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 DISCORDER
m 9 0 a % \ u *
^tbtllQty    "that lucky magazine from CiTR 101.9FM"
2019 Jiocal + ifree
WLoh 36 i j^o, 01 i 3*$ue, 4od
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6 oeo o Q o
254 EAST HASTINGS STREET  604.681.8915
UPCOMING SHOWS
FEB
FEB
COMEDY SHOCKER IXI
HOSTED BY MARK HUGHES.
DAVID HETI, BYRON BERTRAM,
ED KONYHA
CORROSION OF CONFORMITY
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MATCHES INCLUDE: BEYOND
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| BLACKWATER HOLYUGHT,
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LOST GIRLS BURLESQUE
■ • V
TRISTAN GINGER, GINGER
AVENUE, CALAMITY KATE & MORE
FEB
AT LANALOU S:
PARKER GISPERT (THE WHIGS)
'ghPm JOSEPH BLOOD
(ofUhe Wii$6)
ititk gneit Jeiefih 75M
KmaJOH % - ffekrwry. 13th
Sitketi noaiWf at
'■(kiknunkeatye.ccm + %ei Cut %corcli \
KHB1
NEUTERHEAD FUNDRAISER
COVER BANDS BY MEMBERS OF
WAINGRO, BAPTISTS, BISON,
REVOCATION, ANCIIENTS, IDLE
RITES, MOLTEN LAVA, DEAD
AGAIN, WORSE & MORE
ACE OF SPAYS
" ji m
LOOT'A TRIBUTE TO TOOL'
ALICE HARDY, HOLY TOKES
FEB
THE TOASTERS
I LOS FURIOS, CAWAMA
1
MAR
ANTIBALAS
WITH GUESTS
MAR
AT PATS PUB:
WALTER LURE'S L.A.M.F.
FEAT. MICK ROSSI
1 i"/  f i 1  ■ 4
III
W m J
CHERRY GLAZERR
PALEHOUND
MAR
THE POINTED STICKS
9
SALTSPRINGUNDERGROUND,
THE FURNITURE, ALEX LITTLE
AND THE SUSPICIOUS MINDS
m.~t
FEB
^^^"c-'^^^m
MARI
iKl
■
MAR
15-16
2018 WHAMMYS AWARDS
CELEBRATION
RIVERS OF NIHIL
ENTHEOS, CONJURER, WOLF KING,
THE HALLOWED CATHARSIS
3RD ANNUAL MARCO FEST
W/THE DREADNOUGHTS
itional show listings, ticket info, vide
WWW.RICKSHAWTHEATRE.COM
blueprint
\
UPCOMING EVENTS
Feb 07
Feb 07
Feb 11
Feb 15
Feb 21
Feb 21
Feb 23
Feb 27
Mar 08
MarlO
Apr 04
May 25
Jun 15
)un!5
Nov 04
KING TUFF
MONSTER TRUCK
BILAL
HUMANS
DAVID AUGUST
COMMON KINGS
WOLF PARADE
MANSIONAIR
BRYCE VINE
GRIMSKUNK
NINIASPY
JENN GRANT
STICKY FINGERS
REVEREND HORTON HEAT
PETER HOOK &. THE LIGHT
FORTUNE
VENUE
FORTUNE
CELEBRITIES
FORTUNE
IMPERIAL
VENUE
WISE HALL
IMPERIAL
VENUE
VENUE
Apr 13 |
HEALTH / YOUTH CODE
VENUE
Apr 30
PETER BJORN AND JOHN   j
VENUE
FORTUNE
COMMODORE
VENUE
VENUE
PLEASE CHECK OUT BPLIVE.CA
FOR ADVANCE TICKETS AND MUCH MORE
 TABLE of COtlTEIITS
FEBRUARY 2019    ^^^^^^^^^M
COVER: JAY BAGASBAS BY MATTHEW LIM.
JFeature*
llobster* 2$axh
EDITOR'S NOTE
06   -  SAVANNAH ERASMUS & TIN LORICA
Difference and laughter
08  -  FUNDRIVE
CiTRlOl.9 FM + Discorder celebrate their ruby jubilee
16   -  JAY BAGASBAS
18  -  TONYE AGANABA
Healing and Hibernation
WE'RE ALL FIGHTING SOMETHING, AREN'T WE?
In this issue, you'll read that it makes sense and is okay to hibernate; that structural
violence perpetuated by male-dominated industries are being knocked out; that we've
been fighting longer than anyone and are still standing; and that to laugh, rest and love
is to triumphantly resist that which oppresses.
Yours,
M'aritime N'8V
+ ot&er tying*
10 - Real Live Action
Music,   mostly
12 - Art Project
"Wacky Cat Class Traitor Flipbook"
by Gil Goletski
13 -  February 2019  Calendar
14 - Under Review
just music  this time
20 - On The Air
CiTR Podcast Series
21 -  CiTR Program Schedule
22 -  CiTR Program Guide
23 -  January 2019  Charts
The first monthly charts of
the year!
ADVERTISE: Ad space for
upcoming issues can be booked
by calling (604) 822-4342 or
emailing advertising@citr.ca
Rates available upon request.
CONTRIBUTE: To learn how
to get involved with Discorder
contact volunteer@citr.ca
SUBSCRIBE: Send in a
cheque for $20 to LL500 - 6133
University Blvd. V6T1Z1,
Vancouver, BC with your
address, and we will mail each
issue of Discorder right to your
doorstep for one year.
DISTRIBUTE: To distribute
Discorder in your business,
email advertising@citr.ca.
We are always looking for
new friends.
DONATE: We are part of
CiTR, a registered non-profit,
and accept donations so we can
provide you with the content you
love.To donate visit:
citr.ca/donate.
To inform Discorder of an
upcoming album release,
art show or significant
happening, please email
all relevant details 4-6
weeks in advance to
Mallory Amirault,
Editor-in-Chief at
editor.discorder@citr.ca.
You may also direct
comments, complaints
and corrections via email.
FONDATION
SOCAN
FOUNDATION
Publisher: Student Radio Society of UBC // Station Manager: Ana Rose Carrico // Advertising
Coordinator: Alex Henderson // Discorder Student Executive: Fatemeh Ghayedi // Editor-in-Chief:
Mallory Amirault // Under Review Editor: Cae Rosch // Real Live Action Editor: Jasper D. Wrinch //
Web Editor: Zoe Power //Art Director: Ricky Castanedo Laredo // Social Media Coordinator: Avril
Hwang // Administration Coordinator: Halla Bertrand // Charts: Myles Black// Production Assistants:
Christina Dasom Song // Writers: Joshua Azizi, Alec Christiansen, Hannah Kruse, Lucas Lund, Lexi
Mellish Mingo, Lua Presidio, Jeremy Rawkins, Cae Rosch, Frances Shroff, Pat Valade, Jasper Wrinch. //
Photographers & Illustrators: Madeline Berger, Fiona Dunnett, Emmanuel Etti, Matthew Lim, Liz Rosa,
Frances Shroff, Brian Tong, Jasper D. Wrinch // Proofreaders: Mallory Amirault, Ricky Castanedo Laredo,
Alex Henderson, Enya Ho, Almas Khan, Zoe Power, Cae Rosch, Tess Shaw, Jasper D. Wrinch
©Discorder 2019 - 2020 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 8,000. Discorder is published almost monthly by
CiTR, located on the lower level of the UBC Nest, situated on the traditional unceded territory of the hehqemirierh speaking Musgueam peoples. CiTR can be heard at 101.9
FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at (604) 822-2487, CiTR's office at
(604) 822 1242, email CiTR at starjonmanager©citr.ca, or pick up a pen and write LL500 - 6133 University Blvd. V6T1Z1, Vancouver, BC, Canada
BOLD
CINEMAfrom
AROUND
thewORLD
 An Apology to Yilin Wang, Elaine
Woo, Shazia Hafiz Ramji, and
Jane Shi, regarding the Writerly
Asians and Allies Against
#RacismInCanLit article published
in Discorder Magazine's Winter
issue, 2018-19.
Dear Reader,
The following is an apology to Yilin Wang and her fellow interviewer, Elaine Woo and interviewees, Shazia Hafiz
Ramji and Jane Shi, the contributors of "Writerly Asians & Allies Against #racismcanlit."
In this article, you will notice a redaction replaced with ellipsis and as a byproduct, has censored information that
was originally a part of this article and therefore does not represent Yilin's complete interview responses. This
redaction was done last minute without dialogue with Yilin or her collaborators. I feel the weight of my editorial
decision and take full accountability for not being more rigorous in questioning my actions as an editor. I am
regretful for not taking a moment to say "we're not going to meet this publication deadline, and that's okay."
My actions, though not fully informed, not fully rigorous, were not made in an effort to harm a community that
I belong to. While I am fully aware that my actions are akin to the censorship Yilin has experienced from actions
of racism and prejudice, actions that served to intentionally cause harm, mine, though misplaced and lacking in
professional experience, came from empathetic care and I feel pain for failing someone whose side I am on.
In moments when one is facing multiple layers of responsibility, it becomes difficult to discern everything that is
at stake. I've been asking myself how does one work to preserve and validate their personal experiences while
simultaneously holding and validating another's?
The holding of oneself, while holding another is nothing short of a feat and perhaps it's illogical to assume that we
can do it with any amount of grace, but that's not to say there isn't a beauty in the effort, a beauty in the curve of
learning. It's daunting to think about, let alone begin the task of holding more than just ourselves, but to actively
engage with holding a community, especially after living through one invalidating experience after another as
marginalized people. There's not a lot of space on this periphery we've been forced into. Having this ominous and
powerful centre that has pushed us to these edges, that has for so long dictated how to engage with each other, it's
difficult to imagine another way of being, to trust there is a different direction to look toward that isn't the centre.
But I'm trying. I'm looking and listening and I want to thank Yilin and her fellow collaborators for showing me
aspects of this process I have yet to learn. Thank you for reminding that I am still vulnerable to overlooking my
own internalization of oppressive mechanisms and for reminding me that regardless of the communities we belong
to, regardless of our shared experiences that bring those communities together, to maintain the ethic of speaking
nearby and not for.
There are many hesitations that come up when realizing how we unintentionally engage with the toxicity of
colonialism and systemic oppression. Hesitations aside, I think this an opportunity to address some of the bigger
problems that led us here. Despite being new to Discorder and new to editing at this capacity, I understand that
I am in a position to advocate the urgency in our need for opportunities to creatively address and ethically grow
new sets of working conditions. It is imperative that the community at our station begin laying some needed
groundwork in professional development for all volunteers and employees at CiTK/Discorder. In addition to
our annual training sessions on creating safer spaces and the impacts of sexual violence and workplace bullying
and harassment, in the new year, we plan to host an anti-oppression workshop for all CiTR and Discorder staff
members and volunteers. If you're on our email server list (DjLand), you will receive any emails with further
workshop and RSVP details. If you have any questions or would like to join our CiTYUDiscorder listserv, please
contact myself (editor.discorder@citr.ca) or Dora Dubber volunteer@citr.ca.
While I am regretful that Yilin has decided to no longer partner her event with Discorder, we will continue to show
support for the event, her creative work and are grateful to her for magnifying the issues of racism that permeate
many of our creative spaces, like CanLit.
I am proud of the content comprised in the Winter 2018-19 issue. I see the potential to illuminate these mistakes
in a way that amplifies the urgency in needing to subvert internalized systemic oppression; this issue is strong and
necessary and I am grateful to Yilin and her fellow team for indicating what has been alack. I believe in maintaining
the willingness to work together in a effort to learn how to better be together. I believe in the building of our
peripheral communities and I believe in trusting the labour required to lay that foundation.
Sincerely,
Mallory Amirault, Editor-in-Chief, Discorder Magazine
- that uninvited magazine on Coast Salish territory of the hsnqsminsm speaking Musqueam peoples from CiTR 101.9FM
4
 THE HEREDITARY CHIEFS HAVE SPOKEN
NO
TO ALL PIPELINES
I STAND WITH UNIST'OTEN
In 1997, through the Delgamuukw Gisday'wa court case, the
Supreme Court of Canada ruled that Wet'suwet'en and Gitx-
san have never ceded, surrendered or signed any treaty that
would diminish their title and rights to their ancestral lands.
Governed by 'Anuc niwh'it'en, Wet'suwet'en Law, all five
clans of the Wet'suwet'en have unanimously opposed and
banned all pipeline proposals on their lands, and have never
granted free, prior, and informed consent to any pipeline
project.
"I was one of the people removed from my territory while I
was upholding our ancient laws. What we did was not an extraordinary thing. It's what our ancestors have done for
thousands of years. The time is now. This is our time to tell
our story." - Molly Wickham, of the Gidimt'en Clan.
"Wet'suwet'en are the land, without it, we are nothing, we
have nothing." - Chief Na'Moks, the highest ranking chief of
the Tsayu Clan.
 FEATURE
CiTR 101.9 FM & Discorder Magazine
Discorder magazine | FEBRUARY 201^
ruby
jubilee
CiTR has been kicking around Vancouver, UBC, and the Lower Mainland in some
form since the 1930s. In our capacity as a media organization that works in radio,
and later in print publication through Discorder Magazine, we've been able to
support, highlight, and empower members as artists and media producers to become
autonomous and considerate community members. We're also able to use our platforms not
just as a springboard for local creatives, but also as a space for under and misrepresented
communities to create content that is reflective of their experiences and can be shared
on their terms.
We're able to do all this with the help of our listeners, readers, friends, and family
donating to our Fundrive. We ask people to call in telethon style and make a pledge or
donate online. Volunteers are ready at the phone waiting for your call.
Help us raise
 g X fm  11 donors will be thanked on citr.ca and in the
WAVIVriflTFCTniJFcS                                                                                           <> Arm  March issue of Discorder Magazine, or can
M A K 1 IN   ll         MlLhblUJNtb       X                  WU Or              8 v Fundrive Patch               X A\p,  ^choose to be anonymous. Call in to pledge
x         JO    jtlU/inOnin     |                                               Y and receive special prizes on your favourite show!
CiTR & Discorder has grown and transformed so      X                                             |                                             X
much in its 80+years of being your alternative radio       Y                                               x                                               Y FICITnoiiT'T   ti nr
station and that salty mag from CiTR thanks to the      X                   ǤE/0r       u    | * Fundrive Patch               8 rlbllBUW L  1 Art
endless support of our community.                                        X        510 - $15/m0Ilth    | v Exclusive Tote bag        9
X                                               $                                               X We've been lucky enough to have all kinds of bands
MrDTACTUr      fllTD      CrflDF      8               <rmi n                 i                                            8 perform live at CiTR and now the best and the
NLntAblflll      U U it      bLUrh      X               WU1J9 Or           g v Fundrive Patch              X brightest bits are available on one single and stunning
X       $15 ■ $20/month   | v Exclusive tote bag         X cassette!
Expanding training and development means more       $                                               g * C(iTR)zy Socks              ?S
media producers, more skill development, and more      <>**                                         g                                         *X The compilation goes back into the archives for
opportunities to share our community's unique      X                                            g * Fundrive Patch              x performances from over the past 80 years for a
stories while gaining experience in some of the fastest      X                 -'''Jj"             g * Exclusive tote bag         Y highlight reel of the music and community that got
growing media industries today.                                             X       -HSU " jJU/mOIltll   | v C(iTR)zy Socks              <> us to where we are today.
X | v Limited Edition X
AMPLIFYING                                 I L=.^ I IP IT M A I
UNDERCOVERED   VOICES   I       tfp^n      l«Aii,he™^above    | K 11 J1N| zi& iU
S> J)C jU I v Framed Discorder $
Help us support the under-covered and under-      <> x    Cover <S
represented — whether it's specific cultural      Y»»»»»»» ••••••••••••♦•••••••••••• •••••••Y FRT   IA T     nil A RTrT   ft
communities, musical genres or alternative news      X                «tir-i«-»«-»            X 0 All the swae above         X nrnriTr   » T>>rr' r rtr^-wrTTi
— with training, technical support, and community       X                SSI]                  I 6 H si      h        n CiTR*  8 RED GATE ARTS SUCIETV
partnerships.   '                                                                         8                                            |       o    a s ow o                v 1965 MAIN ST
|. I | $10 IN ADVANCE ■ $12 AT DOORS 19*
x g v All the swag above x
EXPANDING    OUR    INFLUENCE      |             Cinfin         |« Pop Alliance Box Set    X Every year we wrap up Fundrive in a fabulous
|             J>1,UUU         | v Recognition on our       0 Finale party! It's a celebration of our community's
Increasing our signal strength and digital platforms      $                                            $    Donor Wall                     A generosity and our inspiring volunteers'hard work,
would allow us to amplify the voices of our community       ^^^^^^^^^^^'^^^^^^^^^^^ There will be a silent auction and performances
and support the spectacular content created in by BB, Milk, Dame DJs, and more! Plus all the
the Lower Mainland with an independent, local       *To air on CiTR, thisplaylisl.musl.be at leasl 35% Canadian, proceeds from the event will help us reach our
fundraising goals!
perspective.
*To air on CiTR, this play lis! musl be at leasl 35% Canadian,
and cannot promote business or commercial interesls
m
Tundriue 2019'
  FEATURE  .
Discorder magazine | FEBRUARY 201^
A Pcrso
Take On
Cotnedu
A conversation withMillenial Line's
Savannah Erasmus
and Tin Lorica
words by
Lua Presidio
photos by
Emmanuel Etti
illustrations by
Fiona Dunnett
If the whole point of comedy is that
it is relatable, how does one make
a minority experience funny? For
Tin Lorica and Savannah Erasmus,
the answer is simple: by making it raw and
personal.
Five months ago, these two friends
founded Millennial Line, a monthly
comedy and poetry show that emphasizes
marginalized people's voices, without any
pretensions or sense of heroism, but with
a desire to create a space for themselves
and others to have their jokes heard.
Savannah, a Cree woman, describes her
experience with comedy as not being
made for people like her. She wanted to
perform, but didn't have the right outlet.
Millennial Line came as a place where
those without a mainstream narrative
could find a mic, a stage, a spotlight, and
at least 5 minutes of the public's attention
to have their voices heard.
For the first-time hosts, the show
hasn't been without some learning
curves, but since its creation,
Millennial Line has fostered a unique
audience of its own, bringing together
people looking for something other than the
homogeneity of prevailing comedy shows.
Co-founder and queer Filipinx comedian,
Tin, puts it simply, "We started this thing
for ourselves, because no one was gonna do
it for us."
Tin and Savannah don't claim to be
speakers for marginalized people, as they
only have their own personal experience to
speak from, which that is exactly what they
do in their comedy sets: they speak from
their own lifes, telling anecdotes, sharing
observations and being brutally honest.
For Savannah, comedy is a way to
make difficult conversations accessible.
As a former SFU International Relations
and First Nations Studies student, she
was having conversations about the
marginalization and systematic oppression
of Indigenous people, but in an academic
context that did not reach the audience she
desired. "I saw humour as an easy accessible way for me to share my experience
for people to really understand Indigenous
problems and the difficulties we go through.
Humour is accessible and laughter is a
bonding [experience]."
Savannah's interest in comedy comes
from her experiences growing up where in
difficult times, such as the passing of loved
one, her family would use humour to cheer
each other up. Being surrounded by silly
personalities made using humour to spark a
conversation always feel natural to her.
On the other hand, Tin, who admits
they are constantly uncomfortable in social
situations, has always thought they were
funny as a child, and found an outlet on
stage for that creative energy. They like the
attention and performing stand-up comedy
is a way of expressing a very honest aspect
of themself; it's a validating and confessional experience at the same time.
A part of one of Tin's sets is their
coming out story to their parents. It is not
necessarily redeeming, and is at moments
tense, but it is also part of their coping
k
'Sauannah Erasmus + Tin Lorico'
 exos YHAuaaai i 9nhD|>Dm ™tno38i<i
HUTAH
"I saw humour as an easy
accessible way for me to share
my experience for people to
really understand Indigenous
problems and the difficulties
we go through. Humour is
accessible and laughter is a
bonding [experience]."
mechanism. Humour has allowed them to
process their fears and open a vulnerable
and emotional place inside of themselves to
share and connect with others. It also helps
them subvert the assumptions or expectations that get placed upon them. "When
I'm on stage, people will assume who I
am and [then I] hit them with something
unexpected. It's fun to combat my anxiety
about what people might think about me
with the these jokes about my experiences
and who I am."
For Tin and Savannah, both have
found a therapeutic space in
comedy where they can share their
experiences in a non-confrontational
manner.  "Personally I find that my comedy
is personal and helps me work through
things I haven't been able to work through
before. It brings me closer to people in my
life because I stopped hiding that part of
myself, and I've been completely honest,"
says Savannah.
Tin and Savannah's comedy is not the
mainstream standard and neither is their
show. When asked about why emphasize
marginalized voices, Tin's answer is
simple, "It is literally the bare minimum."
However, their intent is not to become "so
cool" that they become unrelatable and
inaccessible. Savannah is well aware that
sometimes she is unrelatable, but that is
also part of the fun of humour: to see what
people laugh at. However, Tin embraces
their relatability in being honest about their
alienation regarding mainstream media. At
the end of the day, comedy creates a sense
of belonging through the shared experience
of laughing together.
Being different, honest, and raw is
what makes Tin and Savannah's comedy
refreshing. People want to hear what
they haven't heard before, and they have
provided a space for those voices to be
diffused. Millennial Line is providing a new
perspective of the unheard voices one joke
at a time.
"Sauannah Erasmus + Tin Lorico'
A
 Heal Hue
fiction
JANUARY 2019
NOISE COMPLAINT LAUNCH PARTY W/
NASTI WEATHER / HOPE / MANEATER
JANUARY 18 / AVANT-GARDEN
marking the launch of Noise Complaint, CiTR's newest
music podcast, a small but dedicated group of local
music lovers assembled at the Avant-Garden to celebrate.
With each of the 10 episodes of Noise Complaint featuring
live performances from one of Vancouver's best new bands
as well as in-depth interviews conducted by Music Director
Myles Black, the Launch Party fittingly spotlighted three
musical acts from the podcast.
As the crowd slowly arrived, climbing the stairs and
packing into the incredibly intimate venue, Maneater
casually sound-checked. With the room packed from the
couches at the back right up to the band's mic stands,
CiTR's Programming Exec, Alec Christensen, acknowledged
that both CiTR and the Avant-Garden are situated on the
traditional, unceded territories of the Musqueam, Squamish,
and Tsleil-Waututh peoples and gave a brief intro to the new
podcast before introducing the first act.
Unlike most shows I've attended, the first act had the
biggest crowd of the night. The three-piece fuzzy pop band
kicked off the evening with an energetic set of equally noisy
and catchy songs — "Noise" and "Health" were stand-outs
on the catchy side of things. The drum machine, turned up
loud enough to get the crowd moving, took the driver's seat,
propelling the band through a quick and exciting set.
As Maneater finished up, the majority of the crowd
descended the stairs to escape the increasing stuffiness of
the Avant-Garden and let the stage be reset for the next act,
Hope. As the first guest to be featured on Noise Complaint,
Hope talked about his community of collaborators and
musicians, notably Rudegang Entertainment and Status
Krew, as well as the Indigenous issues about which he so
elegantly and skillfully raps.
While much of the crowd climbed the stairs again to watch
Hope's set, the room was notably less full than before.
Regardless, Hope delivered a stellar performance. Giving
lengthy but interesting intros and backgrounds to each of
his songs before jumping in, Hope truly engaged the room.
While the setup was minimal (playing instrumentals off his
phone and rapping overtop), Hope's delivery was powerful
enough to grab and hold the crowd for his entire set. His
performance of "100 Million," a track off his upcoming
album Red Man and written in support of the Wet'suwet'en
and Unist'ot'en, was the highlight of the night — his quick
flow and rhythmic dexterity, in addition to his tightly packed
rhymes, were enthralling.
After what seemed like an especially long change-over,
Nasti Weather took to the stage. Just like before, most of
the audience left the room during the intermission, but this
time, hardly any of them returned. The handful who did stick
around for Nasti Weather's set were treated to Anastasia
Schlechtleitner's bluesy folk tunes. Wielding a banjo,
Schlechtleitner belted out an array of jazz-tinged songs, with
accompanying guitarist Brendan Steele adding in tasteful
and soulful guitar lines. Even with the sparse applause
between songs, Nasti Weather pushed on, committed to the
performance.
While the Launch Party unfortunately lost momentum over
the course of the night, all three of the night's performances
were strong. If these musicians are any indication of the
variety and quality of the rest of the guests featured on
Noise Complaint, it'll be a podcast too good to miss.
—Jasper D Wrinch
LYDIA HOL / GRAFTICIAN / CRAIG
AALDERS
JANUARY 19 / FOX CABARET
It was bound to be an eclectic night. Even from reading
the two opening acts, Craig Aalders and Graftician,
on the chalkboard on the sidewalk, I knew Saturday night
at the Fox wasn't going to be the usual dance party (that
happened later, at 10:30 pm.) And if Aalders' ambient music
and Graftician's restrained art pop weren't varied enough,
all I knew of the headliner, Lydia Hoi, was that she was a
folk singer through and through. So, I went inside not quite
knowing what to expect.
Taking his place behind a table of electronics with a
guitar in hand, Craig Aalders slowly filled the room with
an undulating soundscape. Playing a seamless selection
of tracks from his recently released experimental ambient
record, Oceanography, Aalders was stoic on stage. Guitar
swells mingled with deep bass notes and shimmering synth
sounds, all perfectly matching the kaleidoscopic projections of
waves crashing onto rocky shorelines, sun glimmering off the
surface of the ocean. At the beginning of the set, the crowd
fell mostly silent under the wash of sound, but as it went
on, the conversations grew louder, challenging the oceanic
soundscape for sonic supremacy. When Aalders' music faded
out, only a handful of people in the venue seemed to notice.
After a quiet thank you, he packed up and moved off stage.
Next up was Graftician, the collagist pop project of
Roxanne Nesbitt. Much like the first performance of the
night, Graftician's set was pitted against the ever-talkative
audience. Unlike the first performance, however, the Fox
had filled to capacity, so the audience won out over Nesbitt's
soft and detailed sound. Even the eye-catching visuals
(made by Nesbitt herself, with collaborations from Italian
illustrator, Carla Indipendente, and local dance artist, Kelly
Mclnnes) projected behind her couldn't fully capture the
audience's attention. Buried beneath the sound of a hundred
conversations, Nesbitt's calm voice nestled amongst her
carefully arranged samples and deep, driving percussion.
In the brief intermission, the roar of the room grew to a
fever pitch. As the next band gradually made their way onto
the stage, the lights dimmed. The attention of the thus far
inattentive crowd zoomed towards the stage as the words, in
a bold white font, appeared on the backdrop: "Lydia Hoi."
Debuting the songs off her soon-to-be released album
Love and Devotion, Lydia Hoi was accompanied by her
band of local musical heavyweights — Leathan Milne on
guitar, Neuman Mannas on bass, Ben Brown on drums, Max
Zipursky on keys, Peggy Lee on cello, Tegan Wahlgren on
violin, Langston Raymond on trumpet and Dan Shook on the
10
REAL   LIVE  ACTION
saxophone. While her previous two releases, 2012's Boats
and 2016's Heading North, both landed squarely within the
folk realm, Hoi's new material shed any lingering folkiness in
favour of a crisp and clean '60s soul music.
Over the course of the set, the band swept through
a variety of early '60s subgenres — "Honeybee" was a
quick-paced Memphis soul romp, complete with incredible
solos from the horn section, while the slow and sultry ballad
"Love and Devotion" lowered the tempo and sweetened the
mood in the room. Throughout the performance, Hoi's voice
was the centrepiece of the unbelievably tight ensemble.
The final song of the night (not including the well-
deserved encore) proved to be the perfect climax to the
night. "Prove Me Wrong, Love Me Right" gathered all the
best parts of Hoi's new sound and mashed them with the
power and energy of any of the best Motown hits. With the
entire audience enraptured, any of the awkwardness from
the beginning of the night was wiped clean by Lydia Hoi's
triumphant performance. —Frances Shroff
CONUNDRUM #3 W/ JOHN BRENNAN/
JULIA GEAMAN
JANUARY 20 / 240 NORTHERN ST.
Set 1: Julia Geaman sat tentatively behind her drum
kit. Slowly and softly, she began to tap on the snare
drum, building up a roll. As it grew louder, Geaman removed
the occasional hit, creating a stuttering, slightly off-kilter
pattern. After a minute or so, a heavy kick entered. Followed
by another and another, Geaman's double kick pedals filled
out the bottom end of the sound. Moving her sticks from the
snare to the two toms, Geaman increased the volume and
intensity of her drumming into a pummelling onslaught. The
power with which she struck the kit vibrated the spare set of
drum sticks off the kick drum, sending them clattering to the
floor. After a few minutes of ever changing, but relentlessly
heavy drumming, Geaman added in the cymbals placed high
above her kit. With this added brightness to the sound, the
tempo settled in at a steady and driving pulse. Suddenly
Geaman's sticks stopped moving and her feet moved from
their pedals. As the ringing of the kit faded away, Geaman
looked towards host Ben Brown, whose eyes told her to
keep going. So Geaman started up again, this time using the
cymbals as her starting point, again building the intensity
and volume to a fever pitch — her snare snapped so tightly
with every strike it almost hurt.
Set 2: John Brennan lifted a loose cymbal from the bag
beside him and dropped it on the floor. In the midst of its
clatter, he grabbed his sticks and scattered them across
Discorder magazine ! FEBRUARY  201^
 his kit. Without any hesitation, he was off, exploring with
the confidence of an experienced improvisor, the myriad
sounds to be unearthed from a drum kit. He avoided any
fixed rhythm for most of his set, only occasionally locking
into a groove before darting away from it once more. About
half way through, as the intensity of his drumming waned, he
reached into the bag beside him and brought out two small
cymbals which he placed on the surface of his snare. With
two small steel drum mallets, he tapped the new hardware,
sending his set off in a more meditative direction. After a
few minutes, he pulled out a bow and began bowing the ride
cymbal. The almost feedback-like drones that emanated
filled the room, vibrating the snares on the other drum kit.
As Brennan let the final pass of the bow ring out, he settled
back onto his seat, and said "Thanks."
Set 3: John Brennan rubbed a glass-headed mallet
across the skin of his floor torn, letting a low whine
emerge and roil around the room. Julia Geaman sat still
at her drum kit, sticks quivering over her cymbals. As
Brennan's drone built, he added some haphazard kicks and
hi-hats. At this, Geaman lightly tapped the cymbals, barely
audible against the storm of sound rising from Brennan's
kit. As he confidently and casually added more and more to
the soundscape in the room, Geaman's gentle and hesitant
playing seemed lost, but after a few moments, Geaman
struck her snare and kick in unison, piercing through
Brennan's wall of sound in a burst. She did it again and
again, until a steady rhythm emerged. Leading the way now,
Geaman added more, letting her sticks plough around her
kit. Brennan, whose drone had long since been drowned
out by the rest of the two kits, abandoned the glass mallet
for sticks to keep up with Geaman. His left foot bounded up
and down on the hi-hat, adding a quick and almost frenzied
air to the set. Geaman, whose double kick pedal increased
in velocity until a torrent of low-end sound carried the two
drummers along. Always adapting to each others' playing,
Brennan and Geaman constantly shifted the percussive
soundscape, never settling in on any groove for too long,
varying the intensity and intricacy of every moment, until
they gradually let their kits fall silent and their limbs lie still.
Conundrum is a monthly show series organized by
percussionists Ben Brown and Greg Samek, held in
Samek's studio space at 240 Northern St. Each month, two
drummers are featured, playing a solo set each and a set
together. Conundrum aims to bring together a wide variety of
drumming and percussion styles and genres, showcasing the
diversity and flexibility of the instrument. —Lucas Lund
III
To have a live show considered for review in Discorder Magazine and
online, please email event details 4-6 weeks in advance to
Jasper D. Wrinch, Real Live Action Editor at rla.discorder@citr.ca.
RLA also includes comedy and theatre, among other live experiences.
Feel free to submit those event details to the e-mail above.
NOMINATIONS OPEN FROM
FRIDAY, JANUARY 11TH AT 9AM TO
FRIDAY, FEBRUARY 15TH AT 12PM
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MUSIC
JB THE FIRST LADY
Righteous Empowered Daughter
(Self-released)
November 29, 2018
Pfter securing a spot on CBC's 100 Best Canadian
Songs of 2017, JB The First Lady returned in 2018
with her fifth album. With Righteous Empowered Daughter,
JB (nee Jerilyn Webster) continues creating poignant and
political music. The album couples fierce poetics with
beats reminiscent of 90s hip hop masters, resulting in an
unapologetic and nuanced guide for Indigenous resistance.
From the outset, Righteous Empowered Daughter
establishes a political tone. After a potent spoken
introduction featuring Mayuk Manuel, JB launches into
"Red." By continually emphasizing Indigenous resilience
against "government scheming," "Red" operates as a thesis
for the album. JB calls for her audience to "decolonize,
re-lndigenize." Her powerful delivery demands the
audience's attention, providing an alternative to Canadian
history's suppression of Indigenous, and specifically
female, voices. Her broad statements and agile wordplay
insist upon taking up space in both the bass heavy tracks
and the listener's mind. Through her artistic expression,
JB challenges the persistent erasure of Indigenous life
by Canadian settler-colonialist rhetoric, a sentiment that
pervades the entire album, most notably on "Exi$tence": that
"existence is my resistance."
The album tackles themes that are personal to JB The
First Lady, who is a member of Nuxalk and Onondaga
Nations and a single mother. However, JB's work as an
activist and youth educator elevates the album into a
manifesto on culture, heritage, and community. JB stresses
the inherent power of Indigenous people's claim to the
land while maintaining a nonviolent stance; on the track
"Kanahus," she asserts her ability to "make 'em run / without
a gun" and remain "thankful and grateful." Her wisdom
continues on the track "Spirit (For James & Marie)," which
preaches the importance of spirituality through tradition,
self-care and community engagement. Calling for her peers
to "do it for the children / show them no limits," JB solidifies
her multi-generational message.
Besides illuminating JB's take on current events,
Righteous Empowered Daughter showcases several
members of the Canadian hip hop scene. Standout verses
by Dio Ganhdih, Eternia, Missy D and Klmmortal punctuate
the album. The flow of the album feels like a femme-squad
roadtrip, surveying the settler-state highway structure with
the windows down. These critical yet ultimately hopeful
voices crescendo on the final track, "All My Relations." As
JB calls for "collective dreamin' / collective healin' / for all
my relations," her personal vision for reconciliation emerges.
On Righteous Empowered Daughter, JB The First Lady pulls
no punches and fearlessly uses her gift of prose for political
good. — Hannah Kruse
L0SCIL
Bannockburn
(Self-released)
September   15,   201?
Loscil, AKA Scott Morgan, is one of Vancouver's more
prolific ambient and experimental music producers.
Through an ongoing string of releases on Kranky over the
past 15 years, he has kept up a steady output of engaging
and interesting ambient music.
The original version of this hour-long piece appeared in
software form as Adrift three years ago. Adrift is an app
available on iOS and Android that produces four distinct
endless drones through randomized selections with no set
beginning or end. The drones are not repeated upon each
listen. Instead, they are composed as loops that the app
combines in randomized form, giving the listener a unique,
non-repeatable experience that is designed to start and end
as the listener sees fit. The software claims to make this
happen through "structured random selection."
Bannockburn is a one-hour selection of one play of the
track on Adrift. As the product of a randomized algorithm of
overlayed pieces, Bannockburn doesn't have the same level
of compositional tension and detail as Loscil's other recent
releases, like the haunting LP Monument Builders. The track
fades between elements with a focus on extended drones of
acoustic and electronic source material and continuous bass
figures. The track makes for great background music, pulling
its listeners in and out of attention with the arrival and
departure of different elements. The mood here, like that
of Monument Builders, is dark at times. Bannockburn, like
all the tracks on Adrift, is fittingly named after a ghost ship.
However, subtly uplifting motifs layer over the darkness,
mixing different moods. The track at times has an almost
undecided effect, oscillating its focus between dissonant
elements and purer melodic drones. I'm assuming the
compelling contrasts here are one of the interesting effects
of the software in action.
Although an excellent addition to Loscil's sizable catalog
of releases, Bannockburn functions best as more of an
introduction to the potential of the Adrift application rather
than a stand alone release. — Jeremy Rawkins
FRANCESCA BELC0URT
Buds
(Young Botanist)
November 30, 2018
14
In the simplest terms, Francesca Belcourt's latest release,
Suds, is a breakup album. According to her Bandcamp
page, "Buds is a chronological collection of songs written in
the painful aftermath of being run over by a van the week
following a significant breakup." While any details concerning
the van incident are either buried too deeply in the lyrics to
hear or absent altogether (save for a single verse on "17
Stitches") the whole project is steeped in the pain that could
only come from compounded trauma.
Sonically, Buds is intricate and subtle. The atmosphere
Belcourt creates with warm synths, rich electric guitars
and sparse beats provides the perfect base on which her
emotionally charged lyrics can reside. Even with a variety of
instrumentation and moods scattered over the record — the
somber beat on "Control" slowly builds into a cathartic dance
track, while the solitary guitar on "Drag" poignantly saps
energy from the listener as if they were feeling the emotional
drain Belcourt sings about — the sonic palette of Buds is
thoroughly cohesive.
Lyrically, the honesty with which Belcourt expresses
her pain is startling. Over the course of the first eight
tracks, Belcourt dives into a variety of deeply personal
post-traumatic thought processes, coming at her loss from
every angle. "Hearsay" dives into the disconnect between
her support network of friends and family and her own
feelings; "Crocuses" looks back with simplicity and naivete,
cherry-picking the best moments of her relationship and
smothering them in nostalgia; "He's Back" confronts the
resurgence of emotion when Belcourt encounters her ex
again for the first time; "17 Stitches" looks self-reflectively at
Belcourt's own sadness.
However, on the final track, "Graveyard," the tone shifts.
Instead of wallowing in her own despair, Belcourt takes a
step back from it when she sings, "Welcome to the graveyard
of my / Beliefs that I clung to dearly / Romantic love / Does
not exist." As if the shroud of uncertainty was suddenly cast
aside, Belcourt sounds strong and clear in this final track.
Even addressing the almost satirical devotion she had to her
emotional turmoil, Belcourt's self-awareness and resilience
manifest as personal growth: "In my healthy wealthy hell
/ Been feelin' hecka existential / On a totally astral level /
Don't make fun of me / For holding my own hand / I'm slowly
becoming my own best man." Belcourt doesn't let the record
end without some resolution. After nearly half an hour of
dwelling on loss, Buds can become overwhelming, but after
wading through the sadness for eight tracks, Belcourt makes
sure to provide the much needed release from the trauma to
finish it all off. —Lucas Lund
BORED DECOR
The Colour Red
(Self-released)
September   22,   201?
UNDER REVIEW
•♦ wk est enjoyed with milk" is the only note at the
V bottom of the album credits for The Colour Red,
by Vancouver's own Bored Decor. My first time listening to
it, I did not have any dairy products on hand, but I would say
the album is best enjoyed with a side of social awareness, a
healthy dose of modern-day cynicism and even a little hope
for the future if you're feeling so bold.
If you've ever seen Bored Decor at a live show, you'll know
that their performances maintain a ferocious organized chaos
balanced with clean musical execution. I often find that when
I first see bands live and then move to recorded material,
something can disappear from the music. However, on this
album, I was pleasantly surprised that the stage presence of
the four-piece ensemble translated so well to the record. It's
as frenetic as you'd hope, but the vocals, overdubbed on the
live instrumental recordings, come through with a clarity that
you don't always get in a live setting.
The choice of recording in two quick takes greatly helps
this feeling, a way to "not waste time" as drummer Neriah
Mair puts it. The cadence of Nik Barkman's voice lends itself
to storytelling, perhaps even giving a word of caution. As
I'm sure they're sick of hearing, tinges of David Byrne come
through in the vocals, but with more of a punk shriek when
necessary (and it's often necessary). The percussion and
guitars pack more bite, fuzz and aggressiveness when not
slowly meandering alongside the lyrics, showcasing a variety
of musical influences on the album's sound.
On the track "Naivete," things take a more ominous and
cerebral turn, with slower speech punctuated by Ryan
Quist's organ keeping you on your toes. The Color Red's
songs often operate in a slow build up before jumping in,
as if you were waiting to dive into the deep end of a cold,
dark pool. In "My Time / I, the Luddite," clever tongue-
twisting plays on words take shape — a common theme in
the songwriting. In the second to last song, "Conflict," Nik
Barkman's voice takes on a more taciturn tone, building into
the impending doom of two fuzzy guitars, which often lend
back to the heavier live performances, as on "Love Cuffs."
All in all, The Colour Red is a success for this four
piece band, in what could be challenging terrain:
maintaining the enthusiasm of a live performance while
recording in few takes and with new bandmates. Perhaps
Barkman sums up the album best on the track, "Hush,"
singing, "Gentle in caress, but firm in appetite. You won't
Discorder magazine | FEBRUARY  201^
 fall asleep listening to this, but you'll likely head to the
next live show.  — Pat Valade
DADWEED
/ Dreamt I Was Running
(Honey Pomelo Forever
September   1,   2018
It's a bold move to self-style your genre as "emo" in the
late 2010s, yet along with other labels including "power
pop," "slacker pop," and "sweater," Dadweed goes for it.
They show that same boldness in the clarity of
commitment they bring to every artistic decision on their first
full LP, / Dreamt I Was Running.
The album begins with a sudden guitar shriek that
descends into a warm, steady bassline. This bassline
provides the anchor for the rhythmic unison of the first track,
"Big Empty." Its hard instrumental stops interspersed with
bursts of emphatic, ringing vocals somehow render its slow
melody paradoxically catchy. When it ends on a final electric
whine and seamlessly bleeds into the next track, it displays
the greatest strength of the album: the dreamlike transitions
between tones, moods, and
modes that create a singular yet
wandering musical experience.
The instrumentation has a
warm, full-bodied quality on
both the electric and acoustic
tracks, and this is what allows
it to maintain its peculiar unity
across the differing moods of its
nine songs. Even when / Dreamt
I Was Running moves from the
soft acoustic vulnerability of
"Terra Firma" to a heavier track
like "Bloom," the roundness of
the bass and the gentle interplay
of the guitar and vocals create
a sense of welcome within the
harder sound. Its clear lyrics
acknowledge difficult, melancholy
emotions and hold them without
judgment. The music invites you in.
Each of these elements — the round bass, the drift
between heavy electric fuzz and delicate acoustic melody,
the emotionally frank lyrics — seem decisive and purposeful
in the album's sound. In the final title track, the vocals drift
between a near whisper and a powerful expansiveness
that ought to contradict their soft acoustic accompaniment.
Instead, they lead the song forward into an ethereal drift
away on the repeated phrase, "I dreamt I was running."
It's a culmination of the album's complex aesthetic: gently
assertive, painfully comforting, meanderingly catchy.
/ Dreamt I Was Running is the kind of album you can
listen to on repeat for days, feeling something new with each
repetition. It's also the kind of album that will keep playing
in your head for hours after you turn it off. Like the lingering
traces of just the kind of dream in the album's title, / Dreamt
I Was Running will never quite leave your mind again.
— Cae Rosch
To submit music, podcasts, books or films for review consideration, please
email Cae Rosch at ur.discorder@citr.ca.
To media that applies, please send a physical copy to Discorder Under Review
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?xos YHAuaaai i 9nixDgDfn i9bioD8ia
UNDER REVIEW
 FEATURE
Discorder magazine | FEBRUARY 201^
Jay
Bagasbas
words by Joshua Azizi
illustration by Brian Tong
photos by Matthew Lim
It's late night at Fortune Sound Club
and Jay Bagasbas is mixing the club's
music in the middle of the dance floor
with an iPad. Since it was hard to gauge
the sound from the side stage, she took
matters into her own hands.
44
I   like to put a hundred percent into my work," she
says, "If I can make it sound better, I'll go out into
the crowd and make it sound better."
Fortune is just one of the many venues where Jay has
worked as a live sound tech and audio engineer. Between
her current job mixing sound for hockey games at Rogers
Arena, her former work at the Alexander Gastown and
freelance gigs at the Biltmore Cabaret, TED Talks and
Pemberton Festival, she's an expert at working behind the
scenes of a show to bring the most out of a venue's sound.
"I liked being the ears that listen to the room and control
everything," Jay expresses, "working shows and being a
part of something bigger and helping someone's sound out,
that's very fulfilling."
But Jay is more than an audio engineer — she's also a
boxer at the Eastside Boxing Club who teaches women in
the community how boxing can foster their self-confidence.
Just before our interview, she was teaching a class for
teenage girls where she taught them not only about boxing,
but also mindfulness and body-positivity. "My part was to
talk about body image and what social media is doing in
terms of creating a toxic environment for girls and women
for how they should look," she explains."We taught the
girls about how to properly eat, [as well as] mindfulness,
wellness and the mind-body connection. Then I took them
through a boxing workout, which some of them loved
because it was good, but I might have pushed them a little
too hard," she chuckles.
She's not only bright and ambitious, but also someone
who lifts up the people around her with her positivity and
generosity. And she's only 22.
«
'Joy Bagasbas'
 exos YHAuaaai | 9nixDgDfn i9bioo8ia
HUTAH
" There are a couple of girls that I do wanna fight...
In the most loving and respectful way. "
Jay's audio career began in a "Recording and Sound"
class at her Catholic high school, where she set up
the sound system for Mass. She then enrolled in the
Nimbus School of Recording and Media's audio engineering
program and graduated at the top of her class. "I wasn't
expecting the award, I'm not gonna lie," she said, "but I
guess hard work pays off."
Within her graduating class, Jay was one of two
women — an unfortunate reflection of the reality that
audio engineering and mixing remain male-dominated
fields. While she got along well with her classmates, she
had to work hard to gain their respect, which meant
spending many late nights in the studio, honing her skills.
"There were a couple of times where I did have to prove
myself and my abilities, but by the end of it, everyone
was family. We all had a good time with the time we
spent together."
Of all the venues she's mixed at since graduating from
Nimbus, Jay's particularly fond of her time as a sound tech
at the Alexander Gastown, where she worked the sound for
artists such as BJ the Chicago Kid, Jessie Reyes, JMSN, Del
the Funky Homosapien, Busdriver and a variety of local
bands. It was there that she reunited with an old family
friend who suggested she try boxing at the Eastside Boxing
Club. She quickly got hooked.
For Jay, boxing is a much-needed way to release pent-up
anger. "I was a very angry person, and I never had an outlet
for it. I always used to lash out on whoever I was dating or
my parents, but ever since I started boxing it's been a healthy
way to get rid of it. Now it's like a self care thing for me."
Since the gym has been so helpful for her, she's dedicated
herself to giving back. In 2018, she participated in a
charity boxing fight for the Eastside Boxing Club at the
Commodore Ballroom, where she raised over $2,500 for
the their at-risk women and youth programs. "The gym
has done a lot for me, personally... I'd show up to the gym,
absolutely quiet and drained and exhausted, and they'd pick
me up and check in on me. There are a couple of mother
figures there that I am super super thankful and grateful for,
and they're the main reason I want to give back. Plus the
kids are our future."
Jay currently has a concussion — it's her fifth one in total
— so she spends more of her time at the gym teaching and
training rather than fighting. However, when reflecting on
the fight at the Commodore, she gets nostalgic and knows
she'll return to the ring.
"The feelings and the emotions and the training that goes
towards this one fight is amazing, fulfilling and satisfying,"
she says, "I want more. And there are a couple of girls that I
do wanna fight."
"You wanna beat 'em up," I quip.
"Yeah, in the most loving and respectful way."
Jay's made great strides in her career, but she has
greater ambitions. She hopes to one day tour with
a professional recording artist, become a certified
boxing coach, and release music of her own. She also wants
better for the female sound techs of the world. Being a female
sound engineer, she says, means that you're often micro-
managed and untrusted by the men around you, who were
likely expecting another male in the position to begin with.
Thanks to her own self-confidence and her network of
sound techs and venues who know she excels at what she
does, Jay punches right through these double standards.
"I hope that one day we can get past that gender norm —
you know, that the sound person has to be a sound guy —
because the best techs in the world that I follow are women
and there's obviously something to learn from that," she
says. "I don't want to say we're better, but we're definitely
more organized and on top of more of our shit."
"Jay Bagasbas'
V
 FEATURE  .
Discorder magazine | FEBRUARY  201^
Healing & Hibernation
WITH TONYE AGANABA
words by Lexi Mellish Mingo // illustrations by Madeleine Bercjer // photos courtesy of Liz Rosa
•^
TANDING AWKWARDLY AT
WATERFRONT STATION, warm
bodies skittered around me like squirrels.
As I waited in stillness, I started to question
my own scheme. For our interview, I had asked Tonye to
take me to a space that offered her a source of healing, but
despite my intrigue, I feared the ambiguity. At four pm, the
sun started to bow behind the icy glass buildings. Days like
those give the illusion of a seasonal transition. As much as I
wanted to trust myself, the seasons, and Tonye, the loitering
essense of winter made me crave the comfort of a warm den.
k
'Tonye flganaba'
 exos YHAuaaai i gnixogDm i9bioo8ia
HUTAH
I first met Tonye at the brewery where
I work. In my awe-filled nervousness,
I attempted to articulate my appreciation for her presence. "You know," I
said, "You're the first woman I've seen
play here," and without hesitation,
Tonye responded, "And what if I'm not
a woman?" Her smart grin and soft
eyes rightfully corrected me. Setting up,
she danced around the stagnant space
transcending smiles and positive energy.
From this encounter, I would have never
thought she was diversely-abled. The
reality of her condition is that some days
are good, while others don't hold that
same privilege. The fluctuating access-
bility that Tonye experiences prompts her
activism regarding public awareness of
invisible disabilities.
Describing her music as genre-fluid,
flowing from soul, neo-folk to hip-hop,
Tonye Aganaba describes herself as
an Intersectional Artist: "I stand at a
bunch of intersections in my life, all of
us do.The music I choose to play is an
expression of who I am, which is a lot of
different things." As a black, immigrant,
queer-identifying individual who is also
disabled, Tonye's intersectional presence
and genre-fluidity welcomes all listeners,
blurring stereotypes and offering a space
for connection. "We all hit so many
points together," excites the artist.
I v  ith sunshine and vigor, Tonye
I I  entered waterfront station.
^F^r    I re-introduced myself, and
without hesitation, she welcomed me in
with a warm bear hug. Once we exited the
building, Tonye revealed our destination:
"This is where I was born!" Despite her
London roots, Gastown was where Tonye
re-entered the world. But like all good
metamorphosis tales, it came with struggle.
About five years ago, Tonye's music
career was on a steady escalation into global
spheres. The artist had signed a label and
management deal, finished a record and
was about to go on a world tour. Although
it seemed like the stars were just starting to
align, the world had something else in mind
for her. In 2015, Tonye was diagnosed with
Multiple Sclerosis and two weeks later she
was involved in a car accident, breaking her
back in six places. Both MS and the accident
halted the momentum of her career, giving
her only one option: to hibernate.
Although it has been four years since
her diagnosis, Tonye continues to refer
to her disease as the best thing that ever
happened to her. "All that time on my
own in hospital rooms, relearning how
to walk and use my hands, taught me so
much about human resilience and my own
capacity for healing," says Tonye. Through
isolation, Tonye reclaimed herself and
accessed her own potential to heal through
music. "[Music] has been a way for me to
work through my mental, emotional and
physical trauma, and put it in a place that
is safe," admits Tonye. The capacity she
has to heal herself and the spaces around
her, seems to be a by-product of her very
existence. Moving beyond previous goals
of global fame and success, the adversity
she has faced is a part of a bigger plan.
"I like to identify archetypes that are
guiding. If I see archetypes that I don't
want, I don't go that way," expresses
Tonye, "my life is shifting in the way it
needs to shift right now."
Tonye perceives all types of
"down-time" as an opportunity
for growth. "Winter here is
awful," expresses Tonye, "but I've
utilized the time where I can't get out
so much to bolster my reserves, and fill
myself up." Following the release of her
EP with 604 records in December, Tonye
will be entering spring fully fueled. On
February 15, 2019, her single "Battle
Bruised" will be released, followed by a
full-length LP Something Comfortable in
March. Tonye describes the LP as "me at
my most free, creating music that really
sits beautifully in my heart." Tonye's
full charge beams outwardly, from the
comfort of her nurturing den. "I'm the
most excited I've ever been in my life
for what's coming up next," she buzzes.
With trust in the cycles of the universe,
Tonye transcends both the earth's and
bodies' winters, to flourish with the
energy of sunshine.
If you'd like to hear more from Tonye, tune
into to her Afro Science podcast, and check
out the following events:
Feb 1 - Performing at the City of Vancouver
BlackHistory Month Celebration, Vancouver
City Hall.
Feb 13 - Launch of The AfroScience Podcast
LIVE at Calabash Bistro. (Streaming at
TONYEMusic.com)
Feb 15 - AfroScience: A one woman show
about being Black in Canada.
Heritage Hall, Main St
Feb 23 - Tonye Aganaba and a Live Band
at Winter Jazz Fest, Performance Works,
Granville Island
J    <J    J   J   J
J   <d?     J    A
"Tonye Aganaba'
9
 Discorder magazine | FEBRUARY 201^
Otl THE AIR
CITR PODCAST SERIES
words by Alec Christiansen // illustrations by Ricky Castanedo Laredo
V
1
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Since acquiring its FM license
in 1982, CiTR has broadcast
innumerable programs working
to highlight local arts and affairs and tell
underrepresented stories. Throughout
the first half of 2019, CiTR will continue
this mission through another medium —
podcasting. In the footsteps of Seeking
Office — a podcast focusing on Vancouver's
2018 municipal election—come three new
podcasts: Noise Complaint, Conversations,
and Consider the Alternative.
Noise Complaint, the first of the
three podcasts, features interviews and
performances with various musicians and
bands recorded in the CiTR Lounge. Akin
to NPR's Tiny Desk or BBC Radio's Live
Lounge, Noise Complaint not only offers
listeners intimate and exclusive live sets,
but also the opportunity to understand
the people and stories behind the music
through in-depth interviews conducted
by CiTR's Music Director and host of
Chaotic Music Meetings, Myles Black.
Appearing on the podcasts are artists such
as Kamikaze Nurse, Prxncxss Apprntly,
Cathy Schultes, and many more. The first
episode of Noise Complaint — featuring
local rapper, Hope — was released on
January 18 alongside a launch party at
the Avant-Garden with performances by
Hope, Maneater and Nasti Weather. New
episodes of Noise Complaint release on
Fridays throughout February and March.
Following Noise Complaint is
Conversations, a panel discussion
show tackling local, underrepresented issues led by CiTR's spoken word
collectives. For context, CiTR operates
seven spoken word collectives — each
with its own theme — that provides on-air
opportunities for members without the
commitment of producing and hosting a
show alone. Each collective produces a
weekly or biweekly radio show, such as
the Music Collective's Word on the Street,
the Gender Empowerment Collective's
Intersections, the News Collective's
Democracy Watch or the Indigenous
Collective's Unceded Airwaves, to name
a few. Each episode of Conversations is
hosted by a collective and will explore an
issue relevant to its theme. One episode
of Conversations features the Gender
Empowerment Collective's panel on racial
and gender diversity in Vancouver politics.
Another episode features the Accessibility
Collective's panel on the use of language
surrounding disability. Conversations is
set to premiere March 29 and will run for
seven episodes.
The third podcast series from CiTR
is Consider the Alternative, another
podcast focused on matters related
to local democracy. While Conversations
will explore similar topics through panel
discussions, Consider the Alternative will
use place-based sound recordings and
character portraits to explore local stories
through a creative lens. Per the show's
official description, "Episodes will centre
around various Vancouver and Lower
Mainland current affairs stories and their
relationship with one of three tenants of
our local democracy: activism, journalism,
and government." The series is comprised
of two parts or short serialized episodes,
both narrative and non-narrative, fiction
and nonfiction. Consider the Alternative
premieres May 17.
With these three original podcasts,
listeners will be able to experience a robust
sample of some of CiTR's best content and
keep up with a number of musicians and
stories that are defining Vancouver. Noise
Complaint, Conversations, and Consider
the Alternative will release throughout the
first half of 2019 and will be available on
iTunes and CiTR.ca.
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EMAIL THE PROGRAMMING MANAGER AT PROGRAMMING@CiTR.CA TO LEARN HOW
D
pc-hey, this kind of cell means this show is hosted by students
They are also highlighted in the spot colour on the guide,
you can't miss it.
 ■ monti/iy
TRANCENDANCE GHOST MIX
12AM-7AM,  ELECTRONIC/DANCE
Up all night? We've got
you, come dance.
Contact: programming@citr.ca
BREAKFAST WITH THE BROWNS
3AM-11AM,  ECLECTIC
Your favourite Brownsters:
James and Peter, offer
a savoury blend of the
familiar and exotic in a
blend of aural delights
Contact: breakfastwiththebrowns
@hotmail.com
SYNCHRONICITY
12PM-1PM, TALK/SPIRITUALITY
Join host Marie B in spirituality,
health and feeling good. Tune
in and tap into good vibrations
that help you remember why
you're here: to have fun!
Contact: spiritualshow@gmail.com
PARTS UNKNOWN
1PM-3PM, rock/pop/indie
Host Chrissariffic takes you on
an indie pop journey not unlike
a marshmallow sandwich:
soft and sweet and best
enjoyed when poked with a
stick and held close to a fire.
Contact: programming@citr.ca
3PM-5PM, MUSIC	
120 minutes of Beginners
Playing Music! This drive time
block is for BRAND NEW
programmers who want to find
their feet, practice their chops,
and rep CiTR's playlist. Get
at us if you want this airtime
Contact: @CiTRRadio
programming @citr. ca
Contact: leoramirez@canada.com
2PM-3PM, ROCK / POP / INDIE
Love rocking out to live music,
but don't feel like paying
cover? Tune in for the latest
and greatest punk, garage
rock, local, and underground
music, with plenty of new
releases and upcoming
show recommendations.
Let's get sweaty.
contact: programming@citr.ca
RECORDS MANAGEMENT
1OAM-11AM, rock/roots/folk
A show for Canadian Rock
Indie, Folk, Country, and other
Canadiana! Curated for you by
your hosts, Nathalie and Adrian.
EXPLODING HEAD MOVIES
7PM-8PM,  EXPERIMENTAL
Join Gak as he explores
music from the movies:
tunes from television, alone
with atmospheric pieces,
cutting edge new tracks:
and strange goodies for
soundtracks to be. All in the
name of ironclad whimsy.
Contact: programming@citr.ca
THE JAZZ SHOW
9PM-12AM, JAZZ
On air since 1984, jazz
musician Gavin Walker takes
listeners from the past to the
future of jazz. With featured
albums and artists, Walker's
extensive knowledge and
hands-on experience as a
jazz player will have you
back again next week.
Contact: programming@citr.ca
■ TOESSay
PACIFIC PICKIN'
6am-8am, roots/folk/blues
Bluegrass, old-time music and
its derivatives with Arthur and
the lovely Andrea Berman.
Contact: pacificpickin@yahoo.com
QUEER FM
3AM-10AM, TALK/POLITICS
Dedicated to the LGBTQ +
communities of Vancouver
Queer FM features music:
current events, human interest
stories and interviews.
Contact:
queerfmvancouver@gmaii.com
Twitter | @recordsmgmtyvr
THE MORNING AFTER SHOW
11PM-1PM,  ROCK / POP / INDIE
Oswaldo Perez Cabrera plays
your favourite eclectic mix of
Ska, reggae, shoegaze, indie
pop, noise, with live music:
local talent and music you
won't hear anywhere else.
The morning after what?
Whatever you did last night.
Twitter | @sonicvortex
THE COMMUNITY LIVING SHOW
1PM-2PM, TALK/ACCESSIBILITY/
DISABILITY
This show is produced by
the disabled community and
showcases special guests and
artists. Originally called "The
Self Advocates", from Co-Op
Radio CFRO, the show began
in the 1990s. We showcase
BC Self Advocates with lots
of interviews from people with
special needs. Tune in for
interesting music, interviews
and some fun times. Hosted
by: Kelly Reaburn, Michael
Rubbin Clogs and Friends.
contact:
communityiivingradio@gmaii.com
• INTERSECTIONS
4PM-5PM - TALK/FEMINIST NEWS
Tune in every two weeks
for intersectional feminist
news, opinion, music
and more, brought to
you by CiTR's Gender
Empowerment Collective!
contact: programming@citr.ca
3PM-4PM, MUSIC	
120 minutes of Beginners
Playing Music! This drive time
block is for BRAND NEW
programmers who want to find
their feet, practice their chops,
and rep CiTR's playlist. Get
at us if you want this airtime
Contact: @CiTRRadio
programming@citr. ca
INTERSECTIONS
TUES 4PM-5PM, TALK/POP
Tune in every two weeks
for intersectional feminist
news, opinion, music
and more, brought to
you by CiTR's Gender
Empowerment Collective!
Contact: programming@citr.ca
TUES 5PM-6PM, ROCK/POP/INDIE
Lace up your hiking boots and
get ready to join Mel Woods as
she explores music by female
and LGBTQ+ artists. Is that a
bear behind that tree? Nope,
just another great track you
won't hear anywhere else. We
provide the music mix, but
don't forget your own trail mix!
Contact: programming@citr.ca
FLEX YOUR HEAD
6pm-8pm, loud/punk/metal
Punk rock and hardcore since
1989. Bands and guests
from around the world.
Contact: programming@citr.ca
CRIMES &TREASONS
3PM-10PM, HIP HOP
Uncensored Hip-Hop & Trill
$h*t. Hosted by Jamal Steeles:
Homeboy Jules, Relly Rels:
Malik, horsepowar & Issa.
Contact: dj@crimesandtreasons.com
www.crimesandtreasons.com
TUES 10PM-11PM, TALK/POLITICAL
COMMENTARY      	
The Spencer Latu Show is a
progressive politics show that
speaks truth to power. We
provide much needed coverage,
and media criticism of stories
at the municipal, provincial,
national and international
level from the perspective of
two progressive working class
students; Spencer Latu and
Ajeetpal Gill. We are based
out of UBC in Vancouver BC.
Contact: programming@citr.ca
STRANDED: CAN/AUS MUSIC
SHOW
11PM-12AM,  ROCK/POP/lNDIE
Join your host Matthew for a
weekly mix of exciting sounds
past and present, from his
Australian homeland. Journey
with him as he features fresh
tunes and explores alternative
musical heritage of Canada.
Contact: programming@citr.ca
SUBURBAN JUNGLE
3AM-10AM,  ECLECTIC
Live from the Jungle Room:
join radio host Jack Velvet
for music, sound bytes:
information and insanity.
3PM-4:30PM, music
120 minutes of Beginners
Playing Music! This drive time
block is for BRAND NEW
programmers who want to find
their feet, practice their chops,
and rep CiTR's playlist. Get
at us if you want this airtime
Contact: @CiTRRadio
programming@citr. ca
THUNDERBIRD EYE
4I30-5PM, TALK/SPORTS
CiTR Sports treat you to
interviews with UBC'stop
athletes and Olympians,
off-field stories of the
accomplished sportspeople.
T-Bird Eye is your weekly
roundup of UBC Thunderbirds
sports action with hosts Eric
Thompson, Jake McGrail,
Liz Wang, and Jacob Aere.
Contact: Twitter | @CiTRSports
Contact: dj@jackveivet.net
POP DRONES
10AM-12PM,  ECLECTIC
Unearthing the depths of
contemporary and cassette
vinyl underground. Ranging
from DIY bedroom pop and
garage rock all the way to harsh
noise, and of course, drone.
Contact: programming@citr.ca
THE SHAKESPEARE SHOW
12PM-1PM,  ECLECTIC
Dan Shakespeare is here
with music for your ears.
Kick back with gems from
the past, present, and future.
Genre need not apply.
Contact: programming@citr.ca
1PM-2PM, TALK /POP
Jayden targets audiences in the
Korean community in Vancouver
to introduce the News on
Korea, Korean Culture while
comparing other Asian Cultures,
playing all kinds of Korean
Music(K-POP, Hip Hop, Indie,
R&B,etc),talking about popular
trends in the industries of
Korean Movies & Korean Drama
(aka K-Drama), TV Shows,
Korean Wave(aka K-Wave
or Hallyu), the news about
Korean Entertainment Industry,
what's going on in the Korean
Society here in Vancouver and
conversations with guests.
Contact: programming@citr.ca
ALTERNATING WEDNESDAYS
2PM-3PM, TALK/ACCESSIBILITY
P O LITICS	
We talk about equity, inclusion,
and accessibility for people with
diverse abilities, on campus
and beyond. Tune in every
second Wednesday from 2-3pm
for interviews, music, news,
events, and awesome dialogue.
Contact: Twitter | @access_citr
■ UNCEDED AIRWAVES
ALTERNATING WEDNESDAYS
2PM-3PM, TALK/CULTURAL
COM M ENTARY	
Unceded Airwaves is in its
third season! This team of
Indigenous and non-Indigenous
folks produce a weekly show
on Indigenous issues, current
affairs, entertainment, culture
and news - all centering
Native voices. Come make
Indigenous radio with us!
Contact: programming@citr.ca,
Foiiow us @u needed airwaves &
facebook.com/uncededairwaves
5PM-6PM, TALK/ ARTS & CULTURE
The Arts Report on CiTR brings
you the latest and upcoming
in local arts in Vancouver
from a volunteer run team
that likes to get weird! Based
primarily in Vancouver, BC,
your show hosts (Ashley and
Jake) are on the airwaves.
Contact: arts@citr.ca
SAMSQUANTCH'S HIDEAWAY
alternating wed 6:30pm-8pm:
rock/pop/indie
If you're into 90's nostalgia:
Anita B's the DJ you for.
Don't miss her spins:
every Wednesday.
Contact: programming@citr.ca
THE MEDICINE SHOW
ALTERNATING WED 6:30PM-8PM:
eclectic/live INTERVIEWS
Broadcasting Healing Energy
with LIVE Music and laughter!
A variety show, featuring
LIVE music, industry guests
and insight. The material
presented is therapeutic
relief from our difficult world.
We encourage and promote
independent original, local
live music, art, compassion
and community building.
Contact:
vanco uvermedicinesho w@gmaii. com
MIX CASSETTE
3pm-9pm, hip hop/indie/soul
A panopoly of songs, including
the freshest riddims and
sweetest tunes, hanging
together, in a throwback suite.
Which hearkens back to the
days where we made mix
cassettes for each other(cds
too) and relished in the merging
of our favourite albums.
Contact: programming@citr.ca
NINTH WAVE
9PM-10PM, HIP HOP/ R&b/ SOUL
Between the Salish sea and the
snow capped rocky mountains:
A-Ro The Naut explores the
relationships of classic and
contemporary stylings through
jazz, funk and hip hop lenses.
Contact: Facebook | NinthWaveRadio
ANDYLAND RADIO WITH
ANDREW WILLIS
10PM-11PM, TALK
Listen to your favorite
episodes of Andyland Radio
with Andrew Willis. Our
borders are always open.
Contact: programming@citr.ca
THUNDERBIRD LOCKER ROOM
11PM-12AM, TALK / SPORTS
The Thunderbird Locker
Room gives you a backroom
perspective on varsity athletes:
coaches and staff here at UBC.
Contact: programming@citr.ca
■ THURSSay
OFF THE BEAT AND PATH
7AM-8AM,TALK
Host Issa Arian introduces you
to topics through his unique
lens. From news, to pop culture
and sports, Issa has the goods.
Contact: programming@citr.ca
• CONVICTIONS* CONTRADICTIONS
THURS, 8AM-9AM, TALK/COMEDY/
SOCIAL OBESERVATIONS
Convictions and Contradictions
is about our own convictions
and contradictions about
society, shown through social
observational comedy. To boot,
a comedy of human psychology
and instrumental music.
Contact: programmingcitr.ca
• COMEDYZEITGEIST
g:30AM-i0PM, talk
Comedy Zeitgeist is a variety
show with host Nico McEown &
special guests who talk comedy.
What makes us laugh and
why? What separates the best
of the best from all the rest?
Every episode you hear great
jokes and bits from both famous
and unknown comedians.
Contact: programming@citr.ca
ROCKET FROM RUSSIA
10AM-11AM,  PUNK
Hello hello hello! I interview
bands and play new:
international, and local punk
rock music. Broadcasted
by Russian Tim in Broken
English. Great Success!
Contact: rocketfromrussia.tumbir.com,
rocke tfrom russiacitr@gmaii. com,
<3>tima_tzar,
facebook. com/Rocke t From Russia
U DO U RADIO
11AM-12PM,  ELECTRONIC
A delicious spread of
electronic vibes from across
the decades. Acid, Afro-beat
Lo-Fi, Ambient and plenty of
classic house. Let Galen do
his thing so u can do urs.
Contact: programming@citr.ca
DUNCAN'S DONUTS
12PM-1PM,  ROCK/POP/lNDIE
Sweet treats from the pop
underground. Hosted by
Duncan, sponsored by donuts.
Contact: duncansdonuts.wordpress.com
• K-POP CAFE
1PM-2PM, K-POP	
Jayden gives listeners an
introduction to music &
entertainment in Asian Cultures,
especially, Korean, Japanese
and Chinese. Tune in for
K-POP, Hip Hop, Indie, R&B,
Korean Wave (aka K-Wave or
Hallyu), News about Korean
Entertainment Industry and
Korean Society in Vancouver.
Contact: programming@citr.ca
ASTROTALK
2PM-3PM, talk/science
Space is an interesting place.
Marco slices up the night sky
with a new topic every week.
Death Starts, Black Holes, Big
Bang, Red Giants, the Milky
Way, G-Bands, Pulsars, Super
Stars and the Solar System.
Contact: programming@citr.ca
3PM-5PM, MUSIC	
120 minutes of Beginners
Playing Music! This drive time
block is for BRAND NEW
programmers who want to find
their feet, practice their chops,
and rep CiTR's playlist. Get
at us if you want this airtime
Contact: @CiTRRadio
programming@citr.ca
5PM-6PM, TALK / NEWS / CURRENT
AFFAIRS	
For fans of News 101, this is
CiTR's new Current Affairs
show! Tune in weekly for
commentary, interviews
and headlines from around
the Lower Mainland.
Contact: news101@citr.ca
NO DEAD AIR
ALTERNATING THURS, 6PM"7:30:
JAZZ FUSION / POST ROCK
No Dead Air is dedicated
to shocasing jazz fusion:
experimental electronic and
post-rock programming.
Contact: Facebook | NoDeadAir
C1 RADIO
thurs 7:30pm-9pm, hip hop/r&b/
RAP
Best of new and local hip hop
Contact: programming@citr.ca
LIVE FROM THUNDERBIRD
RADIO HELL
9PM-11PM, rock/pop/indie
Thunderbird Radio Hell
features live band(s) every
week performing in the comfort
of the CiTR lounge. Most are
from Vancouver, but sometimes
bands from across the country
and around the world are nice
enough to drop by to say hi.
Contact: programming@citr.ca
COPY/PASTE
11PM-12AM,  ELECTRONIC
If it makes you move your
feet (or nod your head), it'll
be heard on copy/paste. Vibe
out with what's heating up
underground clubs around
town and worldwide. A brand
new DJ mix every week by
Autonomy & guest DJs.
Contact: music@actsofautono-
my.com
■ TRUiay
AURAL TENTACLES
12AM-6AM,  EXPERIMENTAL
It could be global, trance:
spoken word,rock, the
unusual and the weird.
Hosted by DJ Pierre.
Contact:
auraitentacies@hotmaii.com
CANADALAND (SYNDICATED)
37AM-8AM, talk/politics
Podcast hosted by Jesse
Brown that focuses on media
criticism as well as news:
politics and investigative
reporting. Their website also
has text essays and articles.
Contact: jesse<3>canadaiandsho w.com
■ SEEKING OFFICE: AT LARGE
8AM-9AM, TALK/NEWS/POLITICS
Seeking Office is innovative
storytelling and municipal news
coverage from Vancouver and
the Lower Mainland. Join us for
Season 2, At Large.
Subscribe to Seeking Office on
iTunes, Stitcher or Google Play.
Contact: @CiTRNews
MIXTAPES WITH MC AND MAC
9AM-11AM,  ROCK/POP/lNDIE
Whether in tape, cd, or playlist
form, we all love a good
collection of songs. Join us
every Friday morning at 10
for a live mixtape with musical
commentary. Who knows
what musical curiosities you
will hear from Matt McArthur
and Drew MacDonald!
Contact: programming@citr.ca
• THE REELWHIRLED
11AM-12PM, TALK/ FILM
The Reel Whirled is an
adventure through the world of
film. Whether it's contemporary,
classic, local, or global, we
talk about film with passion,
mastery and a lil dash of
silly. Featuring music from
our cinematic themes, Dora
and Dama will bring your
Friday mornings into focus.
Contact: programming@citr.ca
DAVE RADIO WITH RADIO DAVE
12PM-1PM, TALK/THEATRE
Your noon-hour guide to
what's happening in Music
and Theatre in Vancouver.
Lots of tunes and talk.
Contact:
daveradiopodcast@g maii. co m
TOO DREAMY
1PM-2PM, BEDROOM POP / DREAM
POP/SHOEGAZE
Let's totally crush on each other
and leave mix tapes and love
letters in each other's lockers xo
Contact:
Facebook | @TooDreamyRadio
BEPI CRESPAN PRESENTS
2PM-3:30PM, experimental/
DIFFICULT MUSIC
CiTR's 24 HOURS OF
RADIO ART in a snack size
format! Difficult music, harsh
electronics, spoken word:
cut-up/collage and general
CRESPANA©weirdness.
Contact: Twitter \
NARDWUAR PRESENTS
3:30PM-5PM, MUSIC/INTERVIEWS
Join Nardwuar, the Human
Serviette for an hour and a half
of Manhattan Clam Chowder
flavoured entertainment. Doot
doola doot doo... doot doo!
Contact:
h ttp ://nardwuar. com/rad/con tact/
• WORD ON THE STREET
5PM-6PM, ROCK/INDIE/POP
Hosted by the Music Affairs
Collective, every episode is
packed with up-to-date content
from the Lower Mainland music
communities including news,
new music releases, event
reviews and upcoming events,
interviews with local musicians
and industry professionals and
discussions over relevant topics.
Contact: programming@citr.ca
• RADIO PIZZA PARTY
6PM - 7:30PM, TALK/COMEDY
Every week Jack, Tristan and
a special guest randomly
select a conversation topic
for the entire show; ranging
from God to unfortunate
roommates. Woven throughout
the conversation is a cacophony
of segments and games for
your listening pleasure. Also
there is no pizza. Sorry.
Contact: programming@citr.ca
AFRICAN RHYTHMS
7:30pm-9pm, r&b/soul/inter-
imational
African Rhythms has been on
the air for over twenty three
years. Your Host, David Love
Jones, plays a heavyweight
selection of classics from
the past, present, and future.
This includes jazz, soul:
hip-hop, Afro-Latin, funk and
eclectic Brazilian rhythms.
There are also interviews
with local and international
artists. Truly, a radio show
with international flavour.
Contact: programming@citr.ca
SKALD'S HALL
9PM-10PM, talk/radio drama
Skald's Hall focuses on
entertainment through the art of
Radio Drama. Story readings:
poetry recitals, drama scenes:
storytellers, join host Brian
MacDonald. Have an interest in
performing? Guest artists are
always welcome, contact us!
Contact: Twitter | @Skaids_Haii
CANADA POST ROCK
10PM-11PM, rock/pop/indie
Formerly on CKXU, Canada
Post Rock remains committed
to the best in post-rock:
drone, ambient, experimental.
noise and basically anything
your host Pbone can put
the word "post" in front of.
Stay up, tune in, zone out.
Contact: programming@citr.ca,
Twitter | @pbone
C1 RADIO
FRI 11PM-12:30AM, HIP HOP/R&B/RAP
Repeat of Thursday's show -
Best of new and local hip hop
Contact: programming@citr.ca
■ saTURSay
THE LATE NIGHT SHOW
12:30am-6am, electronic/ambient
The Late Night Show features
music from the underground
Jungle and Drum and Bass
scene, Industrial, Noise:
Alternative No Beat takes
you into the early morning.
Contact: citriatenightshow@gmaii.com
THE SATURDAY EDGE
3AM-12PM,  ROOTS/BLUES/FOLK
Now in its 31 st year on CiTR, The
Saturday Edge is my personal
guide to world & roots music:
with African, Latin and European
music in the first half, followed
by Celtic, Blues, Songwriters:
Cajun and whatever else fits!
Contact: steveedge3@mac.com
GENERATION ANNIHILATION
12PM-1PM,  PUNK/HARDCORE/METAL
On the air since 2002,
playing old and new punk
on the non commercial
side of the spectrum.
Contact:
crashnburnradio @yahoo.ca
POWER CHORD
1PM-3PM, loud/metal
Vancouver's longest running
metal show. If you're into
music that's on the heavier/
darker side of the spectrum:
then you'll like it. Sonic assault
provided by Coleman, Serena:
Chris, Bridget and Andy!
Contact: programming@citr.ca
CODE BLUE
3PM-5PM, roots/folk/blues
From backwoods delta low-
down slide to urban harp honks:
blues and blues roots with your
hosts Jim, Andy and Paul.
Contact: codebiue@pauinorton.ca
MANTRA RADIO
5pm-6pm, electronic/mantra/
IMU-GAIA
Mantra showcases the many
faces of sacred sound -
traditional, contemporary
and futuristic. The show
features an eclectic array of
electronic and acoustic beats:
music, chants and poetry
from the diverse peoples
and places of planet earth.
Contact:
mantraradioshow@gmaii. co m
NASHAVOLNA
6PM-7PM, talk/russian
Informative and entertaining
program in Russian.
Contact: nashavoina@shaw.ca
NIGHTDRIVE95
7pm-8pm, experimental/ambient/
chill wave
Plug NIGHTDRIVE95 directly
into your synapses to receive
your weekly dose of dreamy
ethereal, vaporwave tones fresh
from the web. Ideal music for
driving down the Pacific Coast
Highway in your Geo Tracker
sipping a Crystal Pepsi by the
pool, or shopping for bootleg
Sega Saturn games at a Hone
Kong night market. Experience
yesterday's tomorrow, today!
Contact: nightdrive95@gmaii.com
SOCASTORM
3PM-9PM, international/soca
DJ SOCA Conductor delivers
the latest SOCA Music from
the Caribbean. 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! Its Saturday,
watch out STORM COMING!!!!
Papayo!!#SOCASTORM
Contact: programming@citr.ca
SYNAPTIC SANDWICH
9PM-11PM, electronic/retro/
TECHNO
Every show is full of electro
bleeps, retrowave, computer
generated, synthetically
manipulated aural rhythms.
If you like everything from
electro / techno / trance /
Sbit music / and retro '80s
this is the show for you!
Contact: programming@citr.ca
RANDOPHONIC
11PM-1AM,  EXPERIMENTAL
Randophonic has no concept of
genre, style, political boundaries
or even space-time relevance.
Lately we've fixed our focus
on a series, The Solid Time of
Change, 661 Greatest Records
of the Prog. Rock Era -1965-
79. We're not afraid of noise.
Contact: programming@citr.ca
■ sunti/iy
THE ABSOLUTE VALUE OF
INSOMNIA
1AM-3AM, experimental/generative
4 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.
Contact: programming@citr.ca
PACIFIC PICKIN'
3AM-10AM,  ROOTS/FOLK/BLUES
A repeat of Tuesday morning's
favourite Bluegrass Show -
Bluegrass, old-time music and
its derivatives with Arthur and
the lovely Andrea Berman.
Contact: pacificpickin@yahoo.com
SHOOKSHOOKTA
10AM-12PM, INTERNATIONAL/
AMHARIC/ ETHIOPIAN
2 hour Ethiopian program
on Sundays. Targeting
Ethiopian people and
aiming to encouraging
education and personal
development in Canada.
Contact: programming@citr.ca
THE ROCKER'S SHOW
12PM-3PM,  REGGAE
All reggae, all the time. Playing
the best in roots rock reggae,
Dub, Ska, Dancehall with
news views & interviews.
Contact: programming@citr.ca
BLOOD ON THE SADDLE
Real cowshit-caught-in-
yer-boots country.
Contact: programming@citr.ca
LA FIESTA
Salsa, Bachata, Merengue:
Latin House and Reggaeton
with your host Gspot DJ.
Contact: programming@citr.ca
CHTHONIC BOOM
5PM-6PM, rock/pop/indie
A show dedicated to playing
psychedelic music from
parts of the spectrum (rock
pop, electronic), as well as
garage and noise rock.
Contact: programming@citr.ca
THE LEO RAMIREZ SHOW
5PM-6PM,  INTERNATIONAL
Veteran host Leo brings
you talk, interviews and
only the best mix of Latin
American music.
Contact: programming@citr.ca
MORE THAN HUMAN
7PM-8PM,  ELECTRONIC
Strange and wonderful
electronic sounds from the
past, present and future:
house, ambient, vintage
electronics, library music, new
age, hauntology, fauxtracks..
Music from parallel worlds:
with inane interjections and
the occasional sacrifice.
Contact: fantasticcat@mac.com,
Twitter | @fcat
RHYTHMS INDIA
3PM-9PM, international/bhajans
/qawwalis/sufi
Presenting several genres of
rich Indian music in different
languages, poetry and guest
interviews. Dance, Folk
Qawwalis, Traditional, Bhajans:
Sufi, Rock & Pop. Also, semi-
classical and classical Carnatic
& Hindustani music and old
Bollywood numbers from the
1950s to 1990s and beyond.
Contact: rhythmsindia8@gmaii.com
TECHNO PROGRESSIVO
3PM-9PM, electronic/ deep house
A mix of the latest house
music, tech-house, prog-house
and techno + DJ / Producer
interviews and guest mixes.
Contact: programming@citr.ca
TRANCENDANCE
9PM-11PM, electronic/trance
Trancendance has been
broadcasting from Vancouver
BC since 2001. We favour
Psytrance, Hard Trance and
Epic Trance, but also play
Acid Trance, DeepTrance:
Hard Dance and even some
Breakbeat. We also love a
good Classic Trance Anthem:
especially if it's remixed.
Contact:
djsmiieymike@trancendance.net
THE AFTN SOCCER SHOW
11PM-12AM, TALK/SOCCER
This weekly soccer discussion
show is centered around
Vancouver Whitecaps, MLS
and the world of football. Est.
in 2013, the show features
roundtable chat about the
week's big talking points:
interviews with the headline
makers, a humorous take on
the latest happenings and even
some soccer-related music.
If you're a fan of the beautiful
game, this is a must-listen.
Contact: programming@citr.ca
■ isvam>°f
VOSTTOgS
■ STUDENT PROGRAMMING
ECLECTIC
Marks any show that is
produced primarily by students.
YOUR NEW SHOW
ECLECTIC
Do you want to pitch a show
to CiTR? We are actively
looking for new programs.
Email programming@citr.ca
MOON GROK
EXPERIMENTAL
A morning mix to ease you from
the moonlight. Moon Grok pops
up early morning when you
least expect it, and need it most.
CITR GHOST MIX
anything/everything
Late night, the on air studio
is empty. Spirits move from
our playlist to your ear holes.
We hope they're kind, but
we make no guarantees.
 CiTR 101.9 FM JANUARY CHARTS
artist
fflmtn
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Sarah MacDougall*#
All The Hours 1 Have Left To
Tell You Anything
Label In Between
i
I   2
Kat Danser*#
Goin' Gone
Black Hen
I   I
JB The First Lady*+#
Righteous Empowered
Daughter
Self-Released
I   *
The 427's*#
Stay Gold
Stingray
I   3
Swim Team*+#
V
Self-Released
I   *
Divorcer*+#
Debt Jubilee
Comfortable On A
Tightrope
I   J
Pudding*+#
Pop Over
Self-Released
I   •
Jock Tears*+#
Bad Boys
Inky
I   »
Only A Visitor*+#
Technicolour Education
Self-Released
1   «
Carlo*#
Carlo
Self-Released
l«
Fine*
Thanks for Asking
Self-Released
h
Pale Red*+#
Heavy Petting
Self-Released
I»
Natasha D'Agostino*+#
Endings Rarely Are
Self-Released
I<*
Julia Holter#
Aviary
Domino
1   «
Nervous Operator**
Incoherent Reflections
Self-Released
l«
Stephen Carl O'Shea &
Sylvia Platters*#
Shadow Steps (split)
CIVL-FM
li
Freak Dream*+
Into The Sun
Artoffact
|M
Ndidi 0nukwulu*+#
These Days
Self-Released
|U
Garbage Dreams*+#
Demonstrations
Self-Released
1*
Bored Decor*+
The Colour Red
Self-Released
la
Milk*+#
Mattress Ranch
Self-Released
|g
Kitty and the Rooster*+#
One Gig Hard Drive
Self-Released
1^
Jessica Moss*#
Entanglement
Constellation
|l4
Sandro Perri*
In Another Life
Constellation
|3
Protoje
A Matter Of Time
Easy Star
Ib
Tallies**
Tallies
Hand Drawn Dracula
l»
Abby Zotz#
Local Honey
Self-Released
N
Puzzlehead*+#
(artless)
Agony Klub
h
Club Sofa*+#
Club Sofa
Self-Released
l»
Laverne*+
Yarrow
Self-Released
la,
Bernice*#
Puff: In the air without a
shape
Arts & Crafts
1*
Eric Bibb
Global Griot
Stony Plain
1*
Sharon Van Etten#
Remind Me Tomorrow
Jagjaguwar
I»
Sore Points*+
Sore Points
Deranged
1*
Witches Hammer*+
Canadian Speed Metal
Nuclear War Now!
Productions
l«
Primp*+#
Half-Bloom
Self-Released
N
Strange Breed*+#
Closer
Self-Released
|»
Ramzi*#
Phobiza Vol. 3: Amor Fati
FATi
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The Honey Tongues*+#
The Honey Tongues
Self-Released
!*»
Kaia Kater*#
Grenades
Acronym
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Dead Soft*+#
New Emotion (EP)
Arts & Crafts
1®
Big Joanie#
Sistahs
Self-Released
1*
Deletere*
De Horae Leprae
1
Sepulchral Productions ^
I «
Erosion*+
Maximum Suffering
Hydra Head
I *
Kaytranada*
Nothin Like U1Chances EP
RCA
1*
Sarah Davachi*#
Gave in Rest
BaDaBing!
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WLMRT*
Lube 2
Pleasance
1*
Heather Leigh#
Throne
Editions Mego
1*
Cassandra Maze*+#
Asymmetry EP
Self-Released
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Jesse & The Dandelions*
Give Up The Gold
Self-Released
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WITH A DONATION
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Send this form with some cold hard cash or a cheque to-.
DISCORDER MAGAZINE, LL500- 6133 UNIVERSITY BLVD. VANCOUVER, B.C. V6T ill
tf>VER77S£
MAKE IT A COMBO
&ST,
Talk to-.
advertising@citr.ca
 UPCOMING SHOWS IN VANCOUVER!
Feb 7
BRONCHO
Fox Cabaret
Feb  8
HIPPO CAMPUS
Imperial
Feb  12
ELLA MAI
Commodore Ballroom
Feb  8
POST ANIMAL AND RON 6ALL0
Wise  Hall
Feb  13
AURORA
Commodore Ballroom
Feb 22
MY BRIGHTEST DIAMOND
Fox Cabaret
Feb  24
WAXAHATCHEE
Wise  Hall
Feb  15   *1 Night,   2   Shows!!!*
ALEX CAMERON & ROY MOLLOY
Wise  Hall
Feb  22
SHARON VAN ETTEN
Imperial
Feb  26
ANDREA GIBSON
Wise  Hall
Mar  2 Mar  4
COEUR DE PIRATE IjULIAHOLTER
Commodore Ballroom    Imperial
Mar 1
BAILEN
Fox Cabaret
Feb 23
DEAD MEADOW
Rickshaw Theatre
Mar  2
ANTIBALAS
Rickshaw Theatre
Mar  6
ACTION BRONSON
HCC
Mar   6
JOY WILLIAMS
Wise  Hall
Mar  6
SID SRIRAM
Fox Cabaret
Mar  8
CHERRY GLAZERR
Rickshaw Theatre
Mar  9
JAMES BLAKE
Harbour Convention Centre
Mar  11
NILS FRAHM
Orpheum Theatre
Mar  19
AMYL AND THE SNIFFERS
Fox Cabaret
Mar  24
HALOS
Wise  Hall
Mar  22
KING BUFFALO
Wise Hall
Mar 22
VINCE STAPLES
Harbour Convention Centre
Mar 25 Mar 25 Mar 26
CASS MCCOMBS I VIAGRA BOYS IPRATEEK KUHAD
St. James Hall   Fox Cabaret     Fox Cabaret
Mar 28
Mar 29
COM TRUISE      NIGHT BEATS
Mar 29
PUP
Mar 30
THE DIP
Apr 2
RYX
Fortune
Rickshaw Theatre I Wise Hall  Wise Hall  Rio Theatre
Tickets  & more  shows at   timbreconcerts.com

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