduces and despite the tension, one feels
compelled to delve further.
Old Girl blends an almost mathematical
quality, reminiscent of the beating drums in
classics by The Sisters of Mercy, with the fantastical qualities of Cocteau Twins. The third
track "Abyss of Potential" is a prime example,
with its echoing synths and hard hitting plastic
snare. Ellefsen's sultry voice adds a softness to
the doom and gloom.
The album closes with a hushed lament, and
the slow feathering of a piano and offers the perfect comedown. Objet A feels emotionally driven, and open to interpretation, perhaps more
of a guide to tempting an emotional response,
rather than a blatant stab at your heartstrings.
— Evangeline Hogg
UNDER REVIEW
'_ ADRIAN TEACHER AND THE SUBS
Terminal City
(You've Changed)
■ t may sound as if they are back and in
^P fine vintage form, but this is far from an
Apollo Ghosts record. Sure, the short and
sweet power-punk-pop that had us dancing
and singing along is in full force on the debut
full length from Adrian Teacher and The Subs.
The stark difference is the tone. Terminal City
is really the deepest and most political record
in Adrian Teacher's repertoire (Apollo Ghosts,
Cool TV, Arbutus). His anger and frustration is
channelled towards the very city that gave him
inspiration to make music in the first place. In
Terminal City, Vancouver is put on trial for losing its grit to sterile corporate wealth. Normally
heartache is reserved for human love, but in
this case Adrian Teacher is mourning the loss
of a different kind of lover. The effect this has
on the music is destined to make this record an
absolute classic.
Don't fret AG fans, the same ultra catchy
infectious melodies remain the focal point of the
album so much that the listener might forgo the
lyrical component altogether, but in the end it is
hard to ignore Adrian's editorials.
On "Charmless Babes," Adrian frets about
how "Yuppies walk their puppies hand in hand
in front of taco stands / Luxury is charmless
and it's hopeless." In "Terminal City," Adrian is
far from making peace with the idea that "we
are bringing the west to the east." It's not quite
Jim Morrison (this is the end beautiful friend),
but rays of sunshine are exceedingly rare over
the 25 minute journey. Still, one can find a few
moments of happy when Adrian briefly reminisces about the old "Westfalia 79" until it too
suffers the same fate and finally lies decrepit
in a yard.
Terminal City is a slap of reality to a city that
is losing its cultural identity because it is too
damn expensive to live here. Adrian Teacher
probably could have called the album 'Terminal
Cancer,' but then we would be labeling the
record as downer rock, which it's not despite
the gloomy tone. And truthfully, is the city as ill
as Mr. Teacher would have us believe? That's
a good conversation to have over a Starbucks.
My treat.
— Slavko Bucifal
HOLYFUCK
Congrats
(Innovative Leisure)
Toronto's Holy Fuck have been away for
six years since the release of Latin. Their
comeback album Congrats is a fine blend
of their wild side, their subtle side, and their
pop-oriented side.
The album opener "Chimes Broken" is as
good as an album opener could get, encompassing the sound of Holy Fuck and setting the tone
of the album perfectly. Driving drums, distant
vocals, distorted bassline and an explosive climax make for a fully developed song. The band
uses the formula of the first track (introducing
the main elements, an instrumental break halfway through, climax and conclusion) throughout
the album in songs like "Shivering," "Neon Dad,"
UNDER REVIEW
mm "House of Glass," and "Acidic." This lends some
repetition, but is not a major detriment.
"Shivering" is the best track on the album.
There is also an addition of a choir halfway
through the song that, while unexpected from
Holy Fuck, fits in the context. The track then
transitions into a calm instrumental break before
building up to a climax with distorted guitars joining the rest of the instruments in conclusion.
The album's only issue is that it is not cohesive. Of course there are many tracks here that
explore the same sounds and instruments, but
they do not add anything to the album on top
of one another. For instance, "Tom Tom" is
merely an instrumental electro pop track with
a steady beat, a repetitive distorted vocal melody and bassline that never evolves into something more. The short interlude "Shimmering,"
which sounds like a prelude to the next track,
does not transition well at all and ends abruptly. The beginning notes of "Acidic" completely
depart from what the ending of "Shimmering"
might have led to.
Nonetheless, Congrats remains an enjoyable album that orients the subtle, pop-oriented
side of Holy Fuck with their more experimental
leanings.
— Sam Mohseni
SR
VARIOUS ARTISTS
ADSR Vol. 1 Compilation
(ADSR)
Ten tracks from friends around the globe"
notes ADSR music to describe its first
official release, ADSR Vol. 1 — just one short,
UNDER REVIEW
confident sentence. Sean Mallion and the rest
of the ADSR team are devoted to supporting
non-mainstream electro-music artists, manifesting in multiple events, extensive blogging,
and the recent launch of the ADSR music label.
It is already sunrise in the land of the Korean
producer Honbul. In "Asura Break," spirits sing
away the night. Their loose ribbons dance in
the air producing modern trip-hop waves which
crush upon ancient percussions of Buddhist
monks. In "Shake," elements of glitch, chill
beats and downtempo, temperamental drums
and earthly voices chase each other in a joyful
game of life — Honbul is a good example of
how to master electronica's chi.
This set atmosphere follows Tokiomi Tsuta
with "Coelacanth and "Night time in Tofino,"
songs that leave the impression of being natural
even though they are synthetic. "Coelacanth"
is water-based — pay attention and the water
will caress your feet, succulent drops of late-
night jazz piano and sparkles of Spanish guitars will slowly run down your spine. "Night time
in Tofino" is fire-based and vivid — pay attention and you will feel the warmth of the crackling
campfire, the crispy forest leaves caught in your
hair and the breeze passing through the pathways of your face.
After an exemplary showcase of balancing a song's yin and yang, comes Lumiere,
and together with him a whole other world
— though this is an understatement. When it
comes to "Last Of Us" there is no world left at
all. Maybe just one — the last standing underground club in Berlin where this song echoes
like a relaxed EBM farewell. It seems that the
only thing which protects Lumiere from getting
trapped within his own abyss is the alert, constant ringing of the percussion. In "So Real" he
comes back to his senses — growing pad lines,
intense bouncy percussion, precise allocation
of beats: pure techno architecture.
And then, "Love / Yeah / You better believe
it / Love / Love / Love," the intro vocals of
"Never Do" by Lower. Steady, groovy kick-drum
and layers of magical strings gradually build
a beat of summertime chill-out and wonder. "Nowhere" moves in the same direction.
Last but not least is Domtron. Spacey, large,
elastic synths able to reach, the nearest galaxies are present in both "Longwave" and "Sierra."
But the high-voltage chords and fleeting leads
found in the latter are what makes it hard to forget. Domtron doesn't use laptops to create his
music — instead, he prefers hardware samplers and sequencers.
Each one of us is a whole universe of their
own. ADSR Vol. 1 is a brilliant selection of worlds
within a world. It reflects the love of those who
work to make it happen. It is an honest effort to
bring forth the hidden gems of the international
electronic scene. But in my world, what would
make it perfect is this: Melentini, the exquisite
versatile artist whose ingenious music and
unparalleled voice carries, like an old-soul, all
of our beauty, our pain and our hopes throughout times, and Sworr, the new band on the electro, trip-hop block, that generates sui-generis
sounds and vocals from the young and charismatic frontman, Robin Kapsas, leaving you in
awe. Maybe in ADSR Vol.2 — you never know.
— Theano Pavlidou
LATE SPRING
Invisible
(Self-Released)
(Jenre is a cruel mistress, one that provides
mp a form for expression but not necessarily
the tools. Shoegaze exemplifies this fact. Bands
often rely upon a veneer of reverb and distortion
to hide a lack of ingenuity. Songwriting falls to
the wayside. And creative influences are worn
all too visibly. My Bloody Valentine's Loveless,
Ride's Nowhere and Slowdive's Just for a Day
still guide and define the genre. This influence
is seen in the works of those like Whirr, whose
2012 release, Distressor, approached the genre
with a deep lethargy. The method is simple: turn
up the volume and hope nobody notices a grotesque act of creative regurgitation.
On Invisible, however, Late Spring distinguishes themselves. Beneath the distortion of
Invisible lies dynamic and original songwriting
ability. They prove that not all shoegaze is created equal. Tracks like "Storm" and "Drink U"
come laden with immediate hooks. This catch-
iness arises from the vocal work of KC Wei and
the angular guitar playing of Nik Gauer. Often,
the two connect with startlingly intimacy. As
Wei's voice arches into the non-verbal bridge
of "Drink U," for instance, an equally primitive riff responds, one that thuds and shudders
and playfully threatens to derail the song. It is
a conversational moment: a candid expression
of emotion. Like the 1949 Ozu film from which
they derive their name, it is clear that Late Spring
commits to raw sentiment.
Yet, at other times, Late Spring remains subject to the yoke of their predecessors. On tracks
like, "Sweet Thing," Wei seems to have internalized the muted moan of My Bloody Valentine's
Bilinda Butcher. Similarly, the guitar work of
Ride's Andy Bell and Mark Gardener inform the
song "Invisible."
By no means are these comments belittling
the accomplishments of Late Spring. Rather,
these moments of genre-cliche are only noticeable because Invisible, as a whole, operates
with its own assertive voice. Wei tends to steer
clear of the wistfulness of many shoegaze vocalists. For example, her performance on "Loser"
is laced with a refreshing commitment to lyrical
and vocal minimalism. And the riff work on tracks
like "Fireball 2" and "Predator," avoid any sort of
late-album malaise. Over the course of Invisible,
one thing is clear. The ghostly specters of influences are diminishing. Late Spring is in blossom.
— Maximilian Anderson-Baier
UNDER REVIEW KAROLINE LEBLANC
Velvet Oddities
(atrito-afeito)
Quebec Great Karoline Leblanc's Velvet
Oddities is a series of 19 brief piano
improvisations from her Montreal-based label:
atrito-afeito. The LP continues Leblanc's exploration of sonic freedom and experimentation as she produces inventive and temperate
compositions.
Leblanc's career began as a prominent classical Canadian pianist, playing several world
premiers of Canadian composers throughout
the '90s. But since 1998 Leblanc has been
experimenting with traditional free jazz and
unrestricted musical expression. She is less
known for the result of her stylistic revolution,
which is heavily improvised, flighty, protracted,
and largely self-produced.
atrito-afeito, releases content made exclusively by Leblanc and Paul J Ferreira Lopes,
another Montreal-based artist with a similar
interest in innovative musical freedom. The
label's releases are a series of largely improvised collaborations and solo releases. Their
group, Total Improvisation Troop (TIT) is self
described as a "modular structure for freedom"
combining visuals and traditional and contemporary sounds to redefine textual performance
with expressive liberty, atrito-afeito is a self-created platform for Leblanc and Lopes to create
whatever kind of content interests them, unaffected by typical industry limitations and they
have used this opportunity to produce genuinely personal and original music.
UNDER REVIEW
Alternating between urgent chords and gentle trills, Leblanc has created a cathartic collection of improvisations in Velvet Oddities.
Leblanc's mastery of pause and suspense
on her beautifully paced tracks seduces and
soothes the listener. While the tracks range
from five minutes to less than one, with most
of the songs hovering between two and four,
every piece combines dramatic interjections
and consistent melodies as Leblanc trips over
keys and chords on her own authentic creative
odyssey. Leblanc's position allows her creative
and productive freedom and Velvet Oddities is
a gratifying addition to her growing repertoire.
— Dora Dubber
FUZZYP
FuzzEP
(Self-Released)
Under Review Editor's Note: With June
being tumultuous, I plum misunderstood that
Fuzzy P's Release Party was a reference to the
new album, On a Lawn, and not in reference
to a physical manifestation of their debut, Fuzz
EP. Whoops. As such we are proud to present a
review, above all excellently written, and if nothing else, an expose of the threat I pose in a role
with any responsibility. Please enjoy the best
2016 review of a 2015 album to be published in
2016. #FuzzyPrexit. —Jon "DunkerOats"Kew
J^uzzy P's promising first release, Fuzz EP,
^k is a four track study of millennial existentialism. The fledgling Vancouver band laces
lead vocalist Joey LeBrun's sprawling drawl over a 'scape of blended beats and melodies.
The EP isn't perfect, but it definitely showcases their strengths and establishes the group's
unique yet vaguely familiar sound. The nebulous sound supports the group's abstractive
focus. But without personal attachment and
a way to ground these ideas in the musicians
experiences it's difficult for the listener to stay
interested.
The tracks on Fuzz EP axe all essentially
composed of a strong beat and synth themes
with interludes of LeBrun's strained vocals
shouting over heavy guitar chords. For the
most part, the EP is slow and dense as Fuzzy P
plays with this formula. Most of the tracks focus
on the spoken word lyrics alternating regularly
between the vocals and the theme. But "The
Long One," has a 10 minute instrumental interlude that mimics this pattern while managing to
subtly drift between transformed melodies back
into the original melody and their typical spoken narration.
"So Young," the second track of the EP is
the most lively one. Packed with an energy that
is juxtaposed alongside LeBrun's heavy vocals,
the song rounds out the release's otherwise
weighty tone while showcasing Fuzzy P's sonic dexterity. The final song, "Wash Away," is
the most vulnerable track. It is the slowest and
most lyrical and as the closing song, it seals
the the tone of the EP as perpetually searching.
Since Fuzz EPs October release, the group
has released On A Lawn, their first LP. This
album continues the young ensemble's hazy
ambiance and doubts, but diverts from their
original abstraction by grounding the themes
in personal experience, addressing one of my
biggest critiques. Fuzz EP is Fuzzy P's first
attempt at creating a sound and figuring out
what they're capable of. And they nailed that
— Dora Dubber
•••-
•••*
*•••-
THEAIT
1660 EAST BROAD>
JULY
HIGHUGHTS
WWW.RtOTHEAT8ETICKETS.CA
JULY
6
Marilyn Monroe, Tony Curtis, Jack Lemmon    1
SOME LIKE IT HOT
THE ADVENTURES OF PRISCILLAI
QUEEN OF THE DESERT
JULY
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Acclaimed Kitty Genovese Documentary 1
THE WITNESS (a<so ^970)
PLANET Of THE APES (68)
Friday Late Night Movie
BEVERLY HILLS COP
JULY
9
THE LITTLE PRINCE
(Also July J0-1 J}
WEST SIDE STORY
Just play it coo/, boy.
THE WARRIORS
Con you dig itt
JULY
EURO CUP FINAL
10
Dario Argento's
INFERNO
JULY
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THE HEON DEMON
(Also July U)
JULY
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Giorgio Moroder Presents
METROPOLIS
THE GENTLEMEN HECKLERS present 1
TROLL 2
i JULY
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Warren Beatty & Faye Dunaway
BONNIE AND CLYDE
JULY
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LAWRENCE OF ARABIA
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Alright, alright, alright!
DAZED AND CONFUSED
FRIDAY LATE NIGHT MOVIE
JULY
16
SPECIAL FX DOUBLE BILL!
20th Anniversary Screening      1
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FILMMAKERS IN ATTENDANCE
CREEPSHOW
1 JULY
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TAYLOR & BURTON in
WHO'S AFRAID
OF VIRGINIA WOOLF?    |
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ALEJANDRO JODOROWSKY'S
THE HOLY MOUNTAIN
Restored Erotic Anime
BELLADONNA OF SADNESS |
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BYE FELICIA.
FRIDAY
With Chris Tucker Site Cube
JULY
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(Alto July 24-26)
ALFRED HITCHCOCK'S
NORTH BY NORTHWEST    |
TOP GUN
JULY
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5th Straight Year!
THE CRITICAL HIT SHOW
A #DNDLiVe Comedy Sago      1
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5
GREASE
The Sing-A-Long
(Yes, with lyrics on the screen!)    1
fISITWWW.RI
JTHEATRE.CA FOR A COMPLETE CALENDAR OF EVENTS
UNDER REVIEW J\ I       1** r^ |\|
jjjP\ I fW Imnm mm I ™
%ayin^ Kes"
words by Christine Powell // photo courtesy of Andrea Lukic
^\i you're in reach of the web, I would
^Plike you to type Aileen Bryant's name
into Google. Suggested search terms are
{Aileen Bryant Vancouver,' or perhaps
1 Aileen Bryant Musician.' The search
results may not be what you expect,
forming nothing short of an enigma, but
there is more to it than mystery.
When I sat down with her, my questions
for Bryant are met with a pointed thoroughness. Each time I ask something new,
she throws her eyes skyward and answers
slowly, with care. Her minimal online
presence as an artist made me wonder why
she agreed to do an interview at all. After
a pause she answer, "because I was asked
and to see how it feels to participate in this
way." She clarifies, the reason her online
presence is so minimal is not to stimulate mystery, but that her focus has been
exclusively on live performance.
Bryant's approach to music is similarly serendipitous. The release of "Spring
Improvisation" through Pythagoras
Records' second multi-media publication will be the first time that Bryant has
released recorded music as a solo artist.
Which is astounding, given that she has
AILEEN BRYANT
been making music for over 10 years.
"[Pythagoras] arrived in the spirit of
the experiment. In not really asking and
instead just showing up for what arrives
or presents itself ... I've almost tricked
myself into this material and this project
by just deciding to say yes to things."
Each volume Pythagoras puts out contains a written component, a visual component, and a musical component. The 7"
-that Bryant is publishing is a six minute
improvisation that was never meant to be
shared. For this issue, Hannah Acton is
the writer, and Nick Howe has provided
pastel works.
"It's in keeping with the performances
I've been doing where you have to had
been there. The moment that that thing
existed — it's intimate."
And intimacy is a byproduct of the vulnerability in Bryant's work. The human
voice is the instrument that Bryant loops
to build soundscapes that she and listeners can lose themselves in. Although
Bryant sees her voice as an extension of
herself, she realizes that acapella often
makes an audience squirm. "Definitely the hardest thing I've done
on stage is to decide to sing without any
accompaniment. It's really, really raw.
But I think there's a strength in vulnerability that isn't always addressed, like
confidence or being a cool person, which
are pretty exalted things ... All the nerves
are in your voice and they become a character that you overcome."
By layering and looping her voice,
Bryant can use the thing that makes her
vulnerable to build a space in which she
and her audience are more comfortable.
"Now when I do play with people or fill
it up with other sounds, it's a lot easier
to be on stage. There's value in doing the
hardest    thing    first
ant to me that it can adjust to different
situations."
To Bryant, the internet could be a distraction that isn't as interesting as the
music itself. "It's felt really important to
decide whether or not I want to participate there, because it does seem to make
[the project] a part of a world that I don't
really understand."
She would like to experiment more with
the material before thinking about it's
representation. When Bryant creates, she
does it with a fervent interest in the work
that she is making. She is fascinated by
catharsis in moments of creation. That's
what makes "Spring Improvisation" a
singular artifact: The
and then finding from    AI       InF NERVES ARE IN PressmS *s a recorded
there."
Until this release,
the only way to
experience work was
to be present at a live
performance. This links the music that
Bryant makes to its context. But in a city
where space has been used and reused by
artists, there can be dissonance between
the expectations of the crowd and the
intimacy of Bryant's work.
In May, Bryant played art rock?, a
monthly show programmed by Hazy and
Late Spring's KC Wei. Projects like art
rock? free artists from expectations surrounding their performances, which can
stifle the mood. As to whether Bryant's
performances are more suited to a gallery
or a stage, she says her performances
could be at home in either.
She brings up Wei and the philosophy behind art rock?. "There'? a liminal
place between that exists and I feel like
what I'm doing can travel around between
those things. I'm really thinking of sound
as an environment and as a place that I
take with me ... It always changes and
I like the idea that it can. It's import-
YOUR VOICE AND THEY
BECOME A CHARACTER
THAT YOU OVERCOME."
improvisation:
"This is when I've
been alone and the
song is happening for
the first time, I'm
trying to record those
moments. And there are a lot of mistakes
in there and a lot of things that I would
really like to fix.... But anytime I try to go
back in and fix things, there's something
lost."
Bryant is continually exploring her own
art. Her work invites audiences to experiment with their expectations about what
music sounds like on a stage or on record.
And now, Bryant is also inviting listeners
to witness this experiment as it happens.
Pythagoras No. 2 launches July 2 at a
secret location with performances by Aileen
Bryant with Aidan Ayers on violin, Hick, and
SP Davies. Bryant is also playing Hazy's debut
album release at the Lido July 7.
AILEEN BRYANT
MM t Alex in Vancouver of 2010. We were working on
ibition for artist, Howie Tsui who used to play in
"he Acorn. Tftere weren*t a lot of a*sian peoplt* in the
f music landscape at the time and so w]
a musician I immediately want
ip. Our -v out ojf the
anaged to meet up
r times, and maintain a re tdence. What follows
1 excerpt* of our mc&t recent conversation*, occurring in June
fci6. Alex is currently in Copenhagen, and I am in Vancouver.
wim-mm AYL- Bua*dy! Where in the world are
you right now and what are you doing?
Tell me more about your new incarnation
as Last Lizard. How is your new project
shaping up?
AZH: Yoooooooooo.
Things are more or less more chill
now, just searching for something else
out there. I don't even know what it is
I'm looking for but I'm looking for it. In
Lisbon at the moment training on saxophone with David Maranha and Gabriel
Ferrandini. Last Lizard is on hold for now,
been playing under my real name for a
change.
AYL:Tne *ast ^me I saw vou was
in Lisbon right after you had put out
Stateless. I remember waiting at the Berlin
airport with my partner for our flight to
Portugal. You had just posted on your
website that Dirty Beaches was done. I
was shocked. The new record was fucking
beautiful and heartfelt and I was really
excited for where you would go next.
I want to ask you — because I went
through something similar when I
stopped doing In Medias Res and started
Holy Hum: Does it feel like you are starting over? Or is this a continuation? Is
there something that threads all of your
previous work together with what you're
doing now?
AZH: In a wav> fr's startmg over> and
in another way it's a continuation. What
we do and how we live our lives are forever intertwined. It reached a boiling
point, so to speak. It had to end, because
the polarities were just cancelling each
other out, erasing each other. Whether it
was the polarity in how I express myself
musically or personally, it was reaching a
dead end, and I had to move on. It was
a necessity in order to survive and grow.
Growing pains at age 35.
I know you were born in Canada,
whereas I was born in Taiwan. Although
it's annoying when people question my
authenticity as a North American (being
raised in both the U.S. and Canada), I also
don't feel any specific loyalty towards this
identity. I feel extremely privileged to have
been raised here, but I loathe nationalism.
Celebrating culture is great, but celebrating segregation (U.S. border patrol propaganda against Muslims and Mexicans),
labeling people and determining who is
qualified to be "one of us" is truly disgusting. It happens all over the world in
every corner. Nationalism can breed blind
hatred, it's a very powerful tool employed
by the government tampering with how
a nation feels and how the media distorts
and demonize certain countries, preparing and grooming our political attitudes.
Not to mention the attacks of Muslims
in the U.S., but in Ottawa, Ontario there
have been attacks on mosques being
burned down this year after the Paris
attacks. Makes me think about if China
goes to war with the U.S., would people
throw stones into my window? Would
people jump me while I'm walking on
the street or verbally abuse me with racial
slurs? In your opinion, what does it mean
to be Canadian? People can't even tell the
difference between Muslims and Sikhs, I
doubt they will be able to tell the difference
between Taiwanese / Chinese / Korean /
Japanese for that matter. What kind of
psychology does it bring upon Canadian
minorities when our citizenship / identity
can be revoked/provoked and challenged
at the whim of the country? (Bill C-24, for
instance, or the patriot act in the U.S..)
AYL: 1>ve &ot t0 tnmk about my father
when he emigrated to Winnipeg in the
(70s. He was like an alien in that city.
He was like one of two Korean dudes in
that town and everyone made him aware
of that. When I became old enough to
IN CONVERSATION
mm drink, instead of wishing me a good time
at the bar my father would show me how
to break a beer bottle over the counter.
He said that people were going to want to
fuck with me and that you shouldn't get
yourself cornered. And that even on the
bus ride home people are going to want
to follow me so I should always get off a
stop early and walk the rest of the way.
All because of the colour of my skin.
I think to be Canadian you've got to
know and remember where you came
from. And I feel like that's what I'm in the
process of doing. Because we are bound
to repeat our past if we don't remember
it and acknowledge it. Being Canadian is
to remember the Residential Schools, The
Chinese Head Tax, Japanese Internment,
the list goes on. I don't think we can
move on unless we address these things.
You've got to recognize it and name it in
order to heal and move forward.
Growing up I wasn't yellow enough
to hang with the Asian kids and I tried
to be whiter than most white kids and
that alienated my parents and ultimately
myself. After my father passed away in
20111 really started to look for a sense of
identity through my culture. It really gave
me something to unearth and I felt like
it brought me closer to identifying with
my parents. We don't get to choose our
nationality / ethnicity and citizenship can
be given and taken away now. So where
does that leave us with our sense of place
and our sense of where we belong?
AZH * was w^tn my mom and two
sisters throughout the Etobicoke years.
I didn't know the alphabet nor how to
speak a word of English when I first
arrived (age 8). And thinking back it was
the closest experience to being mute and
deaf. Everyday felt like a foreign movie
with no subtitles. There were these two
boys that always pushed me from behind
really hard and when I turned around
they would shove me again and shout at
me. But because I couldn't understand
what they were saying I thought it was
some kind of game. So I would push back
and laugh as loud as I could, imitating
them. Later on the words came together,
bit by bit: "Hey chinky chink eyes, why
don't you go back to your own country?"
I had to go ask my mom what "chink"
meant when I got home.
I don't think my identity really had
time to form because of the constant
moving, and as a result it remained passive. It was on autopilot and I would
adopt accents and mannerisms and
expressions so I would not stick out like
a sore thumb, and hope that I could just
blend in the background with everybody
else.
AYL Tne tnmgs that I struggle with
as an adult now are more nuanced but I
am handling it like an angsty teenager.
I'm fighting these subtle stereotypes that
Asians are apolitical, or apathetic and
that we're the model immigrant citizens
because we keep to ourselves and do well
with money. None of that shit applies to
me. Ha!
You do a lot more traveling ti
and you have told me a few stot i
getting "ching-chonged" wl
111
Si-■'.■■.■     :     '"Wl :M:&-
J
mm
IN CONVERSATION What's your impression and experience
being yellow Skinned in N. America as
opposed to Europe. What is the difference
between touring N. America and Europe?
AZH: Let's Just saY there are idiots
everywhere. This reality is real for everyone. It might not be as extreme as the
police shootings in the U.S.A., but it is
consistent harassment. It occurs as often
as women getting harassed or cat-called.
It can be shocking to people but it exists.
And it happens. I'm half awake now
in Copenhagen so I'm gonna be quick.
Talking about this makes me upset.
The best example was very recent;
three weeks ago in Lisbon I was on my
way to the airport shuttle to pick up my
girl Niki, and I had brought some flowers
with me to give to her. A Portuguese lady
and an Australian tourist lady I passed
said, "no thanks" with their hand sticking out. I replied, "excuse me?" And they
answered: "I don't want to buy flowers,
thanks."
Outraged, I told them it was for my girl,
and that I was on my way to the airport to
pick her up. They were extremely embar
rassed, but this is just one example. When
minorities cease to be human beings to
them, and when they see my face, they
just assume I'm some Asian guy on the
street trying to sell them flowers. They
can't even fathom for a second that maybe
this person has a life and the flowers are
for someone he cares about.
AYL:You're r*Snt, it's the same narrative for a lot of women and men of colour
and also for the LGBT community. But I
think these stories are important to tell
because in the end it's going to bring the
people we care about and the people who
care about us some type of understanding.
A very basic but important level of communication is done by telling our stories.
Besides the one Asian dude from the
Smashing Pumpkins I don't have anyone
who physically looks like me and who
is doing the same thing as I'm doing —
other than you dude.
Love,
Andrew
AZH: It:'s tne same for me Andrew.
Sometimes I feel like we've almost
achieved it as a society, as a whole — I'm
with my friends and everything is all good
until some random drunk bastard says
something about me and my "kind" are
invading his country stealing jobs. This is
a reality that Donald Trump's America is
representing. They are not new problems,
they've always existed. People like Trump
simply make some people bold enough to
publicly engage in this racist rhetoric.
It is important to talk about this and
make it public. I gotta run Andrew, was
good talking to you bud. Hope all is good
back in Vancouver.
Love,
Alex
IN CONVERSATION
WtWmW mh
G* O tyl N G
^Wthink 'inessential' is the key... I see
^Pmy music as very inessential," says
Gal Gracen founder Patrick Geraghty
about their new 7" EP coming out July 16
titled Summer Interludes. "But hopefully it
makes situations more enjoyable — nice
to listen to while mopping the floor or
having a sit."
What started as novelty band Dick
Fingers in 2012 has undergone many
evolutions to become the Gal Gracen
experience of today. From electropop, to
ambient instrumental, to mid-tempo,
new wave doo-wop, Gal Gracen has a
cassette tape premiering August 25 in
addition to the 7", and two more albums
in the works.
Summer Interludes comprises the styl-
ings of Patrick Geraghty on vocals / guitar, Evan McDowell on second guitar,
Nathan Deschamps on drums, Ellis Sam
on bass, and production and recording by
Jo Hirabayashi. The tracks feel contemplative yet reassuring ~~ like floating on a
Co///e
Hitchcock//
tf/osttottons
by fCo/ton
Proctor //
photos by
Jon   Vincent
wave that promises to bring you to shore.
Besides casual listening, Geraghty
describes Summer Interludes as "inessential summer listening, nice music for
bathing and float tanks, inspired by a couple shutterstock images I found online ...
what Erik Satie called 'wallpaper music.'"
The Hard Part Begins cassette maintains
what Geraghty calls "romantic nihilism," and is recorded and performed
completely by himself. The concept is to
mm
GAL GRACEN make normalcy fantastic through aesthetic utility — making the doldrums
pleasurable, in their own right. Geraghty
explains it as "easy going nihilism.
Sunny day nihilism. Hopefully people
will enjoy it in a positive way. But it is
ultimately about almost nothing. I like
music that elevates a situation, with no
greater purpose."
Geraghty continues, "I like making music that is very inoffensive, that
isn't really demanding anybody's attention. [In Role Mach] I had done that a
lot, where I would write really narrative
songs that I would try to really communicate certain ideas. I'm not really trying
to do that." A kind of displacing of the
ego started taking form in the music, in
favor of giving "people the opportunity
to enjoy their surroundings a bit more."
As the years waxed and waned, Geraghty
took on less of a political philosophy for
the music and more of a romanticization
of the quotidian.
The confluence of film and music have
also had a large influence on Geraghty's
work, and provide a structure for him to
work within: "I work very conceptually
... I think most people write or create art
organically, but I tend to reverse-engineer ideas, which sometimes can be
really frustrating because it takes a lot
longer. But I'll hear a song that I really
like, and then I want to have a song that
has the same feeling as that... I wanna
try to create something that has a cinematic impact. I also love integrating film
into music."
Geraghty gravitates to producing concomitant film and music experiences:
Gal Gracen used to project a film video on
[stage while they played, and the "Blue
Hearts" music video was set to the 1920
film Tropical Nights. The combination of
these two forms of media inform each
other through what Geraghty considers
a synesthetic phenomenon: "There's a
-m loose impression that you get that transcends the medium of sound or sight,"
^rt elving deeper into the consequence
4rof this marriage of mediums in
terms of influence for The Hard Part
Begins, the cassette's name was inspired
by the 1973 Canadian film, which will
screen as part of the cassette's release
at the Lido. The film deals with themes
of creative rejection and social isolation
at the helm of trying to fulfill a dream
"I THINK MOST PEO
WRITE OR CREATE
ORGANICALLY.B
TENDTOREVER
ENGINEER IDEAS.
WmWmm
of musical success. "The cassette is
more introspective, contemplating a life
of labour versus a life of loneliness and
rejection, and the songs are very croon-
heavy, inspired by the film of the same
name as well as bargain bin doo-wop and
Chad and Jeremy records."
"I find it to be an emotionally stimulating film but I also recognize it's a pretty
sexist dated film. It's not especially artistic. It's not really subverting anything. I
just think it just has a fascinating existential conflict at the center of it." The
main character possesses a set of warring
flaws and drives.
"This guy — on the one hand he's a total
shitheel. He's an egoist, he's extremely
selfish, he treats people around him horribly. But on the other hand he bleeds for
his art in a way that I find really endearing. By the end of the film everybody
turns their back on him and one thing
after another happens leaving him totally
isolated and rejected. There's something
fascinating to me about a character who
will accept a life full knowing the limits
of his talent, a life of loneliness and rejection, and still choose to travel down that
road."
With strong standing in the music community and a desire to continue, Geraghty
find this character particularly evocative:
"He has tenacity in the face of a cause that
is by all outward evidence not worth it,
and still takes satisfaction in what they
do. He'd rather toil away in obscurity and
something he believes in rather
k at the tire factory. I don't think
m or changing trends should defer
eone from doing what they feel pas-
inate about."
With the quiet tragedy of many creative
people growing up and not having a real
outlet for what they are most passionate
| a lot of creative minds etiolate. "As
they get older there's no practical way to
turn that into an income or a healthy lifestyle and that leads to people being lost
and frustrated."
Talking to Geraghty, the intersecting theories and philosophies of life and
musical utility grow over each other like
the roots of a tree that has lived many
centuries. They create a dense and strong
network but keep reaching for more.
"I don't have any careerist goals, I just
want to continue sharing music with people and enjoying the process of creating
it."
&
Gal Gracen is re
Interludes and kicking off a tour
at that red place July iSjjyth performa
Aaron Read, Swim Team, D. Tif
Lauren Ray. Gal Gracen will also
a screening
Lido A of the
GAL GRACEN SUMS & PIES
^©N>
Xiccn*e<l Pati^
tyieofc Ploa<v
Cfooci/ 3lmeV
3240 Main St.
THE FASTEST
GROWING BIA
IN VANCOUVER
Hastings Crossings Business Improvement Area is
home to some of the most exciting new restaurants,
cafes & innovative startups in Vancouver.
Check out what we have to offer at hxbia.com
HASTINGS^-
CROSSING^
This year CiTR and Music Waste present the
Victory Square
Block Party
on
September 4th
2pm-9pm at Victory Square Park,
it's free
Save the date.
Proceeds go to Megaphone Magazine &OTR10L9FM
Check back for more. OU DON'T HAVE TO AGREE
ill*
ORDS BY EVANGELINE HOGG I PHOT! S VAL
JONS B LITTL
J see my bus stop whizz by me as I'm on my
way to meet with Inherent Vices front-
man Christopher Burnside (a.k.a. Burnside) to
discuss his upcoming two-part EP at a bar. It's
a muggy Sunday afternoon and I'm admittedly
feeling last night catching up to me. I scuttle into
the bar and am greeted by a pleasant smile and
bemusement from Burnside. He graciously offers
me a drink: "How about a caesar?," he grins. His
bandmates, Jeremiah Haywood (bass / vocals)
and Evan Brewer (drums) join us moments later.
One can't help but notice how good of friends
these three are. There is a shared comfortabil-
ity and sense of respect. Burnside echos this
observation: "This band functions really well,
and I really li^e what we have. Every week is a
INHERENT VICES positive experience for me. If my week's
been crappy, I can come in and it's fun."
All fun aside, the band has been working hard to put together their upcoming EP, Upsidedowncross Vol.i. They've
had their trials with previous recordings, from illnesses to delays. They're
all in agreement that this time around
things went fantastic thanks to Malcolm
Biddle. "It's probably been one of the
best recording experiences of my life,"
says Burnside. "It was a really positive
experience for me. I've known Malcolm
for a long time, and we're on the same
wavelength. I don't really have to tell
him what I want."
<<
The band is releasing the EP in two
parts. Rationalizing this, Burnside
explains, "I have a decidedly doubtful
-and I don't want to say hopeless, but
definitely lacking in hope — outlook for
the current North American attention
span." With the constant bombardment
of information on social media, consumer access to free music, and the popularity of singles over full albums, his
qualms are justified.
But Inherent Vices doesn't agree on
everything. Speaking to social media
and content sharing, Burnside has the
opinion that music should be accessible, while Haywood believes you should
keep things on the down low: "If it's not
out there on the internet, in theory, it'll
make people go to your show!" exclaims
Haywood. "Just put out records."
And they are. One half will be released
July 28 with a live set on Thunderbird
Radio Hell at 9pm on CiTR 101.9FM, and
the other half released sometime in fall.
The first EP is a nod to classic punk-
rock, with heavy influences from bands
like The Ramones and Dead Moon. It's
hard hitting, with compelling lyrics and
simple melodies. "I can't write stuff that
isn't personal. Once in awhile I'll get
INHERENT VICES
m\mm\Wm\ Ii
"THINGS
HAPPEN WITH
PEOPLEJT'S
OT THE BE
ALL AND END
LL OF WHO
A
TH
EY ARE."
one out, but for the most part I write
from my own experiences," confesses
Burnside. "The song 'Oh You' is a pretty
good eximple about how I write stuff
in the moment. If I'm feeling a certain
type of way, it's in there. It's a precedent for Burnside being an impassioned
artist. "['Oh You'] is pretty damning,"
he admits, bu| Burnside doesn't seem
p hold a grudge. "Things happen with
people, it's not the be all and end all of
who they are."
Both Burnside and Brewer work in
the IfES as social workers, and
the exposure to individuals' life stories
has influenced their collaboration with
more compassionate outlooks. Burnside
recounts a story "I had a resident who I
fucking hated. He was really hard to deal
with. But I learned that he was severely
abused as a little boy. There is a reason
why people are they way they are. When
you learn about people's past you see
them in a different light." Inherent Vices
is autobiographical, and at time scathing,
but this is less of a burn and more of an
outlet. "Everyone deserves compassion
and forgiveness," states Burnside.
With all this new material heading, one
would expect a tour, but the boys have
some very strong ideas about hitting the
road. "I hate touring. I had a really bad
experience with my first band," confesses
Burnside, sharing a look with Haywood
and Brewer. Haywood feels differently:
"The lifestyle [of touring] really appeals
to me ... I don't think bands can have
that certain edge if they're not touring.
You just can't be as good!". Brewer follows his thought with, "sharing your art
with like minded people in different cities can lead to new friends and connections". I held my breath, wondering if I
was about to witness an argument. I ask
if differences of opinion between the two
was a Ijgular occurrence. "I like people with opinions!" exclaims Burnside,
enveloping his bandmate in a side-hug.
At this point the conversation slowly
dissolves into three friends recounting
hilarious anecdotes of the trials of music
in this information-overloaded society.
"I think being a band in 2016 isn't necessarily the best career option," smirks
Haywood.
i
Inherent Vices will be releasing
Upsidedowncross Vol.1 on Ben Lai%
Thunderbird     Radio     Hell    on    CiTR
wi.gFM July 28 between  g-iopm. Visit
inhemntvices.bandcamp.com for more info. ON THE AIR
MORE THAN HUMAN AT MOOGFEST
words by Gareth Moses //photos by Amelia Moses
J was lucky enough to attend
the Moogfest Music, Art
and Technology Festival this
June in Durham, North Carolina
as a CiTR DJ for my show More
Than Human, and managed to
meet, interview and chat with
some very interesting people.
Moogfest is nominally a
tribute to synth pioneer Bob
Moog, who died in 2002; but
the experience of attending was
one of people playing, discussing, workshopping and creating in an atmosphere of love
and mutual support'— it was
certainly the friendliest festival I've been to in years. And
because it wasn't genre specific (the
nearest you could come would be electronic / experimental) it was a constantly
shifting experience. Durham was an
excellent choice of location for the fes
tival in terms of city layout — no venue
was more than a ten-minute walk away;
and although there was the occasional
full event that left a few frustrated fans
outside, it was impeccably organized.
Canadians were out in force: Grimes
gave an assured performance to a very
responsive crowd. Vancouver's Rick
Smith brought his Buchla memorabilia
to display in a gallery space, as well as
organized and hosted a capacity concert featuring Buchla synthesizer sets
from Sarah Davachi, Suzanne Ciani,
Morton Subtonik, and Allesandro Cortini.
So oversubscribed was the event, that
Suzanne Ciani reprised her set the following day and talked at length about
the Buchla 200 and the fantastic sounding MARF — Multiple Arbitrary Function
Generator.
ON THE AIR Some of the best shows were the
smaller ones: Via App (from Vancouver
label io8op) delivered an intense set at a
tiny pub called the Pinhook; and Simeon
of {6os futurists Silver Apples provided
a euphoric turn at Motorco; even establish electronic legends such as The Orb
and Gary Numan seemed to be genuinely
engaged with the audiences, feeding off
the attendees' positive vibes.
jEloating Points, who I had missed at
4^ their recent Vancouver date, managed to play a large outdoor show without
resorting to bombast — their intricately
structured compositions held the attentions of the audience. Other highlights
included an unusually aggressive and
powerful set from Actress; Zombi, who
provided an epic prog workout with Steve
Moore somehow playing synths and guitar simultaneously; and a wonderful dub
sound-system session in a traditional
beer garden with Ras Rush, Lister and
Mad Professor — it miraculously coincided with the one truly hot afternoon of
ON THE AIR
the four-day event. Excellent shandy,
too.
There were film screenings as well
— a new documentary about The
Orb from Canadian director Patrick
Buchanan, and intelligent horror It Follows attended by composer
Disasterpeace — an interview we
played recently on MTH. Musicians
also incorporated video into their
live sets — Grouper's subtle, almost
ghostly performance was ably supported by contrasting visuals; and
Laurie Anderson's mix of storytelling and music was enhanced by some
beautifully shot sequences projected
at her side.
There was a unusual intimacy
between artist and festival-goer due
to the small footprint of the town;
musicians and artists spent time at
shows talking to fans and peers alike.
This sense of family and being part of
something larger was reflected in the
"Synthesize Love" campaign against
North Carolina's transphobic HB2 bathroom law — washrooms were designated all genders or 'we don't care' (and
it seemed fitting that Wendy Carlos [nee
Walter Carlos] was featured prominently
in the Moog onsite store). It was this feeling of a like-minded collective consciousness that felt most * futuristic' — for a
festival so much centred on technology, it
felt overwhelming human.
More Than Human is hosted by Gareth
Moses and broadcasts on CiTR wi.gFM every
Sunday night at ipm. More Than Human is also
a record label. Their latest release is Treatment
Works by telepathic electronic improvisational
duo Beattie Cobell. Check out morethanhu-
manrecords.com for more info. CiTR HAS
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■ri
6 AM
CITR GHOST MIX
PACIFIC PICKIN'
CITR GHOST MIX
CITR GHOST MIX
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CITR GHOST MIX
CITR GHOST MIX
6 AM
7 AM
BEPI CRESPAN
7 AM
8 AM
BREAKFAST WITH
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VANCOUVER:
RELOADED
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PRESENTS...
8 AM
UBC 100
9 AM
THE COMMUNITY
LIVING SHOW
WIZE MEN
SUMMER MIX
9 AM
10 AM
A FACE FOR
RADIO
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RIGHT?
10 AM
SUMMER MIX
POP DRO
OOKTA
11 AM
UNCEDED
AIRWAVES
NES
ROCKET FROM
RUSSIA
SUMMER MIX
11 AM
12 PM
SYNCHRONICS
MORNING AFTER
SHOW
THE
SHAKESPEARE
SHOW
DUNCAN'S
DONUTS
DAVE RADIO WITH
RADIO DAVE
GENERATION
ANNIHILATION
THE ROCKERS
SHOW
12 PM
1PM
PARTS UNKNOWN
SHINE
ON
PERMANENT
RAIN
STUDENT SPECIAL
HOUR
KOKO CHANNEL
FEMCONCEPT
POWER CHORD
1PM
2PM
SUMMER MIX
EXTRAENVIRO-
NMENTALIST
MUZAK FOR THE
OBSERVANT
RADIO ZERO
2PM
3 PM
THE BURROW
RADIO FREE
THINKER
KEW IT UP
ASTROTALK
CODE BLUE
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BLOOD
ON THE
SADDLE
3PM
SUMMER MIX
NARDWUAR
PRESENTS
4 PM
LITTLE BIT OF
SOUL
SUMMER MIX
ASIAN WAVE
SIMORGH
4 PM
5 PM
THE LEO RAMIREZ
SHOW
DISCORDER
RADIO
EL SONIDO
ALL ACCESS PASS
NIGHTDRIVE 95
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CHTHONIC BOOM!
5 PM
6PM
SUMMER MIX
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SHARING
SCIENCE
ARTS ON AIR
ARE
YOU
AWARE
SUMMER MIX
LADY RADIO
NASHA VOLNA
NOW WE'RE
TALKING
6PM
INNER
SPACE
SAMS
QUANTCH'S
HIDEAWAY
PEANUT
BUTTER 'N'
JAMS
7PM
EXPLODING HEAD
MOVIES
QUESTION
EVERYTHING
SUMMER MIX
MORE THAN
HUMAN
7PM
THE
SPICE
OF LIFE
AFRICAN
RHYTHMS
8PM
INSIDE OUT
SOUL SANDWICH
NEW
ERA
SOCA
STORM
RHYTHMS
INDIA
TECHNO
PROGRE
SSIVO
8PM
9PM
THE JAZZ SHOW
CRIMES &
TREASONS
SUMMER MIX
LIVE FROM
THUNDERBIRD
RADIO HELL
SKALDS HALL
SYNAPTIC
SANDWICH
BOOTLEGS &
B-SIDES
9PM
10 PM
THE SCREEN
GIRLS
CANADA POST
ROCK
TRANCENDANCE
10 PM
11 PM
STRANDED: CAN/
AUS MUSIC SHOW
WHITE NOISE
COPY/PASTE
THE MEDICINE
SHOW
RANDOPHONIC
11 PM
12 AM
CITR GHOST MIX
AURAL
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CITR GHOST MIX
12 AM
THE LATE NIGHT
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1AM
CITR GHOST MIX
CITR GHOST MIX
1AM
2 AM
THE ABSOLUTE
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INSOMNIA
2 AM
LATE
NIGHT
LATE
NIGHT ■   CARIBBEAN
SOCA STORM
SAT. 8 PM
DJ SOCA Conductor delivers the latest SOCA
music tracks out of the Caribbean. This party music
will make you jump out of your seat. This show is
the first of its kind here on CiTR and is the perfect
music to get you in the mood to go out partying!
It's Saturday, watch out STORM COMING!!!!
■ CHINESE
ASIAN WAVE
WED. 4 PM
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, debuting
rookies, 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.
■ CINEMATIC
EXPLODING HEAD MOVIES
MON. 7 PM
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.
■ DANCE /ELECTRONIC
BOOTLEGS & B-SIDES
SUN. 9 PM
Hosted by Doe Ran, tune in for the finest remixes from
soul to dubstep, 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.
COPY/PASTE
THU. 11 PM
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.
INNER SPACE
ALTERNATING WED. 6:30 PM
Dedicated to underground electronic music,
both experimental and dance-oriented.
Live DJ sets and guests throughout.
INSIDE OUT
TUE. 8 PM
Inside Out is a weekly radio show from 8-9pm
(PST) every Tuesday night on 101.9FM in
Vancouver, Canada that plays Dance music
THE LATE NIGHT SHOW
FRI. 12:30 AM
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 play TZM broadcasts, beginning at 6 a.m.
RADIO ZERO
FRI. 2 PM
An international mix of super-fresh weekend party jams
from New Wave to foreign electro, baile, Bollywood,
and whatever else. Website: www.radiozero.com
SYNAPTIC SANDWICH
SAT. 9 PM
If you like everything from electro/techno/trance/8-bit
music/retro '80s, this is the show for you!
Website: synapticsandwich.net
TECHNO PROGRESSIVO
ALTERNATING SUN. 8 PM
A mix of the latest house music, tech-
house, prog-house, and techno.
TRANCENDANCE
SUN. 1 PM
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,
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 @trancendance.net.
Website: www.trancendance.net.
■ DIFFICULT
BEPI CRESPAN PRESENTS...
SUN. 7 AM
Bepi Crespan Presents... CiTR's 24 Hours Of Radio Art
in a snack size format! Difficult music, harsh electronics,
spoken word, cut-up/collage and general Crespan©
weirdness. Twitter: @bepicrespan.
Blog: bepicrespan.blogspot.ca
■ DRAMA/POETRY
SKALDS HALL
FRI. 9 PM
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.
■ ECLECTIC
A FACE FOR RADIO
THU. 10 AM
A show about music with interludes about nothing.
From Punk to Indie Rock and beyond.
ARE YOU AWARE
ALTERNATING THU. 6 PM
Celebrating the message behind the music:
profiling music and musicians that take the
route of positive action over apathy.
AURAL TENTACLES
THU. 12 AM
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
BREAKFAST WITH THE BROWNS
MON. 8 AM
Your favourite Brownsters, James and Peter, offer a
savoury blend of the familiar and exotic in a blend of aural
delights.
Email: breakfastwiththebrowns@hotmail.com.
CHTHONIC BOOM!
SUN. 5 PM
A show dedicated to playing psychedelic
music from parts of the spectrum (rock, pop,
electronic) as well as garage and noise rock.
PROGRAM   GUIDE
66 FEMCONCEPT
FRI. 1 PM
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 and punk,
with an emphasis on local and Canadian artists.
LIVE FROM THUNDERBIRD RADIO HELL
THU. 9 PM
Featuring live bands every week performing in
the CiTR lounge. Most are from Vancouver, but
sometimes bands from across the country and
around the world. Upcoming guest include Koban
on July 14 and Inherent Vices on July 28!
THE MEDICINE SHOW
FRI. 11 PM
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.
THE MORNING AFTER SHOW
TUE. 11:30 AM
The Morning After Show every Tuesday at 11:30(am).
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.
NARDWUAR PRESENTS
FRI. 3:30 PM
Join Nardwuar the Human Serviette for Clam Chowder
flavoured entertainment. Doot doola doot doo...doot doo!
Email: nardwuar@nardwuar.com
PEANUT BUTTER 'N' JAMS
ALTERNATING THU. 6:30-7:30 PM
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.
RANDOPHONIC
SAT. 11 PM
Randophonic has no concept of genre, style, political
boundaries or even space-time relevance. Though
we have been known to play pretty much anything by
anybody (as long as it's good), we do often fix our focus
on a long running series, the latest of which (due to
premiere in April-2016) is The Solid Time of Change
(aka the 661 Greatest Records of the Progressive
Rock Era ~ 1965-79) And we're not afraid of noise.
THE SHAKESPEARE SHOW
WED. 12 PM
Dan Shakespeare is here with music fdr your ear.
Kick back with gems of the previous years.
SHINE ON
ALTERNATING TUE. 1 PM
An eclectic mix of the latest, greatest tunes from
the Vancouver underground and beyond, connected
through a different theme each week. Join your host
Shea every Tuesday for a groovy musical experience!
SOUL SANDWICH
WED. 8 PM
A myriad of your favourite music tastes all cooked into
one show, from Hip Hop to Indie Rock to African jams.
Ola will play through a whirlwind of different genres, each
sandwiched between another. This perfect layering of
yummy goodness will blow your mind. It beats Subway.
STUDENT SPECIAL HOUR
WED. 1 PM
Tune in to learn about on-campus events and
initiatives in-between sweet tunes.
SUBURBAN JUNGLE
WED. 8 AM
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.
■ ETHIOPIAN
SHOOKSHOOKTA
SUN. 10 AM
A program targeted to Ethiopian people that
encourages education and personal development.
■ EXPERIMENTAL
KEW IT UP
WED. 3 PM
Fight-or-flight music. Radio essays and travesties:
Sonic Cateschism / half-baked philosophy
and criticism. Experimental, Electronica, Post-
Punk, Industrial, Noise : ad-nauseum
MORE THAN HUMAN
SUN. 7 PM
Strange and wonderful electronic sounds from
the past, present, and future with host Gareth
Moses. Music from parallel worlds.
NIGHTDRIVE95
fri 5-6
Plug NIGHTDRIVE95 directly into your synapses and
immediately receive your weekly dose of dreamy, ethereal,
vaporwave tones fresh from the web. Ideal music for
driving down the Pacific Coast Highway in your Geo
Tracker, sipping a Crystal Pepsi by the pool, or shopping
for bootleg Sega Saturn games at a Hong Kong night
market. Experience yesterday's tomorrow, today!
POP DRONES
WED. 10 AM
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.
■ GENERATIVE
THE ABSOLUTE VALUE OF INSOMNIA
SAT. 2 AM
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.
■ HIP HOP
CRIMES & TREASONS
TUE. 9 PM
Uncensored Hip-Hop & Trill $h*t. Hosted by Jamal
Steeles, Homeboy Jules, Relly Rels, LuckyRich &
horsepowar.
Website: www.crimesandtreasons.com
Email: dj@crimesandtreasons.com
NEW ERA
ALTERNATING THU. 7^30 PM
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.
■ INDIAN
RHYTHMS INDIA
ALTERNATING SUN. 8 PM
Featuring a wide range of music from India, including
popular music from the 1930s to the present; Ghazals and
Bhajans, Qawwalis, pop and regional language numbers.
67
PROGRAM   GUIDE ■   JAZZ
THE JAZZ SHOW
MON. 9 PM
July 4: What could be more appropriate for this day
than composer Gary McFarland's sad, funny and
cynical orchestral masterpiece written in 1968 during
very turbulent times and rings true today. "America
The Beautiful-An Account of it's Disappearance".
It features a huge orchestra full of Jazz stars.
July 11: The great Yusef Lateef brings his tenor
saxophone and flute and his working band
from 1957 to tonight's Jazz Show. Yusef with
trombonist Curtis Fuller and an all-Detroit band.
"Before Dawn" is a fascinating musical trip.
July 18 : Of all the solo concerts that pianist Keith
Jarrett produced, this is a favourite of your host, Gavin
Walker. Recorded in Bremen, Germany in July of 1973.
This piano concert will carry you to many places.
July 25: One of the great voices of the alto
saxophone, Art Pepper and one of his finest studio
recordings from 1976 with the master drummer
Elvin Jones. "The Trip" is a genuine classic.
August 1: A very special and a favourite of John
Coltrane's albums with his quartet plus added voices,
Eric Dolphy (alto saxophone/flute) and Freddie
Hubbard (trumpet) plus an added bassist, Art Davis",
making it a septet. "Ole" will please anyone's ears.
August 8: Again a favourite of host Gavin Walker. The
incredible debut recording of legendary vibist Walt
Dickerson, who was sometimes called "the Coltrane
of the vibes". Dickerson performs 6 of his own
compositions with his quartet. "This Is Walt Dickerson".
August 15: The great Duke Ellington Orchestra
and his personal tribute to William Shakespeare.
The music was composed by Ellington and Billy
Strayhorn for the Canadian Stratford Shakespeare
Festival in 1956. "Such Sweet Thunder" is
one of the many Ellington masterpieces.
August 22: "Mingus Presents Mingus" is one of his
most intense and compelling recordings. Mingus
introduces the musicians and the tunes as if he was in
a club and the quartet with Eric Dolphy (bass clarinet/
alto saxophone), Ted Curson (trumpet) and Dannie
Richmond(drums) play as they never have before.
August 29: One of the finest groups that tenor
saxophonist Stan Getz ever led. Recorded the day
after his famous Shrine Auditorium concert. The
quintet with valve trombonist Bob Brookmeyer and
others never sounded better and this was their last
recording as a group. Cool, lyrical and flowing Jazz.
LITTLE BIT OF SOUL
MON. 4 PM
Old recordings of jazz, swing, big band,
blues, oldies, and motown.
■ KOREAN
KOKO CHANNEL
THU. 1 PM     „
This show is in Korean but not for playing just
popular K-POP. We play Korean indie pop, K-rock,
K-hip hop, and K-ballad. Host DJ Megan talks
about news or daily life Of Korean society in Metro
Vancouver. Enjoy Korean talks and get the information
of Korea through KOKO Channel by Megan!
■ LATIN AMERICAN
EL SONIDO LATIN ROOTS
WED. 5 PM
LA FIESTA
ALTERNATING SUN. 3 PM
Salsa, Bachata, Merengue, Latin House, and
Reggaeton with your host Gspot DJ.
THE LEO RAMIREZ SHOW
MON. 5 PM
The best mix of Latin American music
Email: Jeoramirez@canada.com
■   LOUD
FLEX YOUR HEAD
TUE. 6 PM
Punk rock and hardcore since 1989. Bands
and guests from around the world.
POWERCHORD
SAT. 1 PM
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.
PERSIAN
SIMORGH
Thur. 4 pm
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.
■ PUNK
ROCKET FROM RUSSIA
THU. 11 AM
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://rocketfromrussia.tumblr.com.
Email: rocketfromrussiacitr@gmail.com.
Facebook: https://www.facebook.com/RocketFromRussia.
Twitter: http://twitter.com/tima_tzar.
GENERATION ANNIHILATION
SAT. 12 PM
On the air since 2002, playing old and new punk on the
non-commercial side of the spectrum. Hosts: Aaron
Brown, Jeff "The Foat" Kraft.
Website: generationannihilation.com.
Facebook: facebook.com/generationannihilation/
■ REGGAE
THE ROCKERS SHOW
SUN. 12 PM
Reggae inna all styles and fashion.
■ ROCK /POP /INDIE
THE BURROW
MON. 3 PM
Noise Rock, Alternative, Post-Rock, with a
nice blend of old 'classics' and newer releases.
Interviews and live performances.
CANADA POST-ROCK
FRI. 10 PM
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.
PROGRAM   GUIDE
68 DAVE RADIO WITH RADIO DAVE
FRI. 12 PM
Your noon-hour guide to what's happening in Music
and Theatre in Vancouver. Lots of tunes and talk.
DISCORDER RADIO
TUE. 5 PM
Named after CiTR's sister magazine, Discorder,
this show covers content in the magazine and
beyond. Produced by Jordan Wade, Matt Meuse,
and Claire Bailey. Email: discorder.radio@citr.ca
DUNCANS DONUTS
THU. 12 PM
Sweet treats from the pop underground. Hosted by Duncan,
sponsored by donuts.
http://duncansdonuts.wordpress.com.
MUZAK FOR THE OBSERVANT
THU. 2 PM
A program focusing on the week's highlights
from CiTR's Music Department. Plus: live in-
studio performances and artist interviews!
PARTS UNKNOWN
MON. 1 PM
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 PERMANENT RAIN RADIO
ALTERNATING TUES. 1 PM
Music-based, pop culture-spanning program with a focus
on the local scene. Join co-hosts Chloe and Natalie for an
hour of lighthearted twin talk and rad tunes from a variety
of artists who have been featured on our website.
thepermanentrainpress.com
SAMSQUANTCH'S HIDEAWAY
ALTERNATING WED. 6:30 PM
All-Canadian music with a focus on indie-rock/pop.
Email: anitabinder@hotmail.com.
SPICE OF LIFE
ALTERNATING THU. 7:30 PM
The spice extends life. The spice expands
consciousness. The Spice of Life brings you a
variety of Post-Rock, Shoegaze, Math Rock and
anything that else that progresses. Join host
Ben Life as he meanders whimsically through
whatever comes to mind on the walk to CITR.
STRANDED: THE AUSTRALIAN-CANADIAN MUSIC
SHOW
TUE 11 PM
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.
■   ROOTS/FOLK/BLUES
BLOOD ON THE SADDLE
ALTERNATING SUN. 3 PM
Real cowshit-caught-in-yer-boots country.
CODE BLUE
SAT. 3 PM
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
PACIFIC PICKIN'
TUE. 6 AM
Bluegrass, old-time music, and its derivatives
with Arthur and the lovely Andrea Berman.
Email: pacificpickin@yahoo.com
THE SATURDAY EDGE
SAT. 8 AM
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
■   RUSSIAN
NASHA VOLNA
SAT. 6 PM
News, arts, entertainment and music for the Russian
community, local and abroad.
Website: nashavolna.ca
SACRED
MANTRA
SAT. 5 PM
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
■ SOUL/R&B
AFRICAN RHYTHMS
FRI. 7:30 PM
Website: www.africanrhythmsradio.com
■ TALK
ALL ACCESS PASS
THU. 5 PM
CiTR Accessibility Collective's new radio show.
We talk about equity, inclusion, and accessibility
for people with diverse abilities, on campus
and beyond. Tune in every week for interviews,
music, news, events, and awesome dialogue.
ASTROTALK
THU. 3 PM
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...
CITED!
FRI. 8 AM
This is a radio program about how our world
is being shaped by the ideas of the ivory
tower. Sometimes, in troubling ways.
THE COMMUNITY LIVING SHOW
THU. 9 AM
This show is produced by the disabled community and
showcases special guests and artists. The focus is on
a positive outlook on programs and events for the entire
community. We showcase BC Self Advocates and feature
interviews with people with special needs. Hosted by
Kelly Reaburn, Michael Rubbin Clogs and Friends.
EXTRAENVIRONMENTALIST
WED. 2 PM
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.
LADY RADIO
FRI. 6 PM
CiTR Women's Collective's new radio show! Rad
women talking about things they like. Tune in weekly
for interviews, music, events, commentary, and such.
NOW WE'RE TALKING
SUN. 6 PM
Now We're Talking features interviews that will
capture your imagination (or at least prevent you from
frantically changing the frequency on your radio).
PROGRAM   GUIDE QUEER FM VANCOUVER: RELOADED
TUE. 8 AM
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
UBC ARTS ON AIR
WED. 6 PM
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
UNCEDED AIRWAVES
RADIO FREE THINKER
TUE. 3 PM
Promoting skepticism, critical thinking and science,
we examine popular extraordinary claims and subject
them to critical analysis.
SHARING SCIENCE
WED. 6 PM
A show by the members of UBC Sharing Science, a group
of students dedicated to making science interesting and
accessible to all members of the community. We discuss
current research and news about a different topic each
week, providing vastly different perspectives based on
the science backgrounds of a rotating set of hosts.
SYNCHRONICITY
MON. 12 PM
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!
UBC 100 DOCUMENTARIES
FRI. 8:30 AM
A series of ten radio documentaries produced by CiTR
using clips from our collection of archived tape to mark
UBC's 100 year legacy. Each documentary portrays a
slice of Vancouver history, covering challenging topics
relevant to the local community, including the rise of the
UBC football, early hip hop battles in Vancouver, the
fight for trans health care, accessibility and the media,
and the Lady Godiva ride and rape culture at UBC.
The documentaries use archival content from CiTR's
history audio collection in addition to interviews with
faculty, students, alumni and community members.
Unceded Airwaves is a radio show produced by CiTR's
Indigenous Collective. The team is comprised of
both Indigenous and non-Indigenous people who are
passionate about radio, alternative media and Indigenous
topics and issues. We are committed to centering
the voices of Native people and offering alternative
narratives that empower Native people and their stories.
We recognize that media has often been used as a
tool to subordinate or appropriate native voices and
we are committed to not replicating these dynamics.
VANCOUVER, RIGHT?
FRI. AM
Hangout with Alex Biron and Simon Armstrong
as they share personal stories of gigantic
embarrassment and accidental success.
WHITE NOISE
SAT. 8 PM
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.
Email: whitenoiseUBC@gmail.com CITR 101.9FM
JUNE MONTHLY CHARTS: INDIE-ANNA THRONES &
THE RAIDERS OF THE LOST CHARTS
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