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a -g a ss I u e   J
""
THAT MAGAZINE FROM CiTR
TAXA I GOLD SAUCER
DYSTOPIA DREAMING
PAINTED FRUIT
GRAEME ZIRK
 UPCOMING SHOWS
Mcmsm
ooooooo
LEGS
SAWIE, YOUNGBLOOD, DJ CHRISTA BELLE
1
254 East Hastings Street
604.681.8915
1
AUTHORITY ZERO versus the world,
SHOCKLOAD, EKEN IS DEAD
DADA PLAN
FREAK HEATWAVES, GAL GRACEN
NASHVILLE PUSSY
IN THE WHALE
DIECEMBERFEST VII NIGHT 1 mendozza,
BUSHWHACKER, SKULL VULTURES, VACUUS,
ASSIMILATION, HERON, CADAVERIC LIVIDITY
DIECEMBERFEST VII NIGHT 2 cryptic
ENSLAVEMENT, WTCHDR, BOG, THE NAUTILUS,
PYRAMIDION, REVENGER, & MORE
LUCITERRA FUSION BELLYDANCE
STUDENT SHOW
PYJAMA PARTY W. THE EAST VAN CHOIR
COLLECTIVE mount pleasant regional
INSTITUTE OF SOUND, ESCHOIR, DJ PANCAKES
1
MAGFEST: GAME OVER VANCOUVER
BRYFACE, THE RUNAWAY FOUR, MISSINGNO.
KEITHMAS VI: FOOD BANK FUNDRAGER
RICH HOPE, THE JOLTS, THE VICIOUS CYCLES MC,
THE WILD NORTH, THE RENTALMEN, & MORE
ANNUAL SUMNER BROTHERS XMAS PARTY
THE SUMNER BROTHERS, JOHNNY 99, TWIN BANDIT,
ELLIOT C WAY, THE REAL PONCHOS, & MORE
ROCK TILL YOU DROP FOODBANK DRIVE
CHILLED CLARITY, UNCLE SID, STRIP, MIKE
MACHADO TRIO
YOB
BISON, ASTRAKHAN
HAPPY NEW YEAR FROM THE STAFF AT THE RICKSHAW THEATRE!
Additional show listings, ticket sale info, videos and more: WWW.RICKSHAWTHEATRE.COM
m x Sfi_» mjk mJfm,
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 TAiLiOFeONTiNTS
Features
09
DYSTOPIA DREAMING
Manifesting a space for cybernetic
interface, ritual, catharsis + dance.
13       PAINTED FRUIT
The pomiculture of Victoria's
juiciest boy band.
26       TAXA
Touring in the land of the frikis,
Taxa takes noise to Cuba.
20       SHINDER
Gettin' lucky at CiTR's Shindig <3
50       YU SU
AIYE 3£M releases January 29, a
resonant tapestry of cultural ambiguity.
54       GOLD SAUCER
Eight artists bring media arts down to Earth.
Columns
17 HOMEGROWN LABELS
24 IN GOOD HUMOUR
30 REAL LIVE ACTION
36 CALENDAR
38 ART PROJECT
43 UNDER REVIEW
59 DISCORDER REVISITED
61 NO FUN FICTION
63 CITR PROGRAM GUIDE
70 CHARTS
ADVERTISE: Ad space for upcoming issues can be booked
by calling (604) 822-4342 or emailing advertising@citr.ca. Rates
available upon request.
CONTRIBUTE: To submit words to Discorder, please contact:
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SUBSCRIBE: Send in a cheque for $20 to LL500 - 6133 University Blvd. V6T121, Vancouver, BC with your address, and we
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DISTRIBUTE: To distribute Discorder in your business, email
distro.discorder@citr.ca We are always looking for new friends.
DONATE: We are part of CiTR, a registered non-profit, and
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To donate visit www.citr.ca/donate.
Iff
■ ■ ■
To inform Discorder of an upcoming album release, art show
or significant happening, please email all relevant details 4-6
weeks in advance to Brit Bachmann, Editor-in-Chief at
editor.discorder@citr.ca. You may also direct comments,
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Publisher: Student Radio Society of UBC // CITR Station
Manager: Brenda Grunau // Student Llason: Elizabeth Holliday
//Editor-in-Chief: Brit Bachmann//Under Review Editor:
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Content Manager: Jonathan Kew//Art Director: Ricky
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Mathews, Theano Pavlidou, Brody Rokstad, Elijah Teed, Hannah
Thomson, Harsh Trivedi, Sachin Turakhia, Mat Wilkins, Jasper D
Wrinch // Cover Photo: Yu Su by Koristantin Prodanovic Spot
Illustrations: Danielle Jette // Photographers & Illustrators:
Sara Baar, Francesca Belcourt, Kat Dombsky, Eva Dominelli,
Lukas Engelhardt, Cristian Fowlie, Danielle Jette, Angela Karinn,
Dana Kearley, Alice Lawrence, Nikki Lax, Max Littledale, Pascals
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Leiren, Nashlyn Lloyd, Harsh Trivedi
©Discorder 2015 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 8,000. Discorder is published almost monthly by CiTR, which
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CiTR's office at (604) 8221242, email CiTR at stationmanager® citr.ca, or pick up a pen and write LL500 - 6133 University Blvd. V6T1Z1, Vancouver, BC, Canada.
 EDITOR'S NOTE
INDEPENDENT EVERYWHERE
illustration by Nikki Lax
The word 'independent' gets adopted in the strangest, most inappropriate ways.
(An unfortunate example is The Independent development at Main and Broadway.
Sigh.) In the publishing sphere too, everyone wants to be independent. But it is more
than just a buzzword for publications like Discorder, who wear its definition like a
worn patch.
There are technical ways of defining independent publishing that are generally,
though hot always, identified by scrappy text and frugal printing. But I don't want to
focus on technical definitions. When asked what independent publishing means to
local poet Adele Barclay, she described it to me as "a fuck you to the canon and the
old white men tastemakers who have held power for so long." I want to hold onto that
thought of tastemakers for a moment —
Tastemakers or influencers are folks with the ability to nudge trends into the
collective conscience through different media platforms, which is not always a bad
thing. Influence can be positive.
I don't know that Discorder is a tastemaker so much as a taste tester. We aren't
the ones telling you exactly where to go because we're already there with you.
We're dancing at Painted Fruit, and swaying to the beats of Yu Su; we're showing
up at Dystopia Dreaming, and sneaking into the Dominion to find Gold Saucer;
we're swiping right to Shindig artists, and chances are we've dated the same people.
@discordermag probably already follows you on Instagram.
We are everywhere because Discorder contributors are everywhere. Discorder is
almost entirely volunteer-run by members of CiTR 101.9fm. Writers, photographers
and illustrators collaborate on every issue to bring content and perspectives unique
to Discorder for the kind folks that pick up our magazine in Vancouver, and subscribe
across the country. We don't do this for profit, and we obviously don't do it for fame.
Discorder exists because you exist, and because you like some really weird stuff. To
our readers, we will always be a reliable source of alternative music and arts. For
contributors, we will always be that community that provides writers, photographers
and artists their first relish of publishing. It takes an incredible network of passionate contributors and loyal readers to make 'independent' publishing possible.
It is also worth mentioning that we are so grateful to our advertisers for helping
keep Discorder a free publication. They are our heroes.
A+
BB
EDITOR'S  NOTE
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  "The internet is
this mirror to the
biosphere and the
natural connection
that humans and
other entities have
in an energetic
sense, almost like
the currents that
comprise the ethereal
structure of our
reality is kinda
mirrored in the web
of our reality/'
To deploy Frederic Jameson's famous
quote: "It has become easier to imagine
the end of the world than the end of capitalism." Fiction teases out these undercurrents. In association with the apocalyptic period, one also imagines a
panoply of discursive imaginings: non-humans, post-humans, cyborgs and chimeras which explode the rigidity of patriarchal embodiments according to Donna
Haraway's Cyborg Manifesto. It is, to paraphrase David Cronenberg, the radioactive
charge of the idiomatic nuclear family
which presumes the potential of disruption and transformation.
The post-apocalyptic scenario is one
I've contemplated in light of two Vancouver happenings. The former was a lecture presented by Lief Hall of MYTHS fame
on music and cyberfeminism. The latter,
which inaugurates this article, being an
upcoming ritual / happening created by
Raghunath Khe (Ritch) and Miki Aurora
titled, Dystopia Dreaming. The evening,
meant to "articulate the destruction of the
patriarchal establishment" and to "facilitate catharsis for the collective wound of
widespread  misogyny,"  links  Ritch  and
DYSTOPIA DREAMING
9
  ,
Miki to a lineage of ritual in Vancouver,
and to transhuman feminists around the
world. In consolidation of the event's ritual powers, the dresscode is designated
"post-apocalyptic," for a period after the
androcentric hegemony has folded.
On the note of ritual and performance art, criticism of the contemporary art
world according to its own networking in
an expansive chain of investment funds
urge towards the question of what power
art can have against capital. Ritual art,
often masochistic, scandalous, strives
towards the real, the truly provocative
and gripping. But to reiterate Jameson,
whether apocalyptic gestures can produce
unprecedented change remains dubious.
Lief Hall, who discussed the post-
human and apocalyptic in her lecture,
"Mythology, Gender, and Cyber-virtual
Identity in Pop Music Performance" presented iterations of the alien and apocalyptic as costume in mainstream pop
music: fetish plays that toy with the signifiers of the apocalypse, while resolving
into traditional patriarchal and capitalist codes: the alien as sex-object, the end
of the world brought to you by Katy Perry
and Samsung.
Technological determinism has in itself
a Utopian urge. Glassholes herald the singularity and an era when technology will
produce post-scarcity. Speculatives aside,
the displacement and patriarchal anar-
cho-capitalism of the Silicon era reiterates
entrenched codes and hierarchies, disseminating an all too familiar future.
Donna Haraway has a key-word in her
ontology of the cyborg: irony. Irony here is
not synonymous with parody or careless
jokes. It is the inherent irony of language,
the irony of an earthly gesture that takes
on spiritual potency, depth of meaning in
every statement and action. Technology,
which itself currently acts in many ways to
stratify existing systemic disadvantages, is
also a powerful resource.
Miki Aurora: "The internet is this mirror to the biosphere and the natural connection that humans and other entities
have in an energetic sense, almost like the
currents that comprise the ethereal structure of our reality is kinda mirrored in the
web of our reality."
Returning to the ritual component of
Dystopia Dreaming, I identify a powerful utilization of irony, in a wholly serious sense. The alleged primitivism of ritual art is notable. Victoria Singh's Ritual
in Contemporary Performance rebutkes
that though this art may "include primitive elements or make reference to ideals
from bygone eras, the intent of the actions
belong in the now' — offering poignant
commentary and insight into our current
lifestyles, society and the human condition." The cyber shamanism of Dystopia
Dreaming, owing to a practice that uses
the internet to facilitate its spiritual rites,
is itself informed by prior texts and practices. Nodding to Haraway, it's an ironic contradiction of elements that produces surprising configurations. Dystopia Dreaming will network in a priestess from Mt.
Shasta, and a circle of priestesses from
a thriving web community in Houston,
belonging to, as Miki explains, a "powerful
virtual temple,"
The simulcast presencing of the happening establishes a kind of third space
in the "intangible nature of the internet."
For Ritch and Miki, this is their investment in the discourse, contributing to the
corpus of technology's interface with the
spiritual and sublime. What makes Dystopia Dreaming additionally intriguing is its
ameliorative ends, the potential it identifies in this sublime space. Of note is the
event's inclusive capacity, and subcultural
provocations: Ritch and Miki aim for nothing short of revolution, and hope the event
will bring together subcultures in the
Lower Mainland.
Abetting these ends, Ritch and Miki
DYSTOPIA  DREAMING
11
 and cybernetic interface, Dystopia Dreaming will itself be a space for the expression
of catharsis.
So much of this article has been
charged with tangents, refractions of the
conversation I had with Ritch and Miki,
and the research I did beforehand. This
writing is of course preceding the event,
so to some extent the obstructions here
preclude a piece of total synopsis. But the
imperative of that Vedic prophecy makes
evident that dreaming dystopia is an
ongoing process. We may be living in the
end times. You'll want to see what's coming next.
Ill     ■ ^
•vFF y:        .<■<<•■'-' ''.
speak with consideration to the safety of
the dancefloor. The post-apocalyptic garb
is not a costume, a nod towards gunslinger
politics informing the zombie fantasy. It
is instead an apprehension of the apocalyptic systems of oppression and violence
surrounding us, and the sub-spaces echoing a cataclysm that destabilizes these
systems: the urgency of survival that the
dance floor has historically offered to marginalized communities. Dystopia Dreaming's cathartic dance offerings, DJs who
reflect eclectic Cascadian geographies and
a variety of gender configurations, speajt
to this commitment.
Ritch recounts to me excerpts from
Vedic literature he studied while living
as an ashram monk, acknowledging the
problematic historical elements that nonetheless point towards contemporary dissolution: "When society is in its last days,
one of the signs is that women will be
treated badly." For the seriousness of ritual
Dystopia Dreaming is happening at
Red Gate on Saturday, December 5. The ritual is at 9 p.m., by RSVP only. At 10 p.m.
doors open to the public, with ongoing performance art and dj sets by Brontron, Miss
Kosmik, Aerion, Raghunath Khe and little,
fiery, one, and artworks by Natalia Wilhelm,
Lindsay Starbird, Miki Aurora, Antonina
Ananda, Tito Ohep, Trinity Firth, Nathan
Barrett, Chelsea Mei Lee and Marie Eve.
A  NOTE   FROM  THE  ORGANIZERS:   While  the
composition of the photo shoot and the power
dynamics that we are subverting through the
imagery present a binary, inclusion of trans and
marginlized genders is an important part of our
mandate, and we acknowledge any uniquely positioned genders in regards to the power dynamics that will be present during the ritual-Happening scheduled to take place on Dec 5th. We
felt it important to include this message with our
photo to make clear our intentions, that may not
be accurately conveyed simply looking at the performers who were able to attend this photo shoot.
12
DYSTOPIA  DREAMING
 BEYOND FRUIT SALAD
words by Alex Lenz // illustrations by Eva Dominelli
photos by Pascale Mendez
"Vancouver is too
fucking expensive. We
can have a house for
ourselves to record in
in Victoria/'
"We were shredding cabbage on the
floor. It was fun. I'm interested to see how
it turns out." Noah Varley, the bassist
for the up-and-coming pseudo-pop band
Painted Fruit (formerly known as Painted
Fruits), is recounting his very recent
experience of making 15 gallons of sauerkraut with Johnny De Courcy and Johnny's father. Other than the fact that one of
Vancouver's best-known alternative musicians is interested in German side dishes,
Painted Fruit's musical connections at
such an infant stage in their band are
quite impressive.
Painted Fruit is a young band in multiple senses of the word- they have only
been together for about a year, and the
band members themselves are fairly
young. Three of them are 20 and one is
23. Despite their multi-faceted youthful-
ness, Painted Fruit has managed to carve
a successful pathway for themselves since
their conception. They released their first
full-length cassette back in May of 2015,
titled Fruit Salad. The cassette is melodic,
breathable and rather joyful in nature.
Although Fruit Salad is a self-proclaimed pop album, darker and more rigid
undertones creep their way onto tracks like
"Running Away," giving the album some
refreshing diversity. Noah speaks candidly
of his post-punk influences, such as his
love for bands like Women and Gang of
Four. "I like the idea of the music conveying
the mood. I think it's really powerful when
somebody can write an instrumental that
conveys what they're trying to say."
The band is composed of Noah Varley
on the bass, Jon Varley on the guitar (yes,
they are brothers), Evan Aasen on the guitar, and Ben Smith on the drums. All four
of the band members grew up together
in Vernon, BC and now live together in
the same house in Victoria. This affords
PAINTED  FRUIT
13
 them the freedom to collaborate and write
together at all hours of the day, an arrangement that is highly beneficial to the group,
since all four members are also full-tirne
students. In fact, Noah is presently working at a job placement at Mercedes-Benz
in Vancouver studying hydrogen fuel cells
as part of his engineering degree. He travels to Victoria every weekend to play with
Painted Fruit, which he jokes is making a
killing for BC Ferries.
"I think about this a lot, about what I
really want to do. I was talking to Michael
De Courcy yesterday, his son John is a
musician in Vancouver. He's been an artist in Vancouver since the early 60s, and
he was commenting that it sucks that
we have this awesome band but we're in
school. It's kind of disheartening, when
people feel that they have to be in school at
the same time. It is a really good backup.
It's just hard to put your full effort into
music."
While the smaller audience base in
Victoria may seem like a disadvantage for
a band, Noah emphasized that lower living
costs in Victoria give the band opportunities they wouldn't have in Vancouver.
^tt#^  'I
The motif of fruits is evident in the
band's outward image, which stems from
a place of artistic purpose. "One of the
inspirations was from still-life art, like
painted fruits. The idea of being a painting on a wall...maybe not so much music
but abstract art. I think we're all into visual art as well." Noah himself has done the
visual design for all of their projects thus
far. As an independent band without the
pressures of a record label, Painted Fruit
is able to carve their own pathway through
the music industry, a feat which is both
rewarding and daunting.
A defining feature of Painted Fruit's
public image is its staunch rejection of
their branding. The members are defiant
in the face of social media profiles and
would rather rely on the quality of their
music rather than the image they propagate of themselves. While the group does
have a Facebook page, they are reluctant
to delve full-force into the world of Likes
and Followers as a means of gaining suc-
14
PAINTED  FRUIT
 cess. Noah cited Vancouver's Dada Plan as
a band that he respects on the grounds
that they have gained success by putting
on unique shows, such as their set alongside Summering and Ora Cogan at the
Planetarium October 22.
Like many other bands, Painted Fruit
grapples with the difficulty of keeping a
common musical theme within the band.
Tastes vary between members, which can
impose a strain on the course of the band.
That being said, the members of Painted
Fruit have channeled their darker, post-
punk preferences into a separate band,
Novel. This band is composed of three of
the members, and allows the group to
step away from their pop-music focus in
Painted Fruit. Novel is expected to release
a full-length record within the next few
months.
Despite the undertaking of this
musical side project, Painted Fruit is set to
release a split 7" record with an Albertan
band, Smoke Eaters. Strikingly, Painted
Fruit's half of the record will feature one
single song, seven minutes long. The collaboration will allow the group to diversify
their artistic threshold and reach a wider
audience, which is arguably a more ingenious means of spreading the scope of their
influence than updating an Instagram
account.
The exact date of Painted Fruit's new
album is yet to be released, although it
should be coming out within the next few
months. They will be playing a show with
Soft Serve at the Cobalt on December 19th.
PAINTED  FRUIT
15
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 ALARUM RECORDS
Homegrown Labels
words by Stefanie Bartlett
illustrations by Dana Kearley
photos by Pat Valade
Although he "put a name to" Alarum
Records in 2013, Eric Axen had been honing his taste in the Vancouver indie pop
and punk scene for years. "There were a lot
of bands [that I thought] if I had a label, I
would put their record out." So he did just
that, releasing Sightlines' Our Demands (of
which he is a part) in early 2013. And the
label has gained momentum; this year he
released Supermoon's Comet Lovejoy and
tv ugly's UCLA Yankee Cola. "I just really
wanted people to hear them."
The sound that Axen curates is a
unique one. Self-described as "weird pop,"
there is a distinct mesh of grittiness and
listenability to the sound he puts out.
He considers it pop music "in the sense
of songwriting, not pop in the sense of
popular music. [These aren't] bands doing
whatever it takes to get on the radio. [But]
pop songwriting as a craft is something
alive and well in Vancouver."
Within the distinct niche of unique
local sound, Axen believes running a small
label gives bands extra opportunity to be
recognized.
"I used to listen to CBC Radio 3 [now
CBC Music]," he explains. "It was interesting when it started but then it got more
homogenized ... it's very safe, very commercial." Though said with conviction,
Axen clarifies that his commer+r are "not
to trash [CBC]." He is just more interested in a thread of "grittier stuff' that
lies beneath mainstream Canadian indie
music.
Operating a smaller label allows Axen
to take a hands on approach. Something he
finds especially exciting is the resurgence
of cassette culture in the city. "Supermoon
came and said *we're just going to do a
tape' and I thought, 'no, a tape can be an
amazing art project.'"
Indeed, the cassettes Alarum have
released are nothing short of mesmerizing;
co-designed by Axen's partner, artist and
illustrator, Dana Kearley, they are a mirage
HOMEGROWN  LABELS
17
 of colourful plastic, dazzling prints and
sparkling tape. Kearley finds the possibilities of cassette art stimulating. "When I'm
working with Eric we're collaborating in a
different sense. We're working on the same
thing together, but in two completely different ways."
Axeri echoes this, believing that "with
tapes, the goal is to create something
beautiful that people want to own." Axen
believes part of this cassette culture is
driven by the social and economic conditions of Vancouver itself. Records are
expensive to buy and produce, and in a
city with such high costs of living, cassettes are an interesting alternative.
And how else does Vancouver as a
city factor into Alarum Records? I was
curious to know if he thought that such
a concept as "local sound" was even relevant, now that we live in an age where all
music is easily accessible. Axen believes
that regardless to the internet, "bands
from certain locations do influence each
other just by playing together in the same
area," claiming that's something he wants
to document. If anything Alarum Records
is a testament to this cross-pollination
of influences. With groups sharing band
members and subtly impressing their
styles on each other, the label has evolved
to foster a definable sound that Axen
wants to continue curating. "You can find
a niche in a city like Vancouver and it can
still be geographically specific. I like that it
becomes this web, you see everyone influencing each other."
Alarum Records is currently working on
two new releases for early 2016. Details to
be announced in the new year.
18
HOMEGROWN LABELS
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SHINDER
words by Elijah Teed / / illustrations by Jesse Ross
Shindig — it's a tradition that has endured the city's musical melange for
over three decades. Over 800 bands have performed on half a dozen stages
throughout the competition's long and thickly woven history, and now — for
the 32nd time — a trove of Vancouver talent has taken Shindig by full force.
Sadly, not all of our old customs have had the same luck enduring so many
years of change the way Shindig has. In our tech-sawy, tap-happy world, it has
become increasingly difficult to get to know bands on a personal level. Gone
are the groupies of yore, replaced by hordes of faceless Instagram followers
and surreptitious Soundcloud streamers. Here at Discorder, we want you to
love (and we do mean "love") our first five winners and Shindig's host the same
way we do, so get ready to swipe right for the magazine's very own dating app
— Shinder.
h    *LAI (wndig Host)
*«*«:«!«,.« '""""ml Ma
»• men ana woman q^
   CiTR's Shindig is hosted at Pat's Pub. Upcoming dates include
December 1 with Late Spring, Cloudhood and RE/GEN, December 8 with Francesca Belcourt, Speranza and ATSEA, and December 15 with The Psychic Alliance, Making Strangers and Aidan
Shamray. Semi Finals will be held January 12, 19 and 26, and the
Finals will be Friday, February 5.
 PAUL ANTHONY
In Good Humour
words by Evan Brow
illustrations by Ming Wong
In our vast culture of entertainment,
we tend to associate variety shows with
the past. They were ways for guys like Bob
Hope and Frank Sinatra to goof around
with friends on one of the three channels available at the time. They were filler,
bridging the gap between the news and
episodes of Gunsmoke. Almost eight years
ago, actor / comedian, Paul Anthony had
an idea. He saw the potential of a live variety show, a showcase of Vancouver's most
unique talent. With a distaste for polished
performance and a desire to create a community of charming differences, Anthony
created Talent Time in 2008, a full-fledged
underground Vancouver talk show.
"I feel with Talent Time we've created
a secret club where it feels like everyone's vibing together," says Anthony. "I see
people enjoying it with their friends. It just
feels like a warm, happy place."
Anthony grew up in Winnipeg, listening
to comedy radio shows. He had a predisposition to portraying different characters,
sometimes skipping school and dressing in
his dad's clothing to walk around outside
and see how people would respond. He
began performing character comedy, opening for bands and improv groups as his
character, Hugh Phukovsky, self-described
as the "punk rock custodian of comedy,"
with a name specifically chosen to sound
like "You Fuck Off-sky." Anthony admired
the strange and the unusual, seeking a
distinct voice in everything he did.
"I didn't believe any rule of comedy,"
Anthony explains. "I have an inherent
distrust of authority. So people say comedy happens in threes? No. It happens in
twelves, or whatever."
In 1998, Anthony moved to Vancouver,
graduating from Studio 58 in 2001. As an
aspiring actor, Anthony began to build a
career: getting an agent, acting in main-
stage plays, and going down to Los Angeles
for parts, but his heart was never in the
Hollywood rat race.
"I met with the heads of networks and
24
IN  GOOD  HUMOUR
 .
Anthony, on portraying
characters growing up:
"I started putting on these characters
just for my own psychology experiment,
like I'd go to different neighbourhoods
with this ratty wig and I'd just go
through people's garbage. And I'd just
see how people responded to me."
casting directors, but it felt like a lot of
work. I was never interested in that part
of acting," Anthony continues, "Some
people really want to be movie stars, and
I've only been ambitious about the work.
So this idea of going down there where I
didn't know anyone, to auditions where
you maybe get something, seemed like a
waste. So I came back here and did little
shows with friends, and I don't regret it."
Now settled in Vancouver, Anthony has
found work in a number of fulfilling projects, including a lead role as a street kid
in Eighteen, as a rock n' roll vampire in
Suck, and more recently as the Rainbow
Raider in The Flash. However, Anthony
kept doing small shows around town. In
2007, Anthony's friend, Aubrey Tennant
asked him to co-host the show, Softcore
Comedy at the Cobalt. Anthony liked the
experience so much that he did the show
for a full year. The Biltmore took notice of
Anthony and asked him to produce his
own show. With a premiere in January
2008, Talent Time began.
"I have a lot of friends who are comedians and I love comedy, but it's only one
scene," says Anthony. "I get bored when
things are so small and the same. So I'd be
taking the bus to New Westminster because
I heard there was a talent show happening in a mall. And I'd watch three hours
of horrible shit, all just to see one kid who
would come on in a purple tutu, tap-dancing to Johnny Cash, and there was something there. They would be on the show. I
knew my friends wouldn't endure all the
horribleness for that gem, so I did my show
so I could bring that gem to them."
Talent Time grew fast. The show began
airing on Novus in August 2008 and on
Shaw in October 2011. Local actor /
improviser Ryan Beil joined as the official
co-host in January 2011, and the show
eventually became too big for the Biltmore.
In September 2014, Talent Time moved to
the Rio Theatre with a brand new set and
a deeper appreciation for the weird and
wonderful. Now in its eighth season, the
show has curated hundreds of unique acts
to its Vancouver audience, from a nine-
year old duo's Mario Bros, dance performance, to an original song by Randy
Quaid, to retired auto mechanic inventor
James Ming Kwok's inventions to reduce
car accident injuries. With an appreciation
for community and raw expression, Paul
Anthony's Talent Time lives on as a bastion
of beautiful Vancouver oddities.
"I just want to understand people more,
which ties into my own understanding as
well," says Anthony. "There's nothing better than a hearty laugh with good friends
and it's good to expand that boundary of
who your 'good friends' are."
You can see Talent Time at the Rio Theatre on the first Thursday of each month.
The next two installments are December 3
and January 7.
IN  GOOD  HUMOUR
25
 %:*^
 AMPLIFIERS
words by Jasper D Wrinch II illustrations by Francesca Belcourt
photos by Jon Vincent
"There's only so much
you can do if you
only have one guitar
between three bands/9
"They might not be able to finish a
show because too many guitar strings get
broken," explains Andrew Morrison, bassist and founding member of Taxa. Sitting
down with Discorder just a few days before
his band — Tafia Maisonneuve, guitarist/vocalist; Hieg Khatcherian, guitarist /
vocalist; and Daniel McVeigh, drummer —
leaves for a Cuban tour, Morrison helps
illustrate the state of the Cuban hardcore
punk scene.
"There are these people," he goes on,
"who are hungry to be creative, hungry to
make music, and don't have the means to
do it." Because of its political and cultural
isolation under a strict communist government over the past fifty years, Cuban culture has had to develop primarily on its
own without outside influence or resources. While some American artists — notably Ry Cooder — travelled to Cuba in order
to highlight the extensive musical history
of the country, much of the music that
came out of the country in the latter half
of the 20th century was in the traditional
Cuban son, bolero, or guajira styles.
With limited access to electric musical
equipment in the '70s and '80s — such
as electric guitars, amplifiers, drum sets,
or keyboards — Cuba's rock scene was
severely stunted at the time when metal,
punk, and a plethora of new and exciting
musical genres were exploding out of the
rest of the world. "Even if they did have
access to the equipment," says Morrison,
"there's no way they could have afforded
it."
Nevertheless, the music found a way.
"In the late '80s and early '90s, the Cuban
punk scene sort of started up," says Morrison, quickly adding, "I'm not the best person to tell this story."
The story is of the fhkis, a group
of Cuban punks who forged their way
through adversity to create a music scene
in the harshest of conditions. Recently
TAXA
27
 gaining the attention of NPR's Radiolab in
the feature "Los FriMs," the emergence of
Cubans punk scene is a shocking history of
those whose passion for music exceeded,
at times, their passion for life.
As Morrison explains, "When the Soviet
Union fell, Cuba lost its chief support system. At that time there was a lot of hard
living and chaos in Cuba," With the loss
of significant economic subsidies that had
been coming from the USSR, Cuba fell into
a severe crisis. Known as the Special Period in Cuban history, the population was
faced with extreme food rationing, shortages of gasoline, and a tightening of political control over the masses, with slogans
like 'Socialismo o muerto' branded across
the Caribbean nation.
The increase in political control over
the population, as well as the loss of their
chief communist ally led the Cuban government to strike out against anything
they saw to be anti-communist. The Cuban
punks, who enjoyed American music, were
seen as threats to the regime, "so the police
were just beating the hell out of [them] all
the time," as Morrison explains.
"Because of how bad their living conditions were, and on the assumption that HIV
would be something readily cured within a
few years, a lot of the Cuban punks began
injecting themselves with HlVl-infected
blood]/' says Morrison. Those with the disease were quarantined from the rest of the
population in sanitariums; they were given
good treatment, and good food.
"Clean living because you had HTV,"
The sanitariums "were fully outfitted.
They had TV rooms, entertainment rooms,
music rooms, jand so strangely enough,"
continues Morrison, "a lot of the beginnings of punk rock in Cuba were started
inside the HIV sanitariums by HIV infected
punk rockers."
Eskoria, for instance, named the
founding fathers of Cuban punk, was
formed within one of these HFV sanitar
iums. "The scene never really got the legs
under it that it could," Morrison explains,
"because most of them are dead now."
Taxa is visiting this Cuba, with a punk
scene shaped by frikis whose sound never
left the country. "The goal is to try to
get people to go down there, so the local
bands can get some exposure from something outside of Cuba, and in turn, get)
bands from Cuba to come up here," says
Morrison.
Working with Solidarity RockF an
artist-run organization out of Edmonton that partners Cuban and Canadian
bands, Taxa, along Vancouver's Recovery
are embarking on an 11-day tour of Cuba
November 19 to December 2. As Morrison
describes, it's a sort of "exchange program
A couple Cuban bands were just up here,
actually. Adictox and Arrabio."
In addition to creating opportunities
for musical exchanges between Canada
and Cuba, Solidarity Rock also collects
and donates music equipment to punk
bands in Cuba. "There's only so much you
can do if you only have one guitar between
three bands," says Morrison. While not a
requirement of the bands, Taxa have taken
it upon themselves to find and collect
equipment for Cuban musicians.
"We're not bringing our normal gear
down," explains Morrison. "We're just
going to bring the gear we've scrounged
up, and then when we're done the tour,
were going to give it to the contact for Solidarity Rock down there." From there, the
organization will distribute the equipment
to those who need it the most. "The idea is
to get enough guitars and enough supplies
and enough of a backline down there so
that they can be self-sufficient."
While the Cuban punk scene has seen
some rough day in recent years, those with
the drive and the passion to create music
have been steadily rebuilding. "As far as
I've been told, the scene down there is
probably stronger than some of our local
28
rAXA
 scenes in terms of attendance," says Morrison. "It's not about it being a metal show
or a punk show. It's about the chance to
see live music. Everybody comes out, and
that actually bolsters the audience."
Whether it be playing shows with Vancouver bands here, or touring with bands
in Cuba, part of the goal of Taxa is "to try
to reach out to different bands, different
scenes, different labels," explains Morrison. And even if their trip to Cuba has gotten in the way of their own musical endeavours — Taxa's new LP "was supposed to be
recorded this month, but then this touring thing came up," says Morrison — Taxa
can't help but lend a hand to a punk rock
scene in need.
Taxa's tour in Cuba with Recovery is from November 19 - December 2,
with updates available on their Facebook
page. They will be releasing a new album
sometime in 2016.
TAXA
29
 IIP
r
-
SIGHTLINES / KISS
PAINTING / SWIM
TEAM/DUMB
NOVEMBER 6 / ASTORIA
As an adopted Vancouverite, I am quickly learning that musicians and gig-goers
alike are very proud of their homegrown
music. Local talent is championed and
adored in equal measure. What better way
to spend a Friday night than watching four of
Vancouver's best and brightest at one of the
city's favourite venues.
Last minute heroes Dumb kicked off the
proceedings, replacing Oldage, who cancelled the day before and, based on the
infectious sense of fun of their two EPs,
looked every bit like they fit the bill. During
one of the many longer breaks between
songs (whilst the lead guitarist fiddled with
his collection of pedals), the frontman reliably informed us, "Everyone's got herpes,
according to an article I read today." This
encapsulated the atmosphere of four guys
having a great time, which is hard not to buy
into.
Dumb's guitarist, and his pedals, then
returned to the stage with his other band,
Swim Team. The art rockers launched into
a very self-indulgent set, including a number
of long instrumental breakdowns. That said
their exemplary musicianship was obvious,
especially that of the drummer, whose beats
became the driving force behind the band.
Set closer "Disgust" was a highlight — if they
can apply their talents in a similar way to
future recordings, the thought of what they
could create is very exciting.
The highly anticipated Kiss Painting took
to the stage next. In stark contrast to the previous two acts, they were unconcerned with
image. Guitarist James Baxter sported a
trucker cap and wielded a guitar which had
almost a metre of spare string coming out of
the head. The instrument seemed to play him
as he threw himself around the stage, allowing the solid rhythm section of CA Chux and
S.Hellina to hold the band together. Together
they produced* a rip-roaring show that was
as absorbing as it was impressive. Although
the set was short, the six songs they delivered were packed full of energy and really
affirmed the trio as a band to watch.
Eric Axen's latest band, Sightlines, were
headlining the evening. The band, which
also contains Kiss Painting's James Baxter
on bass, has made a name for itself playing nostalgic pop-punk that is more than a
bit influenced by the '90s. (They actually
released a cover of The New Fever's "Our
30
REAL  LIVE  ACTION
 Demands" on limited edition floppy disks
back in 2013). Their summery hooks left the
Astoria feeling a world away from the torrential rain outside. With Chris Martell threatening to smash holes in his kit throughout,
the atmosphere that the three piece created
was deafening, washing Axen's lyrics (a real
highlight on record) away under the swirling
noise.
I must tip my hat to Axen for putting
together such a stellar display of local music;
on this night it was clear Vancouver's music
scene is in safe hands, and it made me proud
to be an (albeit adopted) Vancouverite.
— Sachin Turakhia
DEAD SOFT / SLOW
LEARNERS / PINNER
/ DOPPELGANGER
NOVEMBER 7 / ASTORIA
There's something special about a Dead
Soft show. Maybe it's the earnestness with
which the band performs, or the genuine,
innocent excitement that they coax out of
cynical crowds of half-drunk hipsters, or even
the passion with which the members will
watch transfixed by all the bands before and
after them. And so, after two months away
on tour in the US of A, it was a real nice thing
to walk into the Astoria and be surrounded
by an atmosphere of music-nerd-sanctuary,
a safe haven for fuzz-heavy guitar aficionados to wax poetic about whatever Dinosaur
Jr is up to these days. It felt like home.
Doppelganger turned out to be my "I'm
only hearing about them NOW?" band of the
night. Mountains of energy plus members of
local favourite MOSFETT, the trio powered
through a set-list that had all of the garage-
rock charm, not to mention the ear-candy bass lines, of the Beck-imagined Sex
Bob-Omb. Doppelganger was definitely not
pop punk, but it was a little pop punk; with
a drummer hell-bent on never repeating the
same fill twice (and sporting a pretty amazing mullet/moustache combo), the band's
energy could almost come across as silly if
it didn't feel so sincere. At one point someone in the audience tried to hand-feed a beer
to frontman David Madge, who awkwardly refused the intrusion to finish his wicked
solo instead. Doppelganger's priorities were
on point.
I've been told to see Pinner play, adamantly, by upwards of a dozen people who
have a foot dipped in the Victoria music
community. That it's taken this long to finally see the imported Islanders is a testament
to my bad luck, as they've been making frequent incursions on the mainland recently.
The four-piece, composed equally of male
and female musicians, borrows talent from
legendary party-rock outfit Slam Dunk, and
that's reason enough to give them the time
of day. Their set was equal parts raucous
noise, pop-punk charm, and heartfelt crooning. A grungy group slathered in the charm
of '90s slacker rock, Pinner left me with a
giant, shit-eating grin on my face.
Slow Learners definitely had a different
charm to them than the previous openers.
More streamlined, less rambunctious, and
a wee bit more traditional rock 'n' roll, the
heaviest band of the night played a dedicated half-hour of fast-paced punk rock with
nary a pause. There's no disputing the talent and drive of the three-piece, but a combination of the peppy groups previously and
my old-man curfew fast approaching added up to a set that was easy to enjoy but
hard to remember. The impressive rendition
of a Fleetwood Mac cover was a glowing
exception.
The first time I saw Dead Soft play was
maybe a few weeks after the two founding members of the band, bassist Keeley
Rochon and guitarist Nathaniel Epp, moved
to Vancouver from Victoria. They were fresh-
faced, nervous, and maybe a little overwhelmed before taking the stage. The band
REAL  LIVE ACTION
31
 that greeted us hot off the heels of a two-
month long sojourn into the deserts of the
United States was a very different trio ascending the steps to the Astoria's ratty stage.
There's still an innocence in their passion
that is captivating and mesmerizing, but the
band walks with a confidence gleaned from
years of steady progress in the Vancouver
music world. The trio turn Frankenstein as
they touch their instruments, transforming
from humble music geeks to electric-channelling grunge phantoms, and it's this transformation that has held true throughout their
tenure here. It's just as fantastic to witness
now as it was the first time.
Dead Soft's ode to grunge was a powerful performance filled with fan favourites (of
which there are plenty), old stand-bys and
even a few newer tracks they'd obviously
been unveiling over their tour. It's the most
varied their set has been in a long time, and
in that vein, being trapped in a van together for two months probably did them a lot
of good. You could tell, looking closely at
Graeme McDonald's frenzied drumming,
or Rochon's swaying bass hooks, that the
band was tired, but tight, at the end of a long
time spent on the move. But at the end of
the night, more than the group's ferociously fuzzy performance, what stood out the
most was how shows like this one — shows
filled with positive energy and vivid support
and entranced listeners — just don't come
around very often. If Dead Soft are the tuning fork channelling all those good vibes,
then we're damn lucky to have them back.
— Fraser Dobbs
BRONCHO/THE
SHELTERS / PEARL
CHARLES
NOVEMBER 14 / COBALT
On November 14 at the Cobalt, Los
Angeles-based Pearl Charles got off to a late
start for a sparse crowd. Still, in the course
of her short set, the 23-year-old won some
32
REAL  LIVE ACTION
 Vancouver hearts.
Having formerly played with The Driftwood
Singers and The Blank Tapes, Charles
began her solo career this summer with the
release of her eponymous EP.
Her band was notably supportive and
coordinated, radiating good vibes to the
crowd below. Charles' dreamy stoner vocals
blended seamlessly with the stable rhythm
of the band. This first act seemed a stark
contrast to The Shelters and Broncho, as
the atmosphere they had created was sorely
missed for the remainder of the night.
After a short changeover, The Shelters
took to the stage to celebrate the release of
their debut self-titled EP. Also hailing from
L.A., The Shelters emitted a very different
sound. Occasionally rockabilly and frequently pop-punk, the band of four was high energy from start to finish.
When they were in the process of setting
up, I was immediately concerned by their
looks, as they exemplified a range of guys
you would probably avoid at a party. But they
were shortly redeemed. Performing at 100
mph, they poured with sweat through the
end of their set. Although their songs began
to blend together after a while, this band has
major potential to gather a fanbase seeking
a good time.
The Cobalt's Facebook event claimed
that "curfew" was 11 p.m., but by the time
Broncho was ready to perform, it was
already 10:20. They had made the unusual
choice of bringing their own lamps and ferns,
which took a chunk of setup time. Still, even
these small aesthetic touches showed that
making minor show enhancements does not
require a huge budget. With the addition of a
little bit of smoke, Broncho created an eerie,
theatrical mood.
Maybe it was apparent to some, but I
hadn't identified Broncho as an obviously mosh-worthy show. But halfway through
the set, a fight —■ in other words, one guy
moshing — appeared to break out right
below centre stage, but it was quickly extin
guished. When the moshing was in full
swing, the same man who had broken up the
fight seemed not to have gotten the memo,
because he nobly spent at least ten minutes
trying to break up a twenty-person mosh pit.
Broncho continued, unfazed.
Lead vocalist Ryan Lindsey was an undeniable showman. Despite his Oklahoma
roots, Lindsey's stage persona is the spitting
image of Mick Jagger, down to the pouted
lips. And his words, already difficult to hear
on the album, are entirely indecipherable
live. The Shelters' set had been excessively
loud, so Lindsey's frequent yelps were piercing and unwelcome.
Still, Broncho killed it with "What" and
"Class Historian." We all knew "Class
Historian" was coming, and we waited anxiously for its immediately recognizable opening. Broncho made the right choice in closing
their set with the hit, ending on a high note
and breaking curfew by 10 minutes.
— Hannah Thomson
REAL  LIVE  ACTION
33
 TOPS / FRANCESCA
BELCOURT / LEIF
HALL
NOVEMBER 21 / BILTMORE CABARET
White Poppy was the originally scheduled opener for TOPS on November 21 at
the Biltmore Cabaret, but due to a last-minute cancellation, we were treated to an opener double feature: Lief Hall and Francesca
Belcourt. Lief Hall had joined the lineup
weeks before, but Francesca Belcourt was a
last minute surprise.
Lief Hall performed first, before the horde
arrived. I had the pleasure of talking to a
friend of hers in the audience, who informed
me that Hall is an accomplished visual artist.
Native to Nelson, B.C., she currently resides
in Berlin. Hall used to be one half of MYTHS,
who toured with Grimes in 2012.
In fact, Hall's vocals sound like a toned-
down version of Grimes'. Her tracks were
smooth and effortless, and she commanded
the stage with the confidence of a veteran
performer. Hall's sound would perhaps be
best appreciated while lying down and staring at the ceiling, but the Biltmore's upright
audience didn't mind.
Next up was Francesca Belcourt, whose
specialty was also highly atmospheric, experimental music. She utilized a ton
of vocal distortion, although at one point it
seemed that this was the result of a technical difficulty. After that brief hiccup, Belcourt
was able to showcase her impressive vocal
talent to the crowd, already dense in anticipation of TOPS.
Belcourt looked like a young Drew
Barrymore. Like Hall, she stood alone at center stage. And, like Hall, she was not intimidated. It was so lovely to see these talented
women on stage, and such a strong female
presence was a fitting prelude to TOPS.
When I saw TOPS earlier this year at the
Biltmore, they were already coming into their
own. Thanks to a rigorous tour schedule, the
Montreal group has only become more comfortable on stage. They clearly have a dedicated fan base in Vancouver, because the
venue was completely packed. I saw familiar
faces in every direction. But, as expected, all
eyes were on lead vocalist, Jane Penny.
Penny had a uniquely enchanting presence on stage. Her vocals carried us through
the set, making new songs seem as familiar as those we already knew. TOPS have
34
REAL  LIVE  ACTION
 released two standalone singles in 2015,
"Anything" and "The Hollow Sound of the
Morning Chimes," and we were fortunate
enough to hear them both live. They are still
touring on their 2014 release, Picture You
Staring, but a third album is clearly in the
works.
The crowd approached fanaticism during
TOPS' closer, "Way to be Loved," but the
show suffered from some loud talkers during
the quieter songs. What's more unfortunate
is that these softer melodies are some of
TOPS' best work. Still, they came back for an
encore, covering The Pretenders' "Don't Get
Me Wrong." TOPS could not have channeled
a better musical ancestor, as both bands
construct a comfortable melancholy while
lulling their fans into absolute infatuation.
— Hannah Thomson
fVV
To have a live show considered for review in Discorder
Magazine and online, please email event details 4-6 weeks in
advance to Robert Catherall, Real Live Action Editor at
rla.discorder@citr.ca.
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BAD SANTA
FRIDAY LATE NIGHT MOVIE
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1  JAN
THE BIG LEBOWSKI
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SCOn PILGRIM VS. THE WORLD R
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ONE TRILOGY MARATHON
TO RULE THEM ALL
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QUENTIN TARANTINO'S
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35
 EIVBFR
1
illustrations by Max Littledale
MON.
TUES.
SHINDIG w/ Late Spring,
Cloudhood, and RE/
GEN @ Pat's Pub
I The Two Character Play <i
I Little Mountain Gallery
I Health, Pictureplane @
I Biltmore Cabaret
14
21
8
SHINDIG w/ Francesca
Belcourt, Speranza, and
ATSEA @ Pat's Pub
The Two Character Play <i
Little Mountain Gallery
15
SHINDIG w/The Psychic
Alliance, Making Strangers, and
Aidan Shamray @ Pat's Pub
Dan Deacon @ Cobalt
22
Pity Sex, Colleen Green,
Eskimeaux @ Cobalt
29
Hot Chip (dj set) @ Fortune
WED.
Big Joy Festival w/ Bardo: Basho,
Joda Clement (visuals by C130),
Strangling Fruit, Phantom Head
Trip and The Butter City Poster
Boys @ Selectors' Records
Cancer Bats w/ Lord
Dying @ Fortune
24 Hours of Student Power!
@ CiTR 101.9FM or citr.ca
The Two Character Play @
Little Mountain Gallery
16
Fake Tears, Dvbais, Terror
Bird @ Askaround
23
30
THUR.
Big Joy Festival w/ Souns, The
Clear Channel, Fortresses, .   '
Nathan Shubert's Pirate Ship,
and Common Vernacular
@ Selectors' Records
Leave album release w/
Eastwood @ The Cultch
Legs, Savvie, Youngblood,
DJ Christa Belle @
Rickshaw Theatre
Wrekmeister Harmonies,
Bell Witch @ Cobalt
10
The Two Character Play @
Little Mountain Gallery
Holiday RAWK 2015
@ Celebrities
L.A. Witch w/ Feels and Eric
Campbell and the Dirt @ Cobalt
17
Saudade: Rise or Fall
@ SFU Woodward's
24
31
■■"*
 JANUARY
FRI.
SAT.
SUN.
DATES
4
5
6
12 (Tuesday)
Big Joy Festival w/ Panabrite,
Toque @ Western Front
Toque @ Western Front
Shindig Semi Finals @ Pat's Pub 1
Flatgrey, Mass Marriage,
Big Joy Festival w/ Daniel
The Two Character Play @
Derivatives, KR75, and Forever &
Sunsmell @ Remington Gallery
Menche, Davachi/Smith +
More @ Remington Gallery
Little Mountain Gallery
17 (Sunday)
The Salvos, AKA, BAMFF, 1
Mint Records Ridiculously
Early X-Mas Party @ Astoria
Jenn Bojm album release w/
Braineater, Gerry Hannah and
the New Questioning Coyote
Khingfisher @ China Cloud
Brigade, and the Judys @ VIVO
Dystopia Dreaming @ Red Gate s
The Two Character Play @
The Two Character Play @
19 (Tuesday)
Little Mountain Gallery
Little Mountain Gallery
Shindig Semi Finals® Pat's Pub
Toque @ Western Front
Dada Plan, Freak Heat Waves,
Gal Gracen @ Rickshaw Theatre
Selectors' Records Presents
Truncate (DJ), Derivatives,
Robin Banks @ VIVO
22 (Sunday)
Majical Cloudz, She-
Devils @ Cobalt
Ty Segall @ Vogue
11
12
13
Filmsoc Beer Garden @
Choms Showcase with
Tacocat and Sallie Ford @ Cobalt
Norm Theatre UBC
Dumb, Fuzzy P, Yolks,
Swim Team, Tesstopia, and
tv ugly @ Askaround
26 (Tuesday)
Shindig Semi Finals @ Pat's Pub
28 (Saturday)
18
19
20
Unknown Mortal Orchestra,
Lower Dens @ Rickshaw
Saudade: Rise or Fall
Saudade: Rise or Fall
@ SFU Woodward's
@ SFU Woodward's
Kingfisher Bluez Christmas
Soft Serve, Painted
29 (Sunday)
Party 8 w/Jody Glenham,
Fruit @ Cobalt
Yu Su album release @ TBA
Village, Imaginary Pants,
The Sumner Brothers Tenth
Grease Thieves, Mesa Luna,
Love Cuts, Girlfriend, and Tim
The Mute @ Railway Club
Annual Xmas Extravangaza!
@ Rickshaw Theatre
SSRIs, Blessed, Redrick
Sultan, tv ugly @ WISE Hall
25
26
I
27
FH|
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JH •'
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 under review
Cult Babies
Off to See the Lizard
(Self-Released)
Listening to Cult Babies feels a little bit like
actually being asked to join a cult. On their new
album, aptly named Off to See the Lizard, the
band is headed down a yellow brick road. But
they're not fooled by cheery smoke and mirrors.
No, with both sound and lyrics bringing up ideas
of the occult and conspiracy vibes, Cult Babies
dig straight into the uncanny world beneath.
Off to See the Lizard — released this October (two years after their debut EP, the self-titled
Cult Babies) — is decidedly noisier than their last
release. Heavy, fuzzed-out guitars and vocals are
underlined by organ and theremin. The album is
consistent but not homogenous: songs move in
a common direction without sounding the same.
The album starts on a lighter note with "Garbage People" and "On a Roll" and gradually
moves into darker territory. On the final track,
"Yes We Cannibal," the band pairs intense minor
chords with lyrics that suggest a serious danger in
being unable to "see it any other way."
"Fuck Money" is a definite standout. Beginning
with noise that gives way to a top-notch organ line,
moving forward to group vocals over a drum solo
before culminating in a powerful ending. Listening to this song always makes me want to see Cult
Babies play live. I imagine how their ability to build
energy through a song (and throughout the album
as whole) in recording could be amplified on stage.
The band's use of the theremin, particularly
noticeable on the intros to "Garbage People" and
"Fuck Money," is reminiscent of golden-age horror movies, as in aliens coming to Earth to suck
away your individuality in true cult-leader fashion.
Nowhere is Cult Babies' representation of indoctrination more evident, however, than on track
four, "Yenom Kcuf" — 36 seconds of the chanted
phrase "fuck money" played backwards over a
distorted guitar line. This half-minute of noise
reveals an ironic dichotomy in underground music
scenes, where anti-conformity becomes something to which you conform. "Yenom Kcuf" reveals
that conformity is impossible to avoid, because
rejecting our capitalist norm would mean embracing Cult Babies' back-masked doctrine to "fuck
money." The track is also laughably strange and
adds to the band's cultish aesthetic.
"Yenom Kcuf" raises the question: are cults a
form of dangerous conformity or a group of radical non-conformists? It is hard to say whether
Cult Babies criticizes, embraces, or just likes the
aesthetic of cults, but they are making some seriously groovy music regardless. Off to See the Lizard has me nodding my head no matter where I
am.— Claire Bailey
UNDER  REVIEW
43
 Dead Ghosts
Love And Death And All The Rest
(Burger)
"Aren't ghosts already dead?" you might ask.
Semantic confusion aside, Dead Ghosts deal in
the sort of gutsy garage rock that is waiting to
soundtrack your next road trip. Their third LP,
Love And Death And All The Rest, comes to us
courtesy of indie powerhouse Burger Records:
a label that eschews the adage of "quality over
quantity" by simply having tons of both.
The album jolts into action with "Another Love,"
a song which, with its sun burnt guitars, plodding
bass and unexpected psych freak-out, would have
made Captain Beefheart proud. Indeed, the album
cover of LADAATR is reminiscent of Beefheart's
Safe As Milk. Yet it's fractured and scrawled over
in black ink, an artistic decision reflective of Dead
Ghosts' work as a whole. The band resurrects
the sounds of classic psychedelia-infused garage
rock (a backwards guitar here, a tremolo-laden
organ there), whilst the on-point production
spruces them up for a fresh sound.
"Upside Down" transports the listener from
Dead Ghosts' native Vancouver to the searing heat
of the Mojave Desert: rattlesnake-like vibraslaps
whirr and crickets croak over languid country guitars. "You said you'd rather be dead / Than playing on The Top of the Pops," frontman Bryan Nicol
drawls. Clearly Dead Ghosts aren't aiming for the
mainstream. And that's just fine by them. Indeed,
although more ambitious than their previous two
albums, LADAATR is perhaps too left-field and
lacking in hooks to make Dead Ghosts the kind of
success that kindred spirits Black Lips are.
However, crossover success or not there is
a lot to love about this album. The second half
covers so much ground musically that it's almost
hard to keep up. "Living In My Mind" could soundtrack Tarantino. "Waste My Time" starts out Sabbath then ends up psychedelic surf-rock. And
"Anything For You" is a heartfelt Smith West-
erns-esque love song. Final track "I Will Be Gone"
sounds like the soundtrack to the last dance at
the punk highschool of your dreams, its heartsick
'60s backing vocals giving way to screeching guitars and feedback before fading away. "I will be
gone" Nicol laments. But I for one am hoping that
Dead Ghosts are around for a long time to come.
— Caleb Fanshawe
Girlfriends and
Boyfriends
Our Garden
(Pop Era)
The first full-length LP from Vancouver's
Girlfriends and Boyfriends, Our Garden sounds
exactly like it's supposed to. That is, it sounds like
a new wave album. Unfortunately, that's about it.
. Since they began releasing tracks in 2010,
Girlfriends and Boyfriends have developed their
sound from bright, spunky britpop to a dark, plodding new wave. The guitar lines are still perky
punk, but they quickly become bogged down by
over-produced, morose vocals. At times the pro-
44
UNDER  REVIEW
 duction creates a deep, heavy sound that dips into
goth rock. The tempos tend to drag.
Opener "A Flower" was possibly an ill-fated
choice, evidencing as it does these worst qualities of the album. The rest of the tracks don't
offer much variety, continually invoking lyrical
cliches that undermine whatever progress
they might make by adding in more interesting
arrhythmic synth and drum elements. For reference, see "Hearts Undone" — "Moon on the rise /
Light in, our eyes / Hearts come undone / Waiting
for the sun."
While the beat of many of the songs gets lost
.beneath indistinct, sludgy composition, side B
starter "Without Me" picks up a bouncier guitar
line that makes for more danceability. This style
is similarly heard on closing track "Cost of Living," suggesting where Girlfriends and Boyfriends
might want to devote more of their energy.
New wave is a genre that has its roots in deviation and exploration, but rather than adding to
this legacy with their own unique additions, Girlfriends and Boyfriends sound like they were given
a few greatest hits albums and decided to form
a tribute band. While definitely 'doing' new wave,
they aren't really contributing anything to the
genre. There was better music being made when
it was actually a new wave of music, and Vancouver new wavers would be better off sticking to the
classics until Girlfriends and Boyfriends get more
exciting, or something better comes along —
Elizabeth Holliday
UveVan.com: Part of a network of concert calendars
completely updated and populated with details by
thousands of Informed members of the music industry
Integrated with local prattles frt i
Vancouver Musicians Dir
the CiTR Radio Sponsored
Vancouver Band Directory
and the
Vancouver Music \
8 Resource 1
Community
Moonwood
Desert Ghosts
(Arachnidiscs)
Split into two suites, Moonwood's latest
release, Desert Ghosts is a voyage through parallel terrains — in both the physical and metaphysical sense.
The first half of the album is an "Earthbound
desert rock" trip through the Mojave Desert. Track
one, "Trans Mojave Express" has a groovy rhythm
section playing behind an ever so slightly varying
synth progression while fuzzy layers of overtones
and undertones paint the scenery passing by.
Basic song structure and melody remain
intact throughout the first suite with some tracks
sounding more or less the same as each other.
Repetition and improvisation seem to find their
own equilibrium from time to time: a core characteristic of the band's krautrock roots. Most tracks
are instrumental jamming platforms with monumental potential that allows the band to build up
as much as they please for however long they
wish. Occasionally a haunting, echoing couplet or verse drops by in the hypnotic voice of
Jacqueline Noire, who's also in charge of the lead
synth.
The first suite has high speed action drawing attention to frontman Jakob Rehlinger's
expansive guitar and Luca Capone's drums. The
second half is nothing short of an interstellar road
trip. The "Trans Arrakis Express" suite is named
for the desert planet of Arrakis from Frank Her-
UNDER  REVIEW
45
 bert's Dune, and its sound moves towards the
mystic with tracks that strip the music to a min-
imalistic mixture of beat and melody. It's a combination so natural that it turns into an excess of
psychedelia —- an attack on the conventional perception of time. Middle-Eastern instrumentation is
most prominent on songs like "Ghoia Dance" and
"On the Funeral Plane." It's an element that brings
a sense of comfort and familiarity to the travelling
stranger passing through an unearthly terrain.
Moonwood forms a collusion between multiple influences in terms of their music, blending
middle-eastern percussion and late 60's German
synth with utter subtlety.— Harsh Trivedi
Soft Serve
S/T
(Self-released)
The first time I listened to the self-titled full-
length debut of Soft Serve I was immediately
comfortable. Everything from the simple and
steady drumbeats, to the lightly shimmering guitar lines, to the never-anything-but-calm vocals,
made Soft Serve one of the most relaxing records
to come out of Vancouver in the past year. Even
the pace at which the band releases their music
is laid back — their only prior release is a three-
song EP from over two years ago.
Upon listening to it again, attempting to get
a better sense of the songs, of the band, of the
personality of the music, I found myself exactly
where I was the first time around, it's nice, it's
easy and that's about it. Streamlined against any
excess, every one of the nine songs is pleasant,
through and through. Made up of two guitarists,
a drummer and a bassist, all doing exactly what
one would expect of them, Soft Serve isn't afraid
to keep it simple.
By the third, fourth, fifth listen, I struggled
to find any more to say about it. With bands of a
similar sound — i.e. Real Estate, Mac Demarco,
Beach Fossils — already occupying a large space
in the popular contemporary music sphere, Soft
Serve are playing to a well-established audience.
They lack a certain amount of the clarity of Real
Estate, the character of Mac Demarco and the
emotional directness of Beach Fossils, but Soft
Serve still sound just as comfortable playing their
sunny, relaxed guitar music. While the tempo of
some of the tracks are certainly set at a danceable pace, the simple instrumentation, conservative use of effects and reliance on traditional pop
song structure make the entire record feel thoroughly easy-going and routine.
Perhaps boring is too strong a word to
describe Soft Serve. But it can easily be described
as unimaginative, conventional and safe. Soft
Serve may not be serving up anything we haven't
heard before, but they certainly know that everyone likes vanilla.— Jasper D. Wrinch
y     '   *:'
mm^.:
Thus Owls
Black Matter
(Secret City Records)
Thus Owls— a newfound species of nocturnal hunting birds, a hybrid of Swedish and Can-
46
UNDER  REVIEW
 adian origins. They inhabit an enormous variety
of ecological niches, from stars to planets: the
husband-and-wife duo of Erika and Simon Angell
have extraordinary traits. Because of their superb
night vision and precise depth perception, they
can see the invisible mass that holds the entire
universe together — the dark matter. The duo's
thick feathers absorb the sounds caused by this
enigmatic force in our planetary system, releasing
them into their new EP, Black Matter.
In Black Matter, electromagnetic fields are
created by confident synthesizers accompanied
by intelligent string arrangements, varying from
crazed guitars and howling violins, full-bodied
cellos and shadowy pianos — something like circuit bending the baroque music era. Drums, committed to passion, grace the overall synthesis,
which is elevated by versatile vocals constituting
a mixture of Shara Worden and good ol' Bjork.
Erika Angell has an alluring, sui-generis
voice with which she interprets the sound profile
of Black Matter in human language. Sometimes
she resembles a classical choir and other times
a jazz improviser. Sometimes she mumbles and
other times her heart blasts out as Thus Owls fly
from planet to planet collecting their six songs:
Mars: Born on the peak of the largest mountain in the solar system, "Asleep In The Water"
has an inherently epic quality. Martian coyotes,
eagles and other alien creatures recount legends
of inner battles.
Venus | The birthplace of "Black Matter,"
a multi-layered song made of heavy, toxic carbon-monoxide. Ferocious and compelling, it traps
huge amounts of heat and its texture is marked
with volcanoes and canyons.
Mercury | The smallest but most generous
planet of all. Mercury donates "Shields" and "Turn
Up The Volumes" which swing between burning
and freezing temperatures.
Jupiter | The distant and largest one. It produces "Vector," which is colourful but wordless. The
bands of "Vector" are arranged in dark belts and
light zones formed by a strong, northwest wind
reaching its crescendo at the end of the song. It is
dreamy, massive, remote and one step closer to
eternity.
Earth | Life as we know it. Our homeland
where "We Leave And Forget" inside oceans
and oxygenated skies, nests and human homes.
Rivers of shape-shifting jazz and blues notes are
abundant on "We Leave And Forget." It is a humble celebration of all living things as we know them.
Black Matter matters. Don't wait to change
your cosmic address to learn of the unknown.
Thus Owls have already invited us to secret
places we will be wanting to come back to —
they are not spooky, but pleasantly haunting.
— Theano Pavlidou
TV Freaks
bad luck charms
(Deranged)
As the first chord of the thunderous opening
riff smashes through your eardrums, it is clear that
Ontario's TV Freaks are as angry as ever. The Hamilton hardcore four-piece have made a name for
themselves by creating the type of supercharged
punk-rock of which The Stooges themselves would
be proud. Rattling through songs at a rate of knots
is their trademark, so TV Freaks are not straying far
from familiar territory with bad luck charms.
Do not mistake this. TV Freaks' third record
represents a move forward since 2013's Two. The
production itself sounds — and whisper this —
'polished.' Before long-term fans start to run for
the hills, let me explain myself. It was never going
to be an Ellie Goulding record produced by Calvin
Harris, but it is certainly more refined compared to
their previous, DIY style work.
The new record also demonstrates a step
UNDER  REVIEW
47
 forward in musicianship and confidence. There's
barely an atmospheric bum-note to be found, with
the band no longer hiding behind the lo-fi production fuzz their genre is susceptible to. The songs
benefit from this newfound assuredness, pushing into new territory. The slowed down marathon
"FORGET YOU" sees frontman Dave O'Connor rasping "Forget you! / That's all I ever do!"
with ever-present gusto, over a riff that almost
resembles 12-bar blues. Whilst "Love Fade" also
utilises a slower tempo as O'Connor pries beyond
his satirical deflation of a failed relationship and
opens with "Don't wanna spill my guts / My mind
has had enough." It's a world away from "Cut, cut,
cut, cut..." on Two's lead single "Knife."
TV Freaks have not forgotten the ramshackle
punk formula which they built their reputation on.
And why would they? "Pick My Brain" and "Song
for RJ" — the latter has a contender for riff of the
year — are the primest examples of why the band
has such a committed following. They write classic
punk rock that is uncomplicatedly enjoyable. Lead
single "Thirteen" will also make you start pogoing
no matter where you are or what you're doing.
So bad luck charms is progression, yes. But
it is more TV Freaks doing what they do best. It's
not revolutionary but good quality punk-rock is
hard to beat and I, for one, hope they continue to
churn out albums of the same nature until I can
bounce no more.— Sachin Turakhia
Ummagma
Frequency
(Raphalite)
It's often difficult to find music that strikes an
even balance between atmosphere and musical-
ity. I personally find that when one triumphs the
other seems destined to fall short, as busy musicians get caught up in this perfect sonic texture
or that well-composed chord progression. However, upon listening to Ummagma's latest album,
Frequency, I was pleasantly reminded that there
are groups out there that have conquered this
creative pitfall and risen above the norm. The
dreamy, 8 track EP features remastered versions
of "Orion" and "Lama" (off of two of their previous
albums released in 2012), as well as 3 brand new
tracks and a bonus 3 remixes of the track "Lama."
The Ukrainian-Canadian (husband and wife)
duo comprised of Alexander Kretov and Shauna
McLarnon are by no means fresh on the scene,
having won numerous accolades and several coveted chart positions since the release of Ummagma
and Antigravity in 2012. But their most recent
album makes a significant departure from their
earlier work. A blend of Brian Eno-esque ambience and airy, reverb-drenched vocals provide a
rich textural base for the album from start to finish.
Kretov's instrumentation and sound design top off
the mix and keep the album sonically interesting
throughout as well. The snappy, seemingly improvised guitar in "Orion" is satisfying, cutting through
the track's mid-heavy crescendo nicely towards the
end. The driving rhythm behind "Winter Tale" pro-
48
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 vides the same sort of satisfaction as it seems to
pop up from beneath the wash of reverb and synth
pads and pulls McLarnon's honest vocals along
through the thick, surrounding ambience.
Whereas Antigravity and Ummagma's self-
titled album borrow influence from post-rock acts
like Mogwai or trip-hop outfits like Portishead,
Frequency etches out a new niche that blends
downtempo elements with art-rock, using less
organic instrumentation and boasting a more
electronic sound. Though this new collection of
songs is a change of pace for the band, the direction seems to be distinctly their own, leaving
their inspirations far more difficult to pin down.
Ummagma has effectively found middle ground
between atmosphere and structure on this latest
record. And with such a dramatic change from
their earlier work comes the opportunity for
growth; for Ummagma to continue to define a
sound that belongs entirely to them.— Mat Wilkins
Young Galaxy
Falsework
(Paper Bag)
The feeling of breaking free of the usual grind
is universal. Whether escaping into the city or staging a dance party in your friend's room, the promise of escape is often what propels us through
tedious times. Young Galaxy has observed this.
And the Montreal group has crafted a soundtrack
especially for those feelings.
Young Galaxy has been making music since
2006: Falsework is their fourth album. The band
layers ethereal, electronic, bass-heavy beats with
the crooning voice of Catherine McCandless. The
dynamic is electronic and spunky, but the underlying beat is hearty and intriguing.
While it's upbeat and energetic throughout,
the album progressively gets more sentimental
in tone. The song "We're No Good" stands out
from the rest of the album. While most of the other
songs are positive or mystical, this song is specifically about recognizing a toxic love: "I finally
see what you're looking for / A little piece of me
/ To take away for free." It's very touching in the
midst of a feel good, free wheeling album. However, it also manages to be liberating and fit with
the mood.
The whole album flirts with wanting to find
love, sweetly reminiscing, and creating your own
fun. Many songs start with a high energy hook, let
the vocals lead for a bit, then dive back into the
spotlight for the vibrant and cathartic choruses.
The relation between the vocals and the sonic
landscape are strongest in the song "Pressure."
A small, playful beat quietly coexists amongst a
voice questioning the reality of unfulfilling work.
The underlying music feels like a wave rushing
in at the same time the lyrics start to get really
liberating, until the song gets to the culminating
thought: "There must be / Ways of making a life
for more than a living." These various focuses and
slight ambiguity make the entire piece so rentable. Any essence can speak to you; you can
choose what to emphasize for the night.
The root of what this album provides is hope.
Bursting dance beats, accompanied by a lyrical
glimpse of what could be, suggest to the listener
that the potential of change is in the air, and that
mundane rituals will be altered.— Katherine Kott
!!!
To submit music for review consideration in Discorder
Magazine and online, please send a physical copy to
the station addressed to Jon Kew, Under Review Editor
at CiTR 101.9FM, LL500 6133 University Blvd., Vancouver BC, V6T1Z1. Though our contributors prioritize
physical copies, you may email download codes to
underrevlew.discorder@citr.ca. We prioritize albums
sent prior to their official release dates.
UNDER  REVIEW
49
  I F
CALCULATEDLY ABSTRACT
words by Natalie Dee // illustrations by Kat DombSky
photo courtesy ofYu Su
"More scientific than
music... it's all about
how to construct
things and get the
timing right."
The original plan was to grab a coffee at Great Dane with electronic artist Yu Su between classes, but when we
arrive it's packed to the brim. However,
it's easy enough to come up with a contingency plan once we realize we're in the
same anthropology class next, the both
of us discussing our term paper topics
as we trek to UBC's Museum of Anthropology. We end up sitting down in the Bill
Reid Gallery, visitors strolling by as Su
fills me in on her upcoming debut release,
AIYEScM.
Su is a self-taught DJ and producer,
picking up the program Audiotool in early
2014, after weeks spent digging around
Soundcloud in a quest to fuel her vor
acious appetite for new sounds and beats.
This quest was spurred on by over 14
years of piano training in China, where
she was never really into the theory, but
"was always really good with senses and
rhythm." With AIYE SIM, Su has created
a collection of beats and post industrial
sounds, all from sampled music — an
ethereal swirl that is simultaneously lofty
and grounded.
Her composition process is more
focused on the visual than the sound, Su
describing the endeavor as "more scientific than music... it's all about how to construct things and get the timing right." Su
lines up all the channels on her screen to
get a visual and goes from there "so you
see where everything goes, and everything's in order."
The platform on which she creates and
crafts is Ableton, a program she initially
struggled with. It wasn't a matter of a creative block, but rather one of skill — Su
found herself unable to finish a track,
leaving things unfinished for months at a
time. It wasn't until she took the time to
become familiar with the program that she
found success, just like any other musi-
YU SU
51
 cian learning their instrument.
Nowadays, she doesn't have "the concern of not knowing how to make sound"
— instead, Su will start and finish a
track in one fell swoop. On AIYE SZM, Su
focuses on the expression of her past emotions, anxieties and experiences, which by
nature are unchanging.
These past anxieties Su is addressing
with AIYE S£M include overcoming language barriers and the culture shock from
when she first came to Canada. "I would
always get self conscious about being
around people and wanting to express
myself, because sometimes I didn't know
how to say it in English," she explains.
This led to a sense of identity ambiguity
for Su — "You like work so hard to get used
to this other kind of language and cultural
system, some part of my own identity just
got lost."
She has brought this sense of cultural ambiguity and duality with the very
title, AIYE SZM, as it appears in both English and Chinese as a nod to her heritage. Su doesn't want to be "aggressive with
[her] identity," but she wants to strike a
balance between how she wants to represent herself, as opposed to the expectations of others. Aiye is the name of a Chinese herb, the sound of the word is something Su found aesthetically pleasing. The
motivation behind including the Chinese
characters is a medium through which Su
believes she can express ownership over
her culture. The title is far from just an
aesthetic or something that Su feels she
has to do because of her heritage — as she
admits honestly, she wants to be able to
tell her mom that "this is what it [the title]
means."
"My identity is more abstract and
ambiguous with this album," Su states
as she explains to me her friendship and
collaboration with Li Wei, a photographer
based in China whose images have had
a strong influence on Su's sound. "[The
1PW'
!■;$%■
■ '111
.
photos] are very atmospheric, which was
what I was trying to make with my music...
it's not hi-fi, there's no subject or object,
you can't find anything." It's this broadness and timelessness that Su aims to
recreate with her music, every beat carefully placed to achieve that effect.
Su has had an abundance of support
from her many friends who convinced her
to get enough tracks together for AIYE ScM
and release it, inspired by the successes of
women around her. One of these friends is
Soledad Munoz, founder of Genero — an
all-female electronic-music label that is
currently making waves across the Vancouver scene. Initially, Su had her reservations about the label, but is now quick to
praise the positive impact Genero has had
on the scene, especially after her personal
experiences with appropriation and sexism. "The label includes all different kinds
of music-making and processes, and how
52
YU SU
 different female artists represent themselves. It's not linear," Su says, explaining the diverse kinds of feminism she sees
at the label and how it has succeeded in
creating a better atmosphere for female
artists.
It was in her days as a DJ that Su
experienced some of this sexism, and
when it comes to live performances, Su
says she has other projects on the horizon with collaborators that would be more
suitable. "When I play live, I want people
to dance," she insists, and as her music is
so computer based she doesn't see an AIYE
ScM show being much fun. In addition, Yu
says the songs featured on AIYE SIM are
"more personal and intimate — I don't feel
comfortable presenting that kind of emotion in front of people."
From the long list of projects she's
mentioned  throughout the interview,  it
seems as if this is just the start for Su
as she positions herself to make her first
mark on the electronic scene and assert
her own identity through her meticulously
crafted sounds on AIYE SIM.
AIYE ScM will be released January 29 on
Genero, accompanied by an exhibition.
Additional details to be announced.
YU SU
53
 ALL THAT GLITTERS
words by Brody Rokstad //illustrations by Cristian Fowlie
Photos by Alisha Weng
"It's a nerdy
indulgence."
There's an incredibly productive group
of artists doing an impressive array of
things around this city, and chances are
you haven't heard of them yet. But if you
consider yourself either a patron of the
arts scene in Vancouver or a part of it
yourself, I'd be willing to bet that you've
encountered their work in some way,
shape, or form over the last few months;
this group seems to be everywhere. They
call themselves Gold Saucer, and I recently
sat down with some of the members at
their new location in the Dominion Building at Hastings and Cambie to talk about
what they do.
So just what is Gold Saucer? I suppose you could call them a collective of
sorts, but rather than working as a unified whole, they instead collaborate with
each   other   according  to   the   technical
needs of their various projects. The majority of their individual projects are actually
collaborations with people outside of the
core tenants. The breadth of their collective talents is truly impressive, and when
combined with the technical expertise of
the entire membership, these artists are
able to provide support to each other and
the community in a wide range of creative
endeavours. This group is capable of a lot.
Sepehr Sarnimi, a filmmaker responsible for the acclaimed short films, Grey
and Turquoise and currently working in
new media, explains the cooperative and
versatile nature of the group. "What we
do is very interdisciplinary, so in a way it
doesn't matter what medium a person is
using. None of us are really confined to our
own media. With the nature of the technical stuff that we do, you often end up
delivering things for other people's visions
— almost like we've adapted to become
people who are considerate of the person's visions as intended. We are adding to
those creative visions."
Remy Siu — in addition to being a
highly productive composer whose work
has been performed by the Vancouver
54
GOLD SAUCER
 Symphony Orchestra and the Victoria
Symphony among many other organizations, also works in new media. He
expands on Samimi's point. "Working in
music, and working in new media production, it's a very modular role in that we can
work in theatre, we can work in dance, we
can work in music, we can work in film, we
can work in pretty much most media in the
performing arts. We're very lucky that way,
that we can do that." And indeed, that's
just what they do. Collectively they have
worked in all of these areas and more.
An interesting collaboration recently
occurred between members Paul Paro-
czai and Terence Grigoruk for a project
called "Ghost in the Machine." Paroczai
is a composer, an electroacoustic instrument creator and an installation artist,
and recently acted in and provided technical support for Barbara Adler's musical
Klasika. Grigoruk, whose skills include
dramaturgy, video, tech design and operation, has applied his skills in theatre
productions such as "We'll Need a Piece
of Cake Before We Die" and in numerous art installations. (Are you starting to
get a sense for how accomplished these
people are?) With "Ghost in the Machine"
they collaborated alongside Martin Gotfrit
(their professor while at the SFU School for
Contemporary Arts) for a motion tracking
dance software (GiTM) that writes music
based on how dancers move their bodies.
"It's basically a generative music system
that composes its own piece, and we basically developed an interface for that that
feeds it with data from dancer motions,"
explains Grigoruk. "So it's a combination
of a motion control system, but it's also
a generative music system." Paroczai and
Grigoruk have both explored this concept
further, and have put on similar performances in the Gold Saucer space.
Kiran Bhumber, a classically trained
clarinetist, composer and a programmer, also worked recently on a movement
GOLD  SAUCER
55
 tracking device called Pendula. Pendula is
an installation in which motion sensors
are installed onto a swing set that then
responds to any physical interaction with
sonic outputs. "It becomes a sort of amalgamation of movement within technology
and seeing how that affects individuals
in the space and how the user becomes
part of the artwork, or the output of the
artwork." It seems that a motion tracking
theme of sorts could be said to be emerging from this innovative group.
Of course, a group that is innovative
by nature will always be improving themselves. Gold Saucer has a found new space
for itself, and it's a definite upgrade. The
space serves the same basic functions
as the previous one — a place to work, to
showcase performances, and a space that
other artists can utilize for various projects. The group is excited about this new
space because it's quieter, more central
and best of all, more soundproof. This is
a shared space in which they can work,
learn, and grow together as artists.
Milton Lim — a theatre director, performer and co-artistic director of Hong
Kong Exile Arts Association — has also
done some projection design and seeks to
expand his technical skills simply by being
in close proximity to the others in the
group. "These guys have so much knowledge and the presence of Gold Saucer
has really kept me going. I have resources
readily available if I ever need them." Not
only do they teach one another, but the
group also offers its collective and formidable skillsets to whomever they work with
to enrich the process. Paroczai explains, "I
feel like making people aware of what they
could be doing with technology is a big
part of what we do. A big part of this space
is conceived on the basis of enabling — in
making something available to people that
maybe they didn't know of before."
And the name? True to their digital
focus, the name Gold Saucer comes from
Final Fantasy VII. It's a separate space
within the video game where the avatar
can go to gamble and play various mini
games. "It feeds into what we're saying
about multiple functions," says Grigoruk.
"It's a place where you go to have fun
and indulge, and that's what Gold Saucer is about." The members of Gold Saucer have all been inspired by video games
56
GOLD SAUCER
 YEAR IN
REVIEW
A YEAR OP LAUGHS IN ONE SHOW
DECEMBER 26 - 31
MPROV CENTRE,  GRANVILLE ISLAI
*LM'E« «fc PI Eft
«»©*>
4HGD1&
3240  Main   Street
G04 5C8 5130
F AS IN FRANK VINTAGE CLOTHING
242S MAIN ST. VANCOUVER. BC
 at one point or another in their lives, and
given their accomplished technical skills
it seems fitting to have the inspiration for
their name come from a digital source. "It's
a nerdy indulgence," laughs Siu. "We gave
the space a name so we could stop referring to it as 'The Space.'"
Gold Saucer is a collection of highly
productive, multi-disciplinary artists
doing innovative work around the city. It
is inevitable that they would attract attention. In addition to Samimi, Siu, Paroczai,
Grigoruk, Lim and Bhumber, Gold Saucer
is also home to artist Alex Man and choreographer Mahaila Patterson O'Brien, for
a total of eight members. They're a relatively new group and they're well poised to
grow in both breadth and reach. For anyone with an eye on the local arts scene,
these creatives are ones to watch.
While there is no Gold Saucer website,
each artist is currently working on projects.
Paroczai, Grigoruk and Bhumber recently
participated in the Third Annual Elec-
troacoustic Festival at Western Front November 20-21. In the near future, Mah is involved
in the EDAM Residency's First Showing
December 11, location TBC. "Saudade: Rise
and Fair at the Goldcorp Centre for the Arts
December 17 and 19 features media by Sui,
and a mesmerizing trailer by Samimi Patterson O'Brien is premiering a performance
with the Warehaus Dance Collecting at the
Roundhouse Theatre January 17. Paroczai
is assisting on a new work of imaginary theatre presented by The Party January 29-30
at the Goldcorp Centre for the Arts.
58
GOLD  SAUCER
 A MUSICAL EDUCATION
DISCORDER REVISITED
words by Erica Leiren
illustrations by Alicia Lawrence
I grew up on a varied musical diet:
Zorba The Greek, country, folk and lots of
classical. Waking up to Gordon Lightfoot's
"Alberta Bound" is a happy childhood
memory. My three sisters and I had free
range to flip through the stacks of records
and our parents didn't mind us roller-skating around the living room to songs at high
volume. We had sisal carpets — scratchy if
you fell, but we never did.
In Grade 10 at Balmoral Junior High
in North Van in 1976, I took guitar. Our
patient music teacher, Miss Christiansen,
taught us massed on risers in the music
room. It was fun and inspiring, and for me,
it led to classical guitar, then later at UBC
to a string of original bands.
That same year the English teacher,
Mr. Paynter, a gentle rugby-playing giant
who kept our boisterous class in line with
humour  and   an   enlightened   sense   of
humanity, sponsored a small radio club
it was me, and the cool guys who knew
about rock. KISS was very big then and
four members of our radio club were Balmoral's garrison of the Kiss Army. Steve,
Kevin, Scott and Nigel had presence. They
were big, tall and dressed routinely in
black leather jackets, platform boots and
band tees. They called each other only by
their last names. The four of them strode
abreast down the hallway like they owned
the school. But they were all nice guys,
just more confident in their musical styles
and tastes than the rest of us.
The radio club set up was simple: in
the school office was a record player, the
desk microphone and PA used for making announcements. You put on a record (for example, Van Cliburn's legendary
piano performance of Mozart's "Rondo A
la Turka," the first classical record I ever
owned), and then you would talk about it
before dropping the needle into the groove.
I called my show "Classical Gas," starting
it off with Mason Williams' unlikely guitar hit by the same name. It was all classical music, which made my show unique
DISCORDER  REVISITED
59
 — the 'Others were playing contemporary
material.
The others in the radio club had been
exposed to actual pop music. I had only
ever heard it at school dances, where local
bands played Top 40 covers. I remember
thinking in Grade 9 what an awesome band
we had gotten for our school dance, with
two songs I especially liked: "Fox On The
Run" and "Smoke On The Water." I had no
idea these were not their own songs, and
thought it routine that our school would
host musicians with such excellent repertoire. The Sweet and Deep Purple... if only.
Some Fridays there was lunchtime
entertainment in the gym. One of these
Fridays was a band called Burnt Toast
thrown together by several of the Kiss
Army guys including Steve Robertson and
Kevin Crompton in radio club. I don't recall
the songs so much as their images and
attitudes — exciting, loud and confident
with a sly wink. You could call it proto-
punk-rock, though we had not yet heard
it named. In the bleachers we cheered and
stomped for more, and even the teachers
smiled at the showmanship. In a trajec
tory that blazed from KISS and Rush fan-
dom, to Burnt Toast and beyond, Kevin
(now cEvin Key) grabbed the brass ring as
a founding member of seminal Vancouver
industrial band, Skinny Puppy. Steve went
on to become a popular CiTR DJ (most
notably, for Soul Galore with his co-host.
Anne Devine [Now Anne Robertson]) and
CiTR President from 1983 to 84. Steve also
replaced Jazbo on bass for the Actionauts
in the later part of their music-making.
While at UBC, I was often at CiTR, an
environment that fosters and encourages
local bands. That early support and the
amazing people I met at CiTR led to further
musical adventures in bands that charted:
The Dilettantes with "Dunkel Augen,"
"Gregory's Girl," and "Turn Away," ant} The
Hip Type with "Illumination," "Mary Baby"
and "Bluebottle Flies." But that's another
story...
60
DISCORDER  REVISITED
 THE HOT SEAT
NO FUN FICTION
words by Mitchell Mathews
illustrations by PriscillaYu
Jim was sick of seeing the sad longing
everywhere, especially in himself. It was
ridiculous. He'd seen a sad, bland man sit
near a similarly bland looking woman, on
a nearly empty TTC train one.night, and
from the get go the man began to longingly
ogle her. The only other people on the train
were Jim and this kid standing a bit further down with music blaring from his
phone. He was a fairly tough looking kid
but the music was candied pop. When the
woman got up and left, Jim watched with
a scowl as the bland man moved over to
the seat where the woman had been sitting. In her seat he suddenly had a look
of intense satisfaction as he basked in the
lingering warmth of the woman's behind.
The sappy song playing from the aloof
kid's phone had an abominable effect on
the scene. Jim remembered having withheld the desire to spit on the floor.
A few months later, Jim entered a train
that was about half full. He looked around
for a good spot where he could stretch out
his legs. An attractive young woman moved
the bag from the seat next to her onto her
lap and* Jim felt that it'd be rude not to sit
there now. He sat down and pulled out his
book. But he couldn't concentrate because
the woman next to him was jostling her
leg slightly, it would occasionally rub
against his, and worse, she smelled nice.
When it was her stop, she started to stand
up and Jim also stood up, to make room
for her to get by. The lady smiled at him
and said "Thank you," gently. Jim mumbled something, and then unthinkingly sat
down in her seat, as it was a window seat.
He noticed the still very present warmth
of her bum. It hugged his and he almost
smiled and felt like closing his eyes and
sighing a little. But then he remembered
NO  FUN  FICTION
61
 the bland man and regained his composure. Packing away his book, he pondered,
while still enjoying the warmth.
Jim had spent the last couple years
responding to a personal crisis of meaning
and he now saw his only source of hope
was to live life here on the ground, not in
the mind or the screen, or in other forms
of escape. This was his chief concern
about the lingering butt warmth: the girl
was gone. It was just some fantasy that
remained, like a cheap way of distracting
himself from, while simultaneously deepening, the lack he felt. Jim supposed it
would have been okay to merely enjoy the
feeling of having his butt warmed on the
subway there, but would he feel the same
way if it was the seat of some fat, dirty construction worker? No, he'd be repulsed.
But was the warmth, the energy, any different? A cold-blooded creature wouldn't
care. But he was no reptile. Was he?
He thought about moving to a cold,
untainted spot, but then felt adamant about
not. He liked the woman and he'd been
lonely for a while and always practically,
because even when he was with a woman,
he really wasn't there, and neither was she.
He was bothered by the fact that it being
the warmth from a pretty woman somehow legitimated the enjoyment of it in his
patriarchally warped mind, but he couldn't
easily erase these effects of his socialization. At least the butt warmth came from a
real woman, even if she was now gone. But
wasn't it this kind of weird settling for literal
leftovers that prevented him from actually
initiating real relationships? But further,
wasn't this second guessing of everything
also anathema to living in the embodied
moment? It smelled a bit like Christian
self-flagellation and confession. Should he
have said something to her maybe? But
what would he have said? If it was something that came directly from his feelings,
like "you smell nice," it would've been weird,
and if it was something designed to be less
weird, that'd even be weirder, like some sort
of 'pick-up artist' asshole would do. Should
he just accept that he might seem weird at
first? But if he were talking to her anyways
he'd probably be doing it with some intention for the future, to date her or something, and that meant that the whole thing
would be fucked from the get go because
he wasn't living in the moment, but being a
slave to the future, and to reified concepts
of the self, of love and relationships, and oh
so many things. Jim felt doomed. He got up
out of the seat and went to leave. But then
he realized that the train was a couple minutes from his stop, so he just stood there
shaking.
Mitchell Mathews is trying to get out
of his head. Writing does not seem to
help. Over the next couple months, he'll be
heading north from LA.
62
NO  FUN  FICTION
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UBC ARTS ON AIR
ALTERNATING WED. 6(PM)
Ira Nadel, UBC English, offers scintillating profiles and
unusual interviews with members of UBC Arts world.
Tune in for progr(am)s, people and personalities in Art
THE COMMUNITY LIVING SHOW
THU.   9(AM)
This show is produced by the disabled community and
showcases special guests and artists. The focus is for a
positive outlook on progr(am)s and events for the entire
community. 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. This progr(am)
is syndicated with the NCRA (National Community
and C(am)pus Radio Association) across BC and
across Canada. Hosted by: Kelly Reaburn, Michael
Rubbin Clogs and Fri.ends. communitylivlngradio.
wordpress.com | communitylivingradio@gmail.com
| Community Living Radio Show | @clivingradio
| #communitylivingradio
NEW ERA ,
ALTERNATING THU. 7:30(PM)
Showcases up and coming artists who are considered
"underdogs" in the music industry. The show will provide a
platform for new artists who are looking to get radio play.
Hip-Hop music from all over the world along
with features of multi-genre artists.
LANGUAGE TO LANGUAGE
MON.   11(AM)
Encouraging language fluency and cultural awareness.
WHITE NOISE
SAT.   8(PM)
Need some comic relief? Join Richard Blackmore for half
an hour of weird and wonderful radio every week, as he
delves in to the most eccentric corners of radio for your
listening pleasure. Then stay tuned for the after show
featuring a Q and A with the creator, actors and a guest
comic every week.
whitenoiseU BC@gmail .com
UNCEDED AIRWAVES
MON. 11(AM)
Unceded Airwaves is a radio show produced by CiTR's
Indigenous Collective. The team is comprised of
both Indigenous and non-Indigenous people who are
passionate about radio, alternative media and Indigenous
topics and issues. We are committed to centering
the voices of Native people and offering alternative
narratives that empower Native people and their stories.
We recognize that media has often been used as a
tool to subordinate or appropriate native voices and
we are committed to not replicating these dynamics.
SHARING SCIENCE
WED.   6(PM)
VANCOUVER, RIGHT?
THU. 8(AM)
ALL ACCESS PASS
THU. 5(PM)
CITR Accessibility Collective's new radio show.
We talk about equity, inclusion, and accessibility
for people with diverse abilities, on campus
and beyond. Tune in every week for interviews,
music, news, events, and awesome dialogue.
63
PROGRAM   GUIDE
 ■ REGGAE
THE ROCKERS SHOW
SUN.   12(PM)
Reggae inna all styles and fashion.
■ ROOTS/FOLK/BLUES
BLOOD ON THE SADDLE
ALTERNATING SUN.DAYS  3(PM)
Real cowshit-caught-in-yer-boots country.
PACIFIC PICKIN'
TUE.   6(AM)
Bluegrass, old-time music, and its derivatives
with Arthu.r and the lovely Andrea Berman.
Email: pacificpickin@yahoo.com
FOLK OASIS
WED.  8(PM)
Two hours of eclectic folk/roots music, with
a big emphasis on our local scene. C'mon.
In! A kumbaya-free zone since 1997.
Email: folkoasis@gmail.com
THE SATURDAY EDGE
SAT.   8(AM)
A personal guide to world and roots music—with
Afri.can, Latin, and European music in the first half,
followed, by Celtic, blues, songwriters, Cajun, and
whatever else fits! Email: steveedge3@mac.com.
CODE BLUE
SAT.  3(PM)
From backwoods delta low-down slide to
urban harp honks, blues, and blues roots
with your hosts Jim, Andy, and Paul.
Email: codeblue@paulnorton.ca
■ SOUL/R&B
SOULSHIP ENTERPRISE
SAT.   7(PM)
A thematically oriented blend of classic funk, soul,
r&b, Jazz, and afrobeat tunes, The Happy Hour
has received great renown as the world's foremost
funky, Jazzy, soulful, and delightfully awkward radio
show hosted by people n(am)ed Robert Gorwa and/
or Christopher Mylett Gordon Patrick Hunter III.
AFRI.CAN RHYHMS
fri. 7:30(pm)
Website: www.afri.canrhythmsradio.com
■ HIP HOP
NOD ON THE LIST
TUE.   11(PM)
"Nod on the List is a progr(am) featuring new urban and
alternative music, sounds of beats, hip hop, dancehall,
bass, interviews, guest hosts and more every Tues.day
at11(pm).
scadsJnternational@yahoo.com
facebook-So Salacious"
CRIMES & TREASONS
TUE.   9(PM)
Uncensored Hip-Hop & Trill ish. Hosted by J(am)al
Steeles, Trinidad Jules & DJ Relly Rels. Website: http://
crimesandtreasons.blogspot.ca.
Email: dJ@crlmesandtreasons.com.
VIBES & STUFF
TUE. 4(PM)
Feeling nostalgic? Vibes and Stuff has you covered
bringing you some of the best 90s to early 2000s hip-hop
artist all in one segment. All the way from New Jersey and
New York City, DJ Bmatt and DJ Jewels will be bringing
the east coast to the west coast throughout the show. We
will have you reminiscing about the good ol' times with
Vibes and Stuff every Tuesdays afternoon from 4:00(pm)-
5:00(pm) PST. E-mail: vibesandstuffhiphop@gmail.com
■ EXPERIMENTAL
MORE THAN HUMAN
SUN. 7(pm)
Strange and wonderful electronic sounds from
the past, present, and future with host Gareth
Moses. Music from parallel worlds.
POP DRONES
WED.   10(AM)
Unearthing the depths of contemporary cassette and vinyl
underground. Ranging from DIY bedroom pop and garage
rock all the way to harsh noise and, of course, drone.
KEW IT UP
WED. 3(PM)
Fight-or-flight music. Radio essays and travesties:
Sonic Cate(s)chism / half-baked philosophy
and criticism. Experimental, Electronica, Post-
Punk, Industrial, Noise : ad-nauseum
■ LATIN (AM)ERICAN
LA FIESTA
ALTERNATING SUN.DAYS   3(PM)
Salsa, Bachata, Merengue, Latin House, and
Reggaeton with your host Gspot DJ.
THE LEO R(AM)IREZ SHOW
MON.   5(PM)
The best of mix of Latin (am)erican music.
Email: leor(am)irez@canada.com
■ ETHIOPIAN
SHOOKSHOOKTA
SUN.   10(AM)
A progr(am) targeted to Ethiopian people that
encourages education and personal develo(pm)ent.
■ CHINESE/KOREAN
ASIAN WAVE
WED.   4(PM)
Tune in to Asian Wave 101 to listen to some of the best
music from the Chinese language and Korean music
industries, as well the latest news coming from the two
entertainment powerhouses of the Asian pop scene.
The latest hits from established artists, rookies only
Just debuted, independent artists and classic songs
from both industries, can all be heard on Asian Wave
101, as well as commentary, talk and artist spotlights of
unsigned Canadian talent. Only on CiTR 101.9 FM.
■ RUSSIAN
NASHA VOLNA
SAT.   6(PM)
News, arts, entertainment and music for the Russian
community, local and abroad. Website: nashavolna.ca.
■ INDIAN
RHYTHMSINDIA
ALTERNATING SUN.DAYS   8(PM)
Featuring a wide range of music from India, including
popular music from the 1930s to the present; Ghazals and
Bhajans, Qawwalis, pop and regional language numbers.
■ PERSIAN
SIMORGH
THU.   5(PM)
Simorgh Radio is devoted to the education and literacy
for the Persian speaking communities and those
interested in connecting to Persian oral and written
literature. Simorgh takes you through a journey of
ecological sustainability evolving within cultural and
social literacy. Simorgh the mythological multiplicity of
tale-figures, lands-in as your mythological narrator in the
storyland; the contingent space of beings, connecting
Persian peoples within and to Indigenous peoples.
PROGRAM   GUIDE
 ■ SACRED
MANTRA
SAT.   5(PM)
An electic mix of electronic and acoustic beats and layers,
chants and medicine song. Exploring the diversity of the
worlds sacred sounds - traditional, contemporary and
futuristic.
Email: mantraradioshow@gmaii.com
■ DANCE / ELECTRONIC
COPY/PASTE
THU.   11(PM)
If it makes you move your feet (or nod your head), it'll be
heard on copy/paste. Tune in every week for a full hour
DJ mix by Autonomy, running the g(am)ut from cloud
rap to new jack techno and everything in between.
TECHNO PROGRESSIVO
ALTERNATING SUN.DAYS   8(PM)
A mix of the latest house music, tech-
house, prog-house and techno.
TRANCENDANCE
SUN.   10(PM)
Hosted by DJ Smiley Mike and DJ Caddyshack,
Trancendance has been broadcasting from Vancouver,
B.C. since 2001. We favour Psytrance, Hard Trance and
Epic Trance, but also play Acid Trance, Deep Trance,
Hard Dance and even some Breakbeat. We also love a
good Classic Trance Anthem, especially if it's remixed.
Current influences include Sander van Doom, Gareth
Emery, Nick Sentience, Ovnimoon, Ace Ventura, Save the
Robot, Liquid Soul and Astrix. Older influences include
Union Jack, Carl Cox, Christopher Lawrence, Whoop!
Records, Tidy Trax, Platipus Records and Nukieuz.
Email: djsmiieymike @trancendance.net.
Website: www.trancendance.net.
INSIDE OUT
TUE. 8(PM)
RADIO ZERO
FRI.   2(PM)
An international mix of super-fresh weekend party j(am)
s from New Wave to foreign electro, baile, Bollywood,
and whatever else. Website: www.radiozero.com
SYNAPTIC SANDWICH
SAT.   9(PM)
If you like everything from electro/techno/trance/8-bit
music/retro '80s, this is the show for you!
Website: synapticsandwich.net
THE LATE NIGHT SHOW
FRI.   1230(AM)
The Late Night Show features music from the
underground Jungle and Drum & Bass scene, which
progresses to Industrial, Noise and Alternative No
Beat into the early morning. Following the music, we
then play TZM broadcasts, beginning at 6 a.m.
INNER SPACE
ALTERNATING WEDNESDAYS 6:30(PM)
Dedicated to underground electronic music,
both experimental and dance-oriented.
Live DJ sets and guests throughout.
BOOTLEGS & B-SIDES
SUN.   9(PM)
Hosted by Doe Ran, tune in for the finest remixes
from soul to dubstep and ghetto funk to electro swing.
Nominated finalist for 'Canadian college radio show of
the year 2012' Pioneer DJ Stylus Awards. Soundcloud.
com/doe-ran and search "Doe-Ran" on Facebook.
■ ROCK/POP/INDIE
CANADA POST-ROCK
FRI. 10(PM)
Formerly on CKXU, Canada-Post Rock now
resides on the west coast but it's still committed
to the best in post-rock, drone, (am)bient,
experimental, noise and basically anything your
host Pbone can put the word "post" infront of.
CRESCENDO
SUN. 6(pm)
Starting with some serene chill tracks at the beginning
and building to the INSANEST FACE MELTERS
OF ALL TIMEEE, Crescendo will take you on a
musical magic carpet ride that you couldn't imagine
in your wildest dre(am)s. Besides overselling his
show, Jed will play an eclectic set list that builds
throughout the hour and features both old classics,
and all the greatest new tracks that the hipsters
think they know about before anyone else does.
DAVE RADIO WITH RADIO DAVE
FRI.   12(PM)
Your noon-hour guide to what's happening in Music
and Theatre in Vancouver. Lots of tunes and talk.
DISCORDER RADIO
TUE.   5(PM)
Discorder Magazine now has its own radio show! Join
us to hear excerpts of interviews, reviews and more!
DUNCAN'S DONUTS
THU.   12(PM)
Sweet treats from the pop underground. Hosted by Duncan,
sponsored by donuts. http://duncansdonuts.wordpress.com.
SPICE OF LIFE
ALTERNATING THU.RSDAYS 7:30(PM)
The spice extends life. The spice expands
consciousness. The Spice of Life brings you a
variety of Post-Rock, Shoegaze, Math Rock and
anything that else that progresses. Join host
Ben Life as he meanders whimsically through
whatever comes to mind on the walk to CITR.
S(AM)SQUANTCH'S HIDEAWAY
ALTERNATING WEDNESDAYS   6:30(PM)
All-Canadian music with a focus on indie-rock/pop.
Email: anitabinder@hotmail.com.
SPICE OF LIFE
ALTERNATING THU.RSDAYS 7:30(PM)
The spice extends life. The spice expands
consciousness. The Spice of Life brings you a
variety of Post-Rock, Shoegaze, Math Rock and
anything that else that progresses. Join host
Ben Life as he meanders whimsically through
whatever comes to mind on the walk to CITR.
S(AM)SQUANTCH'S HIDEAWAY
ALTERNATING WEDNESDAYS   6:30(PM)
All-Canadian music with a focus on indie-rock/pop.
Email: anitabinder@hotmail.com.
PARTS UNKNOWN
MON.   1(PM)
An indie pop show since 1999, it's like a marshmailow
sandwich: soft and sweet and best enjoyed when
poked with a stick and held close to a fire.
THE CAT'S PAJ(AM)S
FRI.   11(AM)
The cat's paj(am)as: a phrase to describe something/
someone super awesome or cool. The Cat's
Paj(am)s: a super awesome and cool radio show
featuring the latest and greatest indie pop, rock,
lofi and more from Vancouver and beyond!
THE BURROW
MON. 3(PM)
Noise Rock, Alternative, Post-Rock, with a
nice blend of old 'classics' and newer releases.
Interviews and live performances.
THE PERMANENT RAIN RADIO
ALTERNATING WEDNESDAYS l(PM)
Music-based, pop culture-spanning progr(am) with a focus
65
PROGRAM    GUIDE
 on the local scene. Join co-hosts Chloe and Natalie for an
hour of lighthearted twin talk and rad tunes from a variety
of artists who have been featured on our website. What
website?
thepermanentrainpress.com
ALBION
TUES. 2(PM)
The best new music coming out of the UK along
with the most exciting Canadian artists British
host Sachin finds as he explores Vancouver.
BVP RADIO
ALTERNATING WEDNESDAYS 1 (PM)
BVP Radio is Blank Vinyl Project's radio show companion
on CiTR. It features musicians from UBC and Its
surrounding community. Interviews, performances
live on air, and advice to developing bands.
MUZAK FOR THE OBSERVANT
THU. 2(PM)
A progr(am) focusing on the week's highlights
from CiTR's Music Department.S Plus: live In-
studio performances and artist interviews!
■ CARIBBEAN
SOCA STORM
SAT. 8(PM)
■ ECLECTIC
TRANSITION STATE
THU. 11(AM)
High quality music with a special guest interview
from the Pharmaceutical Sciences. Frank
discussions and music that can save the world
SHINE ON
TUE. 1(PM)
An eclectic mix of the latest, greatest tunes from the
Vancouver underground and beyond, connected through
a different theme each week. Join your host Shea
every Tues.day for a groovy musical experience!
SOUL SANDWICH
THU.   4(PM)
A myriad of your favourite music tastes all cooked
into one show. From Hip Hop to Indie rock to Afri.
can j(am)s, Ola will play through a whirlwind
of different genres, each sandwiched between
another. This perfect layering of yummy goodness
will blow your mind. AND, it beats subway.
THE SHAKESPEARE SHOW
WED.   12(PM)
Dan Shakespeare is here with music for your ear.
Kick back with gems of the previous years.
UP ON THE ROOF
FRI.   9(AM)
Fri.day Mornings got you down? Climb Up On the
Roof and wake up with Robin and Jake! Weekly
segments include improvised crime-noir radio dr(am)
as, trivia contents, on-air calls to Jake's older brother
and MORE! We'll be spinning old classics, new
favourites, and lots of ultra-fresh local bands!
BREAKFAST WITH THE BROWNS
MON.   8(AM)
Your favourite Brownsters, J(am)es and
Peter, offer a savoury blend of the f(am)iliar
and exotic in a blend of aural delights.
Email: breakfastwiththebrowns@hotmail.com.
CHTHONIC BOOM!
SUN.   5(PM)
A show dedicated to playing psychedelic
music from parts of the spectrum (rock, pop,
electronic) as well as garage and noise rock.
THE MORNING AFTER SHOW
tue. h:30(am)
The Morning After Show with Oswaldo Perez every
Tues.day at 11:30a.m. Playing your favourite songs for
13 years. The morning after what? The morning after
whatever you did last night. Eclectic show with live music,
local talent and music you won't hear anywhere else.
SUBURBAN JUNGLE
WED.   8(AM)
Live from the Jungle Room, join radio host Jack
Velvet for an
eclectic mix of music, sound bites, information
and inanity. Email: dj@jackvelvet.net.
ARE YOU AWARE
ALTERNATING THU.RSDAYS   6(PM)
Celebrating the message behind the music:
Profiling music and musicians that take the
route of positive action over apathy.
PEANUT BUTTER 'N' J(AM)S
ALTERNATING THU.RSDAYS   6:30(PM)
Explore local music and food with your hosts,
Brenda and Jordle. You'll hear Interviews and
reviews on eats and tunes from your neighbourhood,
and a weekly pairing for your date calendar.
LIVE FROM THU.NDERBIRD RADIO HELL
THU.   9(PM)
Featuring live band(s) every week performing in the
CiTR Lounge. Most are from Vancouver, but sometimes
bands from across the country and around the world.
AURAL TENTACLES
THU.   12(AM)
It could be global, trance, spoken word, rock, the unusual
and the weird, or it could be something different. Hosted
by DJ Pierre. Email: auraltentacles@hotmail.com
FemConcept Fri. 1 (pm)
Entirely Femcon music as well as spoken word content
relevant to women's issues (interviews with c(am)
pus groups such as the Women's Center, SASC, etc.).
Musical genres include indie-rock, electronic, punk,
with an emphasis on local and Canadian Artists.
NARDWUAR
fri. 3:30(pm)
Join Nardwuar the Human Serviette for Cl(am) Chowder
flavoured entertainment. Doot doola doot doo...doot doo!
Email: nardwuar@nardwuar.com
THE MEDICINE SHOW
fri. h(pm)
A variety show, featuring musicians, poets and
entertainment industry guests whose material is
considered to be therapeutic. We encourage and
promote independent original, local live music and art.
RANDOPHONIC
SAT.   11(PM)
Randophonic is best thought of as an intraversal
jukebox which has no concept of genre, style, political
boundaries, or even space-time relevance. But it does
know good sounds from bad. Lately, the progr(am) has
been focused on Philip Random's All Vinyl Countdown
+ Apocalypse (the 1,111 greatest records you probably
haven't heard). And we're not afraid of noise.
STRANDED
fri. 6(pm)
Join your host Matthew for a weekly mix of exciting
sounds, past and present, from his Australian homeland.
And journey with him as he features fresh tunes and
explores the alternative musical heritage of Canada.
STUDENT SPECIAL HOUR
TUES. 2(PM)
Students play music.
A FACE FOR RADIO
THU. 10(AM)
A show about music with interludes about nothing.
From Punk to Indie Rock and beyond.
PROGRAM   GUIDE
66
 ■ CINEMATIC
EXPLODING HEAD MOVIES
MON.   7(PM)
Join gak as he explores music from the movies, tunes
from television and any other cinematic source, along with
atmospheric pieces, cutting edge new tracks and strange
old goodies that could be used in a soundtrack to be.
■ JAZZ
THE JAZZ SHOW
MON.   9(PM)
Vancouver's longest running prime-time Jazz
progr(am). Hosted by Gavin Walker. Features begin
after the theme and spoken intro at 9(pm).
Dec. 7: A wonderful small band led by the legendary
clarinettist and character Artie Shaw. Timeless small group
swing by Mr. Shaw's "Gramercy Five" (1940 and 1945).
Dec 14: A personal favourite of your host.
Tenor saxophonist J.R. Monterose with trumpet
legend Ira Sullivan, pianist Horace Silver, bassist
Wilbur Ware and drummer      Philly Joe Jones.
A powerhouse debut album from J.R.
Dec.21: The Jazz Show's annual Christmas
celebration with the Miles Davis All-Stars and
Thelonious Monk recorded on Christmas Eve 1954.
The "Bags' Groove Session". More Christmas
Jazz and a visit from Scrooge too. Hohoho!
Dec. 28: Five musicians who have been frequent
visitors'to Vancouver led by trumpet ace Jim
Rotondi with tenor saxophonist Eric Alexander,
pianist Harold Mabern and company. "Jim's Bop". A
solid and swinging date to cap off the old year.
Jan.4:   Happy New Year! Tonight an early session by
trombone master J.J.Johnson with the incredible Clifford
Brown on trumpet. From 1953 but as fresh as tomorrow.
Jan 11: A session by Art Blakey's Jazz Messengers
that never has been heard anywhere until tonight.
Blakey's great band with trumpeter Lee Morgan
and tenor saxophonist Hank Mobley and others. ,
Fiery and intense. Hear the story tonight!
Jan 18: Tonight we celebrate the Birthday of one
of Canada's finest musicians, 76 year old Don
Thompson who will be heard on piano and vibes
as well as composing all the music for this disc
which also featured the late great Ross Taggart on
saxophone and piano. An all-Canadian Feature!
Jan 25: Another Birthday tribute tonight to tenor
saxophone master Benny Golson who will be 87*. Benny
is alive and active. Tonight's Feature is a fine quartet
date called "Free". It's Benny at his best.
LITTLE BIT OF SOUL
MON. 4(PM)
Old recordings of jazz, swing, big band,
blues, oldies and motown.
■ DRAMA/POETRY
SKALD'S HALL
fri. 9(pm)
Skald's Hall entertains with the spoken word via story
readings, poetry recitals, and dr(am)a. Established and
upcoming artists join host Brian MacDonald. Interested in
performing on air? Contact us on Twitter:
@Skalds_Hall.
■ SPORTS
SPORTS IS FUN
thu. 3:30(pm)
■ PUNK
ROCKET FROM RUSSIA
tues. io:3o(am)
Hello hello hello! I interview bands and play new,
international and local punk rock music. Great Success!
P.S. Broadcasted in brokenish English. Hosted
by Russian Tim. Website: http://rocketfromrussia.
tumblr.com. Email: rocketfrom russiacitr@gmail.com.
Facebook: https://www.facebook.comRocketFromRussia.
Twitter: http://twitter.com/tima_tzar.
GENERATION ANNIHILATION
SAT. 12(PM)
On the air since 2002, playing old and new punk
on the non-commercial side of thespectrum.
Hosts: Aaron Brown, Jeff "The Foat" Kraft.
Website: generationannihilation.com. Facebook:
facebook.com/generationannihilation..
■ LOUD
POWER CHORD
SAT.   1(PM)
Vancouver's longest running metal show. If
you're into music that's on the heavier/darker
side of the spectrum, then you'll like it. Sonic
assault provided by Geoff, Marcia, and Andy.
FLEX YOUR HEAD
TUE.   6(PM)
Punk rock and hardcore since 1989. Bands and guests from
■ GENERATIVE
THE ABSOLUTE VALUE OF INSOMNIA
SAT.   2(AM)
Four solid hours of fresh generative music c/o
the Absolute Value of Noise and its world f(am)
ous Generator. Ideal for enhancing your dre(am)
s or, if sleep is not on your agenda, your reveries.
wf HORSES RECORDS*?
2447 E. Hastings St, Vancouver BC
BOXING DAY SALE
OilOf   _-%ff NEW vinyl,
«U /O Oil tapes, t-shirts
OHO/   ^ff USED vinyl,
OU/O Oil tapes, books
open Mon-Sat 10:30-8pm, Sun 11 -7pm
604.336.6776 - no jokers
67
PROGRAM   GUIDE
 MfMpEH Cff*m.m  & £fc M__UNE  Kf$   8ANDMERCH
^Mgw mhmm -:        VIVO ^    ®   Sk. ntnbus
 NOTE: Due to a heavy spell of human error we misprinted these charts in the previous two issues.
Apologies. Here are the correct charts for October and November. -BB, EIC
riTRim Q FM
To submit music for air-play on CiTR 101.9fm, please send a physical copy to the station addressed to Andy
^^1 ■ ■
V          «V*       I
...
Resto, Music Director at CiTR 101.9fm, LL500 6133 University Blvd., Vancouver BC, V6T1Z1. Though we
OCTOBER CHARTS
ARTIST         ALBUM         LABEL
prioritize physical copies, feel free to email download codes for consideration to music@citr.ca.
up with the Music Director 1-2 weeks after submitting by emailing, or calling 604.822.8733.
You can follow
ARTIST
ALBUM
LABEL                     ARTIST
ALBUM
LABEL
1
TV Ugly*+
UCLA Yankee
Cola
Alarum
The Ballan-
tynes*+
Dark Drives, Life
Signs
La Ti Da
20
Soft Serve*+
Soft Serve
Self-Released
2
Knife Pleats*+
Hat Bark Beach
Lost Sound   HH
Tapes       Bjfl
Julia Holter
Have You In My
Wilderness
Domino
21
Metric*
Pagans in Vegas
Universal
3
U.S. Girls
Half Free
4AD
Homeshake*
Midnight Snack
Sinderlyn
22
King Midas
Sound & Fen-
Edition 1
Ninja Tune
4
Ought*
Sun Coming
Down
Nightshifting
Constellation  1
Mint
Cold Beat
Babysitter*
Into The Air
Babysitter
Crime on the
Moon
Psychic
23
nesz
Unalaska*+
S/T
Light Organ
o
Fake Tears*+
Handshake
24
Grimes*
Art Angels
4AD
6
Gang Signs*+
Geist
FU:M
Duke Robillard
The Acoustic
Blues And
Roots Of
Stony Plain
25
Young Rival*
Interior Light
Paper Bag
7
Linda McRae*
Shadow Trails
Borealis     IM
Rec Centre*+
Tacoma Dome
Self-Released
26
Mourning
Coup*+
Baby Blue
No Sun
8
Thee Ahs
Names
Self-Released 1
Shannon And
The Clams
Gone By The
Dawn
Hardly Art
27
Tigerwing*
Make the
Rabbits Run
Self-Released
9
Mourning
Coup*+
Baby Blue
No Sun
Slim Twig*
Thanks For
Stickin'With
DFA
28
Floating Points
Elainia
Luaka Bop
10
Destroyer*+
Poison Season
Merge
Slime
Twig
Company
Weird World
29
Caveboy*
Caveboy
Self-Released
11
Other Jesus*+
Everything is
Problematic
No Sun
Valiska*
Repetitions
Self-Released
30
Willie Thrasher*
Spirit Child
Light In The Attic
12
Beirut
No No No
4AD
Various*
Mood Ring
• Debaser
Self-Released
31
HSY*
Bask
Buzz
">
13
Hinds
The Very Best of
Hinds So Far
Mom + Pop   1
Vapid*+
Compilation
Lake of Tears
Self-Released
31
Skim Milk*+
Ghosts of Jazz
Self-Released
14
No Aloha*
No Problemo
Poncho
Andrea Super-
What Goes On
Cellar Live
33
Red Moon
Road*
Sorrows and
Glories
Self-Released
15
Dilly Dally*
Sore
Buzz
stein*+
34
Spray Paint
Dopers
Monofonus
Press
16
Kurt Vile
b'lieve i'm goin
down
Matador
Mall Grab
Elegy
1080p
•Swamp City*+
Swamped
3t>
Self-Released
NOVEMBER CHARTS
17
Mauno*
Rough Master
Self-Released ■
Life Without
Buildings
Any Other City
(Reissue)
What's Your
oo
Rupture?
Linda McRae*
Shadow Trails
Borealis
18
Petunia*
Free as the Wind
Self-Released 1
37
The Pointed
S/T
Sudden Death
19
Jerusalem in my
Heart
If He Dies, If If
If If If (f
Constellation  1
Knife Pleats**
Hat Bark Beach
Lost Sound
Tapes
38
Sticks*+
D.O.A.V
Hard Rain
Sudden Death
20
Old Man
Luedecke*
Domestic
Eccentric
True North    1
Good for
Grapes**
Other Jesus*+
The Ropes
Everything Is
Pheromone
No Sun
39
Ought*
Falling
Sun Coming
Down
Constellation
21
Lindi Ortega*
Faded Gloryville
The Grand Tour H
Problematic
40
New Order
Music
Mute
22
The Pointed
Sticks*+
The Pointed
Sticks
Sudden Death 1
Dilly Dally*
Sore
Buzz
Bummer
41
Fuzz
Complete
II
In The Red
23
LaLuz
Weirdo Shrine
Hardly Art    1
War Baby*+
Death Sweats
Records
Betrayers
Tombstone
24
The Fuzz Kings*
Your Kids Are
Gonna Love It
Self-Released 1
Gang Signs*+
Geist
FU:M
42
/The Lad
Mags*
Salesman /
Shame
YoMal
Kind Midas
Esmerine*
Other Voices
Constellation
25
Sound & Fen-
Edition 1
Ninja Tune    1
43
1977*
Twister
Self-Released
nesz
Mississippi Live
Shopping
Why Choose
Fat Cat
44
TV Freaks*
Bad Luck
Deranged
26
And The Dirty
Going Down
Self-Released ■
Charms
Dirty*+
Colin Linden*
Rich In Love
Stony Plain
I Am A
Problem: Mind
In Pieces
27
White Poppy*+
Natural Phenomena
Norman
Majical Cloudz*
Are You Alone?
Arts & Crafts
45
Wolf Eyes
Third Man
28
Beach House
Depression
Cherry
Sub Pop
Lt. Frank
Dickens*+
Sunburned
Horses
46
Yppah
Tiny Pause
Counter
29
Hag Face*
R.I.P.
Psychic
Handshake   1
TV Ugly*+
UCLA Yankee
Cola
Alarum
47
Julia Holter
Have You In
My Wilderness
Domino
30
Teen Daze*+
Morning World
Paper Bag    1
Moonwood*
Desert Ghosts
Pleasence
Records
48
North Atlantic
All The Ships
Anniedale
31
Childbirth
Women's Rights
Self-Released 1
Buckman Coe*+
Malama Ka
?Aina
Tonic
49
Explorers*+
The Nils*
At Sea
Shadows and
Self-Released
31
Infilm*
Emporium
Self-Released ■
U.S. Girls*
Half Free
4AD
Ghosts
33
Protomartyr
The Agent
Intellect
Hardly Art    1
The Beverleys*
Brutal
Buzz
50
Tim the
Mute*+
Why Live?
Kingfisher
Bluez
34
Century Palm*
Valley Cyan 7"
Deranged    1
Family Band*
Family Band'15
Egg Paper
Factory
Jenny Ritter*
Raised By
Wolves
Fiddle Head   1
Petunia*
Free as the Wind
Self-Released
 CITR101.9FM
TOP 100 ALBUMS
OF 2015
CiTR's charts reflect what's been played on the air by CiTR's lovely DJs throughout the year. Records with
asterisks (*) are Canadian and those marked (+) are local. Most of these excellent albums can be found at fine
independent music stores across Vancouver. If you can't find them, give CiTR's music coordinator a shout at
(604) 822-8733. His name is Andy Resto, and if you ask nicely he'll tell you how to find them. Check out other
great campus/community radio charts at www.earshot-online.com.
Freak Heat
Waves *
Running Back
Bonnie's State
of Mind
Faith Healer *   Cosmic Troubles
Mourning
Coup*+
Fake Tears*+
Tough Age*
WUg|y%       w^_
tiStXS  SortaHafta
I and The Subs +
Supermoon*+    Comet Lovejoy
Baby Blue
Nightshifting
I Get The Feeling Central
Old Man
Luedecke*
Lie**
Colleen
Poor Form *+
Viet Cong*
Braids*
Late Spring**
Twin River *+
I Buffy Sainte-Ma-
rie*
I Other Jesus*+
Chastity Belt
Domestic
Eccentric
Captain of None
Nuclear
Strikezone
Demo
Viet Cong
Deep In The Iris
Late Spring
Should the light
go out
Power In The
Blood
Everything Is
Problematic
Time to Go
Home
Purity Ring *    Another Eternity
The Ballantynes**
I Energy Slime *+
Linda McRae*
Moss Lime*
| White Poppy**
Loscil *+
Defektors *+
| Century Palm *
Woolworm**
Animal Bodies
Dark Drives, Life
Signs
New Dimensional
July First
Natural Phenomena
Century Palm
Everything
Seems Obvious
The Killing
Scene
Knife Pleats**    Hat Bark Beach
The Back-
homes *
Tidalwave
Names
Lefse
Hockey Dad
Mint
No Sun
Mint
Mint
Alarum
Self-Released
Self-Released
True North
That's Cool
Thrill Jockey
Stomp
Self-Released
Flemish Eye
Flemish Eye
Self-Released
Light Organ
Gypsy Boy
■pv
No Sun
Hardly Art
Last Gang
La Ti Da
Mint
Borealis
Fixture
Norman
Kranky
Shake!
Mammoth Cave
Hockey Dad
Hard Beat
Lost Sound
Tapes
, Self-Released
Self-Released
Shopping
Consumer
Complaints
Destroyer**      Poison Season
Gang Signs** Geist
Kimmortal *+
Shearing Pinx *-
I OK Vancouver
0K*+
Dilly Dally*
U.S. Girls
Sincerity
People
Influences
Sore
Half Free
Lsr„7 B—i*™
Fountain*
Ora Cogan**
I The Population
Slim Twig*
Sleater-Kinney
Dark Glasses*     Dark Glasses
Fountain II
Crystallize
Dark Power
Way Down
Thanks For
Stickin' With
Twig
No Cities To
Love
Anamai *
Sallows
The Park
Joel Plaskett *   Avenue Sobriety
Les Chau-
settes**
Nap Eyes*
Kate b/w
Volcanoes
Mystic
Petunia*      Free as the Wind
Ramzi** Houti Kush
e^,„t D,,„mw The Silent March
Secret. Pyramid   /Movementsof
Night
Ariel Pink pom pom
*M Stefana Fratila**      Efemera
Lindi Ortega* Faded Gloryville
Lightning Bolt Fantasy Empire
Sarah Davachi**   Baron's Court
| Neu Balance *+     Rubber Sole
Young Braised        Northern
I Sur Une Plage**    Legerdemain
Zola Jesus Taiga
Sometimes I Sit
■a.,^. d„ H And Think, And
JCourtneyBamett    Sometimes|
Just Sit
Hag Face*
R.I.P.
Fat Cat Records
Merge
FU:M
Self-Released
Psychic
Handshake
Kingfisher Bluez
Buzz
4AD
Latent
Self-Released
Hidden City
Records
Self-Released
Self-Released
Calico Corp
Sub Pop
^^9
Gary Cassettes
Buzz
Pheromone
Punk Fox
Plastic Factory
Self-Released
1080p
nH
Students of
Decay
4AD
Trippy Tapes
The Grand Tour
ThrillJockey
Students of
Decay
1080p
1080p
Self-Released
Mute
Mom + Pop
Psychic
Handshake
You've Got A
Hold On Me
Ian William
Craig * +
Smash the
State (With Your
Face)
Circuit des Yeux  In Plain Speech
Fashionism *■
Kappa Chow *   Collected Output
Liturgy The Ark Work
Ought*
Sun Coming
Down
Rec Centre *-
Kind Midas
Sound & Fen-
nesz
Teen Daze**
Eternal Tapestry
Doldrums *
Ace Martens *+
Frankie**
Yukon Blonde**
Moon Duo
The Real
McKenzies *+
B.A. Johnston*
Lizzy Mercier
Descloux
Kathryn Calder *
Moon*
Six Organs Of
Admittance
OK Jazz*
Moon King *
Monster of the
Week
Morning World
Wild Strawberries
The Air
Conditioned
Silent Days
Girl Of Infinity
On Blonde
Shadow Of
The Sun
Rats In The
Burlap
Shit Sucks
Press Color
Kathryn Calder
Moon
Hexadic
OK Jazz
Secret Life
Lo
The Cyrillic
Typewriter *+
Minimal
Violence**
Jenny Ritter*
Hello Blue
Roses *+
Jenny Hval
Heavy Slave
Raised By
Wolves
Apocalypse,
Girl
Recital
Thrill Jockey
Hosehead
Self-Released
Thrill Jockey
Constellation
Self-Released
Ninja Tune
Paper Bag
Thrill Jockey
Sub Pop
Self-Released
Self-Released
Dine Alone
Sacred Bones
Stomp
Mammoth Cave
Light In The
Attic
F:UM
Bruised Tongue
Drag City
Self-Released
Last Gang
Telephone
Explosion
Hybridity
Music
Jaz
Genero
Fiddle Head
Jaz
Sacred Bones
 vinylrecords
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