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 DISCORDER
m 9 9 ***** *     ^
Wlal 36 I $0, 021 300m* 407
llUUtCIl    "that lucky magazine front CiTR 101.S
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 TABLE of COTlTETlTS
MARCH 2019 ^^^^^^^^^^^H
COVER SDEBBY FRIDAY BY ALISTAIR HENNING.
JFeature*
06   -  CHELENE KNIGHT
Growing Room is a flexible methodology for change
08  -  DEVOURS
An interview with queer musician, Jeff Cancade
16   -  DEBBY  FRIDAY
Redefining punk
fl lobster Hrjat ^a*
2Lo*t Cfoo Ciato* i*
CalleD <3 Bullet
EDITOR'S NOTE
HOW ARE YOUR HANDS, HOLDING?
In this issue, you'll read about Chelene Knight and Growing Room Festival's push
toward making CanLit more inclusive; finding new ways to defy musical boundaries
with Debby Friday; the hypocrisy laden within university policies; and musician
Devours' coming out late and his relationship to fem/masc queerness.
Yours,
M'aritime N'8V
ttje J&eguiar*
+ ot&er tfrfng*
04 -  Campus Beat
Free Speech Club
10 - Real Live Action
Music,   mostly
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"Hot  Mess"  by Alex Joukov
13 -  March 2019  Calendar
14 - Under Review
just music  this time
19  -
21 -
22 -
23 -
Venews
Static Jupiter
CiTR Program Schedule
CiTR Program Guide
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CfilUPUS BEAT
THE FREE SPEECH CLUB
words by Alec  Christiansen with research credit  to Hannah Toms
//  illustrations by Hayley Schmidt
On October 31, 2018 The Free Speech
Club (FSC) hosted right-wing
commentator Ben Shapiro — best
known for his "facts don't care about
your feelings" mantra — for a sold out
event at the Chan Centre at UBC. This
event was held despite significant protest
from university students, faculty, and
the AMS, which released a statement
noting that Shapiro's talk could make
"transgender, queer, Indigenous, Muslim
and other marginalized members of
our community feel threatened." These
concerns about Shapiro stem from his career
as a commentator, during which he has
called homosexuality a sin, labeled women
who have abortions as "baby-killers," and
claimed that "Israelis like to build" while
"Arabs like to bomb crap and live in open
sewage." Despite outcry, the event became the
club's largest ever, with an audience of 1,300.
The Shapiro event and the rightful
anger surrounding it is not an isolated
incident. The FSC has hosted Dr. Jordan
B. Peterson, known for his protest and
violation of Bill C-16, five times. Peterson
publically expresses his refusal to use
students' and colleagues' correct pronouns
and encourages others to refuse to do so
as well, arguing that it is a violation of free
speech. Following a Peterson-led rally at
the University of Toronto in October 2016,
a number of transgender students reported
instead describe themselves as "nonpartisan and committed to cultivating an open
dialogue on campus, where arguments are
made with wit and reason, rather than
rhetoric and personal attack." Their actual
objective — obvious, though unstated —
is ironically summed up best by Shapiro
himself, who publicly stated that "The only
reason to have a conversation or be friends
with anyone on the left is if you're in public
in front of a large audience and your goal
is to humiliate them as badly as possible."
This is perfectly demonstrated through the
Q&A segments at FSC events, in which
those seeking to challenge the speakers
are given preference in line. Though
this is billed as the FSC's commitment
to "good faith" and an opportunity for
"open debate," its sole purpose is to create
short Youtube clips with titles such as
"Ben Shapiro DISMANTLES Third Wave
Feminism" and "Ben Shapiro SHREDS
Pro-Choice Argument," both of which
are actual Youtube videos from his Chan
Centre lecture.
In addition to the club's glaring
hypocrisy surrounding the issues
of partisanship and open-debate,
there is the issue of how individuals and
organizations can effectively protest them
and their events. The FSC and many of their
invited speakers rely on attempts at protest
"•••The university is located on
unceded Musqueam territory,
and therefore owes respect to
First Peoples by not allowing
dangerous and hateful rhetoric."
that they had received anonymous online
threats, as reported in The Globe and
Mail. Similarly, the FSC will host an event
in March at the Hellenic Community of
Vancouver, featuring men's rights activist,
Stefan Molyneux and self-proclaimed
anti-feminist, Lauren Southern. It is worth
noting that both speakers support white
genocide conspiracy theories. Southern,
who was born in Surrey, BC, and has —
in tweets that are now deleted — perpetuated false rumours from 4chan blaming
the Quebec City mosque shooting on Syrian
refugees. She has also argued against multi-
culturalism, claiming it "will inevitably fail
unless 50 percent of the population believes
in Western culture."
From this brief list highlighting some of
the more notorious speakers invited by the
FSC, one could be forgiven for assuming
that the club bills itself as a conservative
or right-wing organization that regularly
engages with the alt-right. However, they
and censorship, citing it as proof of the
so-called "intolerant left," and using it to
convince their supporters of the importance
of defending the nebulous concept of free
speech, regardless of its content and effects.
This is not to say that progressive groups
can afford to simply ignore the FSC, as
they are one of the largest organizations
operating on UBC's campus, and their
actions have severe consequences for
marginalized individuals and communities.
Unfortunately, UBC's policies regarding
Academic Freedom and Freedom from
Harassment and Discrimination seem
contradictory and therefore unhelpful in
dealing with the matter. As written on
UBC's Vancouver Academic Calendar,
UBC seeks to ensure that members of the
university enjoy the right to "to teach
and to learn unhindered by external or
non-academic constraints, and to engage
in full and unrestricted consideration of
any opinion" and that "Behaviour that
obstructs free and full discussion, not only
of ideas that are safe and accepted, but of
those which may be unpopular or even
abhorrent, vitally threatens the integrity
of the University's forum." In contrast,
the university's policy on Freedom from
Harassment and Discrimination states that
the UBC "is committed to ensuring that all
members of the University community —
students, faculty, staff, and visitors — are
able to study and work in an environment
of tolerance and mutual respect that is
free from harassment and discrimination."
Mutual respect and discrimination are both
ill-defined by the university, however, which
deems the ideas of figures like Shapiro
and Peterson as merely "controversial,
or offensive" (per provost Andrew Szeri's
statement regarding controversial speakers
at UBC), but not discriminatory. By inviting
these speakers, the FSC has taken advantage
of Academic Freedom and the university is,
at best, incapable of preventing this and, at
worst, uninterested in doing so.
Ensuring that individuals have the
freedom to express themselves and feel
safe to contribute their voice to the public
dialogue is important work, especially on
a university campus, but the Free Speech
Club is not remotely interested in facilitating this work. Rather, they operate as
attention-seeking trolls, choosing to focus
on "triggering the libs," instead of making
any attempt to elevate marginalized voices.
The positions of the FSC and their invited
speakers are antithetical to the culture
and community that UBC — an internationally renowned university that advocates
for plurality and intercultural dialogue —
claims to foster. Furthermore, the university
is located on unceded Musqueam territory,
and therefore owes respect to First Peoples
by not allowing dangerous and hateful
rhetoric, and by encouraging all people to
contribute to the conversation, free from
the risks of xenophobic attacks and threats.
If the FSC were truly committed to
"cultivating an open dialogue," then their
website's list of "notable" speakers would
not consist of reactionary white men, all
of whom work to perpetuate the margin-
alization and silencing of women, BIPOC,
queer folk, and the transgender community.
It is true that open dialogue and good-faith
debate provides opportunities for learning,
growth, and even healing, but that requires
all voices — especially those which have
been silenced — to have a platform, not just
the ones who have been loudest.
4
CAMPUS BEAT ! Free Speech Club
 CiTR 101.9 FM & Discorder Magazine
^jubilee
MAIIN
THI
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TONE
v
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* •*.
'    •
-./
> - — —
^fo FEIBAY, MAKCM 8 © 8IPM $ 1
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^^ live   (a4 performances  4^i  from
BBs^MILK
WHY CHOIR
the DAME DJs
and a silent auction with sick prizes
$12 suggested donation at the door,
$10 in advance
Un
 FEATURE
Discorder magazine | MARCH 2015
CHELENE
KNIGHT
words by Katberine Chambers
illustrations by Tifanie Lamiel
Photo by Sara Baar
€anLit is about to be rewritten, and Room Magazine's Growing Room Festival curator, Chelene Knight, is ready
to shape the new story. But growth isn't easy, and 2018 was a difficult year for the authors of CanLit's new
identity. Like the country it reflects, CanLit has been struggling with inclusivity: "Who do we include? What
voices need to be heard? What voices are important?" Knight identifies some of the questions the world of
Canadian literature has been grappling with. However, it isn't only including voices that CanLit needs to work on, as Knight
remarks, but giving writers appropriate space to meet their needs, beginning by asking them what they need in order to remove
the barriers they are facing.
Knight resolves that CanLit needs to be more transparent in
order to overcome its challenges, and with so much difficult
work ahead, the transformation will be a long process.
"People have to be open about their processes and their mistakes.
I don't think [this work] will ever be finished." However, Knight
trusts that the creation of CanLit's new story will be unforgettable:
"We're going to see faces and voices that we haven't seen before."
With the upcoming Growing Room Festival in Vancouver, Knight,
as curator, plans to encounter these barriers head-on in a celebration
of the new voices of CanLit.
As managing editor of Room Magazine, Knight worked on the
programming committee alongside Growing Room Festival founders
Meghan Bell and Arielle Spence, marking Room Magazine's annual
event as the only feminist literary festival in North America.
However, when first envisioning the festival before its inaugural
weekend in 2017, Knight didn't want it to be directed by a single
person. She put out a call, and a committee of six people formed.
Their first meeting was six hours long. "I assigned them a required
reading," Knight remembers, and each member came to the first
planning meeting having read Alicia Elliott's essay On Literary
Festivals and Crossed Boundaries. The essay helped focus the
committee's dedication to a consideration of ethics and author
care. "From there it was like playing tetris," Knight shares, as the
committee decided what they wanted to build and what voices
needed to be present to shape the conversation. The festival was a
big vision, and they were sculpting it into reality.
Since 2017, what began as a weekend event has expanded to a
ten-day festival. This year the festival is continuing its growth by
introducing a full day of Indigenous Brilliance. Knight is anticipating that presenters will give the 2019 festival a new flavour, and is
excited about the mentorship opportunities available that will support
emerging writers. Manuscript consults will include discussions
surrounding what writers should do when their work is released
into the universe: what conversations do they want to start? For
Knight, it is important to allow emerging and experienced writers to
connect, and to make room for new voices. Knight is hoping that the
2019 festival will welcome those outside of the CanLit world, and
even those outside of the writing community. The event is open to
everybody and, for the first time, is pay-what-you-can.
The Growing Room Festival has burst with success in its three
years, and Knight's plans for the festival's future are as inspiring as its
history. Knight hopes Growing Room will expand beyond Vancouver,
collaborating with other festivals in a way that fosters new networks
of support for the literary community. Knight values the energy that
is produced when there are new people in positions of power, and is
keen to "shake things up, while respecting the foundation."
Just as CanLit needs to be broadened, Knight is working to
broaden the scope of literary festivals. Understanding that
CanLit has struggled to move beyond an attitude of "check-
boxing" diversity, Knight works toward creating spaces in which
writers, artists and individuals don't have to prove that they have
the right to be present. However, the curators of the Growing Room
Festival know that it is far easier to make room than it is to keep it,
and are working toward creating accessibility that is sustainable.
Knight hopes that people will learn not only to listen to each others'
stories, but to the processes involved in telling them. CanLit, literary
festivals and the writing community need to learn to ask writers
what they need in order to write and keep writing. It is not enough
to create space. The space needs to be held.
a
'Chelene Knight'
 eiOS HOHAM ! 9nisD9DffI i9bioD2iQ
3HUTAH
elieving that the key to holding space is affirming the voices of
youth, Knight advocates that it is the emerging stories of youth
that people should be paying attention to. "Their voices are
being heard," Knight says, "their words are echoing." Imagining those
who will be sharing their stories during a youth reading at the festival,
Knight supports that, "Your voice matters now, this is your space." She
further reflects that "when you feel safe enough to speak, it creates a
sense of belonging."
Describing itself as a feminist literary festival, Growing Room seeks
to include conversations and workshops about body politics, religion,
visual art, academia, mental health, Black voices, Queer voices, trauma,
Asian diaspora, journalism and so much more. For Knight, the variety
in workshop content is a reflection of feminism in that it is continually
shifting and changing. Noting that feminism is akin to literature in its
ability to encompass variety, she states that "The key is opening the idea
that storytelling can be anything."
Literature is connection, resistance, affirmation, protest, exploration,
reflection, and anticipation. The definition of literature depends on the
question "what do you want to see and hear?" Knight believes that literature can only hold its full identity if it is "held with flexible hands." We
need to "let the words shift on the page. We need to respect the template,
and if we change it, we need to ask why it doesn't work anymore, how
we can change it, and what will come next." We need to learn that literature is "anything on the page; any story."
We have to begin changing the pattern of what stories are told, and
who has the right to tell them. Moreover, we have to change how they
are told. When we change how a story is told, Knight says, "everyone is
going to stand up and start sharing stories. It will open the flood gates.
And now is the time to do it."
Knight believes that
literature can only
hold its full identity
if it is "held with
flexible hands."
"Chelene Knight'
A
 FEATURE
Discorder magazine | MARCH 201'
1MET WITH JEFF CANCADE,
AKA DEVOURS, IN OUR
TOWN CAFE, A SMALL
AND SWEET RESTAURANT
ON BROADWAY. The music in the
background and Cancade's triple decker
peanut butter sandwich created a warm and
cozy environment for us to start conversing
about his upcoming album, Iconoclast.
Describing it as more raw, and "a little bit
darker" than Cancade's previous album,
Late Bloomer, this will be his second
self-produced album set to release in March.
When asked about the title of his new
album, Cancade shares that he grew up
in a religious environment, where he felt
out of place. As the album encounters his
challenges with and rejection of organized
institutions of religion, he was inspired to
name it Iconoclast. "The more I thought
about who I was as an artist, the more I
identified with the term iconoclast, because
I've never followed trends in my life. I've
never really fit in. I've always been kind of
an independent thinker, and that's sort of
how I define iconoclast: as someone who
has their own opinions, and is not afraid to
be different."
Cancade named his album after one of
the songs that will be on it. When asked
why, he says that the inspiration came from
k
another song that will be on the album:
"Beyond Love and Beneath You," which is
about Cancade's falling out with religion.
When it comes to recording albums,
Cancade explains that it's a completely
different process compared to his live
performances. "I make music by myself and
I usually just sit at my synth and write songs
by myself, so it's like the exact opposite of
energetic performing," he explains.
While the recording process for both
of his albums is the same, his latest music
introduces some new themes. "One of the
major differences that I would say between
Late Bloomer and Iconoclast is because my
first album was making some references
to coming out as gay a little bit older than
the average. I was trying to still write songs
that were universally appealing," shares
Cancade. "Late Bloomer was personal,
but it was sort of skimming the surface,
and giving a general introduction on who I
was as an artist. Iconoclast is about queer
identity, it's about body image, which is
something that I haven't really - it's been
an issue my whole life, but -1 haven't
addressed it in my music much yet."
Along with body image, Cancade
explains that the new album will include
a lot of other heavy themes as well,
including masculinity, queerness and
'Oeuours'
heteronormativity. "There's a lot on my
mind," he laughs, "so many themes, I had
a lot to get off of my chest."
hen asked about what motivates
him to write about such topics,
Cancade recalls that he has been
writing personal lyrics since childhood,
but it's only recently that he is able to fully
express himself and be totally vulnerable
in his music. Cancade also explains that
he chooses to write about more serious
subjects now, because in the past few years,
there's been a lot to experience and learn.
"I've learned a lot more about what it
means to be queer, and it has come into the
music and the lyrics " explains Cancade,
"so it wasn't necessarily a decision, like
'okay I'm gonna make an album about
this or that,' it's just happening, and it's a
reflection of where I'm at in my life."
I was also interested in knowing how
Cancade felt about releasing music about
masculinity in today's cultural conversations. "These issues are really, really
important and I'm happy to be a part of
the conversation," states Cancade."A lot
of gay men still have issues with internalized homophobia, and not wanting to
seem or look feminine... I think that I was
a part of that community for a handful
of years when I first moved to Vancouver,
and felt sort of stifled in a way. I felt
pressured to seem more masculine and to
look more masculine, because gay guys
tend to be attracted to masculinity and
masculine features, so all gay guys are - or
a lot of gay guys - are trying to seem really
masculine. And I am not," he continues,
"I have lots of feminine qualities and
I think that on this album, it's about
learning to own who I am and embrace
femininity and to acknowledge that being
feminine makes me a way better person."
For the album release, Cancade will
be performing in an all LGBTQ+
lineup. To Canacade, these lineups
are important to be a part of, because he
didn't find much support when he first
began performing in 2016. At the beginning
of his music career, there was a lack of
diversity at festivals, and he didn't know
many LGBTQ+ musicians.
Since then, Cancade remarks that
festivals, such as Khatsahlano and Music
Waste, have improved a lot in their effort
to prioritize more diverse groups of
performers. "Last year, Music Waste put
on a queer showcase, and that was really
neat. Younger people who are LGBTQ
were saying that they wanted more safe
 gXOS HOHAM ! 9nisD9DffI i9bioD2iQ
HUTAH
learning t
ouinmho
anfc em tor
feminin
" \
spaces and they wanted more representation in the community." With inclusive
shifts like these, Cancade expresses his joy
of performing in LGBTQ+ lineups, because
there is a demand for them, especially in
younger audiences.
uch like the inclusivity and
relatability that the LGBTQ+
U   lineups offer, Cancade wants his
music to also be something that listeners
can be engaged in, and enjoy. He wishes
for them to hear his honesty and passion,
because not many queer artists are singing
about the same themes. Although this
album will be less broad than his first
album, he hopes that people will find
themselves connecting to it.
"This album is me taking a chance and
making it a little bit more specific about
my own experiences. Not everyone will be
able to relate to it, but hopefully for the few
people who do relate, it helps them in some
way in their life," he says optimistically.
By creating music that presents vulnerability and candor, Cancade hopes to spread
positivity and self-acceptance.
'Oeuours'
A
 Heal Hue
fiction
FEBRUARY 2019
intensity and pace of the dance built, a low hum emerged
from a set of previously unnoticed speakers, and De Vos'
movements shrunk back, as she slowly returned to her
starting position on the couch.
After a brief break, in which the audience was encouraged
to explore the house, the musical segment of the night
began. The micro-pop solo project of guitarist and
CREAMY POP:
A SHORT, SWEET ART SHOW
FEBRUARY 8 / WHEEL OF TIME GALLERY
Considering the current housing crisis in Vancouver, the
Wheel of Time Gallery is truly making the most out of
a bad situation. Occupying a Vancouver special just down
the street from Renfrew Sky Train station, the gallery —
which doubles as a place of residence for the five multidis-
ciplinary artists who run it — is scheduled to be torn down
later this year, along with the rest of the houses on the block.
Knowing they are the final tenants of the building, the artists
at the Wheel of Time Gallery have been able to fully realize
whatever creative whim they may have. In addition to hosting
events, the house itself has been transformed — walls have
been painted, floors altered, sculptures erected, studio
spaces built, doors taken down. Every inch of the space,
inside and out, seems to be touched by the idea that none of
it will last.
Stepping into the Creamy Pop exhibition, the entrance
room was dominated by two floor-to-ceiling panels covered
in the artwork of animator and visual artist Jocelyn Sanchez
a.k.a. creamyskeleton. Hand-drawn illustrations of detailed
creatures hung next to digital collages of eerie forest
paths, and frames from various animated shorts. Nestled
unassumingly amidst the packed walls were preliminary
sketches and drafts of the album art for dumbpop's latest
EP Domestic Dream Deity. Just down the hall, a room with
a thoroughly paint-splattered floor doubles as Neo Oslund's
studio space and bedroom. The selection of his vibrant
and energetic paintings on display drew in the crowds
meandering through the eccentric space.
Upstairs, the majority of the evening's audience
instinctively gathered in the living room turned performance
space. The first performance of the night, a dance piece
choreographed by Linnea Gwiazda, was about to begin.
Sitting on one of the couches, dancer Kayla De Vos began
with small, repetitive movements of her head, before sliding
down to the floor. Once she had moved to the centre of
the room, her movements began to quicken and expand,
spreading from head across her whole body, until she was
dashing back and forth across the wooden floors. While the
composer Matthew Ariaratnam, dumbpop took to the stage.
Truly embodying the short and sweet nature of the night,
Ariaratnam sang a rapid-fire selection of sub-one minute
songs, accompanied by his deft guitar. With every song
ending almost as soon as it began — "When I Touch Cats"
and "open my eyes" were two of the most jarringly truncated
of the set — it took the audience a little while to comprehend
the pace with which the set was flying by. But once
Ariaratnam's quick tunes settled in on the room's ears, the
crowd was captivated. Then, after twenty songs and twenty
minutes passed, Ariaratnam introduced a new video for his
song, "Shitty Town," animated by Jocelyn Sanchez. Quick
and jittery creates and landscapes flitted across the screen.
For just under a minute the vibrant and lively animations
captured the audience — who requested it be played again
as soon as it ended.
Like a sand mandala yet to be swept away, the
Wheel of Time Gallery forces the artists within it, as well
as those who happen to experience it, to be fully present.
Unfettered by the pressure of existing into the future, the
freedom with which all the artists create in the gallery is
unrestrained. The inevitable end looming just around the
bend makes events like Creamy Pop all the more short and
sweet.  —Lucas Lund
FLVRHAUS (ALBUM RELEASE) /
RUSSIAN TIM AND PAVEL BURES /
STRANDED HIKERS / THE HIGHSIDES /
MOLLY BE DAMNED
FEBRUARY 9/ASTORIA
The crowd at the Astoria the night of the FLVRHAUS
album release party mixed so many visual genres of punk
it was like a self-contained time machine. I arrived twenty
minutes early and everyone — from your NOFX-patched
spikes-and-leather punk to your slouchy-hatted, flannel-clad
grunge rockers already clustered in mixed groups —was
already waiting for the eccentric night to begin.
The first opener, Molly Be Damned, taught me something
very important: you can shred on a ukulele. With that, their
10
REAL   LIVE  ACTION
multiple layers of synth, and the casualness with which each
band member occasionally banged on the drums scattered
across the stage, they cultivated a contagious, reckless
enthusiasm for the weird within the still-sparse crowd.
The transition from that into the tight, catchy punk rock
that the Highsides brought next should not have felt as
natural as it did. Molly Be Damned had made me want to
bop out; the Highsides made me want to rock out — it was a
fair exchange. And when the Highsides passed it to Stranded
Hikers, they kept the energy going. Though a bit more
melodic, Stranded Hikers were still so catchy I nearly forgot
to write it down. Their cover of "Hangin' On the Telephone"
made me grin like a gleeful new wave shark.
It really was a rad lineup of bands: they didn't quite make
sense together, musically, but their contrast only heightened
the fun. Three different brands of joyful, reckless music
overflowed the cup of happiness so heavily that it was
almost strange to see such unassuming dudes as those in
FLVRHAUS take the stage. You could just as easily have run
into them at the grocery store as seen them onstage at their
own album release.
The sound they began to produce and the energy with
which they produced it, though, overpowered any blandness
of their first visual impression. Their bassist flailed like a
low-frequency dancing air tube man, and their guitarist
bobbed on his toes like he was about to take off from the
stage and rocket into the lower stratosphere. The familiar,
grungy distortion of their guitars made their bouncing
melodies feel satisfyingly solid. All of the diverse groups of
the night seemed to agree, smashing themselves together
into one single, equally solid crowd for FLVRHAUS's set.
I witnessed four different brands of fun that night and,
though I missed Russian Tim & Pavel Bures' ending set,
I can predict from my experience with those fine weirdos
that there would have been a fifth. The beauty of the
FLVRHAUS album release party was not just in FLVRHAUS's
well-deserved cheer at their new achievement, or the
individual skill of any of the bands that came together to
play with them. It was in the wild combination of styles that
united in a common goal. And it was that goal itself: to have
a kick-ass time celebrating your friends' accomplishments.
—Cae Rosch
ALIEN BOYS (ALBUM RELEASE)
/ FASHIONISM / DEAD CELLS /
STARVATION
FEBRUARY 9/WISE HALL
Though its interior is approximately the size and shape of
a livestock barn, the WISE Hall's chandeliers and string
lights gave it an air of ethereal, sweaty glamour as hundreds
of punks crowded up to its stage. Everything glowed a little
too brightly to be real. From the stage light glittering off
a guitarist's tiara to that same light reflected back in the
wide eyes of the dense and swaying audience, the release
party for Alien Boys' Night Danger shone bright, alien and
dangerous in the night, just as promised.
Sarah, Alien Boys' vocalist, moved across all dimensions
of the stage, vertical and horizontal, forward and back, just
as their voice ranged through all possible dimensions of
performance. They sang, they shouted, they whispered, and
each word was just as gut-punchingly powerful regardless of
its volume.
Alien Boys' instrumentalists had no less presence. The
two guitarists, Alex and Erin, glowed with power across the
stage. Sometimes a five-piece band with two guitarists feels
a little combative — Alien Boys did not. Alex and Erin had
an enthusiastic conversation across the stage via guitar,
like two friends shouting across the street. By the end of
the show, their conversation had become a reunion, as
they migrated into each others' space, fretboards crossed,
leaning together. The bassist, Megan, had a steady presence
stage left, solid and rooted, never faltering. Behind her, on
drums, Lindsay played like she was a vessel for the rhythm
— as though the drums were playing her more than the
other way around. She looked simultaneously exhausted
and invigorated.
Discorder magazine | MARCH 201^
 I could empathize with that. I did not come to the show
expecting to feel much — not because I underestimated Alien
Boys, which I would never dare to do, but because it was my
second show of the night and it was cold and I was tired.
But I felt it. And it was big. And yet I still don't know
exactly what it was.
As I took notes in a shadowy corner toward the lip of
stage right, an obviously drunk, middle-aged man sidled
up to me. I expected some nonsense, but what I got was
confirmation of the same mysterious energy that I was
beginning to feel.
"Look at this," he said, gesturing to the five otherworldly
furies onstage. "They're all up there, and there's a hundred
punks in this hall and none of them know why they're here.
But they're here. They're here."
That man was drunk enough that it was a difficult
observation to interpret, but I heard some truth in it. There's
something inexplicable in the way Alien Boys perform.
Something that roils up from a dark, deep-rooted place and
compels you to be really, truly present. They played through
their entire new album, and every second of it felt like the
very first one. —Cae Rosch
YVES TUMOR/DJ VENDETTA
FEBRUARY 16 / CELEBRITIES UNDERGROUND
In a recent interview for Rolling Stone, Bradford Cox of
Deerhunter commented, "I'm the closest thing that our age
has to a Bowie."
Of course there are some other contenders. Consider
Yves Tumor, the noise artist who broke onto the scene in
collaborations with Mykki Blanco. Yves Tumor, who goes
by the — possible — alias Sean Bowie, shifts aesthetics,
from soul to new romantic. These masquerades have
been complemented by an unpredictable live presence.
eiOS  HOHAM |  9imDpDlTI l9blODJiQ
Prior to his current tour, Yves Tumor
would show up bedraggled in chains,
with red darkness and spasmodic
bursts of light and noise (blasting an
audience who were likely expecting
more of the off-kilter grooves of Yves
Tumor's Serpent Music).
The difference between Yves
Tumor and other noise-pranksters
of this experimental oeuvre — say,
Dean Blunt, Oneohtrix Point Never,
James Ferraro — is a matter of
focus. The truth of his fiction is much
more visceral, more affective and
emotionally rich, less inviting to ironic
readings. His dancing silhouettes
translate the same pulsing core.
Prepared for a battery of noise, I
brought earplugs. DJ Venetta from
the NuZi Collective was spinning
a bout of polyphonic techno —
angular and soulful. The locomotive
punctuation was interspersed with
dexterous percussion and modular
suggestions. The set could have
carried the night alone.
After midnight, Yves Tumor
emerged in a glam-rock costume:
huge wig, sunglasses, a white PVC
coat. Instead of a barrage of noise,
he launched into a straightforward
rendition of "Honesty." The track
renders Yves Tumor's R&B under
a wash of electronics. Strutting
on-stage, "I wanna wrap around you /
But I can't be seen around you / Is this
you or your persona?"
Aside from singing over the
music and playing the crowd, Yves
I Tumor was a tall lonely presence
I on-stage. Occasionally, he'd move
over to a mixer to adjust switches.
It's something to join a crowd rapt, hands in the air, for an
experimental artist who — like John Maus — is doing a kind
of hyper-karaoke. That's not a write off: the channeling and
re-interpreting is a full performance. Forget the pretensions
of homage. In the dim underbelly of Celebrities Underground,
Yves Tumor could've been Bowie.
After the show, someone remarked, "It was like Prince
reborn." Maybe these are cheap comparisons, though people
did dance, get carried away. In the space, the powerful
bass grooves, characteristics of Yves Tumor's formative
background, are especially potent. Yves Tumor would strut
down the walkway, pound his fists into the air, lean into the
crowd and vividly intone his lyrics — "Am I the one you're
dreaming of?" There was little banter. At one point, he noted,
"Vancouver, you're lovely."
The night was an epistle, another counterfactual upset,
another conflation between the slipperiness of public
persona, and the abandon of feeling. Concluding with the
track "Applause," singing "I'm just a rock and roll baby," Yves
Tumor bounced and swished off-stage, fading out without a
closing word.
Is there a firm take-away? Halfway through Yves Tumor's
set, he played "Noid," a single off Safe in the Hands of Love.
One of the album's catchiest, and a comment on police
brutality; the crowd rushed forward, catching and singing along
with every word: the chorus, "Can't trust them / 911 / 911."
Yves Tumor held out his microphone, and the crowd rung the
chorus back: "911 / 911 / 911." Call and response, Yves Tumor
called back: "911 ...That's right...fuck 'em." Yves Tumor was
not — and is not — joking around. —Jonathan Kew
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.
THEATRE
1660 EAST BROADWAY
MARCH
MARCH
1
Academy Award Winner!
Best Documentary
FREE SOLO
* Additional dates www.riotheatre.ca
Takashi Miike's
AUDITION
20th Anniversary Remaster!
MARCH
Gaspar Noe's
CLIMAX
* Additional dates www.riotheatre.ca
4
Jonas Akerlund's
LORDS OF CHAOS
* Additional dates www.riotheatre.ca
MARCH
7
Academy Award Winner!
Best Supporting Actress, Regina King
IF BEALE STREET
COULD TALK
MARCH
~6
THE CRITICAL HIT SHOW
A #DNDIive Improvised Epic Fantasy
Also March 27!
MARCH
7
First Thursday of Every Month!
PAUL ANTHONY'S
TALENT TIME
Celebrate #lnternationalWomensDay
MARCH
8
SigourneyWeaver
ALIEN
#lnternationalWomensDay
Friday Late Night Movie
MARCH
"9
Peter Jackson's
THEY SHALL
NOT GROW OLD
MARCH
10
BAFT A, Golden Globe and Oscar Nominee!
Hirokazu Kore-eda's
SHOPLIFTERS
^Additional dates www.riotheatre.ca
MARCH
STORY STORY LIE
You're Fired!
13
THE GENTLEMEN HECKLERS
Hilarious commentary
for the best bad movies
MARCH
15
Jordan Peele's
GET OUT
Friday Late Night Movie
MARCH
18
Isacu Mizrahi LIVE
l&ME
A Life in Stories, Songs & Prescriptions
MARCH
19
Dolly Parton, Lily Tomlin & Jane Fonda
9 TO 5
# WomensHistoryMonth
MARCH
20
The Fictionals Comedy Co. Presents
IMPROV AGAINST HUMANITY
Ladies Against Humanity
#IAHatRio
MARCH
21
The Vancouver Burlesque Co.'s
STUDENT SHOWCASE
MARCH
26
SPICE WORLD
With LIVE Drag Shadowcast
MARCH
30
RIVERDALE
BURLESQUE
COMPLETE LISTINGS AT WWW.RIOTHEATRE.CA
REAL   LIVE   ACTION
11
   Untie t
HeotetD
v      CRAIG
AALDERS
OOEAINIOGRAIIW
CRAIG AALDERS
Oceanography
(Echo Wave Records)
January   9,   2019
Craig Aalders' Oceanography sounds like an auditory
Bob Ross seascape. This ambitious debut album from
the Vancouver local is awash with grandiose soundscapes
inspired by his experiences in the Pacific Northwest. The
album mixes nature-sounds and instrumentals including
crashing waves, thunderclaps, and underwater noises.
Aalders uses these sounds to construct densely layered
tracks that are so rife with musical imagery that the ambient
soundscapes convey an auditory portrait of the Pacific
Ocean. Across the album, Aalders provides a variety of ways
to experience the Pacific: the album puts you on the beach,
watching the waves break and fall on the shore. Sometimes
you're swimming in the swell of the sea. Other times, you're
behind a thin cabin window near the water, watching a
muffled storm spill itself over the ocean.
Aalders begins each track with a quiet natural sound
that sets the track's theme, then builds upon it in a slow
crescendo of electric and acoustic ideas that ebb and flow
like the ocean itself. On the title track, "Oceanography,"
Aalders uses the sound of waves on a beach to sculpt a
calm, untroubled shore scene. Then on tracks "Pacific
Bloom," "Coastal Apparition" and "Drift Current," Aalders
places the listener under the waves with echoey,
head-in-ocean underwater sounds. On "Island Shimmer,"
the soft, muffled cracks of thunder and the sound of rain
pitter-pattering upon the water, display the Pacific in a
storm-beaten light. On "Sunlight Under Water," Aalders plays
with the reverberating stone sounds of the rocky western
Canadian shoreline. Aalders invokes the sound of waves to
close the record, returning us softly to shore.
What's especially impressive about this album is its
focus on the Pacific Ocean and the ways in which Aalders
achieves it. Aalders attempts not only to create an auditory
experience of the ocean, but to tell a story of its many
moods and of the many ways we experience the ocean
ourselves. After listening to Oceanography, any sojourn to
the beach will include a new appreciation for the awesome
sounds of the water. With this album, Craig Aalders inspires
an appreciation of the Pacific that Poseidon himself would
approve. — Dan Miller
ACTORS
Part Time Punks Session EP
(Artoffact Records)
November   16,   2018
PCTORS are killing it with their Part Time Punks Session
EP, recorded live in The Cave Studio in sunny Los
Angeles. A self-described post-punk revival band, ACTORS
use this album to prove that dark '80s music is still thriving
in 2019, with a modern spin on the classic post-punk genre.
Part Time Punks is a club that features live music on
Sundays from The Eco, highlighting DIY musicians from all
over the world who perform genres from post-punk to indie
pop. As part of their North American spring tour, beginning
March 15 at the Biltmore Cabaret, Vancouver-based
ACTORS will grace the stage one more time on March 24
at Eco Park, performing Part Time Punk Session as well as
other hits.
14
This tour, and ACTORS' EP, show that goth-influ-
enced punk music is not dead. By mixing genres like disco,
post-punk and new wave, ACTORS create an album worth
getting up to dance to. The catchy, yet innovative synth-heavy
goth rock displayed on the record attests to their experimentation with the post-punk style. Though they define their sound
as niche, their appealing '80s energy amidst raw electric
guitar riffs and melodramatic lyrics attracts anyone who
enjoys alternative music. The construction of their sound is
reminiscent of a union between The Cure and Joy Division.
Smooth progressions alongside the contrast of synth reflect
their experimental yet distinct sound.
The first song on the album, titled "L'appel du vide,"
translates to "the call of the void," a reflection of their deeply
eerie and melodramatic aesthetic. Overall, the album takes
the listener on an experimental journey by illustrating what
a goth rock band should sound like — smooth transitions
between songs amidst explosive beats provoke the listener
to move their body along with the melody, bopping their head
or tapping their leg. You cannot help but clap along with the
banger "Slaves," as it reassures you to "close your eyes /
you are not alone." The mash-up of slamming beats, synth
and spooky vocals in ACTORS' final production suggests
the composition of a soundtrack for an extraordinary
avant-garde documentary. ACTORS are well aware of how to
implement the exemplary aspects used by classic post-punk
bands to keep the genre thriving. — Alexis Zygan
ALIEN BOYS
Night Danger
(Desolate Records)
January   31,   2019
Reminiscent of a clash between Blondie's Debbie
Harry in her glory days and a faster version of classic
crust-punk Nausea, Alien Boys mash genres together even
as they remain true to their authentic d-beat sound. Their
newly-released album Night Danger is a reminder of what
good d-beat should encompass: rage that instigates political
discourse. It proclaims strategically anarchist solutions to
issues on the forefront, from gentrification to disaffected
pacifism.
While at many punk shows these days you might see
everyone standing still, PBR cans in hand, barely even
tapping their legs to the beat, Alien Boys want their audience
to wake up from apathy and react. As you listen to Night
Danger, you cannot help but resonate with their anger and
frustration. Their aggressively screamed lyrics and pervasive
beat make for a thrilling listen, asking just how bad things
can get before someone says enough is enough.
With Night Danger, Alien Boys remind the masses that
punk can beat you up, but can also produce a high-energy,
addictive record that the listener cannot help but play on
repeat. Fast, addictive beats build rage vividly with each
lyric. Alien Boys' Night Danger demonstrates everything
great about d-beat. — Alexis Zygan
BRAINTREE
Alive Inside
(Self-released)
January   21,   2019
Upon listening to the second track of Braintree's Alive
Inside, I felt a strong sense of familiarity in the deep
baritone of the frontperson's vocal delivery. To my delight, I
found out that it is indeed Michael Geddes, AKA Lt. Frank
Dickens, the frontperson of Vancouver's own Peace, a post
punk band worthy of sweat-soaked jigs on the dance floor.
With Michael Willock (another member of Peace) on guitar
and synths and Selina Crammond on drums, Braintree's first
record generates a raw sound where recording live off the
floor allows for both vulnerability and salience.
The post-punk influences of Daniel Geddes and Michael
Willock still shine throughout the record's eclectic bunch
of tracks, nodding to The Feelies' and Television's driving
rhythms and guitar dexterity. The track "Buckets of Blue
Dreams" works even without the low-end of a bass to drive
the rhythm section, as the drums hold the track in place. A
guitar's squall towards the end of the track and the singer's
delicate yet palpable vocal articulation recall "She's Lost
Control" by Joy Division. On "My Speech Impediment," the
guitar's swirling pulse rides throughout the track where
Geddes finds comfort in the uncomfortable, singing, "Sweet
sacrifice / Sing me to the end of night."
On more slow burn rock tracks like "Unconscious Days,"
Geddes ponders, "Unconscious days are gentle / Let them
lap / Let them flow unheard of." These lyrics contemplate
escapism as a way of surviving the anxieties of living on this
earth. Geddes' cryptic, but alluring poetry shines throughout
the album. On "Elastic Lake," the hypnotic drone of a synth
at the beginning of the track looms over a place where "a
concentrated air stings [his] face." The track radiates a
shadow of apprehension creeping towards one's fragility.
Overall, Alive Inside paints a portrait of Geddes holding
a cigarette in one hand and a glass of whiskey in the other
while at the same time providing a sense of warmth and
elation without detachment getting in the way. There's
a coolness factored into the blaze of these tracks — a
coolness often lost in indie rock nowadays.
— Anton Astudillo
OLD MAN CANYON
A Grand Fagade
(Self-released)
November   16,   2018
UNDER REVIEW
Old Man Canyon's newest release, A Grand Fagade, puts
a welcome end to Jett Pace's 2-year production hiatus,
during which it's clear he's been doing some soul-searching.
Of the new album, Pace has said that the songs were
"excavated" from his being, and encouraged the listener to
be inspired to "dream, to think, to look beyond the surface
and to seek the truth in all you do." Through hazy, nebulous
synths and persistent lyrical rumination, A Grand Fagade
certainly inspires self-reflection.
The album was written, produced and recorded by Pace
in his Vancouver home studio with support from Malcolm
Dow and Wake Owl's Colyn Cameron, following a trip to
the California desert. The album is a natural second step
from their 2016 release Delirium, further developing their
progression into psych-pop.
The album, only seven tracks long, invites a sense of
solitude. Shrouded in dreamy synths and tinny, faraway
vocals, it recalls psych giants like Tame Impala. Old Man
Canyon interprets this style on their own terms, with songs
that feel less radio-friendly and more like they belong
somewhere between summer-fever dreams and dark nights
spent alone. It's difficult to distinguish one song from
another, and whether or not you feel lonely or welcome in
listening to it. Tracks such as "Let You Down" and "Run
Away" mark the upbeat, sunny side of the album, remedied
back into cynicism by the melancholic "Young Again" and
"For the Taking."
The album's lyrics are often casually vague, and when
assisted by powerful synths, bass and drums they make
it easy to ascribe both meaning and meaninglessness to
Pace's words. "No Time to Waste" stands out as the most
pointed example of Pace's message, as he sings, "But don't
you know we're dreaming / Take me to outer space / Where
there's no time to waste." It feels like Pace is trying to tell
us he is privy to something otherworldly that hasn't quite
reached the rest of us yet.
This album is one of Old Man Canyon's most reflective
and developed releases to date. Overall, it feels like a seed
they planted in their former releases has come to fruition.
— Sophie Galloway
Discorder magazine | MARCH 201^
 WHELMING
Settle
(Self-released)
January   26,   201^
full to the brim with the soothing energy of lazy
afternoons and orange sunsets, Whelming's album Settle
invites listeners to tune in and sink back into the comforting
sound of rock music accompanying a voice attuned to the
human soul.
With an honest depth to words that travel deep beyond
the subconscious, Settle speaks through music to those who
chance upon its charm, communicating a different message
through every song's new blend of Bohemian sound.
Released in January 2019 following Where You Are Now
back in 2017, Whelming's latest EP takes on a multitude
of feelings at no cost to its music. With four songs under
its name, the album tackles everything from lost youth to
intrepid beginnings through its fascinating lyrics.
The first track on the EP, "Somebody Else" features a
relatable sense of indignation in an upbeat style. Calling out
fame as "Who you put yourself beside / In the right place
at the right time," the song manages to retain an optimism
that contrasts, yet nicely mixes with its lyrics. "More of
What I Have" falls into a dreamy state, swaying to a familiar
beat but eventually becoming similarly upbeat. The chorus
gains a surprising intensity amidst drums and guitars as
the singer's voice swells from subdued wistfulness to a
full-on belt, matching the emotion of the words it echoes.
Third, "Wildfire" is a poem translated into music with a
constant rise and fall that lulls the mind into a sense of calm
followed by a provocative crescendo and a satisfying climax.
Captivating to the last note, it stands in contrast to the last
song on the EP, "Falling Is Easy," which has a gripping
sense of apprehension. The staccato sounds of guitar and
drums build tension as the singer asks of the world, "Where
else can [he] start, when the best is behind [him]?"
In melting into the overall ambiance of Settle, Whelming
fluctuates between extremes of emotion and succeeds in
creating an album that knocks out routine monotony, inviting
something special into anyone's day. With something for
everyone, Whelming's modus operandi persists with their
latest album, catering to the "over-worked and under-stimulated." — Angela Tian
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
at CiTR 101.9FM, LL500 6133 University Blvd., Vancouver, BC, V6T1Z1.
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HUTAH
OR DEBBY FRIDAY, the "punk"
in her recent EP BITCHPUNK's title
isn't an aesthetic, or even just a musical
genre. Instead, she tells me, it's an
energy of rebellion toward a purpose,
"almost this...focused combustion."
It's easy to hear that in her dark, heavy
sound, which glows with fiery, tumultuous crescendos.
"There's a lot of things that come out of turmoil," Friday
says. BITCHPUNK is clearly one of those things.
Friday speaks with me over the phone from Los Angeles,
where she just did a show. She came a long way to get
there, and not just in terms of geographic distance. Born in
Nigeria, Friday to came Canada with her family when she
was two years old. Now, in Vancouver, she is cultivating a
strong following as musician and pursuing her MFA.
She never thought she would be here, she tells me. Even
as she grew up in Canada and began her career as a DJ in
Montreal's party scene, Friday felt a sense of alienation, like
she was an outsider in two worlds. "I consider myself as
very Canadian compared to other people I know who are
born in their home countries. They've either not been here
as long or are more immersed in diaspora communities.
My family moved around a lot when I was growing up, so I
think that made it more difficult for me to keep any friends,
point blank," Friday shares, "when I was younger, it was
more something that caused a lot of anxiety and loneliness."
She describes a cultural and intergenerational clash that
made her feel just the kind of turmoil she sees as generative
for art.
Leading up to BITCHPUNK, she felt a new turmoi
in her life. Toward the end of 2016, she performed
her first DJ gig at a friend's invitation. She had been
adrift after university with a degree in women's studies and
political science, yet with no desire to work in government
or the non-profit sector. But after that first party, she dove
into a suddenly explosive DJ career. "2017 was just like
boom, boom, boom, and before I knew it, I went and did
my first tour in Europe," Friday shares.
But after that first European tour, her success started to
hurt - mentally and physically. Friday was playing shows
every weekend, and the constant partying was taking a toll
on her body. She didn't notice at first, because it was so
normalized in the scene. Eventually, she says, "I could feel
my body was telling me, 'No, I'm not doing this anymore.'
The first six months after she got sober were hard. "I've
struggled with substance abuse since I was a teenager and
I knew quitting cold turkey was just the way it had to be.
I knew I was using the partying and the drugs and alcoho
as an excuse to not be present in my life and accountable to
myself, my friends, family and my art." Friday tells me. She
had finally accepted that she truly wanted to be an artist,
and needed to focus on her health to make that happen, so
she chose sobriety.
"Debby Friday
 FEATURE
Discorder magazine | MARCH 201^
Before Friday came to Vancouver, she spent some
time living in her mom's basement in Calgary,
recovering from the physical and emotional
trauma she had been experiencing. She put out her first
song, "Danger," shortly before leaving Montreal, and
then began a multimedia project for Abstract Without
Abstraction, a mixtape series out of Denver, Colorado.
Though she was originally asked only to contribute a mix,
the project soon grew to a three song project, produced
and mixed by Friday, accompanied by video performance
art and visual poetry. At the same time, Friday applied to
art school, a long held bucket list item. When she received
an acceptance in Vancouver, she felt a call - she knew
it was time to head west. Even as she moved, her career
boom continued.
Friday describes her quick rise as "really lucky," but
it's definitely not just luck. Her simultaneous work on her
MFA and her new music demonstrate her intense work
ethic. Before she began producing her own music, Friday
says, "I spent six months crawling YouTube and practicing.
I would make songs everyday and really try to get my skills
up, so I could be confident in what I was making."
And she continues to bring that same drive to her
music now, using her academic work to push the thought
process behind her art. Friday recently wrote a paper on
shouting as aesthetic practice, exploring new ideas of
punk performance, gender and race and what it means for
a black, immigrant woman to yell. Work like that helps
her find new ways to defy musical boundaries.
Friday loves crossing boundaries. When she lists her
influences, she doesn't just note the electronic regulars.
Instead, she goes heavier, broader, and more multidis-
ciplinary. True to BITCHPUNK's title, she begins her
list with punk rock, but she ranges wide from there. Her
music, Friday says, grows from gospel, blues, heavy metal
and industrial, as well as traditional Nigerian folk music.
Most of all, it grows from pure self-expression.
That's the centre of art for Friday. Her work dives deep,
and is heavily-rooted in herself and her lived experience.
She eschews assumptions about what her subject matter
should be or how her music should sound. Friday rejects
the idea that a woman making punk music must only be
angrily yelling at the patriarchy. She is angry, she says,
but it's a specific anger that's targeted toward healing and
metamorphosis. That's what she wants to express.
BITCHPUNK is deeply, viscerally personal,
but through self-expression, Friday says her
music also becomes communication beyond the
personal. She moves past spectatorship, instead engaging
her audience in a moment of witnessing and share ritual,
where she talks and they talk back. She's found this
communicative attitude especially helpful in her work on
her upcoming second EP, which features multiple collaborations. Though she's still figuring out how the process
works for her, she tells me, "I'm very intuitive with how
I live my life in general, so I bring that into the way I
collaborate as well."
The new EP, set to come out by this summer, will
present a more focused musical voice. She says it's going
to be "on an actual record label." She's not sure that the
normative music industry model will work for her, but
she's approaching it just as intuitively as she does collaboration. If it doesn't work, she'll figure out something else
that does. That's how she feels about music in general. "I
like making things and sharing them, so I'm just gonna
have fun with it. The day that it stops being fun, I'll just
do something else."
Friday's musical rise has been so sudden it feels surreal
to her. But even now, she maintains her intuitive attitude
and prioritizes her own well-being. She wants to create
music in a way that resonates with her individually, not in
the way that other people have done it.
So far, she's accomplishing exactly that, with heart-
pounding, daringly new music to match.
•
'Debby Friday'
 gXOS HOHAM ! 9nisD9DffI i9bioD2iQ
UEHEUUS
STATIC JUPITER
words by Tate Kaufman
Illustrations  by Evan Brien
photos by August Bramhoff
On hour before the show starts,
Valeria and I stand outside the
front doors of Static Jupiter as
people hustle inside, brushing snow from
their shoulders, and pulling off their hoods
to reveal anticipatory smiles. Valeria, the
Venue Operator at Static Jupiter, speaks
exuberantly of her vision: a multipurpose
community hub focused on creating a
constructive relationship between artists,
venues, and promoters, working towards
the preserving and strengthening of
Vancouver's vibrant musical scene.
Furnished with rugs of Andean and
Persian textures draped across the walls
and over the floors, and a cozy living room
set up near the back of the performance
area, it's evident that an incredible amount
of care and precision has gone into the
venue. From its location, a once forgotten,
now revived 80's recording studio that
until recently, had been horribly assigned
the fate of a corporate storage unit, is now
swathed in gorgeous red and white caravan
tent decor that pervades every corner of
the venue. For some reason, I keep on
thinking I've been transported to some
vaguely remembered mystery or noir movie,
pinpointed when Valeria informs me that
the red-velvet aesthetic derives from Twin
Peak's infamous red-room.
Although the venue plays host to music
all over the spectrum, its primary focuses
are revealed in the name itself. Static for
the noise, fuzz, and interruption of garage
rock and Jupiter for the spacy, alien nature
of psych rock. The venue no doubt lends
itself to these genres, replicating a 60's
atmosphere in a modern setting. This is
especially emphasized by the live light
shows that accompany each performance.
Although Static Jupiter works with a
wide variety of visual artists, tonight, the
Northern Lights Show is on duty, presenting
a hybrid of live oil projections layered with
computerized effects. The result is a vibrant,
ever transforming display that melds with
the music, while simultaneously providing
grittier computerized visual textures.
Ualeria told me earlier that to truly
appreciate the venue, I had to wait
to witness a live show taking place,
and she was right. Static Jupiter comes alive
VENEWSJStatic   Jupiter
%
 Discorder magazine | MARCH 2019
0MND§
OF
CiTR 101.9 FM+
DISCORDER MAGAZINE
You get  discounts at  these
FRIENDS  OF  CiTR  + DISCORDER locations.
as soon as a note echoes out from the stage,
and every second that passes truly feels like
something special. With its initial inception
as a recording studio, the audio is fantastic,
and hits you with unadulterated bliss from
every direction. Tonight, local band Brother
12 opens for LA rock groups Triptides and
Winter on their collaborative tour, and
with instruments that vary from guitars
to clarinets and harmonicas, the acoustics
of the venue ensure the sound is always
exceptional. Soon, Valeria hopes, she will
have a vinyl cutter and tape recorder up
and running to immortalize each night's
performances in a physical format. In the
age of endless digital files Static Jupiter's
dedication to analog permanence demonstrates an impressive commitment to the
underground DIY ethic that the venue
embodies. Instead of music becoming
awash in a sea of fleeting Spotify playlists,
it becomes something real, transferable,
eternal. This becomes evident when Valeria
shows me a stack of tapes Swedish band
BEEM left for her to distribute after
booking an impromptu show here last
week. She hopes her venue will enable
people to discover music that they would
never be able to find otherwise.
In the daytime, Static Jupiter operates
as a recording studio, with Valeria herself
working as the sound engineer. Currently,
she's working with local band Rambling
Derelicts, who after 6 years together, are
just now releasing their first material.
Through Static Jupiter, she hopes, people
will be able to enjoy the incredible music
Vancouver has to offer long into the future
and no doubt, they will.
mmn
THE BILTMORE CABARET
10% off at the bar
eomm€R€iJiL
AUDIOPILE RECORDS
10% off
STORM CROW TAVERN
10% off
DCKUIKJCKUH
BEAT STREET RECORDS
10% off used records
THE CINEMATHEQUE
One small bag of
popcorn per person
per erening.
DEVIL MAY WEAR
10% off
LITTLE SISTER'S BOOK
R ART EMPORIUM
10% off
VINYL RECORDS
10% of New and Used
a
VENEWSJStatic   Jupiter
AUSTRALIAN
BOOT COMPANY
15% off Blundstone and
& R.M. Williams Boots
THE BIKE KITCHEN
10% off new parts &
accessories
BANYEN BOOKS K SOUND
10% off
RUFUS GUITAR SHOP
10% new instruments
and accessories.
RUFUS DRUM SHOP
10% new instruments
and accessories.
STORM CROW ALEHOUSE
10% off
031*01
BOOKWAREHOUSE
10% off
(VISIT:
CiTR
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for more   info. )
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'DISCORDER MAGAZINE RECOMMENDS LISTENING TO CiTR EVERY DAY!
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DO YOU WANT TO PITCH YOUR OWN SHOW TO CiTR?
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.
 ■ monD/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
BAM-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
■ FEELING SOUNDS
11AM-12PM, ROCK/POP/lNDIE
A show about indie music and
emotion as well as building a
community by featuring local
and student musicians!
Contact: sara.y.carbone@alumni.
ubc.ca Spotify: https://tinyurl.com/
saracarbonespotify
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
• CITR CHARTS WITH
KAILAFEWSTER
3PM-4PM, MUSIC
Find out what we're pumped on
Contact.programming @citr. ca
SHOES ON A WIRE
4PM-5PM, rock/pop/indie
Music + Stories, by and
for Women + Queers.
Insta: @shoesonawirepod
Tweeter: @Shoesonawire
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
10AM-11AM, ROCK/ROOTS/FOLK
A show for Canadian Rock,
Indie, Folk, Country, and other
Canadiana! Curated for you by
your hosts, Nathalie and Adrian.
contact: programming@citr.ca
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
■ rursuay
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
8AM-10AM, talk/politics
Dedicated to the LGBTQ+
communities of Vancouver
Queer FM features music:
current events, human interest
stories and interviews.
Contact:
queerfmvancouver@gmail.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
• 120BPM HOSTED BY
AARON SCHMIDKE
2PM-3PM, MUSIC
120 BPM hosted weekly
by Aaron Schmidke!
Contact: @CiTRRadio
programming@citr. ca
■  DIALECTIC
3PM-4PM, ROCK/POP/lNDIE
Defined as "The way in which
two different forces or factors
work together", Dialectic brings
the distinct music tastes of
hosts Chase and Dan together.
Each episode showcases
a variety of indie rock and
beyond, bound together by
the week's unique theme.
Contact: @CiTRRadio
programming@citr. ca
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
■ INTO THE WOODS
TUES 5PM-6PM, ROCK/POP/lNDIE
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 forgetyour 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
8PM-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
• ^^^^^^B LATU SHOW
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
■ uDTUtirsuay
SUBURBAN JUNGLE
8AM-10AM, ECLECTIC
Live from the Jungle Room:
join radio host Jack Velvet
for music, sound bytes:
information and insanity.
Contact: dj@jackvelvet.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
■ KOREAN WAVE: ARIRANG HALLYU
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,
whats going on in the Korean
Society here in Vancouver and
conversations with guests.
Contact: programming@citr.ca
• ALL ACCESS PASS
ALTERNATING WEDNESDAYS
2PM-3PM, TALK/ACCESSIBILITY
POLITICS
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
COMMENTARY
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,
Follow us @uncededairwaves &
facebook.com/uncededairwaves
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
4:30-5PM, TALK/SPORTS
CiTR Sports treat you to
interviews with UBC's top
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
■ ARTS REPORT
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 ourdifficultworld.
We encourage and promote
independent original, local
live music, art, compassion
and community building.
Contact:
vancou vermedicines ho w@gmail. com
MIX CASSETTE
8PM-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
TheThunderbird Locker
Room gives you a backroom
perspective on varsity athletes:
coaches and staff here at UBC.
Contact: programming@citr.ca
■ Tutrcsuay
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
9:30AM-10PM, 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.tumblr.com,
rocke tfromrussiacitr@gmail. com,
<3>tima_tzar,
facebook. com/RocketFromR ussia
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 bydonuts.
Contact: duncansdonuts.wordpress.com
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
■  120BPM
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-gPM, 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
■ TRiuay
AURAL TENTACLES
12AM-6AM, EXPERIMENTAL
It could be global, trance:
spoken word,rock, the
unusual and the weird.
Hosted by DJ Pierre.
Contact:
auraltentacles@hotmail.com
CANADALAND (SYNDICATED)
87AM-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.
Contac t: jesse@canadalandsbo 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/indie
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 MattMcArthur
and Drew MacDonald!
Contact: programming@citr.ca
■ THE REEL WHIRLED
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 Damawill 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@gmail.com
TOO DREAMY
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 \ @bepicrespan
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-gpM, 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 \ @Skalds_Hall
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
■ sATtrcuay
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: citrlatenightshow@gmail.com
THE SATURDAY EDGE
8AM-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: codeblue@paulnorton.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@gmail.com
NASHAVOLNA
6PM-7PM, talk/russian
Informative and entertaining
program in Russian.
Contact: nashavolna@shaw.ca
SOCASTORM
8PM-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
■ sunuay
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'
Sam-ioam, 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
3PM-5PM,COUNTRY
Real cowshit-caught-in-
yer-boots country.
Contact: programming@citr.ca
LA FIESTA
5PM-6PM, international/latin
AMERICAN
Salsa, Bachata, Merengue:
Latin House and Reggaeton
with your host Gspot DJ.
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
8PM-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@gmail.com
TECHNO PROGRESSIVO
8PM-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, Deep Trance:
Hard Dance and even some
Breakbeat. We also love a
good Classic Trance Anthem:
especially if it's remixed.
Contact:
djsmileymike@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
■ lStAtlU°f
tOSTTOlJS
• 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 prog ram ming@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 FEBRUARY CHARTS
Li
Li
Li
Ls.
Li
Li
Lt
Li
Oi
Ls.
Li
Li
Li
Ll
Lst
Li
Li
Ll
Li
Li
Li
Li
Li
Ll
Li
Li
Ll
Li
us.
Li
Li
Li
Ll
Li
Li
Li
Li
Li
Li
Ll
Li
Li
Li
Li
Li
[_M
Artist
Album
label
Alien Boys*+
Swim Team*+#
Garbage Dreams*+#
Divorcer*+#
Only A Visitor*+#
future star*+#
Sarah MacDougall*#
Bassekou Kouyate &
Ngoni Ba
The 427's*#
Eekwol & T-Rhyme*#
wild kind*+#
Bedwetters Anonymous*+
Be Afraid*
Pale Red*+#
Prxncxss Aprntly*+#
Club Sofa*+#
Angela Verbrugge*+#
The Shit Talkers*+#
wild kind*+#
Baptists*+
Anemone*#
Sharon Van Etten#
Croatian Amor
Nervous Operator**
Tanya Tagaq*#
Sore Points*+
PIQSIQ*#
Kat Danser*#
Tallies**
Pale Lips*#
Carlo**
Allison Au Quartet's
Tasha#
Olafur Arnalds
Mad Caddies
Andrea Ramolo*#
Genticorum*
Julia Holter*#
Cherry Glazerr#
The Fretless*
Doug Paisley*
Robert Ashley
Mike Krol
Jodi Proznick*+#
Ndidi 0nukwulu*+#
Ivory Towers*+#
Mich Cota*#
Dumb*+#
Witches Hammer*
Night Danger
Demonstrations
Debt Jubilee
Technicolour Education
i will fight the devil and i
will win
All The Hours I Have Left To
Tell You Anything
Miri
Stay Gold
For Women By Women
West Ends
R.U. Experiencing
Discomfort?
One More Year
Heavy Petting
DEMO/LITION
Club Sofa
The Night We Couldn t Say
Good Night
I Scream EP
West Ends
Beacon of Faith
Beat My Distance
Remind Me Tomorrow
Isa
Incoherent Reflections
Snowblind
Sore Points
Altering The Timeline
Goin' Gone
Tallies
After Dark
Yarrow
Carlo
Wander Wonder
Alone At Last
Re.member
Punk Rocksteady
Homage
Avant L'orage
Aviary
Stuffed & Ready
Live from the Ant Farm
Starter Home
Private Parts
Power Chords
Sun Songs
These Days
Queller
Kija/Care
Seeing Green
Canadian Speed Metal
Desolate
Self-Released
II
Self-Released
Comfortable On A
Tightrope
Self-Released
Self-Released
Label In Between
Out Here
Stingray
Self-Released
Self-Released
Self-Released
Self-Released
Self-Released
Self-Released
Self-Released
Gut String
Self-Released
Self-Released
Southern Lord
Luminelle
Jagjaguwar
Posh Isolation
Self-Released
Six Shooter Records
Deranged
Coax
Black Hen
Hand Drawn Dracula
God's Candy / Spaghetty
Town
Self-Released
Self-Released
Self-Released
Father/Daughter
Mercury KX
Self-Released
Self-Released
Self-Released
Domino
Secretly Canadian
Self-Released
No Quarter
Lovely
Merge
Cellar Live
Self-Released
Self-Released
Egg Paper Factory
Mint
Nuclear War Now!
Productions
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DISCORDER MAGAZINE, LL500- 6133 UNIVERSITY BLVD. VANCOUVER, B.C. V6T 1Z1
MAKE IT A COMBO
ADVERTISING@CITR.CA
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UPCOMING SHOWS IN VANCOUVER!
Mar  4
JULIA HOLTER
Imperial
Mar  6
ACTION BRONSON
HCC
Mar  9
JAMES BLAKE
I Harbour Convention Centre
Mar  6
SID SRIRAM
Fox Cabaret
Mar  11
NILS FRAHM
Orpheum Theatre
Mar  8
CHERRY GLAZERR
Rickshaw Theatre
Mar  19
AMYL AND THE SNIFFERS
Fox Cabaret
Mar  22
KING BUFFALO
Wise Hall
Mar 22
VINCE STAPLES
Harbour Convention Centre
Mar 23
WESTERMAN AND PUMA BLUE
Fox Cabaret
Mar  24
HALOS
Wise  Hall
Mar  25
CASS MCCOMBS
St.   James  Hall
Mar  25
VIAGRA BOYS
Fox Cabaret
Mar  26
PRATEEK KUHAD
Fox Cabaret
Mar  26
TERROR JR
Venue
Mar  28
COM TRUISE
Fortune
Mar  29
NIGHT BEATS
Rickshaw Theatre
Mar  29
PUP
Wise  Hall
Mar  30
THE DIP
Wise  Hall
Apr  2
RYX
Rio  Theatre
Apr  5
DIRTY RADIO
Fortune
Apr   6
WIZKID
HCC
Apr  7
JD MCPHERSON
Imperial
Apr  10
DILLY DALLY
Wise  Hall
Apr  11
SATANIC SURFERS AND BELVEDERE
Rickshaw Theatre
Apr  15
EARL SWEATSHIRT
Commodore Ballroom
Apr  18
BLAC RABBIT
Wise  Hall
Apr  13
SASAMI
Wise  Hall
Apr  11
GRATEFUL SHRED
Fox Cabaret
Apr  13
THE MURLOCS
Fox Cabaret
Apr  18
MR EAZI
Commodore Ballroom
Apr  19
Apr  19
Apr  19
Apr  23
"ACRYLIC TOUR"
SHY GIRLS
WHITE DENIM
ESCORT
Fortune
Fox Cabaret
Rickshaw Theatre
Fortune
Tickets  & more  shows at   timbreconcerts.com

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