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We are always looking for new friends. 09 - Venews: The WISE Hall 10 - Real Live Action 12 - Art Project + Calendar by Chelsea 0'Byrne 14 Under Review 20 - On The Air: Kew It Up 21 23 Program Guide Charts FONDATION SOCAN FOUNDATION ID Publisher: Student Radio Society of UBC // CiTR Station Manager: Hugo Noriega // Interim Advertising Coordinator: Brit Bachmann // Discorder Student Liaison: Claire Bailey // Editor-in-Chief: Brit Bachmann // Under Review Editor: Jonathan Kew // Real Live Action Editor: Jasper D. 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Got something to say, positive or negative? We circulate 8,000 issues of Discorder each month... which is probably stronger than your Facebook reach. Our letters section is Hotnead, and submissions are accepted on an ongoing basis through editor.discorder@citr.ca or snail mail to the address above. Every announcement or update we receive is pitched to contributors during monthly meet- togs, and discussed together as a masthead. Thank you for your submissions! Let's keep in touch. JOIN A RADIO COLLECTIVE AT CiTR 101.9FM! WOMEN'S COLLECTIVE Lady Radio INDIGENOUS COLLECTIVE Unceded Airwaves ACCESSIBILITY COLLECTIVE: | All Access Pass NEWS COLLECTIVE News 101 EDITOR'S NOTE I WRISTBAND KARMIK words by Alex Lens // illustrations by Hi initiative that pl^C a posi arm reduction has arguably tive role within ToMtc^sJurave been a contemporary tenet/" scene. Vanrouvit lacked "any sort public of similar program* that'fdcused not only on"khronic drug, users, but also on casual or reereationj ysers^amirk's-^bcus, there! is on^omotin§ safe and lifestyle practices across a rartge of communities. Cj^rmik's purpose at music I £ W within Vancouver1 health policy. Most of these programs have been targeted tovftards addressing chronic drug users and are based in the Downtown Eastside — programs such as InSite, which offers safe injection sites for intravenous drug u! However, the scope of tion in Vancouver is being, ened thanks to Karmik, grassroots organization. Founi just over two years ago, Karmik an initiative that works towards! creating safer nightlife and festival communities within British Columbia and internationally. The organization has attended numerous music festivals, including Pemberton Music Festival, Electric Love, and Bamboo Bass Festival in Costa Rica. Munroe Craig and Alex Betsos co-founded Karmik with the During our interview, Alex, Munroe and Cameron Schwartz (administrative coordinator * of Karmik) emphasized how different social norms within the festival id theyurban nightlife communi- respectively, lead to different opinions towards hafrf>xeduction iiutl^ives like Karmik. Oi is more orUss acknowledged ihat drug use imon-plact* and unjvoid at festivalsJjl-hich increases need ^or o|«iizers «f utilize! 'the "Cervices ^"owever. urban nij is often si do what you want to do, and you make the choices you make in life. When people come to us, they often come having already made a decision. We exist as a neutral party to support whatever choice you make," says Munroe. politicizatibi festivals is"""W create* sapcfuary\ Promoters face incpasfe^ licensing "Saceii that work in tandtai-*Htfr\>j fees tithe paramecfiE^ateialled ithin the Canadian sociopolitical landscape, attitudes are changing. On a federal level, the impending legalization of cannabis is a sign that opinions towards drugs are somewhat moving towards a less harm ^e^ctio*\authoritative stance. Alex men- itized drfefto the tioned that on a municipal level, the City of Vancouver has made it easier (albeit, only somewhat) for arts-based venues to hold after- y Karmik offers. ' the context of explains, "We genuinely care about the people we help and we're really knowledgeable about what we're doing. We wouldn't be here if we were trying to fuck the system, because we're working with the system and we're doing it for the better good of everyone involved." Karmik will be running 5 volunteer training sessions within the month of October, in addition to facilitating Naloxone training sessions for interested participants. Visit karmilcca for more information. *For more information on Night Mayors, refer to Brenda Grunau's article in the May issue of Discorder, medical and security^teanT", their e4ent, arm it's-often difficult hours events. This reduces the "In Praise Of Night," with illustra I l^eftsQuraging positive mental spaces for^attendees — whether )rhart3e simply talking with a|g§|jpr . peradh, sleeping on a nefjjjjjjve """"encounter with drugs or alc&ri in a warm cot, or workjjhg through, a challenging psychedelic experience. Thesjrspaces are„equipped/ practii with Karmiki party packs, which KarJBc is adamant that their incluae straws fo| snprtihg drags, organisation does "not/ promote condom^ and lube, ^arnong other ■ drjjg use. Js more people become items that promote safer prac- educated about substances, they rices. The sanctuary spaces also> can make better decisions for for them to find safe and reliable afjer-hours venuK"to/host events. Tjas can limit the ability for pro- j^fers At offer.,harrnf reduction Sffilces, as.it May be perceived thatf they are an fact~encoutag- ing substance use or other illegal number of unregulated parties that tions by Sharon Ko. are held in the absence of safe and legal late-night spaces. Perhaps the City of Vancouver could take a cue from cities in Europe like Amsterdam and Groningen, which have night mayors* wholly dedicated to governing safe night-time communities in urban areas. ^_^ £ Whatever it may be, the CityTar -.••' f\ Vancouver has a long way to ge^~\ WJA in terms of implementing harm reduction on a broader scope. intent to fill a much-needed gap have LEGO, colouring books and % themselves that safely suit their Organizations like Karmik are here Vancouver's public health system. As Torontonians, they had been exposed to Toronto's TRIP Project, a harm reduction other creativity-enhancing items to help individuals work through difficult mental or drug-induced experiences. VENEWS THE WISE HALL words by Natalie Dee// photo by Sara E illustration by Simon e Badoaie individual lifestyles. "We don't condemn or condone any substance use. We come from a completely neutral point where you tables under a low-hanging ceiling and bar tucked away into the corner. It's a space somewhat reminiscent of a church basement, as it should be. Before it was acquired by The W.I.S.E. (Welsh, Irish, Scottish, English) Club in 1958, The WISE Hall was built in 1925 to serve as a church gymnasium. Ever since, it has been used as a place to foster community, playing host to a variety of social and sports events. Over the past thirty years, the focus of the venue has shifted toward being a performance and cultural space. This, was shown in the rebrandinj 'TheW.I.S.E. Club'to t( WISE' in order to refle#fhe dh sity of the conu help facilitate that process and reduce the burden associated with unsafe practices within all communities around the city. Munroe grants members fifty cents off drinks. With Vancouver's notoriously unfriendly reputation toward venues, The WISE has had its own problems to overcome. One is the ever-changing nature of the area: "There was a study that found that people stay around this neighbourhood for about five years," explains Liddell. "There used to be a place called 'The Mansion' across the street that housed a bunch of different artists. Now that's all condos." 1 the East Vancouver irho%c\unaware of what jn next to. The ninteract this by invitlrrk rWghbours to attend the shows trW nkgt, as as encouraging peopl them directly jvith, " wTiatJplps our doors open is the regulars that occupy this lounge and that come to shows upstairs," she says of the community around the hall. Their lounge isn't packed when there's major sporting event — it is, however, packed on election results night. "It's really a neighbourhood pub, where there aren't neighbourhood pubs in this city anymore. And the people who work here and the people who frequent here are integral parts of the musical and arts community," describes Liddell. The WISE Hall is a survivor that embraces community in every sense of the word, making it their be accessible and anyone who needs the space. As Liddel explains: "For a city that is extremely transient The WISE is immunitVjj|By^terfBlple who The WISE Hall is a dim but homely space, with dark wooden floors and lights strung into a canopy overhead My voice echoes across the hall as I call out "Hello," and General Manager Jasmine Liddell emerges from her upstairs office. ■Hi WRISTBAND/VENEWS A quick tour of the space shows - that it's worn but sturdy. A mask mounted on the wall looks over the crowded but cozy greenroom, in contrast to the wide open space of the main room, with tables and chairs lining the walls. Liddell then leads me downstairs to The WISE Lounge, a collection of long government profit society, run by^ directors, and supported by yearly ' membership fees of only $10 that ticipate here," expl WORDS BY JOSH GABERT-DOYON ■UJSTRATiGNS BY EMMA POTTER PHOTO BY LUKAS ENGELHARDT "IJliiTnyfc hile biking to meet Steve [ I Frost and Soramaru Mt^r Takayama, I waited at a stoplight on the corner of Main and Powell, shoulder to shoulder with a white man on a moped who had picked a shouting match with the Asian driver of a sedan stopped to his left. The pasty moped driver hurled a last comment at the sedan: "Go back to being a fucking Asian." Most of the time it's hard to react quickly enough in situations like this, and I likely would have spent the rest of the afternoon rephrasing the perfect response in my head had I not looked at the moped driver and told him that I wasn't happy with his racist comment, and I was ready to fuck him up. In a line only to be expected from a moped bully, he turned to me and replied: "You want a piece of this too?" That might have been the end of it, but the light flashed green, and both the moped and me turned left onto Powell. We were about to hit another red light at the next intersection. Things were going to get hairy. But here's the dilemma: I was on my way to interview Frost and Takayama about Japanese- Canadian poetry and the prospect of cross-cultural production as a way of addressing the history of internment. Was throwing down my bike and fighting some racist on the side of the road the best use of my time? Did I really have such grandiose notions of journalism as to think a brief article could be more effective in combatting racism? I slowly started to reduce the speed of my peddling. A few seconds before I reached the intersection, the light changed green and the IBfSra^fcsped off. The history of Powell Street for Asian Canadians, particularly Japanese Canadians, cuts deep. As a site of culture, community, and colonial violence, it's worth considering what solidarity and reconciliation would really look like from street-level. Frost and Takayama are both poets and members of Tasai, a multidisci- plinary group that fosters Japanese and Canadian artistic collaboration. "This area has a freedom [to it]" says Takayama. Frost, who volunteers at the Vancouver Japanese Language School and Japanese Hall and Takayama, who owns a vegan pudding company a few blocks from Powell Street, translate poetry together as a pair. "He can't quite do it on his own, I can't quite do it on my own, but together we make one translator," Frost explains. "Us translating together is also a picture of what collaboration is. You can't just talk about it, you have to actually do it." Theories of translation have long understood translation as a generative practice — the creation of a new text, rather than pure replication. Frost and Takayama see it this way, but they look to translation as part of a political project as well. As a collaboration, the translation enacts cultural understanding. Translation not as a means to an ends but as an ends in itself. The performance of that creative activity is it's own form of synthesis. Translation becomes a way of thinking about the kind of processes that are necessary for meaningful and lasting cultural production that goes beyond critique, call-outs and corrective curbside behaviour. ^L rost and Takayama are also ^W co-hosts of Tasai's lat- 4f est project, Japanese Poets North of the 49th (JPN49), which engages with a similar model of cultural cross-pollination. The overall SPN49 project brings poets to Canada. Within that a project is an event called Poems For Powell Street for these poets to write about buildings along the 200-400 block of Powell Street which were formerly owned by Japanese Canadians before the community were displaced during World War II. The once thriving Japanese community along Powell Street was interned and dispossessed by the Canadian government from 1941 up until 1949, five years after the war had ended. Though they promised to return the possessions, land, and the entire Japanese Canadian fishing fleet that was seized, the government eventually sold the property as a means to pay for internment itself. JPN49 is an effort to explore Powell Street and the history of the space more thoroughly: "To hear the neighbourhood spoken back" says Frost. Tasai has spawned multi-media collaborations — performance pieces in the style of traditional Japanese theatre, calligraphy, and interactive workshops for kids. Speaking to Tasai as a whole, the tendency, Steve tells me, is for Japanese poets to write a new poem for every event, specifically for the context of that event — a kind of site-specific practice. The shared context for the poetry reading is worth considering in that it speaks to a land-based history, acting as a reinscription, or indeed atrans- lation in its own right. Despite a state apology and compensation package in 1988, it's clear that there's still work to be done in Vancouver. Frost notes the parallels between First Nations and Japanese Canadian experiences in the Downtown Eastside, where the effects of colonial violence are yet to be fully addressed. How can the communities we build and the cultural spaces we occupy reflect on this task? What kind of model can Frost and Takayama's translations offer? With an enduring racist fixation on Asian home- buyers, and The Soldiers of Odin (a Nordic-style anti-immigration group) patrolling not far from the 200-400 block earlier this month, the concern seems pressing. "It's a really critical time in Canadian history, where the offer of reconciliation is in front of us, and we need to do the hard work of taking it" says Frost. "It's not easy, the pieces don't always fit snuggly." The first Japanese poet to participate in the JPN49 residency, Takiya Kuwahara, will arrive October 1 and will be participating in five JPN49 events, workshops and readings. More information at tasai.ca/jpn4g. ^^m meet prOphecy sun in the I green of Dude Chilling ^P Park. She's brought a sushi lunch for the both of us, and her new baby, Haakens, held tight to her chest wallaby style in a baby carrier, sun is now a mother of two. Her first child, Owl, is now a toddler, old enough to ask her mother when their next photo shoot is going to be. Her career has been uniquely affected by her motherhood: her two children have been heavily involved in the interdisciplinary artist's creative endeavors over the past three years. I wanted to sit down with sun to talk about the intersections between her creative career, motherhood and family life. Her forthcoming album, Shelter over Shelter, is a tribute to her children, the connections they have provoked her to make, and the inspiration they have offered her. sun's artistic practice ranges from installation, dance, to vid- eography and her work is often a combination of improvised sound, imagery, costumes, objects and handheld technologies. She creates short videos like 2011's Cupboards, in Which she empties out kitchen cabinets and contorts herself through them, trying to fit through the narrow spaces. She has been in multiple bands in the choreographies that are continually floating. When I'm improvising or when I'm in a dream space these things are existing. Sometimes if I choose to grasp them or look at them or acknowledge them then they become present." 'Onstage, sun is an improviser. She may sketch out a setlist, but when her performance begins, she opens herself to chance and intuition. This improvisational work is sampled on Shelter over Shelter and reflects sun at her most raw and primal, making creative decisions based on her own urges and inclinations, moving from moment to moment. She does not suppress her instincts. After a dream that came to her while she was pregnant with Owl, sun began recording videos of herself interacting with a giant milk coloured weather balloon, an expensive and precarious prop, a symbol of her burgeoning relationship with the new life she carried inside and outside of her body. The theme of care-taking and parenthood imbued her work as she embarked on a Master's Degree in Applied Arts from Emily Carr University of Art + Design. "I got accepted for my mas ter's and found out I was pregnant [with Owl] in the same week," sui recalls. "It was automatically assumed that I was going to postpone [my master's] for a year and I was like 'Nope!' I was offered a scholarship to work with Moving Stories, ar interdisciplinary, collaborative research project that's studying dance, move ment, performance, interaction and digital technologies. So when I was accepted, I decided I would motion capture [Owl] and she would be our mocap baby for two years — we would track her physical movement patterns and development." for my own development as an artist." This development is clear in her perpetual experimentation with sound and her growing presence in the Vancouver noise community. "I don't know what it is," she says, "but sounds can bring prOphe#9^ WORDS BYKEAGAN PERLETTE // ILLUSTRATIONS BY OLGA ABELEVA // PHOTOS BY EVAN BUGGLE son I haven't explored, and I haven't wanted to put those on hold. Maybe that's selfish." Haakens' little old man face crunches, and he begins to squirm and cry. sun is nonchalant and lays down on the grass, trying to get the baby to nurse. She laughs when this doesn't work, stands ^^ ust nine days after I Haakens was born, *& sun played a set at Destroy Vancouver. "I had to feed [Haakens] every half hour, so I basically asked for a family room at VIVO. They were really accommodating. My partner Darren [stayed] with our toddler and the baby in another room." sun also chose to WHEN YOU'RE UP NURSING IN THE MIDDLE Q KNIGHT, WHY NOT WORK ON SOMETHING? city, but her eponymous solo project is what she siders to be her most, vulnerable and honest work, "I feel like [allj the mediums work in] feed each other. [It's like], if there were aj bunch of "parallel lines running in a field, each of these [ideas] kind of weave on top of each other. If you imagine me working, these things are flowing through me, sometimes I feel like I'm kind of grasping at one of them. The best way to put it is that they are these unconscious KH PROPHECY SUN sample audio snippets of her labor with both her xhildren and tracks like "Silly Dad" and "Go to ■K-k-Sleep" feature the voice jfij&\of a gigghhg Owl, who ..also played a part in IfSLher mother's performance at the debut JTidal-Signal "Festival f I at Selectors' Records; J' f * "All the work that * I've been doing over the last three years, the album kind of *hts those primal moments for me," says 'There's lots of them, 've chosen the ones that le most vulnerable. I feel challenged by putting [my kids] in the album, their births are milestones for me and milestones us to a place of awareness and for me it's like a type of meditation. I think it's also really intuitive." Of the proliferation of noise artists and experimental ambient music in the city, sun says, "There's something really lovely that's lurking and here, and people really want to listen. People really want to transport themselves or bring themselves to the present moment. That's what I love about improvising, you just don't know what's gonna hap- in, you can plan but the rest is really up to chance. That's one of the beautiful things about sound, there's something nostalgic about it [for me]." It's the past, present and future, all Sun is committed , to her creative ElfeT^Uttris-determined to continue to work on. her owiv projects alongside hf f; neW responsibffities*5as a parent. "When you're up nursing in the middle of the night, why not work on something? I've been trying not to make everything too precious." she says. "I'm absolutely exhausted, but I'm not just a mom. I have this innate desire to perform, this desire to share, to create. I was born and raised to do this, like it feels really important that I have children, but there's so many aspects of still being a per- up and straps him back into the baby carrier. With a bit of bouncing, Haakens decides that lunch is served. Our time together ends when Haakens begins to fall asleep against his mother's breast, we collect our picnic and head back out into the city. "The title of my album, Shelter over Shelter, it's this idea that I'm sheltering my little ones, but they are also sheltering me," says sun. "There's this struggle of who has the umbrella." Shelter over Shelter will be released on October 15 on Panospria Records. To view her newly released music videos for "Sleep Fever" and 'You won't find me" visit vimeo.com/prophecysun y^i^p^j Willie Thrasher & Linda Saddleback GSEESaEEUSSy NEWMUSK.ORG Canada 0<K3» ASS JBfa Friday, November 18, 2016 at 8:00 PM Tickets: $7.00 available at sfuwoodwards.ca 1 ^ WOODWARD'S EVERY TUESDAY NKHTSTARTMO ON 0018 =STARRING!= ^FUBMi OCTOBER 18 PAVEL FUTURE STAR WIND-UP BIRDS OCTOBER 25 MARK MILLS SHITLORDFUCKERMAN LITTLE SPROUT THE CUT LOSSES JOCK TEARS THEE MAGIC CIRCLE NOVEMBER 8 YEAST JERKIN THE CAN JERICHO NOVEMBER 15 POCKETMILK CRUMB DEVOURS NOVEMBER 22 MIREPOIX CLASS ACT VILLAIN VILLAIN NOVEMBER 29 &-M DECEMBER 6 FREAK DREAM DEAD END DRIVE-IN CHEAP FLAVOR DECEMBER 13 FROGPILE PRISON HAIR aU SHALLOW PEAKS JOKES | FOR BEER! THANKS fo | AMS* EVENTS ^SJ|§ © PJuelight umbus Tlih« nimbllS \TI Thunderbird six /\P> » cent (RXR) mm ^^M like hearing the I sound of the rain «^"{F on your roof." I am speaking to Kye Plant, an indie rock musician based in Victoria, B.C., over Skype from my bedroom in Vancouver. Kye's first release, Sober & Alone £P, came out just eight months ago, and they haven't slowed since; they released their second EP, Thank You For Mental Illness, on September 20. As I speak with Kye, I am struck by their modesty; despite their creative activity, they tell me they aren't used to talking about themself as a 'real artist.' Their music reflects the honesty and humility clearly present in their demeanor. Kye is remarkably open about their struggles with mental illness and their identity as a genderqueer person, both in their songs and elsewhere. "It's very cathartic for me," says Kye, "in the same way that going to a therapist is cathartic for me. It's a way of expressing myself and touching on that energy inside of me that's really overwhelming." Sye's lyrics are intensely personal and often deal with loneliness, heartbreak, and depression. The song "Long Sleep," for example, speaks to the exhaustion that comes with depression: "I need a long sleep / Just trying to keep my head above the water / But these god damn waves won't let me be." Kye's lyrical introspectiveness by no means makes their music mellow or sleepy - Thank You For Mental Illness features driving guitar, bass and drums. Today's recording technologies mean that Kye can get a full band effect, even while recording alone in their bedroom. "I've been kind of steering away from the singer-songwriter-per- son-with-a-guitar-in-front- of-a-mic thing," Kye says. "I've thought about maybe taking it to a studio or something, but I don't think I could - I just like the process by myself, and, yeah, I'm a control freak." While moving away from the singer-song^ writer genre means adding more instrumentation during recording, for Kye it also means clearing instruments away for their live show. "I've always played with a guitar, and in the beginning I played with a band, and so I've slowly been stripping it all away. And now I'm just going to have a microphone and my ipod ... I find that the guitar is a real crutch for me and I hide behind it, so I'm trying to gently force myself out of my comfort zone." They intend to play a character; make the show more performance art-spectacle, less person-playing-songs - "a show where weird things happen ... I wanna fuck with people - but not in a mean or non-consensual way." They want people to question things, in the same way people question things when they see someone who does not conform to societal norms of gender. "I see people kind of looking at me weird, and I know it's forcing them to question things inside of themselves. I want to extend that into the way that I express myself through my music." Of course, performing as a queer person is not always easy - Kye says it's been a process of finding the right spaces, and avoiding the wrong ones. "I've learned the spaces I don't want to be in because I don't feel safe. I am more aware of that now, so I'm not going to play at a bar, and I'm not going to play at a place where people don't know what the word anxiety, abuse, addiction, trauma and more - but listening to it gave me a feeling of relief and happiness. Kye has a song titled "The Gender Binary is a Jail Cell." All stigma is a jail cell, and talking openly about stigmatized subjects is a way of being freed. Kye tells me that they got the idea for the podcast two and a half years ago, when they were recovering from a severe mental breakdown which left them in a psychiatric, ward, and then living with their parents. Kye says that one of things that helped them recover was listening to podcasts. "It was really important in my recovery to hear people talking about things that were going on in my head. You know, I felt like, 'Oh, I'm not crazy and I'm not alone.'" When I ask Kye what they hope people will take away from their music, they are unsure, but eventually say that "maybe the best thing [for people to take away] would be that it's ok to feel things.'' Kye isn't afraid to talk about their feelings and personal struggles. Or maybe they are afraid, but they're doing it anyways, and that's important. In our society, where mental illness and non-normative identities are still so stigmatized, we need artists like Kye Plant telling us that even though we may feel bad, we don't have to feel bad about it, and that we're not alone. Follow Kye Plant's Feelin Weird podcast at feelinweird.com, and visit kyeplant.bandcamp.com for Thank You for Mental Illness and other releases. KMiVif "IT'C A WAY lit FY DBF TOUCHING ON THAT ENERGY INSIDE OF ME If.'filtff.'W 'queer' means, where I would feel like I had to censor* myself ... That being said, Victoria has a great queer scene, and it's fairly inclusive." Performing songs with such personal subject matter also takes courage, and can feel futile in the wrong environment. "It's like you're up in front of a crowd of people who aren't really listening, and you're reading from your journal," Kye says. In addition to music, Kye creates a podcast called Feelin Weird, where they interview people on topics that have been stigmatized by society. The podcast deals with heavy subjects - there are episodes on suicide, depression, mpmRH Th§ eyriltte Typewriter Ysuf l*fu§ JJtf&eftn Out now on JAZ Records ]air@eords*eom TRANS PACIFIC PARTNERSHIP UNDER THE BRUSH words by Blake Haarstad Dn February 4, 2016, Canada officials signed into the Trans-Pacific Partnership (TPP), the largest multilateral trade deal in world history, encompassing the majority of the Pacific Rim. The Trudeau government promised Canadians that Canada was a long way from ratifying it, however. Before negotiations are complete, the government has opened their inboxes to Canadian citizens to sound-off opinions about the TPP. The deadline to submit feedback is fast approaching: 23:59 EDT October 31, 2016. If you're a musician, like myself, or any other creative, be it filmmaker, writer, journalist, etc., there are a number of sections in the TPP that could affect you. While the TPP will have a huge number of repercussion across all aspects of the economy, the provisions that will likely affect artists and consumers of art will include the extension of copyright terms to the author's life plus 70 years; digital locks and technological protection measures (TPMs) that control access to copyright-protected works; and the allowance of foreign corporations to take legal action against Canada for laws that may conflict with the TPP agreements. So you may be asking yourself, "What do I think about the TPP?" To answer this question you may first confidently turn to the actual text of the TPP document, then, realizing it weighs in at approximately 6,000 pages, quickly lose morale and turn to the internet for a summary of the TPP. You will find that there is a strikingly small amount of research done on how the TPP will specifically affect cultural industry, as research tends to focus on the aggregates. It's somehow unsurprising that seemingly nobody at the bargaining table has asked, "But what about the artists!?" Even the executive summaries laid out on the Government of Canada's website are thin, and largely biased towards selling Canadians on the current TPP deal. Opinions are split among policy experts, economists and public interest groups, and finding a decisive answer on the internet soon becomes a war of attrition, with continuously diverging opinions ceaselessly adding points^ to either side of the score board. Do you give up your job as a.dij- igent, informed citizen and pick a side in the absence of definitive judgment, hoping $if§you chose correctly? Or do a^^Ktinue the endless cyber saBJB-faring for that one article that rlifjnates like "checkmate" aeross-the-board? Neither si tuation'Jf&r ideal, but that's not to^^ttl^ignorance is our only option. Contradicting sources are sources nonetheless. "^^■n a survey^Jf-anri-TPP atgtr* Hment: leading academic and Canada research chair in Internet and E-Commerce law. Geist has been running an online blog covering the TPP since 2011, ever since early draft sections of the agreement were disseminated through Julian Assange's whistleblowing WikiLeaks. Geist has a number'of apparently informed articles on his website, but has also summarized his views with regards to copyright extension in his published study, "The trouble with TPP's copyright rules." Canada's copyright laws currently last the life of the author or creator plus 50 years. In ratifying the current TPP agreement, Canada would extend its copyright up to 70 years past the author's death, and would put Canada at the same standard as the United States and the European Union. According to Geist, extending copyright in Canada will keep many important works out of the public domain with no increase in creative output. It would be harder to access copyrighted works with this change and cost Canadian millions of dollars in royalties. Websites such as PlagiarismToday, Let's Talk TPP, Reject TPP and the Electronic Frontier Foundatioi also support Geist's view th< extensions of copyright ten tend to have negative impacts f i artists, and appear to only bene big media conglomerates. While it's easy to understand thi argument being made here, and in some sense it seems intuitively true that "Big Business" could be bearing down on us at every opportunity, there doesn't seem to be much evidence to support this. In fact, most easily accessi ble articles against the current TPP copyright provisions don't appear to include hard evidence or sources to support their conclusions, and what evidence is given may be misleading — Attempting to confirm Geist's arguments on his Work Cited page of sources for copyright extension, I discovered only tjpt£&$ citations thatlfed to acadlMM S$tll§gs§ whjSiJ the rest leadlj| fOl£^||f|)^^|titiated blogs a] news articlel^Citation (6) actus C©at|idi||^|^ist's argument, ai IplljJIHItlH explicitly claims Citation (8) le; id study for no argument has beei showing its relevance, coming under strong a from another economist, -George Barker. Not to mention,.jh£ inclusion of sever-al^academic studies that support increased copyright ss- of- its rele- lt'is commend "able thdt New Zealand npted fo""str(dy copyright' extension with xegafds. to As-of the publication'of ular article, the,Canadi. menMiasyer to produce of the .sort '£of£ana< ciaDyTfor artists. ''Cteatii to know wha"t they could gain "and lose frorjrthe the Canadian governaliil iS^l^taansparent with this {Mil maftpn. Indeed, transparency has been a major issue since it was annlirriced that Canada was joining the negotiations on October 9, 2012; Canadians have not been consulted during this process, which has occurj^djjarjgly behind closed doors. We should mig^^fc^*aWtna¥*i jSpfrkessjajii there cal responsesTo^STsTs work.3 While further problematized by the newly released study by the Canadian "government indicating tfy90B&fcfafy.3 billion projected S^i^to the econonjy* even that study has little i»#»ut the/ impact the TPP woTglt^te on artists working in Canada, :«and the conditions around the international distributions of fUeir works. The absence of acadiafc studies in Geist's articles mimM. necessarily negligence, but riilief' an unfortunate result of ini^ei quate sourtrpllterM in general. Bibliographical gaffs donHgjdbf ■entdg accuracy on Ggist's-part, 1 thft*|§o maj'r.e j^ft&der* todjsc trtrrti'. When it cornes-to trle.TP Gfiai'anf are left iiite^igft-jMi of' speculations and ' educab -There is essentially a |*ttong disagreementf^tween academics and interest groups 011 what exactly the-TPP-Mti&tffi Entail, let ffBinot it would rt Canadians in If anything can this article and circulating the internet, ill; that there is a strong sense Br uncertainty about what the PP will mean for creatives, and Canadians on a broader scale. "^^t's well known that vague- ■ness in law benefits lawyers, ^Pand the people that can afford to hire them. With corporations litigiously bearing down on creative property while artists scramble to defend themselves with "fair dealing,"— a legal exception to a creator's exclusive right to copy a work — it's easy to predict that issues will arise around access to representation and justice for artists with already limited financial resources. While the fair dealing defense may ultimately acquit titers, academics, satirists, and lers of copyright infringement, 't necessarily prevent imely costly litigation, [many ways the internet has it easier to get informed an issue. But with so many about the TPP lacking hard fence and sources, relying rhetoric, arguments for and [gainst the partnership have become more constellatory than evidentiary. These scattered and at times misleading sources form the strongest argument for why the Canadian government should show more leadership in providing solid and up-to-date facts about the TPP. What creatives, and Canadians in general need is greater transparency from the government explaining how the TPP will affect them, backed up by studies and hard evidence that cuts through the vast and unreliable ether of the worldwide web. Artists should be concerned about the TPP, not necessarily because of what we know about it, but because of what we don't. You may express your concerns by emailing TPP-PTP.consultations@ international.gc.ca, or by finding your local MP at lop.parl.gc.ca. *Additional source links included on the online version of this article at discorder.ca* 'These sources uxre originally found through . Sony Sookman's article "TPP Copyright, e-com- merce and digitalpolicy: a reply to Michael Geist: See EU Commission, "Impact Assessment on the Legal and Economic Situation of Performers and Record Producers in the European Union", SEC(2008) 2288; PwC Economics, "Impact of Copyright Extension fir Sound Recordings in the UK" (28 April 200% Richard A Posner & William M. landes, "Indefinitely Renewable Copyright " ( John M. Olin Program in Law and Economics Working Paper No. 154, 2002); Prof Barker, "Common Myths About the Economic Effect of Copyright Term Extensions for Sound Recording"; Karrril Gerard Ahmed, "A Case for a longer Term of Copyright in Canada- Implications of Eldredv Ashcroft Case" (2006) 37 RHUS am/2015/12/15/tplhcopyright-e-eommi and-digitalfwlicy-a^^to-michael-geist/ Heal tint flctlon SWANS/BABY DEE SEPTEMBER 6 / VENUE *¥ stood In a long line that snaked its way out of Venue night- 4F club and onto the Granville strip, shoulder to shoulder with fans anxious to see what could have been Swans' final performance in Vancouver. Promoting their latest two hour album, The Glowing Man, the seminal post-rock / Industrial band will soon ride off into an uncertain future, with this incarnation of the band coming to a close. The crepuscular air outside the venue was thick with mixed emotions. Eager new recruits waiting to see the legendary live band for their first time filled the sidewalk alongside disillusioned old fans there to bid a ceremonious goodbye. Inching closer to the entrance I noticed a small gathering of people poised in a candlelight vigil around a sign: "We Believe Lark Grimm." These solemn demonstrators were there to show support for musician Larkin Grimm, who came out on Facebook earlier this year to accuse Swans founder and leader Michael Gira of sexually assaulting her during his time producing her 2008 album Parplar. Speaking to one of the demonstrators, they informed me that they were there not necessarily in outright protest, but to spread awareness and inspire dialogue. Indeed, they seemed to be doing just that as I overheard two fans discussing the deeply troubling allegations and how it should affect their experience of the music. With this in mind, I wound my way Into the busy nightclub floor and up to the balcony for a bird's eye view of the stage. The evening's opening act was Cleveland musician / performance artist Baby Dee, who pranced on stage beaming in a tattered pink tutu and armed with an accordion. Baby Dee's twisted brand of twenty-first century vaudeville turned Venue into a veritable barroom m stepped back from the railing as It trembled under the weight of the its of noise Swans unleashed periodically * came to jarring to halts. Uncertainty and unease abounded, punc- tuated by the windswept epics of "Cloud of Unknowing" and "The m Glowing Man" as Gira pleaded ad lib "I'm asking you / Who made * us like this?" * The stunning two-and-a-half hour encore-less performance * closed to near-ceaseless applause and a well-earned bow. Despite the ubiquitous earplugs, Swans' throbbing post-rock left spectators' 0 ears ringing, but the unresolved dissonance embedded in the music * coupled with the controversial demonstration outside the venue will * ring for much longer. I can't help but feel that the closing track from * The Glowing Man, "Finally, Peace," may well be a question instead ^ of a declaration. —B I DESTROY VANCOUVER XVIII • SEPTEMBER 9 / VIVO MEDIA ARTS • m ^r he moon was a ripe yellow crescent through the balding trees • ^that surrounded VIVO Media Arts — it was as if the sky itself • knew how magical Destroy Vancouver XVIII promised to be. Since * 2012, curator John Brennan had been showcasing experimental music acts from Vancouver and beyond through DV, while co-cu- m rator Elisa Ferrari came on board in 2015 to produce a final year of • performances. The evening was the eighteenth and final collection * of acts presented by DV, and I was ecstatic to bear witness to such * a unique piece of Vancouver music history. The show was sold out, the venue precariously over-capacity, ft m was amazing to see such a diverse group — young adults, familiar • faces from shows around town, and an older contingent of folks, up * way past their kids' bedtime. Clearly, DV was doing something right * to make the sometimes obscure genre of experimental electronic music accessible to a broad audience. 0 hazy, the solo project of Late Spring's KC Wei, was up first. Wei • stood alone on a raised platform under a red spotlight with her gui- * tar, a few pedals, and a microphone. She played one long waterfall as she dazzled with confidence and novelty. The fusion of whimsical < aesthetic and thematic dour in her songs made for a darkly tragi- ' comic drama, best summed up by her cackling lyric: "He's going to * Ml ma when I get home /One sunny judgment day." After performing . various cuts from her new album, she curtsied to the charmed crowd ^ and disappeared backstage. \ « As 10 p.m. rolled around, the house lights went low. All six mem- * bers of Swans took to the stage, looking tired as they tuned their * instruments. But when lap steel guitarist Kristof Hahn began coax- 4 ing a looping drone from his strings, the lax facade faded to reveal a < zen-like calm instead. With guitar in hand, Gira faced the drummer < and signalled for the commencement of "The Knot." He conducted * the band to add layers — cymbals crashed and gale force guitars * screeched their way up the winding summit to deafening volume. I of sound as I sat on the floor and closed my eyes, hazy sounded the way being underwater does: ears submerged in bathwater, the echoing, in-utero sway of delayed, overlapping splashes and scattered droplets. Between sets, projections created by Emily Thacker flowed over three walls. Called "visual melodies," the visual soundscapes used colour, shape, speed, duration, and intensity to mimic the effects of music's rhythm and harmony. These visuals ranged from home-vid- eo-esque scenes overlaid with translucent coloured blocks, to TV static calculated into geometric lines. Whatever level of relaxation that resulted from hazy's set dissipated when Friends+War took the stage with his crucificial instrument. Dan Leonard's musical idolatry was unsettling: he kneeled in front of a setup which featured a cross strung like a double bass bearing a clear plastic mannequin head, mounted in the center of a piano. To the left was a shambled drum kit, to the right, an air compressor, a lit red candle, and the seat of a motorbike with another plastic head. A few minutes in, the cross tipped forward towards the kneeling Leonard — a feature of the apparatus — and one of the audience members jumped up to stop it falling on the artist. The rest of us gasped audibly. It took a second to see that the lean was controlled and intentional. Tensions ran high after that and I could feel the whole audience fear the automaton's unforeseeable actions. I caught myself beginning to panic about the proximity of the lit can- ' die to the air compressor. Unfortunately, parts of the machine failed during the performance: a mask broke as Leonard tried to put it on and a tape from one of the two reel-to-reel players fell to the floor and rolled off into the dark. However, this "breakage" opened up more speculation about the nature of the strange machine and its apostle. The third performer was Christina Kubisch, and we were plunged into darkness, encouraged to sit on the floor and to close our eyes. Kubisch told us there would be nothing to see, that she was going to play only sounds that she had recorded. She sat at a mixing board under a single lamp, like a typist. If someone were to ask me what I thought the dark sounded like, I would tell them to listen to the sounds that Kubisch played for us. The sounds were a long meditation on what might be called white noise, but I want to call black noise: sounds she captured, muddled and restructured into indiscernibility. After an intermission, Katharina Ernst sat down behind her golden, throne-like drum kit, surrounded by a collection of cymbals and brass bowls that carpeted the floor like chainmail. Ernst provided the percussive reply to hazy's guitar and vocal set. Ernsf s movements were calculated and elegant. She wielded her drumsticks like asper- gilla, christening the drums with sound. I felt like I was witnessing a mythological rite, some calling to or honouring of a god as she placed cymbals on top of the drums, spilled the cups on the ground, spun still more cymbals on the floor and caught them before they dropped. Each action produced a different noise yet the entire performance seemed to be one continuous sound. The final two acts, Vancouver duo minimalviolence and renowned techno artist Adriana Lopez, changed the pace of the evening with danceable sets, minimalviolence played amidst harsh red light and the space was transformed into an edgy underground club. Lopez's set was accompanied by stormy visuals which gave the dancers' shadows a ghostly feel. VIVO became a kind of techno dungeon as Lopez's dark noises enveloped the crowd. Lopez moved like a sorceress over her equipment. She seemed to be insider of herself and her music, fully focused on the creation of the sound. I felt emotionally spent by the time Lopez took the stage and overwhelmed by the convoluted music and undulating crowd that remained. I left the dancers to complete the dark ritual that Lopez had initiated and let my oversteeped nerves recuperate after the incredibly sensory evening. —Keagan Perlette SAWDUST COLLECTOR PRESENTS NOT YET YEDI AND MINE AGENTE SEPTEMBER 14 / GOLD SAUCER Jt was only the second installment of Sawdust Collector, a weekly interdisciplinary concert series at the Gold Saucer, but the venue was at no risk of being empty. That might have been because Lisa Simpson, Berlin-based musical sewing artist known as Agente Costura, was in the room and ready to perform alongside local drummer / improv extraordinaire Ben Brown — who doubled as performer and host for the evening — and other artists. I found myself a seat up front as Simpson and Vancouver improv quintet Not Yet Yedi took the stage. Settled among a tangle of cables, instruments and electronics, — sewing machine included — the crowd went silent, and Brown counted them in. "One, two, three, four!" Like a flick of a switch, glitchy, spasmodic, atonal, arrhythmic, yet entirely coordinated sounds poured out of every instrument. Every part of Brown's simple drum kit was probed and tapped by his hands and sticks; JP Carter's trumpet was modulated and distorted through a maze of effect pedals; Lee Hutzulak's oscillating and guttural bass synths rumbled beneath Dave Leith's static electronic drones; and the inner workings of John Mutter's guitar seemed to be pouring out of his amplifier. All the while at centre stage, Simpson's sewing machine chugged along, churning out garments. When the shock from the initial blast of sound wore off, I began I REAL LIVE ACTION to notice the nuance with which all six musicians were playing off one another. From afar, it was a muddled sound collage, so busy and unfamiliar it verged on white noise. Yet the more attention I gave it, the more I saw its subtlety. Ail the sounds flowed together, rising to cacophony, and dipping to near silence. The musicians passed around the focus from one instrument to another, letting each sonic texture be explored in detail. The improv set eased into silence, and after a round of applause from the fully occupied room, the band began to remove their instruments and equipment — all except Simpson's sewing machine. A heaping mound of clothing was pushed beside Simpson, an ironing board set up on her other side, and Mine Agente was ready to begin. Founded by Simpson, Brown and dance artist / choreographer Kelly Mclnnes in 2014, the installation performance also featured dance artist Rianne Svelnis and bassist Roxanne Nesbitt. It would be tedious to describe all the elements of the performance, because, for the most part, nothing all that extravagant happened. Instead, the performance forced the audience to direct their attentions on the mundanity of daily chores, the vapid slogans of consumption and materialism, and the ways in which identities are formed through appearances. Over the course of the multidis- ciplinary performance, the pile of clothes were sifted, sorted, folded, worn, destroyed, and finally remade by Simpson into a dress that Mclnnes and Svelnis put on Nesbitt. Neither Mine Agente, nor Not Yet Yedi were performances made to be grasped easily, and I can't say that I really understood either with any authority, but both succeeded in providing a wealth of artistic refinement and entertainment — as long as you were willing to pay close enough attention. — Lucas Lund MALCOLM JACK/ICEBERG FERG SEPTEMBER 16 / CHINA CLOUD The door to the China Cloud opened only a few minutes before the show was set to begin, and the room filled up quickly. It's the nature of China Cloud to feel like a room of friends, and it felt particularly so on this night. The soft orange light of the stage was not at all conducive to smartphone photography and l wonder if, even subconsciously, this was Intentional. The phones were away and people were excited to see the live, full band premiere of Malcolm Jack's Inner Circles, a 27-minute, unbroken piece of music with an eye towards the transcendental. Iceberg Ferg opened the night with an understated and well received performance. With his distinctive high-pitched voice and assured finger picking, he played a number of songs from his album In The Valley of the Purple Prince. The audience proved that among certain people, these songs are already classics. They knew his catalog and joined in on much of his lyrics. It was an ideal opening set for the night. Jack performed an earlier incarnation of Inner Circles a few months ago at the Khatsahlano Street Party. At that time, he performed alone with a guitar and a plethora of effects pedals — seeing the song cycle with a live band was an entirely new experience. Jenn Bojm provided vocals, Elisa Thorn played a colossal harp, and Ashleigh Ball on the flute made it a quartet. Amps and speakers were distributed around the room, creating a stereo sound experience and adding to the immersive nature of the song. This was the night I learnt how much I like song cycles. When you accept that you are having one singular experience, unbroken by clapping, stage banter, or gear swaps, you don't need to worry about anticipating anything. You don't need to wonder what the next song will be, or how many songs are in the setlist, or what will be performed for the encore. The audience embraced the immeasurable aspect of the music — closed eyes and lethargic faces were testaments to the spacey nature of Jack's composition. Coming from an artist who is already known in Vancouver as a psych rock guru, the whole thing could almost be seen as some sort of self-referential joke — but it was made all the more special by the fact that it wasn't. Jack took all the classic tropes of calming transcendental music — gentle flutes, plucked harp, soft accompanying vocals — and earnestly gave them added significance. If anything, it reminded me not to get hung up on the idea of genre. Jack wasn't doing this for the sake of aesthetic. Inner Circles sounds like a fully realized idea, and the live show was no different. — Sam Tudor SIGURROS SEPTEMBER 18 / QUEEN ELIZABETH THEATRE The evening began outside, thirty minutes prior to Sigur ROs taking the stage, with me watching people fill the lobby of the Queen Elizabeth Theatre, illuminated like jewels in a glass case. While waiting for my friend to arrive, I witnessed a man propose to a woman — with the little velvet box, and everything — shortly after commenting on how beautiful this sight was. The intimacy of the moment, though indirect, brought me to tears. Was it foreshadowing? Sigur ROs opened with "A," a soft and crackling song with a slow build. Visuals projected onto screens glistened with urgency like the sky during an electrical storm, pulsing and flashing before ending suddenly in a fiery red glow for the following song, "Ekki Mukk." The performance of "E4tow" was as much defined by the backlit green shapes as by drummer Orri Pdll Dyrason's heavy beat or the cello bow against JOnsi Birgisson's guitar. The audience seemed to collapse under the weight of "GlOsOli," performed near the end of the first set. It began delicate and ended triumphant, with all artists — Birgisson, D^rason, and Georg HOlm on bass — exhausting their instruments with incredible intensity. The organic visuals of the first set — molecular shapes, abstract figures, rocks and trees — were replaced by geometry and algorithmic art for the final set. The setlist too, it seemed, was more technically deliberate in the second half, and included more ambient synthetic sounds and mathematical beats. "Saegldpur" was completely devastating, and songs like "N$ Batten'," "Festival," and the epic closer "PopplagiO" featured percussion and vocals synchronized to elaborate etch-a-sketch stage lighting. Sigur ROs performing at the Queen Elizabeth Theatre was itself an intentional statement, placing the concert within the setting of a symphony with parts, or a play with acts. After an intense opening, the intermission — which I I would be an annoying interruption — was a necessary catharsis. The flow of the evening within a theatre context added to the drama of Sigur ROs. The standing ovation at the end of their second set was not met with an encore, but with the gracious bowing of humbled artists and the word 'Takk' (Thanks' in Icelandic) projected on the screen behind them. The performance was nothing short of spectacular in the most literal definition of the word — a combination of spectacle and oracular experience — leaving the audience with a fantastic reminder that we are not jewels, but floating particles of star- dust.—Paige Lecoeur WARPAINT / FACIAL / GOLDENSUNS SEPTEMBER 20 / IMPERIAL flST astings was bustling as I waited outside the Imperial, eager to I I experience Warpaint. I felt like I was stepping into a fancy hotel as I walked inside: sofas were stacked with beautiful pillows across from the bar's glistening countertop—a stark difference to the street outside the venue's doors. At nine, Goldensuns, a three-piece LA. indie pop band and the night's first opener, started. During their mesmerizing peaks, the sound slowed and fuzzed until the vocals blended with the guitar. Goldensuns' smooth vibes and unpretentious presence made me feel like I was watching from a loveseat in a living room. Romance seemed to be in the air. I noticed people holding each other, kissing each other. Lights swam over the sea of heads, like a shoegaze high school prom — only with less exclusion and more love. The second opener, Facial — another L.A. three-piece — unleashed a powerful combination of thrash and indie, building from hypnotic crooning to yelled choruses and flaming riffs. The atmosphere was still casual, though, with the band members constantly trading instruments between bass, guitar, and drums. Save for some headbangers, the floor was still — as if Facial was too heavy for the crowd. After a stage reset that seemed like forever, Warpaint walked on to a flood of cheers and clapping. Stella Mozgawa, the drummer, started the show with the funky beat — a mix of samples and live drums — from "White Out," Head's Up's first ^rack. Hypnotic and melancholy guitar began to float over the crowd as intricate vocal harmonies formed sweet and shifting melodies. When the band started to play songs from their first LP, The Fool, the crowd really began to dance. "If you're like, 'I'm uncomfortable in my body,' figure it out" said Emily Kokal — guitarist and vocalist — between songs. "We all go through the same shit." Even though I already felt comfortable, this gesture made me feel even warmer and fully cared for. After playing songs from all their records, they waved and walked off stage. Even before they had all left the stage, the crowd began cheering for an encore, holding it for an impressive five minutes. Warpaint returned and played "So Good," another new song. This track stood out: it was as upbeat as it was long and snaking. The bittersweet chorus, "So good / Something / So good / Something," melted into four minutes of hypnotic jamming. After one more song, the show was over. The casual but powerful love-burst of a set left me feeling accepted and content as I rode a river of people back onto the cold street. — Cole Klassen UveVan^§0: Mmmtained by thousands'. $ REAL LIVE ACTION I <s> Unfctt Heuieto ^%fes®$ minimalviolence Night Qym (1080p) you are walking down a dark corridor lit only by street lamp. The rain drizzles down, and as you glance at the cobblestone pathway, gasoline meets a puddle of water and a rainbow swirls about beneath you. The occasional truck speeds by on the overpass above you, but in front of you, a luminescent box buzzing with focused energy is luring you in. Its inescapable grasp is pulling you away from the dull 2 a.m. silence and into the hypnotic trance of the Night Gym. Night Gym is the funky, fresh product of Vancouver's very own, minimalviolence, a collaboration between A. Luk and Lida P, whose self-proclaimed genre is "damp pounding rhythms." The first song on their album, "Night Gym," Is clearly Influenced by the crunchy drums and analogue synths of the current outsider movement, but Incorporates a mode of acidity more like Aphex Twin than 808 State. I found that its pulsating rhythm is reminiscent of the soundtrack to the German film, Run Lola Run. Night Gym is full of tracks that emulate this echoey, thumping, eerie vibe making you just want to close your eyes and jump around to the beat. What stands out most about these tracks is their complexity. Each and every song has so much depth, even more so than in their past albums. There is always at least five different things going on, yet Night Gym still has a sense of harmony and balance within. Swimming in a multitude of sounds and rhythms, accented by the synth beats and bass, the song "Authority" is a perfect example of this. Looking at Night Gym as a whole, it is a lyric-less yet beat-full glimpse into the creative minds of minimalviolence. Hopefully it will lead to further high energy, low tempo sounds that evoke powerful emotions. — Inca Gunter A TRIBE CALLED RED IrVe Are the Halluci Nation (Pirates Blend) ^^ft e Are the Halluci Nation is the most ambitious and cohe- MMr sive album from A Tribe Called Red (or, ATCR) to date. The album is also their most explicitly political. On previous releases, their medium was their message: ATCR amalgamated traditional and contemporary culture to force their audience to rethink their per- ceptions of Indigenous Canadians. On We Are,the Halluci Nation, they explicitly address the damages caused by colonialism. The album is centered upon the concept of the Halluci Nation, a concept which activist John Trudell explains during the album's titular and opening track. The Halluci Nation challenges the system into which Indigenous people have been forced. They oppose the Alie Nation, the system created by colonizers in attempts to force assimilation. The dichotomy between the two nations is reinforced by author Joseph Boyden's interludes. He speaks as a prisoner incarcerated in the Alie Nation Correctional Facility, ruminating on the trauma caused by residential schools and colonial projects. Halluci Nation is also a term for the collective of artists and activists ATCR brought together on their album. The DJ trio reunited with their frequent collaborators Northern Voice and Black Bear to create the fusion of electronic and contemporary powwow dance music for which they are renowned. Tanya Tagaq is featured on "Sila," in a track that melds electronic reverbs with Inuit throat singing. The Halluci Nation also includes Indigenous artists from around the world. Australian beatmakers OKA lend their reggae-infused didgeridoo to "Maima Koopi." Swedish-Sami artist Maxida Marak's joik-singing takes centre stage on laidback track "Eanan." Colombian artist Lido Pimienta's soaring vocals make "The Light" haunting, especially after the bass drops and her voice become dissonant. With the support of the Halluci Nation, ATCR articulates their mission to eradicate the legacy of colonialism and the damages it has caused. On The Virus," MC and poet Saul Williams speaks to the many shapes that the virus of colonialism takes, and the diverse people the virus impacts as colonialism attempts to impose divisions. The Halluci Nation, however, does not recognize the limitations of borders. Album single "R.E.D." exemplifies the best of We Are the Halluci Nation. The track features Yasiin Bey, Narcy and Black Bear in a combination of hip hop, powwow-step and electronic dance music. With A Tribe Called Red as the producers, the Halluci Nation proposes a vision for a new society. Bey says of the shared vision, "[l]t was a dream / Now it's a living thing."— Courtney Heffernan MALCOLM JACK Inner Circles (Self-Released) ^Peelings of worth are rare. We desperately cling onto accom- J piishments and memories as markers of progress. Yet, this sentimental clutter remains only personally significant. The world turns perpetually in frantic disinterest. And ultimately you remain alone. When dealing with these anxieties, a singer-songwriter is at their best. In moments of frank honesty, a connection is built between a performer and an audience. A shared understanding is established. When on "Soldier's Things," Tom Waits bellows "This one's for bravery / This one's for me / Everything's a dollar in this box," the listener is forced to confront something truly melancholic: sacrifice and a full life will be forgotten. A box of junk can encapsulate an existence. Waits wallows in this misery and bids us to meet it. But solace is found. At least we have the steady voice of Waits. Not every artist can be so frank. But on his second solo outing, Inner Circles, Dada Plan's Malcolm Biddle as Malcolm Jack toys with this type of honesty. Throughout the album the listener is lead down corridors of self-doubt and reflection. Jack succeeds in taking his listener to these places through instrumental arrangements reminiscent of Joanna Newsom's Ys and Destroyer's Kaputt. In each of these releases, the singer seems ensconced by their backing arrangements, as if by a wreath or a bouquet of flowers. But while Newsom is accompanied by lush strings, and Destroyer backed by nostalgic synths, Jack is surrounded by the swell of new age harp and flute. Inner Circles is a ceaseless homage to the soft-spiritual music of new age prince Paul Horn. Influenced by this fascination, the song of Jack does not simply end. Instead, Inner Circles fades in and out of a constant whirring of zen based wind-instruments. Awash amongst this perpetual drone, Jack's presence is made more human and immediate. As a result, his poetic ponderings land abruptly. When Jack crones, "Now you don't need me at all [...] will you even miss me at all?" the listener is thrown into startling intimacy with Jack. The significance of the surrounding clatter fades. Now, we are privy to private dread. Jack invites us to share in his fear of estrangement and isolation. And, as it was with Waits, the listener is bound to view an uncomfortable truth: most things crumble. Life guarantees isolation. But sometimes, we can wallow together.— Maximilian Anderson-Baier 4V ay Fevers, the debut LP from Art d'Ecco, takes the listener MM from the opening "Sunrise" to closing "Sunset." But don't be fooled, you will not find a flowing album structure here. As Art asserted in his recent Discorder interview, the album is not meant to be a unified whole per se. Rather, like a playlist, each song should sound "drastically different... not just lyrically or thematically, but sonically." Whether or not this is accomplished is the question with which we wend our way through Art d'Ecco's few hours of daylight. Opener "Sunrise" confidently sets the stage with the sound and feel of a Tarantino soundtrack. It's an instrumental opener that feels like it's building to a sonic crash that doesn't entirety come with second track The Deal." Telling a Robert Johnson soul-to-the-devil- for-rock n' roll story, Art's vocals enter the picture for the first time. His voice has a particular draw across the album, a through-line that gently morphs to each song's tone. Sounding here like a syrupy Matthew Bellamy, The Deal" continues the spaghetti western feel through dark, echoing guitar lines, while the same effects later applied to the synth punctuation provide a futuristic contrast. The cloying vocals on "She So Hot" are reminiscent of choice moments of The Rocky Horror Picture Show soundtrack, the strongest indicator to me of the sense of glam androgyny Art purports to play with. The song is a tight piece of pop with precise jangle and a great horn line. "I'll Never Give You Up" is synth-pop that wouldn't be out of place at a Dark '80s dance party, with Art drawling like Neil Tennant at his most sultry. The almost 8-minute "Until It Is Over" is a high point of the album. A romantic, brooding, adventuresome track that takes a turn at the 4.5-minute mark. Descending into a multiply morphing musical breakdown, the track highlights Art's strength in creating cinematic soundscapes that have a visceral putl. Following this, "Sunset" offers a gentle but lackluster conclusion. The intended difference between tracks is perhaps too subtle for the songs to avoid being homogenous at first listen. But the claim made on Art's Bandcamp that Day Fevers contains elements of "70's glamrock with analogue synthesizers and Motown rhythms; garage rock with Krautrock; and neo-psychedelia with... spaghetti western soundtracks" is not untrue. These myriad influences can be clearly identified throughout the album, and Art wends these elements together without being derivative. Fans of any of these will find much to enjoy in the polished way they are melded together on individual tracks. But as the sun sets on Day Fevers, the experience is, on the whole, inconclusive.— Elizabeth Holliday THESUBMISSIVES Do Ybu Really Love Me? (Fixture Records) ^W f some artists are lovesick, poor Deb Edison is lovedead. The 4p Submissives perform as a six piece, but Deb uses her yearning and heartache to write, play, and record every part. Do You Really Love Me? is pop testimony to what romance can do to a girl. The instruments sound as pitiful as her exhausted, doubled drone. In "Listen to Them," she confirms all the rumors, saying, "It's true all the things that people say / All I do is cry all day." When she is nearly incapacitated by her feminine heartache, she lets her twangy, slow guitar do the crying for her. I UNDER REVIEW And remember Betty, as in the Betty from "Betty Told Me"? The heroine of The Submissive's last album? Well, back then we thought she was a kindred spirit, but it turns out that she's actually a real low- life. Betty deserves the up-tempo, sure call-out she's given. "I never had a friend named Betty / She took It all away / She took my baby." She is dead to us. Bye-bye Betty. At least you know where you stand with other girls. But when it comes to love, the world is a huge and confusing place. On "Forces," Deb faces the overwhelming helplessness that has driven her wacky. "My head's a couple inches from the telephone /1 keep checking just to see that I have a tone." This song will be especially relatable to lady-listeners, letting them think, "that's just like the time I..."* The boys in Deb's life can only give love and the absence of love. And the absence of love is sadness. So poor Deb doesn't even get to be mad at them, she has to go on loving them forever. All she can do is wait around and hope they change their minds. Deb doesn't blame them — her pure heart is filled only with love. But I will! Screw you guys. At least tell a girl why why you won't call anymore. Do You Really Love Me is an album to listen to if you want to hear the real emotions of a real girl. 'For me, it was the time I mailed my ex's new girlfriend a dead rat. What goes around comes around, Michelle!— Christine Powell (Owake) Y starts with "Ninjas," a tropical night soundscape as Sam Lucia falls in with a loud yet contemplative "Wonder if they'll talk about us." The song combines both pop beats and slower wading sounds and styles that match where So Loki is located in their music career. They have a ton of energy and drive which comes through in the production and lyrics from this song and the rest of the album. But, like the beginning of their first album Supermanic they start off the show with introspection and meditation. This pensive atmosphere is self-conscious yet also a demonstration of their meticulous planning for success — they want the most precise and flawless execution possible for their work. Like an aural thought cloud, the sound fades with the distortion of Lucia's voice trailing off. Geoffrey Millar, who handles the instrumentals, plays with sound distortion for a range of moods and grander sounds. Crickets, bird noises, guitar, horns — Geoffrey is not shy of anything. In "Birthday," a sharp and well crafted beat punctuates an intentionally messy piano sample. Just a few wrong notes here and there lend to the intimate and light hearted song. As always, the So Loki sound draws a tension between playfulness and intensity, aggression and vulnerability. This album is begging to be performed live. "Wild Kids" demonstrates these tensions with a stream of consciousness intro similar to their debut album's song "Unhealthy," which also eventually burst into spitting anger and frustration from Lucia. "I've been looking for comfort in chaos / I've been on one since my first crayons /1 got problems with priorities like old white men got problems with minorities." Lucia also warns, "I've got a closet full of skeletons let's spring clean" and ends the song raggedly chanting "Bigger and bigger and bigger" which intones a clear premonition of a future So Loki will fight for. The final song "Say Too Much" feels like a manifesto / statement of purpose. While Lucia asserts "A lot of our peers tryna play too much" he also says Tryna shape the V / Mi casa Su casa / Grab a plate with me." So Loki is all about "the team" and is competitive but also staunchly supportive of other artists. They are a vanguard for Vancouver hip hop but are not trying to edge other artists out. Chelsea Grimm, another Owake Records artist, gets a mention on the album and So Loki embraces the "a rising tide lifts all boats" mantra which is rare in the hyper-individualistic contemporary rap and hip hop scene. Lucia says "I can feel the cusp" and we can feel it too.— Callie Hitchcock KIM GRAY Perfume Ghost (Resurrection / Lollipop) ^im Gray began his exploration of textured synths and lo-fi vocals in his solo debut, Backseat Bingo. Released in 2014, the EP was a departure from Gray's previous work with Skinny Kids, featuring songs largely concerning love and nostalgia packaged in a dream pop meets garage rock guise. Here, Gray returns with a more polished debut LP, giving the spotlight to drum machines, psychedelic bass rhythms, and of course, Gray's own languid vocals. The first track, "Perfume Ghost" is the catchiest track on the album, and arguably the most interesting. Gray brings it together with drum machines layered over a jangly guitar and a captivating hook. The lush textures pair with candid storytelling in Gray's lyrics, coated in swooning sensitivity and playing with elements from slacker to fantastic. "I Wish You Knew Me Well" is another highlight on the album and features well-mastered percussion and an infectious guitar riff. The song's sparse lyrics are soft and Gray's reverberating vocals glide in and out of the sugar-sweet production. Many songs on the album follow in a similar vein, in true slacker-surf pop style, simple and teetering on formulaic. Gray does take risks on songs such as Tropical Low Life," where sampling, background vocals, and layering create an earworm to the tune of surf-pop with psychedelic undertones. However, moments such as those are few and far in between on Perfume Ghost. Clocking in at 25 minutes, the album could have been cut down into a more coherent, shorter EP in order to keep listeners intrigued. What it lacks in variety, the album makes up for in its sincere lyricism, melodious synthesizer riffs, and experimental production. The tunes on Perfume Ghost are best reserved for inevitable late night drives and winding down at home in the wee hours of the morning. Time moves slowly while listening to this album, and life seems to float by as if in an otherworldly dream. Gray propels forward a sound that he began to forge in his earlier releases and paves the way for even more luxuriant and textured songs in future releases. With the mounting finesse from his first release to his second, whatever comes next from this project will absolutely be greeted with intrigue and anticipation.— Tintin Yang lie Truth or Consequence (Monofonus Press) *C" othic, post-punk trio, lie, have already found their spot at the ^p top of Vancouver's dark and brooding music scene. In fact, they were one of the few bands I knew of before moving to this city. Their new full length LP, Truth or Consequence, is an excellent reminder that they deserve our full and undivided attention. With scalding social commentary on topics such as trauma and rape, coupled with the driving force of three seasoned musicians, the album is notoriously lie\ and that's a good thing. The shadow cast over this album is much like their previous album Consent. However, they're toying with a new angle. Ii6 is often praised for their highly political lyrics and take no shit attitude, but they aren't strictly here to stress what they stand for. There is a narrative in Truth of Consequence that adds layers of emotional turmoil and commentary on the destructive tendencies of which humans are capable. This is apparent since the main topic focuses on the conflict between one's identity and ego. With eight tracks banged out in less than thirty minutes, Truth or Consequence is a quick shot but it deserves a little time to process. The opening track "Pride" begins with lid's familiar and sobering bass tone that grinds into Brittany West's (bass / vocals) signature, somber talk / sing voice. "He's got his body wrapped in you / Now let me hear, now let me hear you scream his name," sounds less like a genuine request than a combative plea. "He's your man, let him take what he wants" she groans, in a tone that is too dismal to be sarcasm. The song shifts, however. Kati J (drums) stomps out an intense beat accompanied by Ashlee Luk's (guitar / vocals) wailing and energetic strumming. It's sharp turn that also leads the lyrics, which have done a 180. "You've got him pressed against the ground / Now push him down, and let me hear him say your name." The visuals are poignant and jarring. Elements of '80s speed-punk flow through the third track, "Watching." It harbours that lo-fi sound that is recognizable In all of lie's music and it works well for them especially in these shorter bursts of fury and aggression. "Failed Visions" marches on with West's thumping bass and infectious, yet jarring sound that gets you to the nebula of the album. Vocally powerful, with Luk's backing screams joining in, "Failed Visions" is a fistful of primal goodness. The following song, "White Mice" is an ode to white privilege, and is especially cutting considering recent news headlines. In light of other recent headlines, "Big Enough" holds no bars, giving an unapologetic look at rape culture. West and Luk, who both co-write lyrics, have created a song that chastises rapists with provides a message that is loud and clear. There is no excuse. What ensues after, in "I am" is entrancing. The murmuring echoes of a distorted guitar fade into the background as West softly whispers sharply and drawls her seductively impassioned voice. It's cut sort, replaced with the expected, but anticipated piercing of a post-punk delight. — Evangeline Hogg WINONA FOREVER this is fine. (Self-Released) CL aving named their band after one of Johnny Depp's tattoos, 11 Winona Forever appear indebted to pop culture — not just cult trends either. On their debut LP they demonstrate a penchant for snapshotting current fashions eloquently and succinctly, with just the right amount of irony. Opening track "shrek ~ chic" has one of the clearest examples: "I use an excessive amount of emoticons in every text I send / Every night's a good night and I never want them to end." this is fine, also covers the struggles and worries of teenage and early-twenties life with ease. On 'line" the breezy and bright guitar line almost detracts from the nature of the issues as they sing There's got to be more I can do than just wake up tired." Lead single "#1 summer anthem to grind to" talks more clearly about anxiety throughout, with "I hold my beer / So I can hold a conversation," being the boldest quote from a cutting rhetoric. Despite the nature of this content, the track has an instant groove to it that is the foundation for good pop music. Throughout the record, in fact, the lyrics are all just as well crafted, They are brave and engaging to listen to. They come to the fore over intricate melodies, reminiscent of Antidotes-era Foals. "Headrush" has the stand-out riff of the record, a winding scale guitar line that is exactly the brand of indie rock and roll Brandon Flowers promised us back in 2005. This contrast of upbeat, almost joyous melodies and honest lyricism is what makes Winona Forever such a stand out band in Vancouver. Sometimes, however, they do force the lyrics onto the melodies, giving the impression that two parts have been conceived separately and not married in the smoothest fashion. Both "Smoothie" and "Precarious" utilise a lot of over-elongated syllables to make their respective choruses fit, which doesn't quite work. UNDER REVIEW I this is Tine, is far from a perfect record. It Is a solid debut with slices of brilliance littered everywhere, but ft could do with a coat of polish. In my mind, all they need is a producer to fitter and refine the band's ideas. But it's still one of 2016's most promising Vancouver records. Winona Forever have a lot of potential, and it is exciting to think of what they could do in the future.— Sachin Turakhia CASUALLUXURY Casual Luxury (Self-Released) Casual Luxury's self-titled EP might be labeled as an "EP." But its content is just as rich and fully realized as any great rock album in the recent past. Unlike many modern rock acts who incorporate elements of electronic and dance music, Casual Luxury favours unconventional song structures and still relies heavily on guitars. From the start it's clear that Casual Luxury puts the music itself above the vocals and lyrics. Not that they are insignificant, as the lyrics express personal feelings and reflections, but the vocals are consistently layered slightly under the instruments — the music is what grabs the listener's attention from the beginning to the end. What makes the EP so worth coming back to is the unconventional structure of most songs. The opener "From the Balcony" starts with a guitar melody that is soon accompanied by vocals. Then the bass and the distant drums are introduced and they gradually reappear throughout the track. The drum patterns are especially interesting as they constantly change but also repeat a motif from earlier in the track. The song then features a distorted guitar that transitions into a wall of melodies. AH this happens in the span of five minutes yet none of it sounds out of place or illogical. "Girl Grins," is another track that follows an unconventional song structure. For the first two minutes or so, it sounds like a conventional guitar-driven song, but then a guitar solo emerges leading the song to a new direction as the riffs and drums build up to a new guitar melody that is the foundation for the second half of the song and its heavy outro. This sense of progression and constant surprises in each track makes Casual Luxury a rewarding listen. It is music that requires patience and attention. But after a few listens, it all sinks in, and becomes even more enjoyable as the listener is familiar with all the twists and directions in each song.— Sam Mohseni PAVEL [sic] (scalarwav) you just know that there's a perfect time to listen to some albums. Pavel's electronic, lo-fi mini LP [sic] Is one of them. The opener, "Beginner's Mind" sounds like a come down after returning from a party, a lullaby just before sleep. My first impressions were wrong though, as [slcfs spacious, hypnotic melodies made of keys and synths, its distortion, and superbly arranged lyrics, force the listener into contemplation, about the future, life, love or wherever their thoughts at that time take them to, making it harder to fall asleep. Pavel, the stage name of Alex Cooper, incorporates chillwave, dream pop and ambient music in [sic], but the project isn't unoriginal. Its bulk Is made up of slow and mellow tracks like the standout, True" with its soaring, layered keys, synths and emphatically worded and delivered lyrics. There are also a few upbeat tracks with m'UM UNDER REVIEW more energetic percussion scattered throughout, like the appropriately named "Alright." The main theme of [sic] seems to be urging listeners to self reflect and value themselves. "I used to wonder about you / Lately I've been wondering about me" Pavel sings in "Syndochene, BC." Its music video also has him dancing with headphones on, seemingly lost within himself, [sicj's main feature is the space created by the music's arrangements. They draw you into a contemplative state reminiscent of times gazing across an ocean with your mind captured In thoughts that are only made clearer by the expanse of the water, like a canvas. The vocals are few and very distorted, but the clearest lyrics in all the album are in the song True": 1 want to be more than I am / And I always will because I always can." This is not a sad album as it first appears from the mellow melodies and the lyrics in "Beginner's Mind." Past lovers that hurt him in "Laziness or Fear" turn into sources of happiness and optimism in "Pile of Smiles," where he whispers "I want to turn my pain into a pile of smiles for you." The message is one of empowerment despite the pain, in order to overcome it, whatever form it takes. "Untitled" and "Jj" feel underdeveloped but overall [sic] is a coherent project with gorgeous melodies and harmonies, and strong rhyming lyrics. Let it grip you.— Shelbi Khoury ^fW% ith the end of summer finally upon us, the fictional lives Mgkr we've led packed with travel, mystery, and new experience have mostly come to a close. The fall and winter months always .come strapped with responsibilities, deadlines, and the stress of new connections. So if you haven't already, now is the time to listen to Ontario-born singer / rapper ninetyfour's (AKA Tevin Douglas) debut album It's Yours. This 9-track R&B record (reminiscent of artists like Drake, Rae Sremmurd, and Jeremih) provides an answer to the trials and tribulations of being a young twenty-something working hard towards establishment in a Canadian metropolis — which often seems to have no time for anybody. The album's mood is immediately set with the title track "It's Yours," as Douglas' dynamic and tastefully tuned voice glides over a dreamy beat, driven by affected vocal samples and delightfully satisfying drums. The clever double entendre "I know when the time's right / When you're giving me that look / You'll be screaming that it's yours" seems to temper the distinction between the two Freudian themes of love and work that guide the lyrical content of the album. The next two tracks on the record elaborate on the subject of love. "Just Like That" takes a traditional approach to the subject, describing strong emotions for a prototypical love interest. The song earns its stripes, however, in its reference to popular Canadian venues (Republic Nightclub in Vancouver and the recently closed Barcode in Toronto) and to Douglas' own geographical history (claiming the track's love interest is from his hometown of Scarborough, Ontario as well as mentioning his lineage as a "young Canadian Jamaican"). The rest of the album focuses more on work, as Douglas describes his life as an up-and-coming Vancouver artist struggling against the doubt and criticism that surrounds him (like in the song "Happy"). The answer he proposes to the seemingly impenetrable scene is hard work and pride, apparent in his hyper confident lyrical style that describes his work ethic in songs like "Free" ("I'm young but I'm not moving reckless") or that self reflects on his successes like in "Just Like Thar ("I only see defeat when I'm looking at these shoes"). For those of us finally acclimating to the routine we were so dreadfully used to before being set free by warm air and long days, ninetyfour's Ifs Yours serves us a recipe for continuing on in the face of misfortune, of seeking out the important things in our lives, and living and loving like we never left.—Mat Wilkins INDUSTRIAL PRIEST OVERCOATS Gone.Nativ'ity (Self-Released) nowadays, internet musicians do everything they can for attention, with satanic or extraterrestrial imagery, or non-se- quitur titles in all caps. So when I saw these elements surrounding INDUSTRIAL PRIEST OVERCOATS, I felt jaded. Until I noticed the "release date" of their latest album, Gone. Nativity — the year 2000. Another one of their albums was 'released' in 1986, and another still on July 4,2020. It seems that by exploiting Bandcamp's release date function, IPO have discovered the latest method in click-baiting those irony-hungry teens who lurk in the murky waters of the internet, and I have inevitably fallen prey. The first track, "WHAT EVER HAPPENED TO THE COVENANT HOUSE KIDZ??," is captivating. The unrelenting guitar and heavy drums are a killer combo. The tempo slowing, and the introduction of the wavy synth, is seamless. And the vocals, which sound like the screechings of the mighty Furies themselves, is invigorating, albeit completely indecipherable. Personally, I find this mdecipherability alluring. Common among garage punk bands such as Teen Suicide and FIDLAR, it reminds me of a voice in the distance, demanding my full attention as I hope to understand it. As a by-product, I am attentive to the entirety of the music. Furthermore, it implies a prestigious club, of those who know exactly what the lyrics say, either through having listened to them hundreds of times, slowing them down and changing the pitch, or through the honour of having the lyrics explained by the band members themselves. Though the rest of the album holds the elements which make the first track so outstanding \— raw vitality and fearless experimentation with vocal approaches and tempos — it lacks a sense of cohesion and method between these elements. I could see how someone could find the lack of overarching chord progressions to lean upon alluring. But, to me, it feels like a series of chaotically heterogenous iterations of the first track. However, despite this top-heaviness, the pure energy that persists all the way through would make excellent sloshed-moshing material, and I mean that in the best way possible.— VladKrakov SWIM TEAM IN PH SPA Their work reminds me of Family Band, a Montreal group that also combines playful instrumentation with existential dread. Where Family Band keeps it tropical (congas and surf guitars), Swim Team gets more grungy — guitars that sound bent, rhythms that turn on a dime, and vocals that sit somewhere between conversational and hysteric. In their' short time as a band Swim Team has been compared many times to Sonic Youth — punks playing art rock. There is an irony to this that isn't lost on the band members. "The Sonic Youth thing was funny, because I didn't actually start listening to Sonic Youth until people said that what we were doing sounds like them," says Short. "One of my biggest inspirations is Brian Eno, but I know that listening to the music on the surface it probably isn't very apparent." Ayfer's to a few tracks from the upcoming record (to be released on October 31) and it's an exciting feeling. The music is less punk oriented, but somehow feels more intense than Freedom/Constraint. Ayfer's drums are frenetic and fast, and Short's guitar work drives the emotion of the songs. Neufeld's vocals remain frantic, but she also diversifies her singing style. On one of the most subdued sonj from Swim Team, she briefly trades in her short, dipped stanzas for a soulful croon. The effect is disorienting, sad and powerful. "My writing on the new album was very intentionally vulnerable," says Neufeld. "I think the first album was safer because I would approach things from a distance. This still isn't about one words by Saa Tudor illustrations by Kalena Mackiewicz photos by Laura Harvey "^^^ hen I speak to Swim I Team, the band is just ■:^WSP back from a recording session in Oyama, a small town in the Okanagan. For the past threg days they've been writing and recording the follow up to 2015's Freedom/Constraint; a dark, energetic album that introduced them to Vancouver's music scene. "I woke up at two PM today," guitarist Nick Short tells me, sitting in a quiet garden. "My sleep schedule has completely shifted since we started." With Short on guitar, Dorothy Neufeld on bass and vocals, and Murat Ayfer on drums, Swim Team is a musically diverse trio. A relatively new band, they haven't settled into any comfortable routine or system. For Swim Team, this instability is a blessing, something to hold on to. "I wanted to be as uncomfortable as I could," says Neufeld, when asked about her intentions with the band. "I wanted it to be kind of ugly." Trained as an opera singer, Neufeld spent years learning to control her voice, to practice discipline in the way she expressed herself. On Freedom/Constraint she takes a different approach, using a style that is in many ways a rejection of past training. Her voice is both playful and manic; speak-singing becomes anxious shouting over the course of a song. And unlike opera, Neufeld sees her vocals less as the main item and more as part of the greater whole. "The most important thing to me was that everyone was equal, and that I wasn't way 'in the front' "I WANTED T TO BE \iiu\mimmu album. The rolling hills, quiet orchards and lakeside setting of their Okanagan studio highly contrasts with the recording location of Freedom/Constraint — an urban jam space in Coal Harbour. This shift is evident 1 the music, and listening closely I can almost hear the rooms enclosing and shaping the different ideas. "It wouldn't have been the same if it wasn't that few days in that physical space, and that was important," explains Short. "I like being driven by the limitations of a certain piece of equipment, or the limitations of a certain way of doing something. Being where we were and having what we had is what shaped the songs, and I really appreciate that." ^^m spend time trying to ■ unpack the dichotomy of ^F Freedom/Constraint — the tension between control and chaos that the band is already becoming well known for. But as they speak about their music, I realize it's not as simple as addressing one tension. The things Swim Team sees as limitations (gear, time, techniques, etc.) are also the things that they use to experiment and grow. For them, both freedom and constraint are wrapped into one idea — held simultaneously, inseparable. Swim Team's new album will be released October 31. Their next live show is the WISH fundraiser at Ask An Anarchist on October 15. Visit swim-team.bandcamp.com for more info. vocally. It's much more fun that way." Short expresses a similar sentiment about his role in the band. "I play in another band called Dumb, which is more straight ahead. This was an outlet for weirder things." Weird is good, but Ayfer is quick to point out that it isn't just for the sake of being weird — "if we practice something strange and dissonant and develop out of that, we can build up a repertoire of work that is more than just the same chords in different orders. I think that's very important to influences are equally disparate — "A lot of Turkish music that I grew up with has irregular time signatures, which are very different from Western music, which is often a 4/4 straight beat. I also listened to a lot of progressive metal like Dream Theater. In this band I can finally try that stuff out. That being said, I don't think there is one thing I'm particularly influenced by; it's just the sum of all the things I've ever tried to play." About three or four drinks into our conversation, the trio asks if I want to hear some recordings from their Oyama trip. We listen particular thing, but it's definitely a self-healing album. Or... maybe it isn't, maybe it's just a fantasy, this idea of self-healing. BUt • whatever. If you can acknowledge that too, it's ok." Throughout our conversation, each band member mentions the importance of physical space. Neufeld is drawn to objects and space as a source of her lyrics. Ayfer and Short talk about the physical spaces they rehearse and play in as formative to their instrumentation. Because of this mentality, Oyama itself becomes a significant player in the new SWIM TEAM We are X Stephen Kijak UK/USA/Japan sr ^ "' ;^Kl|aoi<'sfilmfemaihs.arlvetlngi.oftetiInspiring .-..■--'■■■.,■ ^&rflOvfe..''Bouhd to becomeo favorite among fans "-. ^^andjto'pe'rsuado others to join the ranks BM^ ^4"- offKose under the loud spell ofX"— IndioWlre i J i " £$£tibfy*p«H*nHrii'kV ' Elf BfflW.lM v* ' M Discover viff.org. : September 29 to October 14 Prwnlw Partnar Pramlar tupportara .S^TYlLUff IHWJ creatfveec 1 &£i i ANNU ^c^T •^ BOOKS ■ *^ A A V-. MAGAZINES P M * ZINES (£ PRINT EPHEMERA ^ V "^ TALKS S. V"""-**""*"^ ^^ PERFORMANCES 16.10.16 7§© 3dYS¥ j£ •*_«, MM esj>e GEIST Mm Iherf&toria CLOROX GIRLS (LA) BRAIN DRAIN (SEA) LAUGHING BOY SORE POINTS BUSHWHACKER HASHTEROID KOMA -I- HERON RINGWORM WORMWITCH + EXALT BLACK MARBLE (LA) RITUAL HOWLS(DETROIT) SUR UNE PLAGE HALLOWEEN COVER NIGHT SPECIAL DUTIES THE GERMS BASTARD BATHORY CROCIFUCKS KING DUDE COVER THAT UP THE PIXIES IGGY POP MORPHINE NIN -I- MORE KINKS TRIBUTE THDRS OCTOBER 6 ujiMieayj SAT OCTOBER 8 THE EAST VAN NINETIES PARTY SUN OCT 9 + ERI OCT 21 SKINNY PUPPY THTJRS OCTOBER 13 THE DARK 80S HALLOWEEN PARTY SAT OCTOBER 15 DON'T KNOCK THE LAUGHING STOCKS words by Elijah Teed // photo by Sara Baar // illustration by Fiona Dunnett reputation as a band that exists solely for themselves, that third performance, once considered an absolute flop, is looked upon now as a Puzzlehead team building exercise. """"towns occupy an awkward space ""pin the social 1 strata. To some, they are a symbol of joy; for I others, they're carni- ■ valesque nuisances; I for others still, they | may be the cause of ^M a horribly cliche pho- H bia. In the case of N Puzzlehead, however, the clown is a source Mof inspiration. "I was writing a bunch of poems that """*k were centred around H this inquisitive idiot," ^M^ explains Clarence, the /f3H"*fc founder and frontper- son of the band. "The H poems were written from a narrative of this bumbling fool that's really good hearted ... He's an idiot, but he's coming from a good place." That loveable idiot was Puzzlehead, in his earliest form. As the character gestated and her writing progressed, Clarence attempted to set the poems to music, enlisting the help of her partner Dandon, and their friends Purenia and Golyadkin. Soon after, PuzzlerTead moved away from his humble beginnings as a poetic vehicle and morphed into a full blown band. If their curious origin story is anything to go by, it should come as no sur- prise that the group is taking an unconventional approach towards making music. Puzzlehead, loosely put, isn't interested in walking the tried- and-true path that most groups tend to follow. "I have other bands where it's very much about being in a band, and doing the band things — going on tour, taking photos, and stuff like that," Clarence says. That wasn't what she and Dandon were after with Puzzlehead. Having both participated in and enjoyed traditional band experiences, the couple wanted something different. As Clarence puts it: "It was like 'Who could we be experimental with?' and not 'We're going to make a band, and play Music Waste, and then put out a tape, and a 7-inch, and then go on tour.' That whole trajectory." That unconventional attitude, however, isn't without its challenges. By all accounts, Puzzlehead is still in its early days, but the group has definitely encountered some growing pains. Their third show sticks out in particular, a performance Clarence describes as "disastrous to the point of tears." "We were the only band with a drum kit," Purenia notes in her recollection of how out of place the band looked and felt. "[Purenia] didn't bring a kick pedal, so she was kicking the kick ..drum the whole time," Clarence recounts. "After we finished the first song nobody clapped, not one person... I looked over at [Purenia] and was like 'Just anywhere else. I would like to be anywhere else in the world right now.' It made us reassess why we play shows." Their reassessment was a constructive one. Helping to solidify their "I feel like we bonded much from that," Clarencel notes. "I just kept burping out of nervousness ... It's funny now, and I kind of like it. There was really experimental, layered, curated music — and then we came and were a crappy band that played for five minutes, maybe." "That's part of why I don't mind resistance with an audience," Dandon continues. "The idea of pleasing an audience kind of fits into that typical band attitude, and I just think it's more interesting not to play to that." Dandon's advocacy for a disaffected attitude is compelling, but it's not so simple. Much like the clown they've modelled themselves after, Puzzlehead are still grappling with their role as entertainers in conjunction with their role as artists. "When I think of a clown I think of someone that is trying to entertain by making themselves the joke, but then when people laugh at the joke they spiral deeper into the sadness that made them feel the need for validation in the first place," Clarence exclaims. It's a tricky space to navigate, with Puzzlehead making music that's unapologetically self-interested, but also pining for validation. Bs Clarence says: "There are some things that definitely don't change no matter what efforts you make to point them into another direction. If people don't like me, I'm still going to be sad." show, Purenia notes the progress they made while working on Frank's Man Cave: "I feel like [the songs] have changed so much from when we first started playing them," she says. "I'm most excited about the last song ... It's kind of cool that I Can already see a chronological progression where things just make more sense now.'* "I do feel like it's chronological," Clarence continues. "Like our first song versus our last song — maybe it's just because we were all involved with the process, hut it definitely feels like some kind of journey." Much like the character that inspired the band, it's that sense. of journeying — complete with successes, pitfalls, and a fair share of downing around — that drives Puzzlehead to keep experimenting. SUP The production of their first release, a five-song tape entitled Fred's Man Cave, speaks to that dichotomy. Self-recorded in their rehearsal space, the tape in and of itself represents the intimacy and solidarity of the band, with no outside eyes or ears prying into their process. It was an insular experience, but one the members Puzzlehead seem to appreciate. Much like the growth the band felt after reexamining their third Have these downs piqued yaw interest? Get yow-hands on a physical copy of Fred's Man Cave, or check oat deathtopuzzlehfadJMmikamp.com for a digital version a ON THE AIR KEW IT UP words by Dora Dubber illustrations by Nicolette Lax photos by Manny Sangha Editor's Note: This special On The Air column features a podcast audio component. You can find the link at the end of this article. -BB Bt its most basic level, Jonathan (Jon) Kew's show Kew It Up features experimental and electronic genres with sound collage and commentary interludes. But it's this surreal insertion into CiTR's Wednesday afternoons that allows listeners insight into contentious ' social issues and phenomena through Jon's unique understanding of the playlist. Jon had originally wanted to do this article anonymously and while the show's name has made that explicitly unrealistic, it's not just Jon's surname that labels the show as inherently his own. If you just briefly speak with Jon outside of the studio you know that he's expressing himself — his own thoughts and opinions — in every episode. I didn't include a lot of Jon's quotes in this article because there's an audio version of the interview that we conducted on-air that you, the reader, can listen to for the fuller experience. _ Jon's been involved at CiTR in some capacity/j since 2012. He recently graduated from UBC with; an English degree and currently works as the station's Productions Manager and Discorder'sfi own Under Review Editor. Kew It Up has beenj on air since September 2013, but Jon has^ always seen the show as being in a "period^ of gestation." When it began, the show consisted mainly of a playlist format with song, introductions and occasional thematic mini-monologues, but has since gotten VI more daring in its conceptual commentary, vj These commentaries are largely improvised 11 and the content is drawn from pop culture,* social attitudes and his pseudo-knowledge of philosophy. The show's ethereal music lends itself to Jon's soliloquies, supplementing the spoken \l word content as a background 1 soundseape and thematic guide which both informs and informed by the episode's subject. Over this past summer, Jon produced a radio documentary for CiTR's UBC too Docs Series about the transformations in CiTR's PSA production and station culture since the '60s. The project was intense, and left Jon with an intimidating bank of information on how "weird" the station's programming used to be. Since completing the documentary, Kew It Up has been moving away from the pie playlist format, and has begun incorporating more commentary and sound collage. Jon is always pushing closer to his "conceptual narrative," finding new ways to focus1 Kew It Up's format and themes toward content he's interested in. As a programmer on CiTR with The Reel Whirled, I completely relate to the tension between creating content that's "weird" enough for the station while also being as timid as I am. Manipulating the format is a huge part of navigating that — not unlike this column, which has also been produced in prose with an on-air audio component this month. It is difficult to reconcile professionalism and respect with artistry and rebellion, and that's definitely something Jon struggles with both personally and professionally, citing how self-conscious he is about self representation and his show's quality. Part of taking the show "to the next level" is to potentially introduce an outrageous character host, but he wants to create meaningful content and knows that this might paint him as a "disrespectful asshole." In person, Jon is incredibly warm, but on air he can be lofty, frigid and taciturn, \ effectively alienating his occasional guests and limiting the show's accessibility. Himself unsure if this provides people with the stereotypical DJ experience or an Eric Andre-esque attempt at making the audience and odd interviewee as uncomfortable as possible; but it largely boils down to accentuating an interest in the evocatively fantastical. Although he's grateful for their participation, attempting to emulate CiTR's cheeky history can limit his engagement with the community. But where his interpersonal stiffness discourages engagement, ihis solo-narration is incredibly compelling. Jon is thoughtful, in that he's full of comprehensive thoughts on an array of topics. CiTR's history is one that he finds particularly fascinating. He's .very aware of the station's legacy and Ms place within it. All of his responses Lwere framed in the context of the station's past and present, whether comparing his show to other similar hosts at the station or the complex sound art from the '80s. His expansive knowledge produces an unmappable maze of tangents which has the potential of being unintelligible, but, supported by the episode's playlist, Jon manages to escort listeners seamlessly through his discourse. What Jon calls gestation I call maturation. Kew It Up's renaissance is slowly being realized every Wednesday in the CiTR studio. Its content and execution are constantly developing closer to Jon's proposed goal. He stresses the importance of the programmer's "responsibility to try and do more" whether it's "creating a culture of self-reflection, striving towards allyship and decolonization of media, or helping cultivate an anti-oppressive forum for non-mainstream voices." And speaking to that, Kew It Up definitely deserves recognition for its innovation and total weirdness. Dora Dubber co-hosts.The Reel Whirled yvhich airs on CiTRioi.gFM Fridays iam-i2pm. Kew It Up airs Wednesdays ft 3-A-pm . Listen to their interview at ^itr.ca/radio/spedal-broadcast/20160921 OCTOBER HIGHLIGHTS WWW.JBtomeATBBIIClCEIS.CA SEPT 291 OCT 14 OCT 19 21 OCT 22 OCT 24 OCT ,251 OCT 2d OCT 1301 31 HMFBIHN. KM CAIiEIHDAE.. IMMtOV AGA"NST HUMANITY mam mm msm mom THE FOURTH ANNUAL feNp^C^Spalta. 1HE ROCKY HORROR SHOW iidHlflfelNgtftSoK Ibull/lttrtHmrrfkThllBittTfimB Swi-eeMON show DISCORDER RECOMMENDS LISTENING TO CiTR EVERYDAY ! $9ont)a» CaefDap "MeDnejJbap IC&qMDap JFttDap j&aturbap frunbap ■ 'SWtOTT''1 PAdfTTOfflF * s*™ •L— mat.* .«. 7Am\ iSpi 7AM {sTdK) 8AM. OFF THE BEAT AND PATH CITED! 9AM BREAKFAST WITH THE BROWNS VANCOUVER: RELOADED JUNGLE THE COMMUNITY LIVING SHOW WKEMEN 9 AM 10 AM l^P rSS™" STUDENT FILL-IN !*P**f°s mm "jpAVj StlllimroS'*"' HAM UNCEDED AIRWAVES ROCKET FROM RUSSIA THEREa 11AM "M SYNCHRONICITY MORNING AFTER THE SHAKESPEARE DONUTS DAVE RADIO WITH RADIO DAVE GENERATION ANNIHILATION «|f: 1PM ssr Et STUDENT SPECIAL FRESHSLCE 1PM 2 PM WAVES OBSERVANT RADIO ZERO 2PM 3PM THEBURROW RADIO FREE KEW,TUP ASTROTALK CODE BLUE FtESflR-; m 3PM THUNDERB.RDEYE NARDWUAR ajflf UTTLEBITOF SOUL CAMPUS CRASH COURSE VIBES AND STUFF Mi 4PM 5 PM W1EORAMIREZ ESS"* ARTS REPORT ALL ACCESS PASS NEWS1101 MANTRA CHTHONIC BOOM! S PM 8PM* sar Sue F^TTODffflETO'" IS «>r«k> ARE YOU AWKftE w UDY RADIO NASHAVOLNA NOW WE'RE TALKING 8PM KTS mV SPACE ~ 7PM EXPLODING HEAD MOVIES | " QUESTION EVERYTHING -VES5 MORE THAN 7PM 8PM INSIDE OUT MIXCASETTE " NEW ERA AFRICAN RHYTHMS SOCA STORM zr SF 8PM 9PM THE JAZZ SHOW CRIMES & TREASONS WHITE NOISE THUNDERBIRD RADIO HELL SKALDS HALL SYNAPTIC SANDWICH TRANCENDANCE 9PM nm SCREEN GIRLS CANADA POST ROCK 10 PM 11 PM AUSMUSICSHOW C5^P» THE MEDICINE nPM 12 AM 12 AM RANDOPHONIC 1AM CITR GHOST MIX CrmGHOSTM. AURAL ' ■' TENTACLES THE LATE NIGHT iAM 2 AM THE ABSOLUTE VALUE OF INSOMNIA 2 AM LATE NIGHT LATE NIGHT ■ CARIBBEAN SOCA STORM DJ SOCA Conductor delivers the latest SOCA music tracks out of the Caribbean. This party music will make you Jump out ol your seat. This show Is the first of its kind here on CITR and is the perfect music to get you in the mood to go out partying! It's Saturday, watch out STORM COMING!!)! ■ CLASSICAL CLASSICAL CHAOS From the Ancient World to the 21 st century, join host Marguerite In exploring and celebrating classical ■ CINEMATIC EXPLODING HEAD MOVIES (NSIDE OUT \ \ Inside Out is a weekly radio show \ frorr\8-9pm (PST) every Tuesday night on 101.9FM in Vancouver, Canada that plays Dance music THE LATE NIGHT SHOW early morning. Following the music, w play TZM broadcasts, beginning at 6 i RADIO ZERO party jams from New Wave to foreign electro, baile, Bollywood, and whatevei else. Website: www.radlozero.com Email: djsmileymike @tranci MIX CASSETTE WED. 8 PM A panopoly of songs, I ■ DANCE / ELECTRONIC COPY/PASTE If It makes you move your feet (or nod your head), It'll be heard on copy/ paste. Tune In every week for a full hour DJ mix by Autonomy, running Dedicated to underground electronic mi ' ntal and dance-oriented, id guests throughout. TECHNO PROGRESSIVO house, prog-house, and techno. TRANCENDANCE SUN. 9 PM Hosted by DJ Smiley Mike and DJ Caddyshack, Trancendance has been broadcasting from Vancouver, B.C. since 2001. We favour Psytrance, Hard Trance and Epic Trance, but also play Acid Trance, Deep Trance, and even some Breakbeat. We also love a good Classic Trance Anthem, especially If If s remixed. Current Influences Include Sander van Doom, Gareth Emery, Nick Sentience, Ovnimoon, Ace Ventura, Save the Robot, Liquid Soul, and Astrix. Older influences include Union Jack, ■ DRAMA/POETRY SKALD'S HALL Skald's Hall entertains with the spoken word via story readings, poetry recitals, ar drama. Established and upcoming artists join host Brian MacDonald. Interested In performing on air? Contact us on Twitter: 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 music: profiling music and musicians that take the route of positive action over apathy. AURAL TENTACLES « global, trance, spoken w< BREAKFAST WITH THE BROWNS offer a savoury blend of the familiar and exotic in a blend of aural delights. Email: breakfastwiththebrowns@ LIVE FROM THUNDERBIRD R Oct 27: The Sylvia Platters. Nov 24: Gun Control, Dec i:ji THE MEDICINE SHOW saturing musicians, poets, it Industry guests whose iered to be therapeutic. The Morning After Show every Tuesday at 11:30(am). Playing your favourite songs for 13 years. The morning after what? The Eclectic she NARDWUAR RANDOPHONIC Randophonic has nc ;ept of genre, style, 3n space-time relevance. Though we nave been known to play pretty much anything by anybody (as long as It's good), we do often fix our focus on a long running series, the latest of which (due to premiere In April-2016) Is The Solid Time of Change (aka the 661 Greatest Records of the Progressive Rock Era - 1965-79) And we're not afraid of noise. THE SHAKESPEARE SHOW Dan Shakespeare Is here with A myriad of your favourite music tastes all cooked Into one show, from Hip Hop to Indie Rock to African jams. Ola will play through a whirlwind of different genres, perfect layering of yu STUDENT SPECIAL HOUR SUBURBAN JUNGLE inanity. Email: dj@Jackvefvet.net. ■ ETHIOPIAN SHOOKSHOOKTA A program targeted to Ethiopian people that encourages educatioi and personal development. ■ EXPERIMENTAL MORE THAN HUMAN Strange and wonderfi future with host Garetl ties: Sonic Cateschism / philosophy and criticism, ital, Electronica, Post-Punk, Plug NIGHTDRIVE95 directly Into your synapses and Immediately receive your weekly dose of dreamy, ethereal, vaporwave tones fresh from the web. Ideal music tor driving down the Pacific Coast Highway in your Geo Tracker, sipping a Crystal Pepsi by the pool, or shopping for bootleg Sega Saturn games at a Hong Kong night market. Experience yesterday's tomorrow, today! POP DRONES ' Unearthing the depths of contemporary cassette and vinyl underground. Ranging from DIY bedroom pop and garage rock all the way to harsh noise and, of course, drone. ■ GENERATIVE THE ABSOLUTE VALUE OF INSOMNIA Four solid hours of fresh generative music c/o the Absolute Value of Noise and Its world famous Generator. Ideal for enhancing your dreams or, If sleep Is not on your agenda, your reveries. ■ HIP HOP CRIMES & TREASONS Uncensored Hip-Hop & Trill $h*t. Hosted by Jamal Steeles, Homeboy Jules, Reify Rels, LuckyRlchahc Showcases up and coming artists wf are considered "underdogs" in the mi industry. The show will provide a plat for new artists who are looking to get play. Hip-Hop music from all over the along with features of multi-genre art THE SCREEN GIRLS The Screen Girls on CiTR merges mi in contemporary art, fashion and music. W seek to play a variety of music, focusing oi promoting Canadian hip hop and "KB. 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 in one segment. All the way from New Jersey, DJ Bmatt will be bringing the east coast to the west coast throughout the show. We wlU have you reminiscing ;!! SQUAAAA and Stuff every wi ■INDIAN RHYTHMS INDIA ALTERNATING SUN. S PM Featuring a wide range of music from India, Including popular music from the 1930s to the present; Ghazals and Bhajans, Qawwalis, pop and regional language numbers. ■JAZZ THE JAZZ SHOW Oct 5: Drum master Max Roach and an incendiary performance by his quartet at San Francisco's legendary Jazz Workshop. Mr. Roach guides his band with pianist Mai Waldron, tenor saxophonist Clifford Jordan and bassist Eddie Khan through two lengthy suites of music with overtones of Mr. Roach's commitment to the US Civil Rights Movement. The album title Is "Speak, Brother, Speak" Oct 10: Coinciding with two important Birthday anniversaries we present pianist and Jazz pioneer Thelonlous Monk and his pal and favourite drummer Art Blakey together in three settings led by Monk, a trio, quintet and a quartet. Monk was bom on Oct 10 and Blakey on Oct 11. Classic music! Oct 17: Canadian bom pianist/composer/ arranger and musical magician Gil Evans leads his big all-star band on a recording s.'Out of e Cool- is like no other big band recording and stands as a beacon of orchestral creativity. Oct.24: Alto and occasionally soprano saxophonist Sonny Criss was one of the most compelling and powerful players ever. An underrated musician sadly but fortunately he did many fine albums. This one features a small and shortlived band playing six compositions designed to feature Sonny all written and. arranged by his friend Horace Tapscott. The album Is called 'Sonny's Dream (The Birth of the New Cool)-The Sonny Criss Orchestra". Do not miss this one! Oct 31: It's Halloween and what could be more appropriate than a famous album by drum great Philly Joe Jones and his sextet On the title track called "Blues For Dracula", Philly Joe overdubs his best Bela Lugosi Impression. The album Is a smoker with tenor saxophonist Johnny Griffin and trombonist Julian Priester and stealing the show, cornetist Nat Adderley. LITTLE BIT OF SOUL ■ LATIN AMERICAN EL SONIDO Salsa, Bachata, Merengue, Latin House, and Reggaeton with your host Gspot DJ. THE LEO RAMIREZ SHOW imirez@canada.com FLEX YOUR HEAD Punk rock and hardcore since 1989. & and guests from around the world. POWERCHORD Thur.4pm Slmorgh Radio Is devoted to the education and literacy for the Persian speaking communities and those Interested In connecting to Persian oral and written literature. Slmorgh takes you through a Journey of ecological sustainabllity evolving within cultural and social literacy. Slmorgh the mythological multiplicity of tale-figures, lands-ln as your mythological narrator In the storyland; the contingent space ol beings, connecting Persian peoples ■PUNK ROCKET FROM RUS8IA play new, In music. Great Success! PS. Broadcasted In brokenish English. Hosted by Russian Tim. Website: http://rocketfromrussia.tumblr.com Email: rocketlromrussiacitr@gmall.com. Facebook: httpK/Avww.facebook. com/RocketFromRussia. Twitter: http^/twltter.com/llmajzar. GENERATION ANNIHILATION On the air since 2t ■ REGGAE THE ROCKERS SHOW ■ ROCK/POP/INDIE THE BURROW T-ROCK Formerly on CKXU, Canada-Post Rock one, ambient, experimental, noise id basically anything your host Pbonc in put the word "post" Infront of. DAVE RADIO WITH RADIO DAVE Your noon-hour guide to what's happening In Music and Theatre In Vancouver. Lots ol tunes and talk. DISCORDER RADIO Discorder, this show covers content In the magazine and beyond. Produced by Jordan Wade, Matt Meuse, and Claire Bailey. Email: discorder.radto@citr.ca DUNCAN'S DONUTS Sweet treats from the pop underground. Hosted by Duncan, sponsored by donuts. http://duncansdonuts.wordpress.com. FRESH 8LICE Fresh Slice, where tunes are hot, and talk is cheesey. Pop, rock, DIY, pop-punk. MUZAK FOR THE OBSERVANT A program focusing on the week's highlights from CiTR's Music Department. Plus: live in-studio performances and artist interviews! PARTICLE8 AND WAVES CODE BLUE Much Ilk le quantum theory which and Waves defies definition until directly observed, and can produce unexpected results-local Indie, sci-fi prog rock, classic soul, obscure soundtracks, Toto's deep cuts, and everything In between. Join Mia every Tuesday at 2pm for a quirky journey through music that will delight and Intrigue. PARTS UNKNOWN An Indie pop show since 1999, it's like THE PERMANENT RAIN RADIO co-hosts Chloe and Natalie for an he llghthearted twin talk and red tunes f variety of artists who have been feati thepermanentralnpress.com SAMSQUANTCHS HIDEAWAY All-Canadian music with a focus on I Email: anitablnder@hotmail.com. STRANDED: THE AUSTRALIAN- MUSIC SHOW exciting sounds, past and present, from his Australian homeland. And Journey with him as he features fresh tunes and explores the alternative musical heritage of Canada. ■ ROOTS / FOLK / BLUES BLOOD ON THE SADDLE roots with your hosts Jim, Andy, and Paul. Email: codeblue@paulnorton.ca PACIFIC PICKIN' Bluegrass, old-time music, and Its derivatives with Arthur and the lovely Andrea Berman. Email: paclficplckln@yahoo.com THE SATURDAY EDGE A personal guide to world and roots music— with African, Latin, and European music In the first half, followed by Celtic, blues, songwriters, Cajun, and whatever else fits! Email: steveedge3@mac.com NASHAVOLNA ■ SACRED MANTRA beats and layers, chants and medicine song. Exploring the diversity of the worlds sacred sounds - traditional, contemporary and futuristic. Email: mantraradloshow@gmall.com ■ SPORTS THUNDERBIRD EYE ■ SOUL/R&B AFRICAN RHYTHMS FRI. 7:30 PM Website: www.africanrhythmsradio.ee ■TALK ALL ACCESS PASS CiTR Accessibility Collective's new ra show. We talk about equity, Inclusion, and accessibility for people with diver ARTS REPORT The Arts Report on CiTR brings you reird! Based primarily in lour show hosts (Ashley Christine) are on the airwaves on CITR to 101.9FM, Wednesdays from 5-6pm. Arts Report also uploads special ca/radlo/arts-report/). Get your dally dose Space is an interesting place. Marco slices up the night sky with a new topic every week. Death Stars, Black Holes, Big Bangs, Red Giants, the Milky Way, G-Bands, Syzygy's, Pulsars, Super Stars... CANADALAND (SYNDICATED) CITEDI THE COMMUNITY LIVING SHOW This show is produced by th community and sh and artists. The to people with special needs. Hosted by Kelfy Reaburn, Michael Rubbln Clogs and Friends. LADY RADIO NEWS 101 Vancouver's only llv NOW WE'RE TALKING Now Were Talking features Interviews at least prevent you from frantically changing the frequency on your radio). OFF THE BEAT AND PATH Spend your morning with Washington DC expat Issa Arlan. Thoughts on culture, politics, and football, all right here on CITR. QUEER FM VANCOUVER: RELOADED RADIO FREE THINKER TUE. 3 PM Promoting skepticism, critical thinking and ifl-caught-ln-yer-boots country. The Reel Whirled is a half-hour long focused around the UBC Film Society's scheduled programming wl id stuff. Whether it'; On RIP Radio, each episode will feature the story of a deceased artlsl highlighting the Influence their art stil has on music today. Tune In every tv. A show by the members of UBC Sharing Science, a group of students dedicated to making science interesting and ac discuss current research and news about a different topic each week, providing vastly different perspectives based on the science backgrounds of a rotating set of hosts. STORY STORY LIE A show by the members of UBC Sharing Science, a group of students dedicated to making science interesting and accessible to all members of the community. We discuss current research and news about a different topic each week, providing vastly different perspectives based on the science backgrounds of a rotating set of hosts. SYNCHRONICITY Join host Marie B and discuss spirituality, health and feeling good. Tune In and tap Into good vibrations that help you remember why you're here: to have fun! UBC ARTS ON AIR ALTERNATING MON. 6:30 PM Listen to UBC?s top writers, philosophers, researchers, singers and actors In ttie Humanities, Social Sciences and Creative and Performing Arts. Provocative Interviews, expert commentary and the latest updates ' *ie Faculty of Arts make for an UNCEDED AIRWAVES id Indigenous topics and Issues. We are committed to centering the voices of Native people and offering alternative narratives that empower Native people and their stories. We recognize that media has WHITE NOI8E Need some comic roller? Join Richard Blackmore for half an hour of weird and wonderful radio every week, as he delves In to the most eccentric corners of radio for your listening pleasure. Then stay tuned for the after show featuring a Q and A with the creator, actors and a guest comic every Email: whltenolseUBC@gmall.com CiTR 101 9FM SEPTEMBER MONTHLY CHARTS IN THE REAL VALLEY OF THE PURPLE PRINCE 0rtt*t Album llabei li Ll »» Truth Or Consequences Monofonus Press 1 A hazy** x.0. 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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2016-10-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2016-10-01 |
Description | The following description has been provided by Discorder: "Purple is the new green, with envy. The October issue features interviews with Puzzlehead, Swim Team, Kye Plant and prOphecy sun on their new and upcoming releases. We address the uncertainty of the Trans Pacific Partnership for artists, and sit down with the organizers of Japanese Poets North of the 49th to discuss reconciliation through poetry. There are also album reviews of So Loki, Winona Forever and ninetyfour, and live show reviews of Swans and Sawdust Collector. Wanna know more? You're just gonna have to read to find out..." |
Extent | 24 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2016_10 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2017-01-20 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 6dc67238-040e-4300-a031-734f438ec275 |
DOI | 10.14288/1.0342313 |
AggregatedSourceRepository | CONTENTdm |
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https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0342313/manifest