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 a>^aaf^a^aav^aH
DISCORDER
m $ $ & *•■#■» # 0000000
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DANIEL HIGGS
ZM PUSSYRIOT: A CONVERSATION
WITH RUSSIA'S CONTROVERSIAL I
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WITH GUESTS
DARK TRANQUILLITY
SWALLOWTHESUN,
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KEITHMAS2016
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SPREAD THE REVENGE,
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I show listings, ticket info, videos & more:
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(How much would you 1
■OTAL:	
H
subscript cuBte » f comxfnts
NOVEMBER 2016
ifeattire*
■05   -  ECHUTA
Morning Figure[s] When Absolutely Calm
06  -  KDD
Media Democracy Days gets collaborative |
09  ~  TIM THE MUTE
Embracing duality and  Take My Lixefrl.Please!
16 -  SAFE AMP SOCIETY
After a hiatus, all-ages advocacy is back
17 -  WANT
What you can't hare
18 -  SEEKERSINTERNATIONAL
Column* + flgtore
04 - Hothead
04 - Venews:
James Black Gallery
08 -  In Good Humour:
Sophie Buddie
10 - Real Live Action
12 - Art Project + Calendar
by Hayley Dawn Muir
14 - Under Review
19 - No Fun Fiction:
Janice's Party
by Bronwyn Lewis
20 - On The Air:
Textbook
21 - Program Guide
23 - Charts
ADVERTISE: Ad space for upcoming issi
booked by calling (604) 822-4342 or emalli
advertlslng@cltr.ca. Rates available upon r
SQCAN
. \F
FOUNDATION
Sydney Thorne // Discorder Student Liaison: 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, Brit
Bachmann, Evan Brow, Danielle Carr, Aidan Danaher, Leigh Empress, Dusty Exner, Courtney Heffernan,
Evangeline Hogg, Shebli Khoury, Yu Yan Huang, Rahul Jobanputra, Dylan Joyce, Raghunath Kne, Kat Kott,
Oona Krieg, Paige Lecoeur, Bronwyn Lewis, Daniel Lins, Dan Moe, Christine Powell, Sam Tudor, Kristian Voveris,
Tintin Yang, Chris Yee// Photographers & Illustrators: Maia Boakye, Ragunath Khe, Oona Krieg, Henrieta Lau,
R. Hester, Graham McFie, Marrta Michaelis, Emma Potter, Matthew Power, Sofia Samshunahar, Manny Sangha,
Jennifer Van Houten, Eugenia Viti, Jillian Willcott, Declan Willem-Hopkins // Proofreaders: Brit Bachmann, Ricky
Castanedo-Laredo, Jules Galbraith, Jonathan Kew, Oona Krieg, Christine Powell, Sup Suppaiboonsuk, Sydney
Thorne, Jasper D. Wrinch
©Discorder 2016 by the Student Radio Society of the University of British Columbia. All lights reserved. Circulation 8,000. Discorder is published almost monthly by CiTR, located on
OINKOINK
EDITOR'S NOTE
Over the last week of October I was called a pig by my landlords when they
attempted to illegally renovate a section of tiles in my kitchen, causing
the ceiling to fall down. I was a pig because I wouldn't clean up the dust,
which they couldn't guarantee was not asbestos. After barraging my roommate and
I with insults and eviction threats, my landlords followed up with a sickeningly
sweet text message saying we should "start fresh." They obviously sent that after
Googling the sections of the Residential Tenancy Act quoted by my housemate, and
realizing that we are informed and empowered.
I'm writing this anecdote into Discorder Magazine recognizing that our reader
demographic — and all demographics unfortunate enough to be navigating the
Vancouver rental market right now — are being disrespected in similar ways every
day.
Listen up, Big Money! You praise emerging entrepreneurs and creatives for
building a culture around and adding value to your investments, but you treat us
like shit. Or, at the very least, you enable a hostile housing market that treats us
like shit.
Renter-readers, always remember that you have rights as outlined by the
Residential Tenancy Act. Look it up online, and contact the Residential Tenancy
Branch (RTB) if you have questions or emergencies.
There are several articles in this month's Discorder that promote different avenues of social engagement and advocacy; Courtney Heffernan interviews Sydney
Ball, coordinator of the reimagined Media Democracy Days November 15-19;
Christine Powell talks all-ages venues with Heidi Holland and Kat Kott, who
recently revived the Safe Amplification Society; and Shebli Khoury sits down with
James Black Gallery curators Misery Fields and Zandi Dandizette, whose live-in •
studio space is destined for condominiums.
A farewell is in order for wendythirteen's Thrashers shows at Funky Winkerbeans.
Another venue shuts its doors to live music. What a surprise.
As I write this Editor's Note, I'm fired up! I'm angry! But it's good. I feel change
coming.
PS. Discorder is hosting a showcase of local and emerging hip hop Friday,
November 18 at the Media Club, featuring So Loki, Missy D, R.O.M.I., Something
August, Spotty Josif and Freeman Young. Tickets $10 in advance on brownpap-
ertickets.com. Come check out this lineup, with artists suggested by So Loki and
Crimes & Treasons, and support indie publishing while you're at it! (Unfortunately,
this event is 19+)
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EDITOR'S NOTE I VENEWS
THE JAMES BLACK GALLERY
words by Shebli Khoury // illustrations by
Sofia Saashunahar // photos by Jennifer Van Bo-uten
Colourful tortellini and
chicken catch my eye in the
kitchen at The James Black
Gallery as I wait for artist residents, Misery Fields and Zandi
Dandizette. The food goes well
with the colourful Mount Pleasant
building I find myself in. When
this interview takes place, the
gallery is transitioning between
shows. Tables, photographs and
installations — like the huge
cauldronesque art project in the
middle of Zandi's blue bedroom —
are found throughout the house.
Built in 1889, the building has
undergone changes from Victorian
era residence, to disuse, to live-in
HHH HOTHEAD/ VENEWS
gallery — a fitting testament to its
adaptability.
Also fitting is Zandi's description of the gallery as an "in
between." Resident artists both
live at JBG and use the exhibition space. And that means all
the space: the kitchen has been
used for meatball art (and general
/cooking), and the backyard shed is
currently a ceramics studio.
Speaking to the camaraderie
of collective living, Misery says,
"Being here opened up a whole
new community." The artists
learn from each other, bringing
different skills and experiences
to the house. JBG allows for the
strengthening   of   relationships
between residents and other artists in Vancouver through shared
exhibitions and events. It also
facilitates international connections through open calls for submissions and digital shows.
"The gallery can be whatever
j/ve want it to be," Misery tells me
as we tour the^pace. They continue, "[It] allows artists to showcase art that wouldn't normally be
showcased elsewhere."
JBG puts on a variety of conventional and unconventional
shows. "[It was] a normal gallery for ROVE, [the bi-annual
Mount Pleasant artwalk] and then
Liminal Confines happened [a JBG
curated exhibition that explored
social, emotional and sexual
boundaries], and that was a different experience. [It] was maybe
too surprising for some people,"
Zandi says. Misery continues, "It
is a unique space doing unique
things that might not exist [otherwise]." Examples of previous performances at the gallery include
Misery's sound installation in a
black room, and local tattoo artist
Mason Hamilton choosing to tattoo himself for hours.
The gallery puts on shows that
are "more challenging," and with
"more leeway curating the space"
than traditional exhibitions. The
shows in general are interactive
and intimate, attracting all demographics. Zandi is proud of that,
recounting a story of a 20-year-
old speaking with a 40-year-old,
cheap beer in hand, about the art
on display.
Events at The James Black
Gallery really depend on the creative practices of the artists in res
idence, adding to the adaptability
of the gallery. Misery and a fellow
artist Echo focus on music and on
November 9, the gallery is hosting an event called Animal Colony.
Misery's friend Andrew Morrison
of the bands Black Pills, Taxa and
Hanging Heart pitched the idea
of having improvisational music
events. The first installment of
this idea will be an improvised and
experimental-noise guitar show.
The gallery is in a complicated
situation, with the landlord
planning to tear down the
gallery for condos. There are efforts
to grant the building heritage status to protect it. In the meantime,
however, Zandi says they will continue to establish themselves as a
cultural spot through exhibitions
and accessibility to studio space.
The James Black Gallery is a
necessary space, it allows artists to experiment and develop
their practices collaboratively. It's
also a starting point for artists
that might have difficulty getting
exhibited elsewhere in Vancouver.
The gallery is already an important
cultural spot, "especially with the
high living costs," says Zandi.
The gallery is a "hidden gem"
Zandi had first told me, but gems
are hard and finished. JBG is a
different kind of gem, liquid and
eclectic.
For more information on The
James Black Gallery, including exhibitions, residents and residencies, visit
thejamesblackgallery. Animal Colony
Volume 1: Guitar is November 9. EcJuaZo,.
"It's an attempt to not compromise, but also [to] not just... have
experimentation or oddity just for
oddity's sake, but more for honesty's sake," Resto continues.
For all this talk of honest song-
writing, Resto resists calling what
he does "songwriting," strictly
speaking — or worse still, describe
himself as a "singer-songwriter."
"I don't like the word 'songwriter' because I don't like the
word 'song.' I don't like conceiving of something as a song,"
Resto explains. "It's all by coincidence. You sing by coincidence or
it's a song by coincidence, but the
:e of it lies somewhere else."
Hesto and Martens have
recently finished work
on a new, 11-song cassette for Echuta, tentatively titled
Morning Figure When Absolutely
Calm. ("Morning like a.m., not
like sad," Resto says. "I think
'Mourning Figure' would be too
melodramatic") It will come out
later this year on Agony Klub,
a "music & printed matter"
label run by KC Wei, best known
locally for her solo project hazy
and curating the art rock? concert series at the Astoria. Echuta
also plans to begin playing shows
again, something that went by the
-sayswContinuing in his wry way,
■jheTlaasJ "Andy pushes me out of
my comfort zone in the same way
having wet socks pushes you out of
;;younCpmfort zone."
With a certain characteristic
self-effacement, Resto continues, "I'll come up with these basic
ideas, or whatever it is, and [Ace]
makes it a lot more expansive."
In a similar vein, Resto is humble about his role more generally
in Vancouver's independent music
and arts community. (Disclosure:
In addition to his musical endeavours, Resto is CiTR's Music
Director, and hosts his own program on CiTR called The Burrow.)
Considering how haunted
their music often comes
across, evoking in parts
Bill Callahan, Leonard Cohen
and Jandek, Andy Resto and Ace
Martens of minimalist guitar and
drums duo Echuta are a pretty
approachable (and fun) pair.
In addition to playing guitar in
Echuta, Resto writes and performs
the lyrics and essentially masterminds the band: "I can hire and
fire whoever I want," he jokes.
Martens accents Resto's compositions with what Martens himself
terms "decorative drumming."
"I'm not a traditional style
drummer," Martens notes, with
some understatement. The two
started playing together not long
after Resto started writing Echuta
songs. Both Resto and Martens
admit that they are beginners in
their respective roles in the band.
Resto had only started writing and
recording songs a year or two ago,
and Martens had "never sat behind
a drum kit in his life."
There's a certain wryness
to Resto and Martens' sense of
humour. After all, the name of their
band is taken from Star Wars, of all
places — specifically, an untrans-
latably rude turn of phrase from
a throwaway gag in The Empire
Strikes Back. Yet at the same time,
one wonders if this title hints at a
deeper examination of untranslat-
ability — or better yet, ineffabil-
ity — in Echuta's output. Indeed,
Resto seems to embody this strug
gle even during the interview,
often finding himself talking in
rircleja^s?admission);^tr\TOg^ta
place his words just so.
Resto meditates on this point
in his own elliptical way. "I guess
what inspires me is music or
writing that is incredibly personal
in a particular way, not so much
personal in the way that I have to
write about what I did yesterday
or the names of everybody that I
know, but in that the way I express
something is necessitated by who
I am or what I think about, [such]
that I wouldn't be able to translate it into something else because
then it would [be] disingenuous."
"/ THINK WE BOTH FEEL A LITTLE BIT LIKE WE
PUSH EACH OTHER OUT OF OUR COM
In fact, Resto locates his song-
writing practice closer to cut-up
poetry. "Lots of times I'm cutting
out... cutting down... paring down
whole sentences to more evocative
words," he says. "I like to write in
chunks of imagery... there's a bit of
a thread that runs through it, but
[the lyrics] come from these dispa-
Tate places, to come together."
wayside when they were recording
Morning Figure.
Morning Figure is a record of the
latest developments in Echuta's
sound, which Resto and Martens
both pin down to working with
each other. "I think we both feel
a little bit like we push each other
out of our comfort zones," Martens
"There are times when it really
strikes me how small this world
is," Resto says. "It's like [we're]
these rats that have crawled
out of a sewer, and it's like 'We
shouldn't be seeing each other in
the daylight, this is so weird'...
It just strikes [me] how odd it is
to recognize people from day to
day."
Speaking to his involvement
in the local art community, Resto
contirrues/'Just because you're
respected and successful within this
circle, doesn't mean it's not still
good to be kind and understanding of people who are wanting to
get involved or who have different
tastes... it's bigger than this."
Echuta is playing with Failing and
Old Girl at The Emerald November 10.
Morning Figure When Absolutely
Calm will be released on Agony Klub
in kite November or early December. Listen
to Echuta at sounddoudjcorh/anayr-io. IN GOOD HUMOUR
SOPHIE BUDDLE
words by Evan Brow // illustrations by Karita Miehaelis //
photos by Manny Sangha
"My roommate Gavin Marts and I run
it," says Buddie. "He does all the work
and my name is on it. I do literally nothing. Sometimes I host half the show, but not
even the first half. And I make him introduce me, because I don't like going up cold.
So I really do very little, but it's very cool. It
all happened because of my friend Jaik Olson
[Puppyteeth], He's a really great artist. One
day I go to his studio to pick something up
and I say, 'Whoa, this is an amazing art
space. Would you ever want to do a comedy
show here?'"
The show has become an underground hit
and it's no coincidence how its unique lineups have developed.
"Gavin and I dislike a lot of people, so the
only people we have on are people who pass
the 'I like them' test, which limits us to very
few people. So we always have really strong
line-ups, because one of us usually hates
somebody."
Bm ^^^ illy. Comedian. I sleep a lot
*Ih» during the day. That's most
£fj of my life. Hungry. That
sums it up pretty well."
That's how Vancouver stand-up Sophie
Buddie would describe herself. But there's
so much more. Regularly described as a rising star in the Vancouver stand-up world,
the 22-year old Buddie moved to Vancouver
from Ottawa when she was 18. She moved
to attend fashion school, but dropped out
almost immediately. Comedy was her
future, not fashion.
She grew up loving Ellen Degeneres,
memorizing her bits, making her mother
pee her pants laugh-
her oldest joke being only three years old.
"Some jokes take longer to get sick of
than others," says Buddie. "But that's why
it takes me so long to build up material too,
because I hate jokes so quickly. If it's doing
well, I'll try to build on it to keep it fresh for
myself. So I'll give it tags or another direction, but I get so annoyed with my jokes
because I do stuff pretty word-for-word
every time as well. That's the thing with
stories. You can tell them a little differently
every time. But jokes are just so repetitive."
One joke Buddie is "determined to make
work" involves her time spent at "horse
camps" over the summer breaks as a child.
While she wasn't into horses, the other girls
definitely were.
ing, and started performing when she was
just 15. Now in Vancouver, Buddie is a regular headliner. She has opened for Moshe
Kasher and Nick Thune, and was recently
the runner-up in the SiriusXM Top Comic
competition. At the heart of her success is
an obsession with comedy. It's everything
she wants to do. It helps that she loves
Vancouver and raves about good local comics like Graham Clark, Erica Sigurdson, and
even Chris James who Buddie says "is my
ex-boyfriend, but who I still think is funny."
"I love Vancouver comedy, and it's my
favourite place to do comedy," says Buddie.
"It's crazy that every show here isn't
packed. If the comedians on our shows were
American comics, I think they'd all have
Netflix specials and do theatres. But they
just do regular shows that you pay $5 for. I
feel really lucky to be around these people."
Buddie is a pure joke-teller, tending to
tell short and sweet punchlines to stories.
All her material is pretty fresh as well, with
"I had to act like when kids are closeted and gay and they're pretending to be
attracted to the opposite sex still," says
Buddie. "I feel like I had to do that with
horses. So I talk to them and I'm like, 'Yeah,
I like my horse too. I like that they're tall. I
like their bangs. I like that they're made of
glue. Do you like glue? Is that what it is?'"
"^^^ hen Buddie isn't performing at
■ Just For Laughs in Montreal and
k^£[y&J Toronto or at L.A. shows like
Meltdown and Hot Tub with Kurt Braunohler
and Kristen Schaal, she can
probably be found most
nights telling jokes here in
Vancouver. And when she's
not doing a local show like
the Comedy Mix, Jokes Please!,'
or the Laugh Gallery, she"
co-hosts her own monthly
show Barely Legal: An
Underground Comedy Show.
BECOME A MEMBER AND GET SOME SWEET DEALS
WITH 00R FRIENDS! GET 00R COTE LITTLE CARD BY
BECOMING A MEMBER OF CITR. DONATING TO OUR
FUNDRIVE, OR SIMPLY BUYING ONE FOR $15!
Barely Legal: An Underground Comedy
Show is on the first Friday of each month at
Sweet Pup Studios. Buddie will be performing at
the Comedy Mix from November 3-5. She can
be found at @sophiebuddle on Twitter.
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I IN GOOD HUMOUR words by Sam Tudor // Illustrations by Rory Stobart //
photos by Matthew Power
Bs Tim The Mute, Tim Clapp
seems to take cathartic,
almost masochistic plea^
sure in writing about the saddest
shit ever. The weird part is that
he's one of the sunniest people around. As the creator of the
Kingfisher Bluez record label and
a promoter of local shows, Clapp is
well known as a light in the local
music community. On his new
album, Take My Life...Please!, Clapp
fully embraces this — sometimes
confusing — duality. He takes
on the role of the tragic clown,
articulating his experiences with
clinical depression and suicide in
morbidly funny ways.
Clapp's duality is geographic
as well; half of the album was
recorded in Vancouver and the
other half in Glasgdw, Scotland.
Working with Glasgow producer
Kieran Heather, Clapp spent five
days recording as much as he
could. "It became the end of the
week and I had to catch a bus to
London at 6 p.m.. We were still
recording at 5:30," laughs Clapp.
"I told Kieran, 'Keep going!' and
we did two more whole songs
in that half hour window. We
recorded right to the wire."
Take AJy Life...Please! is more
synth-heavy than Clapp's past
albums, and he credits the
Glasgow music scene for this
shift: "I wanted to open my heart
to the influence of Scotland in my
music. There was a lot of synth on
the Scottish records I was listening too." Clapp also took influence
from local literature — when we
meet, he's holding what turns
out to be his sixth copy of Alistair
■ Gray's Lanark, an epic novel that
uses the city of Glasgow as a character (in much the same way that
Joyce uses Dublin in Ulysses). "I
read this book and had a burst of
creativity. It was something that
allowed me to connect everything
in my head and make an album,"
says Clapp.
Clapp's love of Glasgow doesn't
outshine his love for Vancouver. To
hear Clapp tell it, both cities work
in conjunction on this record, two
necessary halves of one larger
product. "Glasgow has a lot of
the same qualities as Vancouver,
and its vibrant arts scene is what
I think Vancouver could have, but
doesn't," explains Clapp. "But
Vancouver is inescapable for me;
it's where I've decided to make
my home as a musician and a person. [When] in Glasgow, I miss
being able to see the mountains
and the ocean," Clapp continues,
"Each city informs how I see the
other."
The separation is important in
a technical sense as well. Dada
Plan's Malcolm Biddle fills the
role of producer in Vancouver, and
gives the album a sonic diversity it
might not otherwise have. Biddle's
distinctive drum machine stylings
are present, as is the lazy, alluring saxophone of his brother Dave
Biddle. If this is the Vancouver
sound, then I'm fine with it, and
Clapp is too: "I've always wanted
to have records that sound dif-
H
n Qmi
"I DON'T WANT TIT I
SOUND LIKE USHER
ANYWAY
ferent all the way through," he
"explains. "It's bad enough that
all my songs have the same two
chords going back and forth, I
don'fneed all the songs to be produced thVsame way as well."
The koriy^Of-Clapp's "Tim
The Mute" moniker has never
been more apparent than on this
release. In reality, Clapp has a
lot to say. Vancouver is detailed
in sharp relief, with Clapp referencing Broadway Street and local
musician Joe Passed in the first
few lines of the album. His lyrics
hone in on details, but the choruses have broad, relatable sentiments/ sung in a warble — the
genuine nature of which overcomes a lack of technical skill.
Clapp's voice is one of the most
distinct in Vancouver, and this
isn't lost on Clapp himself. "I
thought I'd never be a musician
because I'd never really been
able to sing. But one day I just
stopped caring if I sounded good.
I don't want to sound like Usher
anyway."
I wonder how someone with
this positive disposition can be so
lyrically tangled with death. Clapp
has seen his fair share of loss, and
I realize that for him, being cheerful and being depressed go hand in
hand. "I don't like watching movies with death in them because
that's always what's in my mind
anyway. I'd rather watch Paul
Blart: Mall Cop, because it's kind
of a break." This is such a good
metaphor for Clapp that I write
it down and underline it twice.
Clapp is Paul Blart looking into the
overwhelming shadow of death —
sacred and profane at the same
time. "When you're so depressed,
you have to laugh at it. Everything
about it is sort of funny because
it's pathetic. I think humour is a
coping device in some way, and a
very valid one. If you're thinking
about sticking your head in the
oven, just put that in your song,
because it's funny, y'know?"
Something about Clapp's
writing reminds me of
anxiety I had as a teenager. I mention this to Clapp,
and he doesn't seem surprised: "I
know what it's like to be a frustrated teenager wanting someone
to reach out and talk to me," he
says. "Records did that for me.
Records are what kept me going
for the last 15 years. If I can reach
out to someone else in the same
way it was done for me, then
that's what I'd like to do."
Listening to Clapp speak about
recording in between countries
and in between mindsets, I think
about the ideal listener for this
album: someone in between, in
transition, confused. Maybe it's a
teenager, or maybe it's anyone.
ft
Tim The Mute plays an album
release show November 2 at Studio
Vostok, accompanied by Sleuth,
Gesture, Malasada, and surprise
guests. For more information on
Kingfisher Bluez, past and upcoming
releases, visit kingfisherbluez.com.
TIM THE MUTE A Heal Hue
Action
PSYCHIC TV/MAGNETICRING
OCTOBER 1 /VENUE
On October 1, experimental music pioneers and culture reprogrammers i
Psychic TV came to Vancouver. The ever-evolving collective, led by the <
one and only Genesis P. Orridge, last performed here in 2001.
The opening act for the evening was Magneticring, a.k.a. local artist
Joshua Stevenson. He delivered a beautifully crafted offering of synth drones (
and gently evolving layered sound, reminiscent of some of PTV's earlier work <
— a good fit for the bill. •
After a gear switch-over, Genesis walked •onto a dark stage and people '
in the crowd started to notice s/he was up there. Through the ensuing noise
of the crowd, an effected guitar droned on one high-pitched note, then fuzzy (
synths washed over the room. The stage lights rose to an ominous red glow, <
revealing Genesis, bassist Alice Genese, guitarist Jeff Burner, keyboardist <
John Weingarten, and drummer Edward O'Dowd. Genesis looked out from *
behind what resembled a church podium.
A mesh of ancient iconography and symmetrical psychedelia, hypnotizing ,
and lucid, was projected onto the stage backdrop. <
The sounds began to transform and they launched into the first song of *
the night, a cover of Harry Nilsson's 1971 track "Jump Into the Fire." After the
chorus — a repetitive plea of "We can make each other happy" — the song
came to a close and Genesis made a small request "You ail look so stiff, just ,
standing there. Let's try a little exercise. Turn to your left, and smile at some- <
one vbu don't know." . <
ITWIN RIVER/FEVER FEEL
* OCTOBER 1 / CHINA CLOUD
q     ■ spent a good amount of time this summer with Twin River's'sophomore
• ^F LP Passing Shade and couldn't wait to get out the door to see them in
• the flesh. Arriving at the China Cloud more than a little early with the intent to
* sit back and let the anticipation build, I watched everyone slowly filter in while
a Stone Roses album played over the speakers. As reclined on the faded
0 couches, the small candlelit room was buzzing.
First up were Calgary four-piece Fever Feel who electrified the room with
groovy throwback psych-rock. Their set proved a perfect complement to the
vintage vibe of the China Cloud with its worn rugs and softly glowing lamps.
Heady effects flowed forth from Logan Gabert's guitar while keyboardist
Thomas Piatt provided mellow organ tones on a classic Korg. Their dynamic
set defied expectations set by their 2014 EP, which has a much more modern aesthetic. Here, they flowed seamlessly from blissed-out guitar jam "Lose
Your Mind" to a slinky R&B number that had people dancing up at the front.
Their classic sound may not have been anything I hadn't heard before, but the
set was tight and more than a few attendees made certain to confirm the band
name after the show.
In between sets I grabbed a beer and wandered up to the front to have a
look at Twin River guitarist Andy Bishop's impressive pedal board. As I stared
at the mesmerizing lights blinking on the pedals, the house lights dimmed
and Twin River took the stage in near darkness. Opening with the brooding
"Hesperus," shimmering guitars and crashing cymbals slowly washed over the
crowd drifting towards the stage.
At first the relaxed atmosphere of the China Cloud seemed at odds with
the band's soaring sound and high energy, and the crowd's reaction seemed
to lag behind. However, that did not last long. The band really hit their stride
when Bishop took his lead vocal on the blistering "Anything Good." From there,
thev settled into a tiaht aroove and thrilled with a mix of tracks from their
two LPs. The up-tempo cuts were
highlights, especially the extended
outro to the crunchy garage rock
of "Baby," which featured Bishop
putting his pedal board to good
use with waves glistening reverb
and delay.
Singer Courtney Ewan's vocals
were bright and clear and her charisma on stage was infectious.
Towards the end of the night she
chat with Mick Fleetwood before
he performed at the Hard Rock
Casino. The take home message
for her was clear: that it's a blessing to be able to play and perform music. I certainly felt blessed
be able to step off the streets of
Chinatown and into the welcoming China Cloud, where the atmosphere was friendly, the mix was
er of giggles and chatter among the faithful congregation, s/he (
w we're going to up the game a little. Turn to your right, and hug <
a stranger. Now everybody's happy!" (Yes, you can keep your edge-monger <
status and do the peace 'n' love thing.)
Gone were the tape-loops and make-shift effects of Psychic TV's early performances, replaced by digital technology. There were no shortages of sam- <
pies, though, including fragmented lectures on consciousness, notes on the (
darker states of human sexuality, and a murder monologue. Combined with '
h/er gentle and empathic presence, these samples created an artful tension
of the violence and divinity that characterizes the band and their view on the
A highlight for me was the most rousing performance of "Greyhounds of (
the Future." Genesis chants "Nothing matters but the end of matter" and after *
a few repetitions the song begins: "Memories tell us one thing / Everything1
must go / We are born sounds / Made names / Trapping matter with language."
During a lull in the song, s/he expounded passionately about how some pro- <
mote hatred and intolerance in the name of Christianity — a monologue which <
was enthusiastically received.
"After You're Dead, She Said," from their album Snakes, concluded the '
early show. As the Thee Temple ov Psychic Youth opened its doors, spilling
its initiates out onto Granville, hordes of kids eager to dance to Top 40 music (
milled about the street, as the venue switched from early concert to lull-night- (
club mode.' Watching the kids lined up to get into the club, I had no doubt in •
my mind that they were also looking for their own little piece i
perfect, and the b;
in top form.—Dylan Joyce
• JOCK TEARS / THE JINS/BASIC NATURE
| OCTOBER 7 / MATADOR
I ^^1 escending a set of wooden stairs, I was greeted with the graflitied
► ^J walls and cosy atmosphere of the Matador. It was a small, intimate
room that soon became filled with people looking for a good show on a Friday
. night. Familiar greetings echoed through the venue as those already present
I mingleoj-on-couches and benches, waiting for the opening acts to start.
I     The lights dimmed and The Jins, a local and well loved three-piece,
► opened the night with an impressive wall of energy that overtook the packed
basement. Ben Larsen's sharp gritty guitar, Jamie Warnock's heavy drum
. beats, and Hudson Partridge's thrumming bass stirred the crowd and filled the
I small room with their signature grunge rock sound. There was no shortage of
I passion from any of the members as they edged the crowd on with songs like
* "I Was A Boy" and "Call On Me." People crowded to the front to cheer them on.
It was a loud and fun way to start off the night.
Basic Nature followed, transforming the musical energy from The Jins
I and recreating the captivating atmosphere. On tour from Winnipeg, the two-
» piece band's rippling reverb spread through the basement venue. The crowd
' quieted down for a blend of dream pop, ringing melodies, and steady beats
— all around, people were nodding along to songs from their record Circles
. and Lines. Guitarist Lyzie Burt and drummer Claire Bones — both providing
vocals throughout — were enthusiastically received after every song. Burt's
loop pedals created impressive layers of guitar that complemented the catchy
rhythms all the way through their set.
Two opening acts later, the crowd was energised for Jock Tears. Playing
their short, sweet tunes, filled with passionate energy from their new release
sassy attitude, Jock Tears got the room moving. Vocalist Lauren Ray moved
around the floor and danced on top of amps, overlooking the moshing crowd
as bassist Lauren Smith, guitarist Spencer Hargreaves, and drummer Dustin
Bromley made a crescendo of noise that filled the bones of everyone in the
room. Their enthusiasm was contagious; Smith's huge smile was a beacon on
stage as the night was brought to its climax with performances of songs like
"super scar" and "coppertone girl."
If only a little too short, the night ended with a round of grateful "thank
you's" from the band to the crowd and the opening acts. Packed into the small
venue experiencing each band's unique sound surrounded by likeminded
music lovers, ft was a perfect way to spend a Friday night.—Yu Yan Huang
THE JOEY ONLY OUTLAW BAND / GERRY
HANNAH 6 THE NEW QUESTIONING
COYOTE BRIGADE/ROTARY PARK
OCTOBER 7 / WISE HALL
There was a hum about the Wise Hall and a timeless sense of gathering, with the room sensually lit by faux-candle chandeliers and strings
of bulbs pinwheeling out from the mirrored ball centred high on the roof.
Calgary's Rotary Park, the first act of the evening, stepped out onto stage and
aligned abreast forming a five-piece string band.
Harmony arose from the quintet, opening with the gentle Tumbleweed."
The song was complete and embracing — warm like the lights above.
Surprising the audience by leading away from traditional songs, Rotary Park
played a New Orleans' style "Goodbye Baby Blues" transitioning into '50s doo-
wop, then seamlessly linking with a metronome and a full rendition of Pink
Floyd's Time." Rotary Park's eclectic and impressive set — and their second
time to the Wise Hall — proved their talents.
Vancouver based Gerry Hannah & the New Questioning Coyote Brigade
took the stage next. Armed with an Epiphone and ironically wearing a sleeveless shirt emblazoned with "Alcatraz," the local punk icon and his band got
straight to business with the rocking "Like A Fire," from his 2014 release,
Coming Home.
Between songs, Hannah told a brief story about getting out of prison and
being told by his parole officer at the time to "quit that anarchist club" and to
"marry a respectable woman and settle down in the suburbs" — the following
songs were his response to that "voice of authority."
"21st Century," a song from Hannah's early days with The Stiffs, charged
the crowd to their feet. With subversive iconoclasm and examining lyrics,
Gerry Hannah & the New Questioning Coyote Brigade kept their rock relevant, exploratory and engaging.
The Joey Qnly Outlaw Band took the stage, on a whirlwind tour from the
Cariboo. The crowd, reflecting the diverse mix of the night, were on their feet
and dancing immediately, largely unwavering for the full and powerful set from
Only & the Outlaws.
Calling for a "resource revolution," he introduced the title track of his freshly
released album Wo More Trouble in the Peace, questioning the legitimacy of
current industry policies, while the crowd keeps dancing.
The band, featuring longtime double-bass player Ed Hanrahan, drummer
Sean Scallion, lead guitarist Mike Vigano and 8-string lap steel guitar wizard
Steven Drake, gave it their all as Only continued orating his fables, strange histories and legends — "The Stompin Tom Story," "Fire On Anarchist Mountain,"
and "Midwest Festival" all came out of his stash of hits. Returning to the new
album, the epic requiem "A Tempest Wind" brought a sombre reminder of
impermanence and carried the atmosphere into a long introspective jam. The
crowd's enthusiasm was spurred on for the other country punk tunes, like the
party pleaser "The Stupid Fucking Things I've Done."
As the show drew to a close, Joey Only set his guitar down after reciting
the verse of "One Last Song" singing: "Maybe this will be my last song / Oh
friends to stick around, have a drink and catch up. The Outlaw Band finished
strong as Only stepped down from the stage and into the crowd, immediately
embraced by friends. —Dan Moe
1REAH, LIVE1 ACTION RHONEIL / SISTERS OF SEANCE /
GRAFTICIAN
OCTOBER 7 / THE EMERALD
Up the stairs, down a hallway, and around a corner, I made my way to
the back room at The Emerald. It was an intimate vibe from the start
as two of the performers, Rhoneil and Graftician, personally greeted me when
panelled walls, hung picture frames, and high back chairs, the kind my grandma used to have in her apartment.
I sat at the bar, waiting for Sisters of Seance to start the show, when I
noticed a pale blue glass skull staring at me. "It just showed up one day, and
it's super weird!" the bartender said, as she saw me taking the skull's picture.
Looking back, it could've been foreshadowing for the oddities I would experience that night.
When the lights dimmed and the background music stopped, everyone
took a seat on the floor, in a semi circle around the stage.
Sisters of Seance opened with the sound of howling wind and a video of
water on a projector screen. Snarls and inhuman sounds took over against
ominous black and white imagery. Naked breasts, a sullen boy, ghostly figures walking backwards — the music slowly began to remind me of Stranger
Things — closeups of eyeballs, a black peacock, a disembodied hand. What
did they have in common? Suddenly it turned violent, as men barged into a
psychiatric asylum, beating patients in their beds.
The climax came when a sample of a woman screaming began to play on
repeat, the closest thing to vocals in the whole set. I saw the guy beside me rip
up his black napkin and stuff it in his ears. He smiled at me, and I smiled back.
We were all excited, wondering what would happen next. Sisters of Seance
ended the set with shots of a girl lying on the floor as the scene faded to black.
When Graftician took the stage it felt noticeably cheerful by comparison.
She used colourful background visuals of hands snapping and clapping,
matching the sounds in her opening song, "Modern Girls."
In between sets, a girl shouted from the audience "Play the Cigarette
song!" I wondered why it was called the Cigarette song, but then Graftician
sang the line "Sweet smell of cigarettes / And I want your sex."
Before Graftician finished, she shared a story about her mom. In a
Trinidadian accent impression, she said: "My mom's always giving me dating
advice... They are all the same. Just pick one."
Next Rhoneil took the stage and opened with the slow haunting vocals of
"(Y)our Light," which showed off her live looping skills. She was compelling to
listen to, with her unusual sounds and spiritual lyrics. Rhoneil was also a sight
. to behold, bordering on performance art swaying side to side while plucking
her autoharp, wearing a furry hat.
As the show ended Rhoneil thanked Luka Rogers (Sisters Of Seance) for
playing his "creepy stuff in the beginning, and Roxanne Nesbitt (Graftician)
for putting the show together.
The smell of blown-out candles filled the air as I spoke to Rhoneil after
the show and picked up one of her posters. On my way home, the lyrics of
Rhoneil's last song played in my head: "I'll show you freedom / Freedom /
Freedom / Like you've never heard before." I stared at the poster she gave
me, and wondered if it looked like a mothman's face was staring back at
me. Considering the show was full of the beautifully twisted and sometimes
strange, it seemed an appropriate thought to end the night. I'm still wondering,
what's real?—Danielle Can
SCENIC ROUTE TO ALASKA / PEACH PIT
OCTOBER 8 / MEDIA CLUB
The Media Club is a strange fusion of half basement, half concert hall.
The ceiling is adorned with plastic chandeliers, a disco ball hanging still
over a dingy wood floor. On the night of October 8, wherever I looked, I saw
five-panel hats, flannels, and jeans rolled at the ankles above pairs of hiking
Peach Pit owned the stage the second they started playing. With an
onslaught of songs, occasionally crossing chillwave with offbeat reggae dub
into a fun frankenstein of surfy dream pop, their energetic performance made
sure that everybody present was going to have a good time.
Their rhythm section was made up of "Mellow" Mike Pascuzzi on drums
and Peter Wilton, clad in tan coveralls, on bass. Throughout the set, the drums
bounded and rolled while the bass lines grooved, and they'd erupt into thunderous end-of-song breakdowns. The second the beats broke, lead guitarist,
Christopher Vanderkooy, delivered furious solos with jumpy melodies that kept
Jaws dropped in amazement while the rest of the band convulsed around in
dedication to their Jamming out. Frontman Neil Smith played his Danelectro
guitar with a familiar shimmering chorus effect, signature to Mac DeMarco's
brand of slacker rock.
His lyrics floated between being light-hearted and bone-chilling, but stayed
intriguing nonetheless. One song in particular, "Tommy's Party," was a boozy
ballad that perfectly emulated the unbalanced drunken shuffle home after a
long night of overconsumption. Smith sang, "Now she's knowing you / Just
like I used to," adhering even more substance to the song than just substance
It's almost criminal that
ing on a sunny Californian coast, lives in the
depressing weather of Vancouver. Peach Pit
played together with noticeably great band
chemistry that they effortlessly turned into a
very well rehearsed joyride.
Admittedly, Peach Pit were a very hard
act to follow. Edmonton's Scenic Route To
Alaska — the night's headliners — played
pop that more than resembled country rock
at times. Some bass lines were perfect for a
rodeo line-dance, to which some audience
members actually obliged.
There were plenty of drawn out "Ohhj
Ohh, Ohh" hollers from singer Trevor Mann,
singing with unapologetic and relentless
vibrato. Mann sang some awkward phrases
such as, "She will let you deh-eh-own," prolonging "down" into a three syllable word, or,
"Love has brought me to my knee-ee-ees."
Speaking of love, a lot of the lyrics were
band, which sounds like a perfect day of surf-
them for the tautology of their name. They played out of the awkward fish tank
that was Stage Two. Touted as lo-fi garage country and sometimes compared
to the Black Lips, I discovered Dead Ghosts were more original than their critics give them credit for. I did find my body moving forward and back to songs
I'd never heard yet somehow knew. The restlessness of the day had fallen
away, making room for dancing and general merriment to be had by any on
it. "Your lo
" "Your low
i keeps calling me
o / and I just can't
se love." Alright, already. "I
back," "You're loving
go on," "One day is a
angst involved at all," Mann exclaimed sarcastically between songs. Ironically
enough, he was right; there really was no angst at all. Regardless, you could
tell Mann was having a great time, even if the other members weren't as
enthusiastic. Still, the band was given an encore that kept the crowd dancing
and singing along. The audience was thrilled, and at the end of the day, that's
all that matters.—Aldan Danaher
PSYCHFEST3
OCTOBER 8 /
SOUND CLUB
^1 sych as a genre had its auspicious beginning in the early '60s, as
<AP L.S.D. and consciousness raising swept over philosophical, social,
academic and artistic spaces. Music, too, was forever altered by this wave
of psychedelia. Rock, folk, jazz, country and, of course, the blues were influenced by this tsunami of experimental hijinks that reverberates, literally, to
today. Psychfest 3 embodied the psychedelic theme by blending and bending
surf, punk, rock, doom, blues, alt-country, and noise all together in different
measures. I found some of the unsanctified great grandchildren of this movement playing their instruments, mixing it up, and dancing it out.
Sixteen bands rotated between three stages in Fortune — one stage great,
and two terrible. The people were a mix of beardos, hoodies, jean vested, the
leathered, the sweatered, the up-do'd and the dyed.
I was in time to catch a set by Vancouver-based Hallow Moon. If you haven't checked them out yet, and you like hip-swinging bluesy groove dream
folk-rock, check them out immediately. I
have been playing an electric ukulele — I
My only real complaint of the night w
third level of Fortune, the second stage (V.I.P. a
rounded by a divider and benches with a tiny
break toward the dance floor where the In
could squish up against the 'stage,' five people
wide. You couldn't reaJly get-a^podjogtatlhem I
unless you were pressed up against the barrier I
on the sides. The people always passing by to go 1
to the bathroom were a distraction to the m
Next up, was Arizona's psych-noise-punk 1
band Destruction Unit. Faithful to the psychedelia I
descriptor of the genre, their concept cacophony I
was high and under the influence. The five m
bers deftly deconstructed their music and made I
sound manifest chaos. They played through a I
half wall of Fender and Marshall amps, and they I
played loud. Even though I couldn't make out any I
more than the shadow of the di
hear their groove woven through It al
The Vancouver garage band, Dead Ghosts I
played next. After I heard them play, I forgave |
Then there was L.A. Witch. What a band! By the time they got to the song,
"Drive Your Car," I was mesmerized. (In fact, IVe played the song at least fifteen times since.)
To be honest, I didn't want to tell you that they are an all-female band
because that distinction is so problematic, but fuck it. These women knew how
to the hold this male dominated psych-space. Bassist Irita Pai and drummer
Eilie English sustained the three-piece while Sade Sanchez threw down vocal
distortion and dirty dissonant notes on her guitar. Link Wray himself couldn't
have asked for better reverb junkie twang. LA. Witch was on the stage, making their own music, haunting the oost-surf^ofcrock(»rridors1'feJJjgy,h8d-
forged them in the first place.
Vancouver's Wandering Halls, were the last band to play after we were all
ushered down the stair to the sub floor, The vibe from upstairs did not translate to the sub floor as the evening grew short. During their opening number,
"Mirror Talk," the bouncers and staff from upstairs were frantically coming and
going trying to get everything ready for the second shift of the night. With
nowhere to sit, lean, or look and with a terrible stage sound, I bailed two songs
in. I had no mind or mood altering substances surging through my body to buffer the adventure. However, many did, and many stayed, and I hope they had
a safe and experiential journey home.— Oona Krieg
REAL,LIVE ACTIPN
J Unbet
Heoieo)
The Vancouver band Ponytails has a lot going for it. It was produced
by Felix Fung in the prolific East Hastings studio, Little Red Sounds.
Ponytails only formed in March 2016 and just nine months later they've
released their first E P.
Their self-titled EP opens with the buzz of a harmonica, followed by twangy
bass and guitar in the song "Young Hearts." Abruptly, the drums kick in and
the guitar takes on a surf rock tone. A monotonous bass line leads the charge
of the next song on the EP, "Despair." Reverb tinges the instruments and
vocals — a light scuffing to make the sound a bit less polished. Yet, their talents show through the distorted surface.
"Pieces" and "Old Ways" share the glittery, high pitched guitar sound of old
surfer rock. These tracks are probably the strongest of the EP. Interesting guitar riffs, distant-sounding vocals, and crashing, high energy choruses are what
separates the band from being just another indie band.
"Love To You" is the EP's slow, romantic song. The cymbals dawdle in the
back as the guitar carves out a more complex pattern and the vocals moan.
The lyrics are a bit too direct for my taste. The vocalist repeats, "I just want to
feel more of you / And I can't wait to make love to you." The song has such a
sentimental tone, yet the lyrics are a bit crass. However, the vocalist seems
authentic.
The last song, "Next Time" leads with bass, and after a few beats, features the whole ensemble crashing in together. "I'm so so sorry / for all those
days /1 put you through," vocalist Harvey Merritt sings. The narrator recounts
where he went wjgrrfln a past relationship, and reflects on how it affected
his partner.
The themes of getting older and ruminating on relationships aren't revolutionary, and the sound isn't remarkably distinct from other indie acts in
Vancouver or elsewhere. However, none of it is particularly unlikeable. Their
take on surfer rock is interesting. It has notes of '60s bands like Surfaris and
The Sandals. In the local context, they're situated somewhere between the
indie pop of Winona Forever and the grit of Eric Campbell and The Dirt.
Altogether, they fill a niche that could really set them apart. I hope they chose
to accentuate the surf vibe in future endeavors. After all, as long as there's
a foundation of true skill, experimentation will be the next stage.— Kat Kott
HIGHLAND EYEWAY
Royal Green
(Self-Released)
C£ighland Eyeway blends the perfect ratio of drone, noise, and psychedelia
I linto an impressive EP, where each track complements the others without repetition. Moments of massive, energy coexist with more relaxed rhythm
sections containing spacey guitar effects that wouldn't sound out of place on
a Tame Impala song.
Royal Green begins with a drone heavy intra in a two-part song titled
"Geostone." Arising from the guitar's growl we hear what sounds like the inner
thoughts of lead vocalist Houston Matson-Moore: "Discover each other / Do
you love your mother?" Part two transitions from the drone at exactly the right
time to keep the listener engaged. It becomes a gentle melody, filled with rhythmic strumming and a trippy reverberated guitar that slowly grows in volume,
ending In a fast paced drum driven outro, finally crashing to an explosive close.
The end of "Geostone" is a gradual renewal. A slow strum meets drums,
sending this song into a full noise jam session. "Fryin"' is the song you want
to listen to while swerving between cars on a freeway. "Rock Paper Scissors"
features the same kind of heavy rhythm jamming. Ifs a beautiful track that will
have you headbanging.
ies at the end. "Pathways" contains
incredible feeling of renewal through
bit of sorrow in your spit / Makes me
of me" seems to be referring to the
ip, and considering what their true
The psychedelia of this album c
some of my favourite lyrics, evoking
lessons learned. The line "I taste a li
wonder what you're trying to / Get <
singer looking back at a br
intentions had been.
Royal Green concludes with an instrumental track, featuring an impressive
outro of noise. Throughout this EP, Highland Eyeway successfully melds three
different styles into five cohesive songs.. Together, they take the listener on a
path of introspection. —Rahul Jobanputra
MIESHA AND THE SPANKS
Stranger EP !&MM^^
(Saved By Vinyl)
miesha and The Spanks' Stranger EP is short and feisty. Arriving at
the Discorder office as a 7-inch in a colourful jacket with juxtaposing A-side and B-side covers, it is a loud introduction to a couple singles by
the Calgary duo.
A-side is a semi-narrative single, "Stranger." The chorus is contagious with
cyclical lyrics: "I wanna love love love love love /1 wanna love love love love
love /1 wanna love love love love love like nobody else." It is a well produced
punk rock song, perhaps begging for garage punk status.
"Motorin" is the B-side track with sharper and more defiant lyrics. Miesha
carried by the energetic drumming of Sean Hamilton. It ends suddenly with a
wisp of guitar feedback, and the record needle lifts.
I am left wondering if Miesha and The Spanks isn't a one-trick pony.
"Stranger* and "Motorin™ are both fine songs, but for a two-song EP the repetition is overkill. Can Miesha and The Spanks write an earworm without relying
on repetitive lyrics? We'll soon find out — they plan to release a full album in
2017. Hold hold holdir
BRUTALYOUTH
Sanguine
(Stomp Records)
Toronto via Newfoundland punk rockers Brutal Youth signed to Montreal's
Stomp Records in late 2015 before releasing Sanguine. This firecracker
of an album gives listeners the back-to-basics in hardcore punk, while simultaneously throwing curveballs to the punk rock regulars. The band is known
for mixing classic punk elements with pop-punk vocal sensibilities. Sanguine
showcases the band's ability to toe the line between underground and mainstream perfectly. The fourteen high-energy tracks on the album are cohesive
and fast-paced. Most of the songs are short, peppered with machine-gun
drumming, bashed-out bar chords and singer Patty O'Lantern's screeched
vocals. The album doesn't reinvent the wheel in any way, but it does provide
the listener with just the right balance of common and time-honoured punk
rock and new twists on the hardcore punk genre.
Sanguine is divided into the five stages of grief: "Denial," "Anger,"
"Bargaining," "Depression" and "Acceptance." This concept is unique and
cool, though I find the tracks don't vary as dramatically between stages as
I might have expected (with the exception of "Denial," which is the mellowest part of the album). "Denial" is the opening stage of the album and sets
a doomy, sludge-metal tone until the songs shift into "Anger" on track four.
The energy picks up noticeably on this track; fans of skate and crust punk will
enjoy every song from here on out. The band manages to maintain those clas
sic elements of speed, high-velocity strumming and discordant noise-making
while mixing in some rockabilly on "Hostile Work Environment," and even pop
"woahs" and melodies.
The songs explore the human condition with lyrics addressing themes of
loss, betrayal, suicide, death, and hope. On the title track, O'Lantern screams,
thing to do / Is just trust yourself and see it through." Despite the grim theme
of Sanguine, the listener gets the sense that there is more to Brutal Youth's
perspective on death and loss than frustration and anger.
This is most apparent in the second-to-last track, their tribute to Todd
Serious, late front-person of local punk legends the Rebel Spell. The song is
the crown jewel in an album fraught with existential anxiety and grief, paired
perfectly with the desperate vocals and frantic guitar and beats that accompany every track in this album. Although not every song is distinct, there are
a few pieces of ear candy, and just enough unexpected moments thrown in
to distinguish Brutal Youth from every other hardcore band playing the Bovine
Sex Club this year.
I liked the balance between the harder aspects of the album and the musicianship. It's obvious that although Brutal Youth have their feet planted firmly
in the roots of their genre, they're not afraid to take some musical chances,
and Sanguine benefits from their risks.— Dusry Exner
CYRILLIC TYPEWRITER
Your True Emblem
(Jaz Records)
Dn On the eve of a storm, I sit on a roof and watch as a blanket of clouds
cover the city. Piping through my headphones, Cyrillic Typewriter plays.
The skyscrapers become lost in a pearly opacity and things seem blunted.
This is the end of warmth. As the song "Slicing the Black Wave 3" hums in my
ear, I feel cut off and small. Music can be abstract without being emotionless.
Helmed by Jason Zumpano and accompanied by fellow Destroyer alumna Scott Morgan (Loscil), Nic Bragg, and Terri Upton (Frog Eyes), Cyrillic
Typewriter take cues from experimental forefathers. George Crumb's Black
Angels and Arvo Part's Fratres, for example, both capture a similarly bleak
mood without any vocalization or even an adherence to structure. On Black
Angels, Crumb utilizes silence as a way to link discordant sounds. As a result,
the listener is kept in constant suspense, forfeiting the ebb and flow of something larger than oneself.
Midway through the piece, for example, a piano shudders out a few solitary
notes. But where Crumb shuns coherent climax, Part embraces it, choosing
to lead the listener along.
These kinds of orchestral and compositional tools inform Vancouver's
Cyrillic Typewriter on their most recent outing, Your True Emblem. As a result,
this release goes beyond the cheap crescendos that mar contemporary Post-
Rock (a la Explosions in the Sky). Rather than a cacophonous increase in
volume, Cyrillic Typewriter conveys emotion through subtle sonic Interplay.
On tracks like The Jeer," for instance, the cutting sneer of a bowed guitar
becomes interlaced with electric piano. Both grim and ethereal, these two
instruments seem at odds with one another. But they soon become inseparable, weaving in and out of each other till a complex tapestry is formed.
Crumb uses discordant sounds to bludgeon the listener into submission, and
Cyrillic Typewriter avoids easy melody, concentrating instead on a larger musical movement and feeling.
At other times, Your True Emblem relies on repetition and the isolation of
singular instruments. On "Sad Mud," the lone chimes of an electric piano are
left to linger, as if threatening to fade. Likewise, "Built Echoes" begins with the
bass bellowing mournfully and alone. In these moments, Cyrillic Typewriter
is most accessible. In this minimalism the listener feels an almost meditative
calm. Complexity and cloudy emotion fade away. But these are always fleeting
moments. Soon, a blanket of sound surrounds you once again. — Maximilian
I UNDER REVIEW , ^% t doesn't always take the loudest band to garner attention. Despite the
^P fact that Patrick Geraghty, lead vocalist and songwriter for Gal Gracen,
has mentioned on multiple occasions that his intent was to create pleasant
background music, The Hard Part Begins goes a bit further. While it might
be dream-pop, theatrical elements, lush vocals, and quiet elegance hold it to
a higher standard than just "background music." The band's third album has
a similar vibe to previous recordings, but offers a more fantastical quality. It
could be fitting for some sort of new-age fairytale, and that's meant in the best
way possible.
Songs flow nicely into one another, but are also beautiful on their own.
The opener, and title track for the album, The Hard Part Begins," is a dreamy,
classic crooner dusted with warm guitar and low warbling vocals. Geraghty's
voice is reminiscent of vocals you may have heard in your grandparents' music
collection. It's nostalgic but remains fresh. But what keeps Gal Gracen from
sounding dated is the drone of synths, which creep into the following track,
"Sincerely Baby Dumpling." The lyrics to this particular song describe the usual neurotic thoughts of a wallflower in love, and a delicate piano sets the tone
for a sensitive ballad. While things seem to be floating along in the same
direction of the expected odes to the socially cautious, elements of '60s psychedelia, much like Donovan, are met with surfer rock in "Who Is Standing
By The Door." It's a nice touch, and the gentle acoustic undertones behind
the electric twang create a warmth behind Geraghty's voice. The final track,
"God's Country," is once again a nod to the '60s but with a more wistful, ethereal quality. It's a hushed song and makes an excellent closer for the album.
There is a sense of modesty that comes along with Gal Gracen's music.
Despite the textured layers of beautifully orchestrated instruments that glide
listeners easily through the album, one can't help but wonder if the band is
holding back. Maybe not everyone in the room is noticing the intricacies of this
album, but it's still worth throwing on if you're in need of some mood music.
— Evangeline Hogg
F.LO.W.
AKTUELSHABAZZ
F.LO.W. Vol/.
(Self-Released)
^E.LO.IV Vol. I reads like a personal anthology of Atku El Shabazz fight-
^k ing for the spotlight as an independent rapper, and communicating his
experience of black identity in the twenty-first century. The Brooklyn turned
Vancouver-based rapper's debut release has character, teems with confidence, and features a nostalgic production quality.
The tracks on F.LO.W Vol. I are highly influenced by Beast Coast rap,
especially concerning the production. Samples from icons — such as MF
Doom and Pete Rock, to name a few — make their way onto the album. The
project also takes on elements of jazz and old-school hip hop. The punchy
lines and tongue-in cheek lyrics are reminiscent of lyrics that might be written
by the likes of Flatbush Zombies and arent afraid to delve explicitly into the
realm of race politics.
Throughout the album featured artists are incorporated sparingly. They
seem to act as hype for El Shabazz, never stealing the spotlight. The supporting rappers cleverly propel the story of each song, and help facilitate an
interesting dialogue.
El Shabazz raps boldly, referencing his hustle as an unsigned rapper. The
overarching theme of the album is a genuinely elevated self-esteem, and an
underlying self-awareness. "F.LO.W." the opening track on the album, contains an intro featuring excerpts from "Genesis 1:9"; when taken with the rest
of the lyrics on the track, would reflect a new beginning, or rather, a very boisterous introduction to El Shabazz's emergence in Vancouver's hip hop scene.
"All the Way Live" reminds us that there are moments of easy-listening and
lackadaisical lyricism dispersed throughout the rest of the album's intensity. "I
AM" is easily the highlight of the album, with features of smooth jazz, punchy
drum machines, and El Shabazz's most political lyrics — "Black anger/ Black
youth / Black hoodie / Bag of skittles / Arizona, don't shoot." The song reads as
.an homage to his identity and forms a critical commentary regarding systemic
oppression and police brutality.
release, Atku El Shabazz brings his personality and Brooklyn
West Coast. F.LO.W Vol. I proves to be a vibrant self portrait, full
of personality and some punch to boot. — Tintin Yang
SEX WITH STRANGERS
Discourse
(Northern Light Records)
Sex With Strangers' Discourse does not set a strong first impression, but
there are moments of redemption.
The first two tracks, "Sand" and "Gift Of Fear" are drawn-out with repetitive
choruses that are less like earworms and more like parasites. "Wave In The
Clowns" is the first turning point of the album, demonstrating a complexity in '
composition and lyrics anticipated from a band on their sixth full album. The
complexity in arrangement continues into "Forget What You Know" with lyrics
like "You will discover in time / I'm not a lover with a solitary wish and that's
fine / Because I can't have all of you." "Forget What You Know" sets the theme
of the album as deliriously romantic, exemplified in "Broken" and "Beth II."
Discourse is nothing if not unpredictable.. An example is "WTFK" which
opens kind of chillwave or R&B before breaking into a standard post-punk riff
and an "ooo na na" chorus, featuring a wild guitar solo by Cory Price at the
halfway mark, and closing in a spacey fade out. As I write this review, I am still
undecided as to whether this variety of sounds is intriguing, or just distracting.
It is certainly not background noise.
The production of Sex With Strangers is tight, demonstrating producer
Jason Corbett's ability to capture SWS's musical talent, but the album's obvious mainstream appeal lacks the heart and quirkiness of SWS's live performances. Hatch Benedict's vocals are highlighted throughout, characteristic of
a front person, but Shevaughn Ruley's vocals, full and soulful live, are faint for
most of the album.
This is a decent album in the combined genres of upbeat post-punk and
new wave, characteristically danceable with the faintest glimmer of hard edge.
That being said, Discourse in conversation with post-punk and new wave does
not challenge the genres, but proves submissive to them in favour of the main-
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The balance of keeping Safe Amp
going and being as accessible as
possible can be painful. Holland
and Kott are quick to stress that
Safe Amp sees accessibility as
more than age: "We want Safe
Amp to be as accessible as possible, and that includes financial
accessibility."
Another aspect of accessibility
is simply increasinj^tff^ar^rjunt
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WOIDS BY CHRISTINE POWELL
ILLUSTMTIONS BY EHUA POTTEB
ninona Forever made it
to the semi-finals of last
year's Shindig battle of
the bands competition. Two of their
members were under 19 years old, so
they had to spend both performance
nights waiting in the lobby of the
Patricia Hotel. They were allowed to
come into the bar so that they could
perform, but ushered out immediately
after playing their last chords. They
weren't allowed in the room to hear
the results, and they had to wait until
the end of the night when the audience cleared to take their equipment
home.
Vancouver is a rough cultural landscape for the underage
community. To host an all-ages
event, a venue has to shut down
their bar. But most of the real
money made at shows is through
bar sales rather than door sales,
which makes hosting all-ages
events a tough sell for small venues. To make matters worse, a law
passed in 2012 made it illegal for
liquor primary establishments to
shut down their bars in the evenings. Law-makers were worried
that minors were binge drinking
before shows. If it seems counter-intuitive to shut down dry,
all-ages shows because of alcohol consumption, that's because it
is— the law effectively made safe
venues like the Rickshaw Theatre
inaccessible to minors, forcing them to turn to underground
venues.
The Safe Amplification Society
of Vancouver, or Safe Amp, began
in 2009 to champion access to the
music scene for people of all ages.
Operating out of Astorino's, they
hosted workshops, and up to 9
shows each month until they could
no longer pay the lease, and were
forced to shut down. Volunteers
scattered and momentum for all-
ages advocacy was lost. Until two
months ago —
I met with two leaders of the
new wave of Safe Amp, Heidi
Holland and Kat Kott to talk about
the future. Holland and Kott met
through UBC's Media Studies
Program and the local art community. The future of Safe Amp is
bright, led by people who understand the underage community
firsthand.
"I was 18 for two months in
Vancouver," Kott says, "and I
was considering getting a fake."
The frustration of being excluded
from the arts community because
of their ages drove them to action.
Of Safe Amp's seven directors,
three are 19 years-old and new to
Vancouver's music scene. "And
that can be a barrier sometimes,"
says Holland. "We don't know
how to do things like taxes! But at
the same time, we are kind of the
target demographic." This energy
is complemented by the knowledge base and relationship with
the community, cultivated by the
original directors.
Kott and Holland emphasize
that although it's a tempting
solution, illegal venues are not
enough for the underage music
community. "Sometimes we're
like, 'Wow, everything would be
so much easier,' but [Safe Amp]
has always done everything above
board. And that's what makes our
events inclusive." Kott adds that
it's the legality that allows Safe
Amp to advertise their events and
draw in as many people as possible. Word-of-mouth venues
are by nature exclusive to those
who already have access to the
community.
Bother possible catch-
22 for Safe Amp is funding. The population most
invested in Safe Amp's success
does  not  necessarily have  the
LIKE TAJtrSkBUT
ARE KIND OF THE
term goal of
reliable monthly
barriers to entry for new
bers of the communiMVhc
is also looMng/^SVigwaTn]
workshops to teaen screen printing, zine making, and more,
long-term goal of Safe Amp is
establishment of a permanent,
legal, sustainable, and affordable
venue.
Safe Amp's new wave kicked
off October 27 at the Russian Hall
with a Halloween cover show
featuring Phono Pony, .Wind-Up4
Birds, The Jins, and Frogpile. At
the time of this interview, when
asked how the event has been
received, Holland and Kott share
excited glances. Within the first
few hours that the Facebook event
was created, more than 100 people confirmed attendance. "It's
amazing the support we've gotten
since we released the event," says
Holland. "A lot of people really
love Safe Amp."
I admire Winona Forever for
believing that their music was worthy of recognition despite playing
in an environment that would have
seemed unwelcoming. Their current
success is proof that their faith was
justified. But we should consider who
is in the social position to cultivate
this audacity. Non-native english
speakers, newcomers to Vancouver's
music scene or other groups that are
not traditionally reflecting the music
community may be less likely to jump
through hoops like these. By giving
underage musicians, a platform for
their work, Safe Amp creates a welcoming environment for a variety of
voices.
Safe Amplification society has a
new website at safeamp.org. Check it
out for upcoming shows and ongoing
advocacy.
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licenced/ Patio'
Caveat Piaaa/
3240 Main St.
I
I SAFE AMP SOCIETY A REALLY FUCKING
GOOD BAM)
words by Leigh Empress
photos "by R. Hester
"I DEFINITELY DON'T THINK PEOPLE SHODLD UNDERESTIMATE
THE INFLUENCE THEY CAN HAVE SOMETIMES."
Under the glow of a billboard off Clark Drive, in
a location that is new to
me but familiar to them and the
photographer, I really see WANT
for the first time. Steph, Kate and
April form a tight triangle with
their faces turned to the light.
The faintest suggestion could
crack their cool expressions into
smiles, but they are pros. They
take themselves seriously. WANT,
or We Are Not Things, isn't your
typical hobby jam band.
On WANT'S Facebook page,
their description reads, "We got
tired of the 'girls can't be punks'
joke, so we started a band." I ask
if they've witnessed any change
in their community since forming
WANT and Steph responds first —
"I've noticed perception has
changed now being in a band.
I started going to punk shows
when I was in the seventh grade,
and I literally remember [hearing] casual sexism. To me, it was
normalized because I was used to
it. It was such a male-dominated
scene. They'd say jokes like, 'Why
can't girls go on tour? — Cuz
they'd bleed all over the merch."'
Steph continues, "Back then, people would say that if they heard a
girl band they would completely
disregard it ... [I decided] if I'm
going to play in a band I'm not
going to suck because I'm not
going to give those guys fuel to
say the stupid shit they want to
say. Now I don't encounter that at
all, and it's probably because girls
are starting to own their place in
hardcore scenes."
WANT certainly is. They
released a demo on Bandcamp
this summer and is releasing their
official tape demo November 18.
They have also recorded a 7-inch
to be released in 2017, and have
performed plenty, including the
opening slot for G.L.O.S.S. (Girls
Living Outside Society's Shit)
— a band that Kate describes
as "one of the most important
American punk bands to have ever
happened."
"When [G.L.O.S.S.] announced
they were coming to Vancouver,
as soon as I found out I was
like, 'Okay, we have to open that
show.' When we didn't get asked I
had to take a lot of deep breaths,"
explains Kate, "But then we ended
up on the bill and practiced more
than ever ... It was so worth it
because it was our best set."
Steph continues, "Yeah, I vividly remember looking at my
phone when [Kate] texted me,
'WE JUST GOT ASKED TO PLAY
GLOSS. THIS IS NOT A DRILL. I
RFJ»EA#|hIS IS NOT A DRILL.'
I remember because that was
a point in time where we were
struggling with our lineup and
feeling deflated, but those pieces
fell into place just oh so fucking
perfectly."
"You know when you go to a
show and everyone gets along
and there are no problems? It was
one of those shows," says April.
"I love it, that's like my way of
gauging if a show is good or not
— if the audience is playing well
together."
WANT is Steph on vocals, Kate
on drums, and April on guitar.
They play a brand of hardcore
punk best reserved for packed,
sweaty venues. On the topic of
venues, WANT attempts to play
exclusively all-ages shows, but
that's not always possible.
"I can't count the amount
of times I was fourteen or fifteen and couldn't see the bands I
really admired because I was too
young," says Steph. "Black Lab is
one of the few [local venues] that
stands out to me. When I think of
all ages venues, I think of the ones
that are already gone, like Casa
DelArtista."
"Because I grew up on the
Island, the first show I went to
here was at Mesa Luna. It
was amazing," reminisces
Kate.    "B.C.    liquor   laws
being what they are, it is so
hard.  It discourages  places
from being all-ages, at least
compared to the States — it's
a lot easier to find a bar that can
have everyone."
WANT is also open to touring,
having recently played at a
course in Kelowna with Gardener
and Drag — "The carpets
clean and there were really nice
mirrors everywhere. It was sick!"
says Steph.
"I grew up in
a small town, so
it's important for
me, even if it's a
lain in the ass, to
play those smaller
places rather than keeping it in
the city ah the time," says Kate.
"I definitely don't think people
should underestimate the influence they can have sometimes.
Especially when playing smaller
towns and all-ages venues with
younger people attending ...
Honestly, if there is one thing I
want people to get from WANT,
it's for girls to see us play and
realize they can do it, too."
It is impossible to divorce
WANT from the politics of being
an all-women band, even as Steph
states, "We don't want to be a
band where people are like, 'Oh
they're all chicks? I'm going to like
them automatically.' It's like, no!
I want people to like us because
they like what we're talking about
and they like our music."
Strength of the music aside,
when I ask about the topic
of consent and predator
culture in the scene, WANT is not
shy in responding—
"Punk has always been ahead of
the curve in terms of trying to be
better thcln greater society," Kate
iterates. "That's [the thought]
I always come back to when we
keep saying, 'Oh, there's so many
problematic people.' There are
abusers in every scene ... It's just
• a matter of how we react that's
different."
We speak about the child luring accusations against Jim
Hesketh, formerly of Champion
and True Identity, and everyone
agrees with the way the 1
munity responded. Friends and
fans released statements distancing themselves from Hesketh's
actions, and True Identity chose
to disband as a statement of solidarity with victims. "I think it's
really cool, but still what I see a lot
of and what frustrates me is men
speaking on behalf of women. I
use Jim Hesketh as a reference,
the thing I would point out is that
men try to dominate the conversation because we still haven't
addressed the underlying problem
of women being viewed as disposable in the scene — any musical scene — because we're seen
as somebody's girlfriend or tag
along, that we don't actually have
our own place," explains Steph.
"When dudes are like, 'Let's
talk about sexual harassment,'
it's almost like a pat on the back
for them," she continues. "I don't
think they're doing it intentionally, but they're still talking over
women ... So when I tell guys that
I am seen as disposable when I've
been going to shows for years and
years, that like, rocks their world
because they never considered
that. But that's like, every day of
my life."
Kate adds, "Basically, we need
to let women speak."
And that's at the heart of WANT
— the desire to be heard and have
others be heard, and to make
realty fucking good music while
they're at it.
Listen to WANT at
wearenotthings.bandcamp.com, and
check out their upcoming shows:
Sticks & Stones Fundraiser November
5 at the Matador, and their tape
releave November 18 at 333 with
Alien Boys. throughout the proceedings of the
RaggaPreservationSociety
EP, SKRS lead an expedition
through time, space and vibrational language like none has done
before."
So says the press release for the
latest EP from Richmond group
Seekerslnternational (often stylized SKRSINTL or SKRS), and
after an enhghtening conversation on their unique sound and
vision with members OG Papa
Coolbreeze and Papa Steady
Ranking, the claim doesn't seem
that far-fetched. In our brief chat
we cover a lot of ground, including their semi-mysterious identities, creative philosophies, and
the serendipitous inspiration for
RaggaPreservationSociety.
SKRS present a rather enigmatic presence in the online
world - no photos, no names, no
biography. In fact, we keep our
interaction entirely digital, which
has me a little bit apprehensive.
However, apprehension quickly
vanishes after an email correspondence with the charismatic
crew, and the hidden identities
are brushed aside: "All this identity business doesn't even come
up on our radar," SKRS say. The
cult of personality surrounding
musicians and the social criticism of hidden identity doesn't
escape them, they're just too busy
to worry about stuff like that, and
their prolific output proves it.
SKRS have been steadily releasing LPs since 2012 exploring every
thing from nebulous dub to jungle
meditations, all laced with crackling vinyl, shimmering delays
and hypnotic vocal sampling. The
crew can trace their roots back a
decade or more, and point to 1994
as a formative year. At a CiTR
DJ Sound War that year, several
current members were in attendance, including crew visual artist
MYSTERYFORMS. "DJ Q-bert and
Shortkut of the Invisibl Scratch
Piklz were the judges and their
exhibition / set properly messed
us up in the best possible way,"
they add.
The crew's rotating cast of
members tend to work on sketches
in their own studios, and then
share them with the group. When,
inspiration strikes and the vibe is
right, the project gets developed
into something more. Their sound
has evolved with each record, but
the spirit they imbue in their productions remains the same.
The genesis of the new EP
came about through a connection with SKRS collaborator and record archivist Kevin
Howes, a.k.a. Sipreano. After a
cross-country crate digging expedition, Sipreano returned with a
number of inspiring dubplates.
SKRS explain, "[They] had all
these great vocal samples and
deejay toasts that you'd simply NEVER find anywhere else.
At about the same time we were
talking and sharing a lot about
original U.K. Jungle music and
how we've always wanted to do
a Ragga Jungle-themed project,
so when those dubplates were
brought to the table, we knew it
was on."
The name RaggaPreservan'onSodefy
might suggest an exercise in homage, but SKRS are interested in
more than remix and recycling.
Instead, they see ragga as "a certain style or attitude or flavour
that's distinctly Jamaican, but
adapts itself to any kind of genre
and makes it its own. It's a style
upon a style." This mentality
present across their dis-
cography, and allows
them to expand on
tradition witifitheir/
own unique^vufer !
"It's that same j
feel and energy !
and atmosphere
we were blown
away by when
we first heard tape
recordings of real
Jamaican sound system
clashes and back-a-yard
dances; that certain rawness and
innovation and even ghetto-futurism that we love and try to
propagate in our works," says the
group.
To complement these found
sounds, the EP finds SKRS drawing on the talents of frequent
collaborators from the Vancouver
music scene. "For example, if the
track called for a touch of soul and
R&B, as in 'NoCompetition,' we
immediately turned to Kldlat's
keyboard work (he is one half of
the synth >-funk outfit Betawave
X and has pretty much been our
in-house keyboard player from
the get-go); when a track needed
a larger library of synthesized
tones and drones, we turned to
wzrdryAV, who supplied us with
a boat-load of his signature granular synthesis sound designs as
well as a folder full of samples
from this cheap Casio synth; and
when we needed some raw, original drum breaks and samples,
of course we turned to OG record
specialist Sipreano to supply us
with ammunition," explain SKRS.
True to their nature SKRS extend
their innovative and collaborative mentality into the live environment, working closely with
MYSTERYFORMS to transform
their live sets into audio-visual
experiences, sometimes without
any live performance at all. A look
at their blog (link below) shows
photos from a number of intriguing installations, from large-scale
paintings, to a DJ-altar cluttered
with plants and talismans echoing
the cosmic mysticism of Sun Ra.
. "Our live set-up has been constantly evolving; sometimes we
play our records and dubplates
DJ-style, at times we do laptop-based sets, at other times
we'll find ways to bypass the
omnipresent laptop altogether,"
they explain. SKRS have only performed a handful of times over
the past few years, with notable
shows at Montreal's MUTEK festival and Portland's Beacon Sounds
in support of their Her.Imperial.
Majesty LP. Keep an eye out for an
audio-visual installation / performance at Toast Collective sometime in the new year.
SKRS operate in a world of
their own creation, one of mutual
respect among peers, shared vision
among collaborators, and a
relentless desire to be
creative on their own
terms: "One can
argue that there's
market" forces
to deal with,
labels, distribution, licensing,
cultural trends,
media, family,
relationships,
money, time,
space, etc -
you know, 'real
world' stuff that can limit one's
creativity - but really all that is
just immaterial, non-existential mental constructs and conditionings that we need to break
through."
"... Ultimately though, how
prolific and varied and creative
an artist (or just a human being,
period) has the potential to be is
only limited by [their] own mental
beliefs, straight up."
RaggaPreservationSociety EP
comes out digitally and on cassette
through Tokyo-based Diskotopia
Records November 4. Visit:
seekersinternationalx.blogspot.ca
for more info and links to previous
recordings.
I SEEKERSINTERNATIONAL
L No F|jN FICTiON
By
BRONWYN LEWIS
illustration toy Declan Wileman-HopKins
-^M^f^ alking into Janice's party I felt eyes on me.
I My cheeks flushed hot. With sticky palms I
^U^P adjusted my dress. I tugged at the bottom of
the dress, willing it longer. Why had I worn it? I was realizing now it was too short.
When I'd entered, I looked around at all the people.
They were all faces, all eyes. It had seemed that everyone's
conversations stopped, but then the room started to hum
again. I searched desperately for my hostess.
"Elizabeth!" Janice emerged, gliding through the crowd,
wearing just the right dress. She put a cool hand on my
shoulder, pressed her smooth lips to my cheek and kissed
me hello.
She was in a pale blue dress that was almost white and
it complemented her tan. Her dark hair was swept across
her forehead and pulled back into a low ponytail. Her nails
were manicured as always and she wore red lipstick. The
lipstick made her teeth look like hotel pillows carefully
lined up — they were professionally whitened. Positive
that she'd left a pair of those red lips on me I wiped at
my cheek, spotting the pair she'd also left on her glass of
champagne. She didn't notice them.
Her apartment was filled with the appropriate amount
of guests, mostly people Janice knew from work. Everyone
was well dressed. No one but me had paint under their fingernails. I was in stupid flats, while all the other women
wore heels. I hadn't wanted to leave the canvas I was just
beginning to discover at home. But I had to come.
She guided me effortlessly towards the bar, asking me
what-1 would-like to d*8£||(ilifcKrt^iviHf«i&e'a chaace—.«-
to answer), thanking me for coming, asking what I was
working on, telling me excitedly what the caterers had
made for dinner, urging me to try this or that appetizer,
and introducing me to guests as we passed, adding after
anecdotal gossip in a low voice.
"And this is Ben. Ben, this is my very good friend
Elizabeth." •f&^t-i
"Nice to meet you." That was my line.
Then, as we moved on, "Ben just left his wife. You could
tell, couldn't you? She was cheating... Oh! This is Joan.
Joan? Joan, dear, my friend Elizabeth."
My turn.
"Nice to meet you."
As Janice led me onward she murmured, "Joan likes her
drink so watch out. She'll get drunk and trap you in a corner to sob and tell you sad stories."
Ben hadn't wanted to go to the party. While adjusting his tie before leaving he had caught his eyes
in his hallway mirror and he'd thought, 'My god
man, look at you. What do you think you're doing?'
He liked Janice. She was so happy. They worked together.
He liked how she would flit about at her parties. He liked to
watch her just as people liked to watch butterflies play in
the wind on warm summer afternoons.
He hadn't wanted to go but he knew it would be good
for him to get out. He was nervous and far from eager to
answer the questions he was expecting about the divorce.
Everyone at work knew but said nothing. Now they would
be in a casual setting where personal conversation would be
considered appropriate.
He was uncomfortable entering Janice's whirling apartment without his wife, ex-wife, on his arm. Guests stood
around chatting, laughing. Men stood with hands in their
pockets or arms around wives; they shook bands, took
coats, and fetched wine, cocktails.
Ben immediately headed for the bar to a
with a drink. It somehow made him fed less p
to stand alone if he had something to sip i
cally. Alcohol was needed before «
conversations.
Then he chatted with an accountant he v
knew from work. No questions yet about the d
— so far, so good. But then his eyes were drawn Id
. a woman. She had just arrived and he was the only
one in the room to notice her; her short blonde hair
and slight frame, her short brown dress, her gawky
legs and awkwardly placed feet in their ballet slippers.
It was the first time for many years, especially -since
the divorce, that he had looked at a woman and not
immediately compared her to his wife, ex-wife.
While the bland accountant talked on, Ben tried to,
work up the courage to go and talk to her. The accountant's wife joined in and interrupted her husband,
"You're boring him, dear. Now tell me, Ben, where
is your lovely wife?" He looked from the woman in
brown to Mrs. Accountant; he had no idea what she'd
just asked him. Abruptly excusing himself, he started
to make his way politely through the crowd: "Excuse
me, sorry. Thank you. Excuse me, thanks."
But Janice got to her first. 'Damn it,' Ben thought.
He stood confused near the door, saw Janice Mss
the woman, heard her friendly greeting. 'It's better
I didn't talk to her,' he thought, 'I wouM've made a
mess of things.' But then the two women were heading right for him. Desperately he tried to find an
escape. He was searching for a conversation to join
when someone touched his arm. He jumped: there she
was, extending her hand. He noticed the chipped paint
beneath her fingernails and felt her moist palm.
"And this is Ben. Ben, my very good Mend
Elizabeth."
"Nice to meet you," murmured Elizabeth.
Ben tried to think of something to say. He composed and abandoned a few statements, *I was just
coming to introduce myselftjCsaw you come in.,1 IbHt
before he could speak, she was gone, moving on into
the depths of the party.
^^W 'd never come to one of Janice's parties before.
■ I came this time on the condition that she not
^M abandon me with people I didn't know.
"Who was that Ben guy?" I asked her as she made
me a drink.
"Have you never met him before? See, dear, you
really must come to more of my parties. I've worked
with him for years, we're great friends. His ex was
an absolute witch. Why? Are you interested?" Janice
asked eagerly.
j I was watching him. "No... I don't know. He just
gave me a funny look," I responded.
"I wouldn't be surprised, he gives nothing but
funny looks. Here, go and talk to him, he's perfectly
gentle. He won't bite. I've got to go and deal with the
food. Charlotte's just announced she's vegan. I mean,
really. So I'll have to see if the caterers have anything
for a vegan. Go on. I promise I'll come and rescue you
in just a minute."
Bronwyn Lewis is a Vancouver writer sstcmn^ transitioning from writing fiction and poetry to writing for television. You can follow her adventures mtheiiatdheri.ana'the
garden atfeastwritegrow@wordpress.com and find her on
Instagram @bronwyn lewis
NO FUN FICTMM I ON THE AIR
TEXTBOOK
words by Brit Bachmann //
photo by Jennifer Van Houten //
illustrations by Haia Boakye
^^mt's not often I get to conduct
Wt an interview for Discorder
4JP1 Magazine. As the editor-
in-chief my role is more peripheral, which is why the opportunity
to interview Josh Gabert-Doyon,
host of CiTR's Textbook was so
appealing.
Josh has been a longtime
photographer and writer for_
Discorder, involved well before I
new student radio hour, Textbook,
Josh focuses his journalistic
spidey-senses instincts to curate a
program of intentional storytelling. Although the show is still in
its early days, there's a lot to talk
about —
Brit Bachmann: Textbook
has replaced the Student
SpecialHour, which was a
show designed to represent student Iff e. Textbook
does that wen in its own
way but it Is a deliberate
rebrandol StudentSpecial
//our. What is the inspiration tor Textbook!
JOSH GABERT-DOYON: The
show is evolving out of my work
as a journalist ... Basically,
it is a show about stories —
textbook and not so textbook
approaches [to storytelling].
Each show is comprised of narrative storytelling or an interview. [There's] research and
writing involved, and it is more
academic focused.
In terms of rebranding, I
wanted [Textbook] to consider
other ways of showing student
experience that wasn't just introducing clubs or events — the real
'straight and narrow' approach.
It's just a very restrictive view.
BB: That's a more honest
representation of my
experience in school.
As a student. I didn't
ioin clubs or party
that often. I was pretty
quiet. I appreciate
that Textbookstlso
appeals to the more
introspective student
demographic
JGD:Yes- tWe made]
a segment on writing
papers, researching and
academic life, and I was
really struck by this idea
that [students] spend
all this time working on
papers and researching,
all in a very solitary pursuit.
Your whole student life is spent
[writing] in your bedroom for a
week, or two weeks, or maybe
just one long night before it's
due. Nobody else can understand it, and you can't really
explain it to anybody. The only
person who reads it is either
your professor or the T.A. who
marks it. It's this weird part
I thought that deserved to be
looked at.
BB: Yeah, after graduation it is realty hard to not
trivialize all the time spent
writing papers that nobody
will read.
JGD: Right. The only time
those topics become relevant
is when they are vocalized, the
answer to that question, "Tell
me about your paper," at a
party.
BB: What s another
topk you've covered on
Textbook?
JGDl [October ll] I talked
to my friend about a job he was
doing in L.A. at The Museum
of Jurassic Technology, a summer job. It was a place of occult,
pseudo-science, and a fake
museum. I thought that, set up
against school, was silly.
Another program [October
. 18] is about photography. I was
excited to explain photographs
over the radio, and the inability
of that translating in any real
sense.
Going forward, other stuff I
want to talk about involves organizing and activism on campus.
BB: Have you heard
Jonathan Goldstein's new
podcast. Heavyweight!
JGD:You nave no ic*ea now
into that podcast I am. I love
him. That's also something I
want to bring onto the show
— more phone conversations
on air. And I like that idea too,
that maybe that's just part of
being friends with Jonathan
Goldstein — friends know that
whenever they're talking to
him they might be recorded for
radio or podcast.
... I think that the relationships that develop in interviews are interesting. I think
that interviewing is a skill. It's
tricky to get genuine.
BB: What other podcasts do
you listen to?
JGD:okav good.
The Revisionist History, the
new Malcolm Gladwell podcast,
is fantastic. The Imposter, also
fantastic, and Longform Podcast.
Another one I like is The London
Review Books.
BB: Every episode broadcast on CiTR K)1.9FM also
gets podcasted. When you
plan your programs, how
conscious are you that
they'll become archived
podcasts?
JGD: Absolutely. That's
number one. I don't imagine
that anyone is listening live.
Sometimes it does happen, but
for the most part I'm thinking
about it as podcast content.
BB: How confident are you
with doing tech on air?
JGD: I have no *dea what
I'm doing. I'm just learning as
I go along ... I'm just without a
compass on the airwaves. Wait,
weird mixed metaphor. I am
without a starmap on the open
JGD: RePty m- Let me
just think... I'm also imagining everything I'm saying right
now in print, and it's fucking
terrifying.
BB: Oh don't worry. I'm not
going to put everything
you say here in print.
JGD: But you're doing a
Q&A format, no?
BB: That's better!
JGD: No>don)t DUt that i:
BB: Its okay. I edit.
Textbopk airs on CiTR 101.9FM
Tuesdays 4~5pm. Archived episodes and podcast stream available at citr.ca/radio/textbook.
In addition to radio host, Josh
is CiTR's Student Programming
Coordinator. If you're a UBC student wanting to get involved at
CiTR or pitch a concept for a show,
email outreach@citr.ca.
The Astoria
WEDNESDAY NOVEMBER 2     .
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■   TUESDAY NOVEMBER 22
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■ CARIBBEAN
SOCA STORM
SOCA music tracks out of the Carlbbea
This party music will make you jump ou
your seat. This show is the first of Its kli
til: djsmileymike @trancendance.net.
■ CLASSICAL
IL CHAOS
From the Ancient World to the i
century. Join host Marguerite In
exploring and celebrating class!
■ CINEMATIC
EXPLODING HEAD MOVIES
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
■ DANCE / ELECTRONIC
COPY/PASTE
hour DJ mix by Autonomy, running
the gamut from cloud rap to new jack
techno and everything In between.
INNER SPACE
Dedicated to underground electronic "1
both experimental and danrje-orlentec
Live DJ sets and guests throughout.
The Late Night Show features music froi
the underground Jungle and Drum & Ba
scene, which progresses to Industrial,
Noise, and Alternative No Beat Into the
play TZM broadcasts, beginning at 6 a.n
RADIO ZERO
MIX CASSETTE
relished In the possibilities of mi
and Epic Trance, but also play Acid Tra
We also love a good Classic Trance Ar
especially If if's remixed. Current influe
include Sander van Doom, Gareth Emi
Save the Robot, Liquid Soul, and Astrb
■ DRAMA/POETRY
SKALD'S HALL
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:
■ ECLECTIC
A FACE FOR RADIO
A show about music with interludes
about nothing. From Punk to
Indie Rock and beyond.
ARE YOU AWARE
Celebrating the message behind the mi
ft could be global, trance, spoken word,
rock, the unusual and the weird, or It coulc
be something different. Hosted by DJ Pk
Email: auratter	
BREAKFAST W
Email: breakfastwiththebrowns@
hotmaII.com.
CHTHONIC BOOMI
E FROM THUNDERBIRD RADIO HI
The Morning After Show every Tuesday at
11:30(am). Playing your favourite songs
for 13 years. The morning after what? The
Eclectic show with live music, local talent
NARDWUAR PRESENTS
to play pretty much anything by anybody
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
SOUL SANDWICH
cooked into one show, from Hip Hop to
Indie Rock to African jams. Ola will play
perfect layering of yummy goodness
will blow your mind. It beats Subway.
SUBURBAN JUNGLE
Live from the Jungle Room, Join radio
host Jack Velvet for an eclectic mix of
~^"music 'soundM^Wbrmation and
inanity. Email: dj@jackveivet.neL
■ ETHIOPIAN
SHOOKSHOOKTA
A program targeted to Ethiopian
and personal development.
■ EXPERIMENTAL
KEW IT UP
Fight-or-flight music. Radio essays
Experimental, Electronica, Post-Punk,
Industrial, Noise: ad-nauseum
MORE THAN HUMAN
Strange and wonderful electronic
future with host Gareth Moses.
Music from parallel worlds.
NIGHTDRIVE 95
Plug NIGHTDRIVE95 directly Into your
weekly dose of dreamy, ethereal, vaporwave
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
■ GENERATIVE
THE ABSOLUTE VALUE OF INSOMNIA
■HIP HOP
COMMERCE UNCENSORED
CRIMES & TREASONS
for a marriage of old cla
classics, and everything
IE SCREEN GIRLS
contemporary art, fashion and music. We
seek to play a variety of music, focusing (
promoting Canadian hip hop and R&B.
VIBES AND STUFF
Feeling nostalgic? Vibes and Stuff has
you covered bringing you some of the
best 90s to early 2000s hip-hop artist all
and Stuff every weekll SQUAAAA
■ INDIAN
RHYTHMS INDIA
regional language nu
■ JAZZ
THE JAZZ SHOW
lis last before retiring frc
firebrand, Richard Williams and the dynan
drumming of Mickey Roker. "The Hap'nin';
is one of the Gryce band's finest dates.
date led by bassist/composer Charles
Mingus was a young man and ranges frorr
gospel flavoured soul to "classical'' music
and through a whole gamut of emotions.
From 1960 "Pre-Bird" is an astounding
recording even by Mingus' standards.
Nov. 28: A bluesy and swinging date by
i singer Lloyd Price but these gu
■ LATIN AMERICAN
Salsa, Bachata, Merengue, Latin House
and Reggaeton with your host Gspot D.
THE LEO RAMIREZ SHOW
Email: leoramlrez@canada.com
■ LOUD
FLEX YOUR HEAD
POWERCHORD
Vancouver's longest running m
J ■ PERSIAN
SIMORGH
Slmorgh Radio is devoted to the education and
and written literature. Simorgh takes you through
a Journey of ecological sustainabillty evolving
within curturaf and social literacy. Slmorgh the
mythological multiplicity of tale-figures, lands-in
Great Success! P.S. Broadcasted in t
English. Hosted by Russian Tim. Wei
Email: rocketfromrussiacitr@gmail.cc
Facebook: https://www.facebook.
com/RocketFromRussla. Twitter:
http://twitter.com/tima_tzar.
GENERATION ANNIHILATION
;e 2002, playing old and new p
Brown, Jeff "The Foat" Kraft.
■ REGGAE
THE ROCKERS SHOW
Reggae Inna all styles and fashion.
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THE BURROW
CANADA POST-ROCK
Formerly on CKXU, Canada-Post Rock no\
to the best In post-rock, drone, ambient,
experimental, noise and basically anything
DAVE RADIO WITH RADIO DAVE
DISCORDER RADIO
Named alter CiTR's sis
Fresh Slice, where tunes are hot, and ta
is cheesey. Pop, rock, DIY, pop-punk.
MUZAK FOR
A program focusing on the week's highlights
from CfTR's Music Department. Plus: live
In-studlo performances and artist interviews!
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PARTS UNKNOWN
An Indie pop show since 1999, it's like
sweet and best enjoyed when poked
THE PERMANENT RAIN RADIO
Music-based, pop culture-spanning program with
'  a focus on the local scene. Join co-hosts Chloe
and Natalie for an hour ol llghthearted twin talk
and rad tunes from a variety of artists who have
All-Canadian music with a focus on
pop.
Email: anitablnder@hotmall.com.
oln your host Matthew for a weekly mix of
xclting sounds, past and present, from his
■ustralian homeland. And Journey with him
s he features fresh tunes and explores the
ttemative musical heritage of Canada.
■ ROOTS / FOLK / BLUES
BLOOD ON THE SADDLE
Paul. Email: codeblue@paulnort
le lovely Ar
in@yaho
THE SATURDAY EDGE
Email: steveedge3@ms
■ RUSSIAN
NASHA VOLNA
c, and Its derivatives
Russian community, lo
■ SACRED
MANTRA
Exploring the diversity
:. Email: mantraradloshow@gmall.com
■ SPORTS
THUNDERBIRD EYE
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■TALK
ALL ACCESS PASS
hosts (Ashley and Christine) are on the airwave:
on CiTR Radio 101.9FM, Wednesdays from
5-6pm. The Arts Report also uploads special
broadcasts In the form of web podcasts on
er by tuning In to the Arts Report!
ASTROTALK
Big Bangs, Red Giants, the Milky Way,
G-Bands, Syzygy's, Pulsars, Super Stars...
D (SYNDICATED)
THE COMMUNITY LIVING SHOW
This show is produced by the disabled community
and showcases special guests and artists. The
events for the entire community. We showcase
BC Self Advocates and feature Interviews with
people with special needs. Hosted by Kelly
Reaburn, Michael Rubbln Clogs and Friends.
LADY RADIO
FRI. 6 PM »
CiTR Women's Collective's new radio
show! Rad women talking about things
perspective of what's going on in
interest through his unique lens.From news,
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