254 EAST HASTINGS STREET 604.681.8915 PCOMING SHO ADVERTISE JUL SAY HELLO 2 HEAVEN: CHRIS CORNELL TRIBUTE & FUNDRAISER BOG, LEFT SPINE DOWN & MORE EARLY SHOW (7PM): COMEDY SHOCKER XIII: THE 13TH FLOOR kathleen MCGEE, JORDAN DUCHARME, ED KONYHA, HOST SAM TONNING,&MORE LATE SHOW (10PM): TACO FEST AFTERPARTY THE FOOD, THE FURNITIRE EAGLES OF DEATH METAL SOLD 00T THE DELTA RIGGS MAD ALCHEMY CARAVAN LSD & THE SEARCH FOR GOD, STEVENSON RANCH DAVIDIANS, JESUS SONS, & MORE WEDNESDAY 13 INVIDIA, GABRIEL & THE APOCALYPSE, HELLCHAMBER A JUL . PICKWICK ^5J RICH HOPE AND HIS EVIL DOERS, COBRA RAMONE EVERY TIME I DIE neck of I THE WOODS, ANCHORESS ANCIIENTS DEAD QUIET, MENDOZZA, HASHTEROID, SEER AUG AUG ONE LOVE WESTCOAST PARTY ANTIDOPING.THE SENTIMENTS, CAWAMA MEW MONAKR fiP h? AUG LAST PODCAST ON THE LEFT AUG DIAMOND HEAD the AGONIST, SPELL, REBEL PRIEST GREEN JELLO DEATH SENTENCE, THE JUDGES SEP SEP DECAPITATED & THY ART IS MURDER (CO-HEADLINING) FALLUJAH, GHOST BATH PERTURBATOR WITH GUESTS SEP VENOM INC GOATWHORE, TOXIC HOLOCAUST, THE CONVALESCENCE, AGGRESSION SEP MARSHALL CRENSHAW Y LOSSTRAITJACKETS WITH GUESTS SEP THE SADIES WITH GUESTS ELTRI MIGHTY ONE, MARIACHI LOS DORADOS SEP SHEER MAG 5fij TONY MOUNA, BB Additional show listings, ti. 0, videos & more: WWW.RICKSHAWTHEATRE.COM PRINT RADIO WEB SPOTS BRAIN WAVES AVAILABLE! LET S SWEETEN THE DEAL AND MAKE IT A COMBO ADVE G@CITRCA I would like an annual Subscription (That's $2.0 for Canada, $25 for U.S.A.) 11 would like to support Discorder Magazine with a (How much would you like to donate?) rOTAL: SOBKIPT io mm* SUMMER 2017 COVER I PRADO BY PAT VALADE. ART PROJECT THROUGHOUT:by samuel morgan. JFeature* 07 - (INACCESSIBLE VANCOUVER PT.2 RAMP, Denim Vest, and more. 08 - GABI DAO Sound and space with Western Front's media artist-in-residence. 09 - GAYBLEVISION Vancouver's LGBTQIA+ history archived at VIVO. 16 - PRADO Q&A with the hip hop artist calling shit out so we don't have to. 17 - CHINATOWN CONCERN GROUPJSA&fMI£fiB They won the battle for 105 Keefer Street, now what?. 18 - WHO IS MALCOLM BIDDLE? But really? Column* + flDt&er §>tuff 05 - Wristband Vancouver Latin American Film Festival 10 - Real Live Action live music, festivals. 12 - SUMMER TAROTSCOPES by Keagan Perlette. 13 - July Calendar 14 - Under Review music, podcasts, books. 20 - SUMMER PARK GUIDE 21 - CiTR 101.9FM Program Schedule 22 - CiTR 101.9PM Program Guide 23 - June 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: editor.discorder@citr.ca. To submit images, contact: artdirector.discorder@ citr.ca. SUBSCRIBE: Send in a cheque for $20 toLL500-6133 University Blvd. V6T 1Z1, Vancouver, BC with your address, and we will mail each issue of Discorder right to your doorstep for a year. DISTRIBUTE: To distribute Discorder in your business, email advertising@citr.ca. We are always looking for new friends. DONATE: We are part of CiTR, a registered non-profit, and accept donations so we can provide you with the content you love. To donate visit www.citr.ca/donate. To inform Discorder of an upcoming album release, art show or significant hapnpninn advance to Brit Bachmann, Editor-in-Chief at editor.discorder@citr.ca. FONDATION SOCAN FOUNDATION Publisher: Student Radio Society of UBC // CiTR Station Manager: Hugo Noriega // Advertising Coordinator: Sydney Thorne // Discorder Student Liaison: Claire Bailey // Editor-in-Chief: Brit Bachmann // Under Review Editor: Maximilian Anderson-Baier // Real Live Action Editor: Jasper D. Wrinch // Art Director: Ricky Castanedo-Laredo // Production Assistant: Jules Galbraith // Web Content Coordinator: Katrina Wong // Accounts Manager: Halla Bertrand // Charts: Andy Resto // Discorder On Air Coordinators: Claire Bailey, Dora Dubber, Kat Kott, Matt Meuse, Jordan Wade // Writers: Claire Bailey, Ivanna Besenovsky, Mark Budd, Aidan Danaher, Joey Doyle, Clara Dubber, Leigh Empress, Josh Gabert-Doyon, Jules Galbraith, Sarah Jickling, Dylan Joyce, Oona Krieg, Paige Lecoeur, Lucas Lund, Hailey Mah, Lexi Melish, Keagan Perlette, Nathan Pike, Ana Rivera, Hannah Thomson, Eleanor Wearing, Leo Yamanaka-Leclerc, Austin Zeller// Photographers & lllustrators:Olga Abeleva, Bryce Aspinall, Janee Auger, Sara Baar, Duncan Cairns-Brenner, Jules Francisco, Roz Maclean, Kalena Mackiewicz, Karla Monterrosa, Christine Phang, Michael Shantz, Pat Valade // Proofreaders: Brit Bachmann, Mark Budd, Ricky Castanedo-Laredo, Caelin Finnigan, Josh Gabert-Doyon, Jules Galbraith, Brent Holmes, Jon Kew, Sydney Thorne, Jasper D. Wrinch. ©Discorder 2017 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 8,000. Discorder is published almost monthly by CiTR, located on the lower level of the UBC Nest, situated on the traditional unceded territory of the hanqamiharh speaking Musqueam peoples. CiTR can be heard at 101.9 FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at (604) 822-2487. CiTR's office at (604) 822 1242, email CiTR at stationmanager@citr.ca, or pick up a pen and write LL500 - 6133 University Blvd. V6T1Z1, Vancouver, BC, Canada. I TAKE MY GENTRIFICATION WITH A PEEL OF PAINT EDITOR'S NOTE c olour me pink and yellow and take selfies with me, please. I have complicated feelings towards neighbourhood beautifying projects. In particular, projects that promote themselves as "activating space" or making streets more "walkable." Many of these projects — many of which are funded by municipal government — overlook immediate communities in favour of populating new hashtags. In the downtown core and the DTES especially, gentrification and displacement under the guise of reinvigoration has the capacity to encourage stigmatization of homeless and low-income people. And for what? A pretty photo-op against a colourful facade? It is a special type of arrogance that assumes an industrial or city landscape can only be made beautiful with bright colour. What irritates me most is the apparent lack of community consultation in imagery and location. Or maybe longtime residents, businesses and binners are consulted when a colourful splash pops up in a DTES alley? I'm curious to know. This summer as you dare yourselves into the ocean, sip radlers in parks, embark on bike adventures to treehouses, and walk the streets hunting for night buses, take it in. Enjoy yourselves, but don't forget the contexts that have brought you to where you are, and the people you share these places with. Paint has the power to draw attention to surroundings, but it also has the capacity to cover them up. What paint can't do is erase the stories of a land. 'it From September through January 2018, Discorder and CiTR 101.9FM will have a satellite location at PLOT, Access Gallery's new project space at 222 East Georgia Street in Vancouver's Chinatown. We will be using PLOT as a hub for magazine and radio content production in collaboration with neighbourhood residents, artists and organizations. Activities will include weekly radio dispatches, workshops related to media democracy and technical training, live broadcasts of events and panel discussions, and content meetings open to the public. Thank you, Access Gallery for the space to engage and support initiatives in Chinatown and the Downtown Eastside in ways we haven't before. We're looking forward to making media more accessible, and helping people tell their own stories. This Summer Issue features Chinatown Concern Group /SAfiiM/ilii Gayblevision at VIVO Media Arts Centre, and part two of (In)Accessible Vancouver. We also interview artists Gabi Dao, Prado and Malcolm Biddle, and local musicians weigh in on their favourite spots for our Summer Park Guide. Keagan Perlette offer a little guidance with Tarotscopes on page 12. R.L.A. reviews one of our favourite local festivals, Music Waste, and Under Review ventures further into podcast and book reviews. Our art project is Samuel Morgan, who tagged this issue with spot illustrations. See you in September, BB P.S. Discorder will be posting several Web Exclusive interviews, album and music video debuts, and general news throughout the summer months. Visit discorder.ca, or follow us on the social medias for updates. EDITOR'S NOTE JULY 28TH-30TH A PACIFIC NORTHWEST FEMINIST ELECTRONIC ARTS SYMPOSIUM www.currentsymposium.com WRISTBAND VANCOUVER LATIN AMERICAN FILM FESTIVAL words by Ana Rivera // illustrations by Karla Monterrosa Putting on a gown made up of the finest films from Latin America, the VLAFF is celebrating its Quinceafiera from August 24 to September 3. Just as a young woman celebrates her 15th birthday in Latin America, the VLAFF is seeking to show us the way in which it has matured and evolved into a diverse and well-composed cinematic experience. The festival aims to spread Latin American culture from the various cinematographic discourses while promoting social interaction and stimulating cultural interchange. It also hopes to strengthen the bridges of collaboration, exchange and dialogue between the cinematographic industries of both regions. Each year the festival picks a country to place focus on based on the support of embassies and consulate generals. This year Cuba was chosen as the main focus because "even though it is a relatively small country, it produces very significant high quality films" according to festival organizer Christian Sida-Venezuela. He and his team feel it is important to support these filmmakers, particularly from this country which doesn't receive as much support as others to be featured in film festivals. Over the span of the eleven-day film event, apart from Cuba, one will be able to indulge in films from nearly every country in Latin America. The goal of the festival is to highlight the work of Latin American and Latino Canadian filmmakers who have produced their films in their country of origin or Canada, and are interested in sharing their experiences with Vancouver audiences. Without VLAFF, most of these films would not have had the opportunity to be shown in Canada. It also, and most importantly, aims to address socioeconomic issues of importance to Latin America, as well as promote the interaction of cinema lovers from both Latin America, Canada and beyond. The event will host a competition for first-time directors, which will include a series of panel discussions by youth jurors who will chose those films awarded by the festival. One of this year's highlights is the opening film El Ciudadano Ilustre (The illustrious citizen) by Argentinean director duo Gaston Duprat and Mariano Cohn, a satirical dark comedy that promises to be riveting and uncompromising in exploring a man's struggle between his roots and his journey through fame. ^s a visual tool of education the VLAFF provides a category titled jActivismo! (Activism). This section focuses on films that are profound, political and powerful: films that will initiate o CiTR 101.9 FM & Discorder Magazine present the 34th Annual x-x-x- SUBMISSIONS ARE OPEN NOW -x-x-x Send us a demo of original material containing a minimum of three songs and your contact information including e-mail and phone number to shindig.submissions@gmail.com to apply »>> ALL ARE WELCOME «« DEADLINE FOR SUBMISSIONS: September 1 Prizes include studio time, mastered track, a feature in Discorder Magazine, + more. O and inspire conversations on identity, family, community and nationhood. Given the political climate of such a diverse part of the world, it is expected that this category will be an effective lens to focus on issues often overlooked or misinterpreted by the media abroad. Media in Latin America is often times censored and manipulated in ways that can misinterpret an event, often times diminishing its impact. In a similar way, media in Western society doesn't fully report on the issues. A great example of what this year's VLAFF hopes to continue is the strength of a screening from last year: One day in Ayotzinapa 4.3, written and directed by Rafael Rangel, provided an insider's view into a Mexican town in the midst of a wave of political violence. It showed audiences the resilient and true selves of all the citizens that lived there, and the ways in which they are fighting against their current circumstances. When such events are documented and shown through the eyes of a Latin American filmmaker, this personal perspectives helps humanize the victims. It is a platform to educate and inform in a unique and impactful way that an outside filmmaker view may not be able to provide. As the Latino community in Vancouver and Canada continues to grow, any avenue that provides a level of understanding of the diversity of culture in Latin America is of great importance to nurture tolerance and unity. The Vancouver Latin American Film Festival has taken place annually since 2003. Make sure to check out their website for regular updates on screenings and events, and more festival information at vlaff.org. Cinematheque Vancouver's Community-Driven Concert Calendar Home of the- BANDS! p'ease Update. Vancouver Musicians Directory Your current status: - Availability. Seeking Musicians, on Hiatus. the CiTR Radio Sponsored Vancouver Band Directory and the Vancouver Music Service 6 Resource Directory New name. Writing/Recording. Broken up. Your Current Members: - Archive ex's. Indicate new blood. G Grant new members G mgmt editing access. Your New Info: Changes to genres, bio. G social media links LiveVan.com: Maintained by thousands, because it works! Part of the network that includes LiveVictoria.com. ArtsVictoria.ca. CowichanCulture.ca G more WRISTBAND: VANCOUVER LATIN AMERICAN FILM FESTIVAL IE9 AUDIOPILE RECORDS & CD's EST. 2001 Anniversary Saturday July 22nd and Sunday July 23rd 20% off New and 40% off Used 2016 Commercial Drive, Vancouver, BC Ph: 604.253.7453 www.Audiopile.ca Choose from an absolutely massive selection of new and used records and CD's (IN)ACCESSIBLE VANCOUVER PT.2 words by Eleanor Wearing illustrations by Bryce Aspinall r«V«l 1660 EAST BROADWAY flh, summer. For those living in Vancouver, this means (moderately) nicer weather, and the annual proliferation of local shows and events throughout the city. In (In)Accessible Vancouver Part l published in the May issue of Discorder Magazine, I ask the question, who is responsible for ensuring event accessibility? Is it the City of Vancouver? Venue managers? Organizers? The feature looks to the accessibility of a few local arts organizations outside of Discorder''s typical scene — Kickstart and Realwheels — who are addressing accessibility in the arts in different ways. Keeping these conversations in mind, I want to consider how organizers, venue managers, and show attendees might follow the lead of these organizations, and not just talk about goals for the future, but take tangible actions right now. For venues and organizers, one place to start is with the information and strategies put forward by RAMP, or the Radical Access Mapping Project. RAMP is a solo project, founded and run out of Vancouver by an individual known as romham. One of the major focuses of RAMP is to perform accessibility audits of local venues, bars and businesses, and make this information publicly accessible. RAMP also provides blank templates for people to conduct their own venue audits. However, as romham points out on the RAMP website, an audit is only one part of the picture. It must be used "as a whole process whereby individuals and groups begin (or continue) to look at the many ways their space / event / organizing group etc. can shift its priorities, its philosophies, its understandings, and yes its walls, sometimes razing the entirety to the ground, to create and recreate not only a more welcoming space for multiply disabled folks, but to change, shift, demolish notions of worth, of solidarity, of resistance, of community altogether." With respect to groups enacting this in Vancouver, romham has particularly positive experience working with the Reverb Queer Reading Series: "The [series] was a great example of taking the audit process seriously and moving it forward by making incremental changes a standard part of the organizing of an event," says romham. "Organizers intentionally started with a reasonably accessible space, and every installment they increased and improved access in one area or another, from childcare, chemical and EMF sensitivity, wheelchair user access, fat-friendly seating, ASL interpretation, and so on." There are other local organizers who are making use of the tools put forward by RAMP and working to expand our collective understanding of accessibility. For Melanie Matining, one of the organizers of local queer dance parties Denim Vest and Open Relationship, accessibility is a big part of event planning and discussion. Using information from RAMP, organizers focus on physical accessibility, and ways to make their events more inclusive, including emotional accessibility and financial accessibility. In a city as expensive as Vancouver, financial accessibility is a really interesting thing to think about. "With [financial accessibility] we think about sliding scale, but take it a step further," says Melanie. "It's one thing to say, 'no one is turned away at the door,' but also that there's a point of discomfort when someone has to come up to the door staff to say they don't have enough. So we've had conversations with community, and one of the small things we did that created a really awesome positive impact to the party was to use a jar for the entry fee so people have the ability to pay what they're able to, without judgement." flmong the important things Melanie points to is the power of having community conversations, and asking folks who attend their events what they need or what they'd like to see. "I think people attending events have a lot of power too [...] I think it would help if the people who come out to events could connect with organizers and have real conversations and think about capacity," she says. This way, there are opportunities for folks to work together on what they think is important, while also recognizing the capacity and resources that organizers are working with. 6 Bm ' iven all the things that [organizers] want, sometimes we have to [work on things] one by one," explains Melanie. "Having a culture of compassion, and being like, 'Okay we want to make it accessible, but it's going to take some time,' is important! We're living in a racist, ableist, transphobic world, so there's a lot of systems we have to debunk in ourselves, as well, if we want to get to somewhere that is genuine." I think the idea of having compassion is important, because implementing accessibility policies and practices is tough work. It requires time, energy, emotional investment, and other resources that are not always available. This being said, bringing compassion into these conversations will likely look different for different people. For organizers, it could look like starting small, and being okay with things going slow — as long they keep improving. And for show attendees concerned about accessibility, it means communicating needs and desires with organizers, venue owners, and staff to communicate needs and desires. Finally, for anyone thinking about accessibility within their own circles, to consider how actions, discussion, knowledge and other resources are strengthened when used collectively. Find out more about RAMP at their website: radicalaccessiblecommunities.wordpress.com. JULY HIGHLIGHTS WWW.RIOTHEATRETICKETS.CA JULY 7 GREASE SING-A-LONG! PROPS. COSTUME CONTEST. A HICKEY FROM KINICKIE. **AISO ON JULY 22** THE WARRIORS FRIDAY LATE NIGHT MOVIE THE WIZARD OF OZ JULY 8 DOUBLE FEATURE! TRAINSPOTTING (1996) T2 TRAINSPOTTING (2017) JULY BATMAN: THE MOVIE (1966) 9 JEAN CLAUDE VAN DAMME BL00DSP0RT JULY DELIVERANCE 10 T2: TRAINSPOTTING JULY 11 WES ANDERSON DOUBLE FEATURE! BOTTLE ROCKET THE DARJEELING LIMITED JULY 12 007 DOUBLE FEATURE! A VIEW TO A KILL THE GENTLEMEN HECKLERS PRESENT MOONRAKER JULY 13 MARILYN MONROES JANE RUSSELL IN GENTLEMEN PREFER BLONDES JULY 14 INDIAN* JONES TRILOGY MARATHON! RAIDERS. TEMPLE. CRUSADE. ALL INDIANA. ALL. NIGHT LONG. JULY 15 STEVEN SPIELBERG'S E.T. THE EXTRA TERRESTRIAL STANLEY KUBRICK'S 2001: A SPACE ODYSSEY JULY 16 DOUBLE FEATURE! THE LAST PICTURE SHOW STARMAN JULY 19 MONTEREY POP! 50TH ANNIVERSARY REMASTER JULY 20 DOUBLE FEATURE! LEON: THE PROFESSIONAL THE FIFTH ELEMENT JULY 21 RITA HAYWORTH IN GILDA "THE LITTLE HAND SAYS IT'S TIME TO ROCK AND ROLL." POINT BREAK (1991) FRIDAY LATE NIGHT MOVIE JULY 24 IGGY POP AND JOSH HOMME AMERICAN VALHALLA JULY 25 SPICE WORLD (WITH LIVE DRAG SHADOWCAST!) JULY 28 RYAN GOSLING IN DRIVE FRIDAY LATE NIGHT MOVIE JULY 29 FOUFOU HA! FEATURING FOU YORK THE 24 CARROT SHOW "ALSO ON JULY 28 JULY 31 THE GEEKENDERS AND KITTY GLITTER PRESENT A HARRY POTTER BURLESQUE BIRTHDAY BASH COMPLETE LISTINGS AT WWW.RIOTHEATRE.CA (IN)ACCESSIBLE VANCOUVER PT. 2 AN ERR FOR AN EYE: words by Jules Gulbrultk II -pkotos fry Pwic&h CuiT^s-^re^MT II iWusfrdtio^s by Kd\e^a lAackiewicz '5 soNicspncE '^H^B^B hen we listen, where are we, I and where is the sound? What ■^BJ^^P aoes it mean to listen to others and have an experience of a space that has no physical location? These are questions asked by Gabi Dao, media artist-in-residence at the Western Front, an artist-run centre known for its new media cross-platform and multimedia exhibitions, residencies and workshops. When I meet Dao, the artist is articulate and energetic despite having spent the morning toiling over grant applications. Dao chuckles that the process has prepared her well for answering questions about her practice. Dao's installations make use of both visual and sculptural elements, as well as sonic and interactive ones. "I'm interested in sound, and how it exists ontologically." Dao describes her practice as one that is responsive, in active dialogue with a given context. "No matter how psychedelic and affective and deep from your intuition [ideas] come from, I feel like they are always responding to what happens in real life." Bao's artistic preoccupation with space and location has long roots. As a second-generation Chinese- Vietnamese immigrant, both of her parents were affected by displacement following conflict throughout the '70s. Dao herself has the experience of growing up at the intersection between the traditional culture imparted by her upbringing, and her day- to-day experience absorbing and creating culture in contemporary Vancouver. She moves through her practice with a keen awareness of how identity and culture is constructed and tied to place in the sense both of current location, as well as more abstract spaces, removed in time and distance, whose effects are nevertheless potent in individual consciousness. "My practice looks at these conditions, these forces, that shape values — families, governments, cultures — and how layered they are, and how they intersect [...] Identity is this really contingent thing, hinged on external factors. As well, what are the forces that make culture and determine what it is, which determine what GABIDAO culture is good and what culture is bad? Different experiences, especially aesthetic ones, are so controlled and mediated by the social landscape that humankind has created for itself." The Western Front is a weathered wood-slat heritage building which stands in humble contrast to the modern condo housing on the opposite corner. We enter the Grand Luxe Concert Hall, the setting of Dao's Slow Wave, a festival that has featured unconventionally intimate performances by Yu Su and Scott Gailey, Soledad Munoz (alongside Samira, There which is in dialogue with the concert series. I ask Dao what her partnership with the Western Front and New Media Curator Allison Collins, has lent her in terms of resources. On top of the equipment for recording and editing, as well as curatorial input, Dao exclaims, "The camaraderie! The staff are all so generous and knowledgeable, it's like a family restaurant here. I'm constantly humbled. And I'm not expected to produce anything, necessarily. I can use this time to just workshop, think and talk to people I wouldn't get to talk to. It's a lot about feeling supported." Prado and Nvrsne) as well as a sound workshop hosted by Tom Whalen (Tommy Tone). Unlocking a door I had never noticed before, she leads into a narrow corridor stuffed with audio equipment and old cassettes — the Front's archive — and then on to two smaller rooms, both equipped with rippled modular wall-mounts: sound dampers. This is the recording booth and audio-editing suite where Dao spends much of her time — granted 24-hour access as a condition of the residency — at work on the production of a podcast series Here Nor Bao describes her intentions for the podcast as producing a forum "to discuss what's happening in the community through what people are doing, their relationships with what they're making, and with the city." During and now after her time at Emily Carr University of Art + Design, Dao has been involved in the studio-cum-gallery spaces Avenue and DUPLEX. As such, she has witnessed and dealt firsthand with the difficulties that weigh on creative individuals in metropolitan centres, especially emerging artists. Finding and maintaining cultural spaces means facing the constant menace of rising housing costs, development and rezoning, dilapidated infrastructure and personal burnout. "It's a dire time," Dao observes, "and it always will be." However, Dao has faith in the capacity of artistic practices and objects, stating what is needed is "a place for visibility. For me, that means that [the art] can now elicit a conversation [...] We as artists, as artistic labourers, need to go into the world and exchange and dialogue and have real effects, make something happen in a direct or indirect way." Through podcasting, Dao hopes to create a space not for just for visibility, but audibility. "Dialogue and discussion have this great capacity, and listening is so hinged on community. You're always listening to someone else. Sound is this social architecture, this structure for congregation. It literally builds something — it's so present, but it's in the air at the same time, totally ephemeral." "It's hard here," Dao states, "and I just realized that we just need a place to talk. I'm asking what the role of a voice is, what it means to talk and give space to voices, and what it means to listen. Space is a resource! And that is something that I have hoped to extend to others through my residency." $ Gabi Dao is artist-in-residence at the Western Front for Spring and Summer 2017. Her residency will conclude with a public exhibition this Fall. More information atfront.bc.ca/events/gabi-dao. Gnmevision ** VRHCOUVER QUEER HISTORY UDSCRIPTED, UflCEflSORED ROD RRCHIVED FOREVER words by Aidan Danaher// illustrations by Jules Francisco// archive imagery courtesy of VIVO ^^M f you are interested in the vivid histories of I Vancouver's subcultures before the turn of the ■^^ century, VIVO Media Arts Centre's library is full of thousands of archived textual and video documents spanning from the '70s through to the '90s and '00s that are entirely open to the public. VIVO began in 1973 as The Satellite Video Exchange Society, shortly after the MATRIX convention, Western Canada's first-ever video media conference. VIVO's heart is The Crista Dahl Media Library & Archive, but the organization is also known for its events, workshops and equipment rentals. With the preservation of so many primary sources from the last 40+ years, a lifetime of knowledge is just waiting to be unearthed by some curious minds with keen interest in the legacy of past generations. In honour of Pride, VIVO is promoting their collection of Canada's first "for gay people, by gay people" television program, Gayblevision (later renamed PacificWave), which was based out of Vancouver's West End. It was originally released through public-access broadcast, now Gayblevision producers (clockwisejrom top left) Don Durrell, Barry Spillman, Mary Anne McEwen, Greg Cutts and Don Larventz immortalized in their archive as video time-capsules of Vancouver's LGBTQIA+ community in the early-to-mid '80s. Episodes range from exuberance, such as detailing how Pride started as a fledgling movement and became an international phenomena, to incredible tenderness, as seen through raw footage of unedited interviews with people afflicted by HIV. Most of Gayblevision is digitized, and footage is accessible online. One of the most intriguing things about Gayblevision is how it provides such a unique insider perspective on the LGBTQIA+ culture as it simultaneously grew and combat- ted adversity. In the summer of 1981, Vancouver declared its first official week dedicated to Pride. In a clip showing the official commencement address, the declaration of the Gay Unity Week '81 promoted the "basic humanity and rights of gay people as citizens and members of the community," while making note of Vancouver's diversity as one of its many strengths. 0 Gayblevision opening credits ^^M n the summer of 1990, Vancouver hosted I Celebration '90, an installment of San Francisco's ^P Gay Games. In an interview with Gay Games organizer Tom Waddell, he said of choosing a new host, "It needs to be a gay community that is known for its friendliness, and has the facilities, and perhaps the most essential element is that it has a good working relationship with the city government." Vancouver covered all of those criteria. Waddell made a great point about the appeal of hosting the event internationally, that through the growth of the event, "cities will realize that gay communities contribute a great deal to the cultural life, to the social life, to the physical life of any city that they inhabit." Some particularly incredible footage is from an interview with Alan Hicox, who was Vancouver's first openly gay man also openly battling AIDS. Hicox was a founding member of Vancouver's first AIDS support group. His bravery was reflected by his decision to publicly face the disease, and he admitted on tape that his confidence was greatly strengthened by the loving support of his friends and family. Sadly, he passed away only nine months after being diagnosed. I can't help but think that the further our society ventures into this century, our inclination towards obsessive nostalgia grows. It is as if the populus has largely held onto this mythical notion that quo- tidien life in past decades was unaffected by the same sort of troubles that we experience today. This phenomenon is in part due to our recollections of childhood, as we compare them to the turbulence of our current lives, unable to contextualize the bigger picture. For instance, as I keep watching more episodes and excerpts of Gayblevision, I notice it is easy to forget how the media firestorm around AIDS / HIV caused widespread stigmatization. In effect, this only plagued the LGBTQIA+ community with increased discrimination that caused further alienation, rather than raising awareness in an educated manner to help prevent the suffering and loss of innocent lives. Just because it's more pleasant to think of the '80s in terms of neon leg warmers, one-hit wonders and Brat Pack movies, doesn't mean there isn't more to learn from that era. The Crista Dahl Media Library & Archive at VIVO is rich with the preserved history from the Lower Mainland and media organizations across the world. These documents and videos, our cultural heritage, are being made readily available as the archive grows and older works are digitized and redistributed. Gayblevision, in particular, demonstrates the value of such archives in preserving a strategically pivotal period of LGBTQIA+ activism on the West Coast. It shows us how much we have progressed, and also helps us understand how much farther we have to go. Access to the Crista Dahl Media Library & Archive is free of charge, andyou can learn more here:vivomediaarts.com/archive. If you wish to see the archive for yourself, contact VIVO at library@vivomediaarts.com. The video archive catalogue can also be browsed online at videoout.ca. VIVO will have a screening 0/Gayblevision on Thursday, August 3 at 8pm, admission by donation. W" THE 25KRSL ciUL22 LRTE kST. TIK: 0\0&~ $20 NON MEMBERS* ^vk^L Y/£\ " ~ ViVO MEDIA ARTS CENTRE PROJECTIONS ~BY NICOLAS SflSS00N& SYLUHIN SAILLY * INCLUDES MEMBERSHIP, COUER, ♦ RUFFLE TICKET '•INCLUDES CDUER . 2 RAFFLE TICKETS GAYBLEVISION Heal tint fiction JUNE 2017 EXCERPT FROM MUSIC WASTE 2017 JUNE 1-4 / VARIOUS VENUES ^■^^ hile I was still recovering from my late night at Fortune, I knew J^J^r my second night of Music Waste was going to require travelling around the city from venue to venue. Before the sun had even set, my evening began at the Cobalt. First on deck was Tesstopia, a solo performance from Daniel Tessy (of Fuzzy P, who were playing later that night at Pat's Pub) with his semi-hollow electric guitar. His bellowing vocals were at times a jarringly high-pitched falsetto or bloated, with delicate melodies. Before he finished his set with "Impossible to Know," he mentioned that he was unable to play the song's closing guitar solo. Instead he decided to sing it note for note. While it wasn't necessarily my cup of tea, it was very entertaining and you could tell he was having a great time. Shortly after, Milk took to the stage. Sporting a Hawaiian shirt, Milk's enigmatic vocalist / guitarist Thomas James carried himself with a similar disposition to Dinosaur Jr's J Mascis, with drawled singing complimented by the ability to pull off ripping guitar solos. Some of my favourite songs from the set were "Marmalade," with guitar melodies and harmonies reminiscent of Real Estate, and "Standards," where James sings: "Everyone's so worried they are losing their damn mind / Anyway I guess I feel alright." For the final act of this show, all four members of Jock Tears were bouncing around the stage, each with their own spastic rhythms. Almost every song —which was never longer than two minutes — was preceded by a quick "1 -2-3-4!" Similar to their name, their songs were cheeky, lightheart- ed jabs at different kinds of insufferable stereotypes. For instance, singer Lauren Ray announced before one song, "This is a song about cool guys who aren't cool," and proceeded to sing about boys with bleached blonde hair. Another song was preceded by a, "This song is about Tinder, I hope you find true romance." While it was completely unexpected, their set wouldn't have been complete without their encore: a cover of GG Allin's "Don't Talk To Me." By the time I left the Cobalt, the sky was finally dark. I made my way across the city to make it to my next stop of the night: The Toast Collective for Winona Forever's set... [Read the full review on discorder.ca] —Aldan Danaher MUSIC WASTE: PALM OIL / DAD THIGHS /WARES/LITTLE SPROUT JUNE 3 / TOAST COLLECTIVE Pt 9 p.m. on Saturday, June 3, the front door of Toast Collective was locked and the windows were boarded up. Confident that a Music Waste show was supposed to be occurring, I searched for a way in. The back alley revealed a nondescript entrance which led to a shoebox of a space. Inside, people were quietly chatting, sitting on couches and piling their jackets up in the corner — we could have been hanging out at a band practice in a friend's parents' garage. Vancouver-based Little Sprout opened to a crowd of two dozen. The show was so intimate that Amie Gislason, on vocals and guitar, asked if the sound was alright with everyone and we directly replied. Gislason's voice had a sweetness to it reminiscent of Hannah Georgas, that could transform into a heavy metal wail in an instant. Sean Aram Gordon played a drum set that included a cymbal cracked within an inch of its life, and Reese Patterson grinned along on bass. Little Sprout seemed genuinely happy we were all there, and the feeling was mutual. After a short intermission, the crowd easily doubled in size. Everyone was chattering amongst themselves and waiting for the next act when feedback shrieked through the room. At first, it seemed like Wares' Cassia Hardy was fiddling with the equipment in an attempt to stop the noise, which had grown unbearably loud in the small space, but it gradually morphed into something calculated and melodic. Seeing Wares perform reminded me of why I love small shows. Their music is the product of genuine talent, and watching them perform felt like bearing witness to something greater. Hardy's commanding presence blended with her unpretentious vocals to create garage rock infused with absolute sincerity. It wasn't a show I can easily forget. At some point between Wares and Dad Thighs, Toast Collective posted on the Facebook event page that they were at capacity. People were stripping off clothes and squeezing up front to get closer to the action. Headbangers lost themselves to Dad Thighs' wailing and meandering guitar rhythms. Lead vocalist Victoria denounced the yuppies making it harder to live and work in Vancouver. The crowd roared in response. Dad Thighs seized our attention and their 30-minute set whizzed by. Finally, Palm Oil took to the stage. The four-piece took a clear political stance, and made no attempt to sugarcoat their message that "humanity is doomed." They were the most hardcore act of the night and the room pulsated with the energy they emitted and received in return. Palm Oil ended just after midnight and the audience piled out into the alleyway. The Saturday show at Toast Collective may have finished, but Music Waste was far from over.—Hannah Thomson MOUNT KIMBIE / KUCKA / SUITMAN JUNGLE JUNE 8 /IMPERIAL I get to the Imperial too early, and it is already hot. Red lighting and •^P smoke machine haze give the venue a steam room vibe — either that, or slightly reminiscent of the opening sequence from a bad '80s action movie set in stereotypical Chinatown, complete with a fish tank near the bar and fake terracotta warriors decoratively looming over the dance floor. Seriously though, where am I? Suitman Jungle ("I wear a suit, and I play jungle") opens, transporting the audience of 40 or so to the streets of London with recordings of the Underground, British parliament and casual conversation woven into jungle beats. Suitman Jungle is a playful performer. Every song is a narrative meriting some explanation and context. During one song he talks about writing a letter. He says he signs '"Yours Faithfully,' because I don't really know the person." At one point he takes "a break" to read headlines from Vancouver's Metro newspaper. He asks us specific questions about the structure of Canadian government (embarrassingly, the small audience stays silent). It is, of course, election day in the U.K., and as the sounds of London fill the Imperial, Suitman Jungle's set is a not-so-subtle reminder that politics fill his thoughts. In no time at all the Imperial fills up, and Australia's KUCKA begins. Her set opens with recordings of birds — a fitting transition from Suitman Jungle's sample-heavy set. KUCKA improvises her beats in the moment and layers her vocals to create an electronic soundscape not unlike the familiar music of Stefana Fratila or Grimes' early albums. The audience mirrors KUCKA's stage presence and dances anonymously. I close my eyes while dancing and let the bright stage lights pass over me. I notice that someone around me smells like strawberries, and it stays with me. KUCKA's set is an authentically sensory experience — the perfect lead into Mount Kimbie. Mount Kimbie holds off four songs before saying hello. Kai Campos explains, "Last night we played, where the fuck? Somewhere small ... I got used to playing to 10 people, so this is a bit fucked up." Looking around, the room is packed and the audience is hanging off Campos' every word. It's hard to imagine them playing near-empty rooms. Mount Kimbie performs live as a 4-piece with Campos and Dominic Maker as the focus. They alternate instruments seamlessly. The nature of the stage presence seems to imply that Campos and Maker perform in their own worlds, each adding to a shared universe. They play a balance of older and newer songs, but they are stylistically distinct. Newer tracks, including "Marilyn" and "We Go Home Together" have a sophistication that exemplifies Mount Kimbie's slow drift from trap. Not that the audience is paying much attention to the stylistic tension — even wallflowers for KUCKA and Suitman Jungle joined the dancing for Mount Kimbie. Near the end of the set, Campos addresses the audience again as if completing his initial opening comments: "It's a real pleasure to have some of you come out when we've done jack-shit for four years." No, it was our pleasure.—Paige Lecoeur DOUSE / THE JINS / CASUAL LUXURY JUNE 9 / STYLUS RECORDS ^7 rom floor to ceiling, every surface of Stylus Records was cluttered ^« with some arcane artifact, rock poster or handmade chair. I began the night standing on a coffee table at the back to get a better view of the packed venue for Douse's The Light In You Has Left vinyl release show. The well-received record has now been given the vinyl treatment from local label Kingfisher Bluez nine months after its initial release. Borrowing two members from Douse, multi-instrumentalist Ethan Hall's modern rock project Casual Luxury opened the show as a four-piece with drums, bass, electric guitar and synth. The set featured a loud-quiet dynamic with clean arpeggios and tense power chord climaxes, but the set was so short it was hard to get a sense of what the band is all about. For the main event, Alea Clark, Jeremiah Ackermann, Patrick Farrugia and Victoria Spooner expertly replicated The Light In You Has Left's ethereal atmosphere and complexity with washes of lush reverb, delay and shimmering chorus. Douse's cinematic art rock draws comparison to the likes of The National and Wye Oak, though Douse lacks their peers' sinister edge, which eft some of the more musically aggressive tracks coming off a bit limp. Instead, Douse were at their best in sparse and vulnerable moments like the gorgeous "Hypertension." These tracks allowed the character and quality of Clark's voice to shine through and really draw the listener in. Ackermann cited their penultimate song "Unrest" as their most popular "based on the online play statistics," and it provided the climax for their solid set. Whatever side of Douse fans prefer, many left happy with new vinyl in hand. The Jins were loud, their gear looked like it was barely holding together and their garage rock sound was the polar opposite of Douse. They blasted through their set with drummer Jamie Warnock brutalizing his kit, bassist Hudson Partridge kicking on the overdrive, and vocalist Ben Larsen coaxing huge guitar tones from his 150-watt tube amp. They're a noise complaint waiting to happen in the best way possible. Warnock broke his kick drum after the first song, but with a hand from the audience they just flipped it around backwards and carried on. A few songs later the cymbal stand and floor torn toppled over. Standing in the front row of a Jins show comes with certain responsibilities — you might want to brush up on your roadie skills. So what is The Jins' most popular song based on online statistics? I would guess "Inner Child." The song started out with gently strummed chords underneath deranged whistling from Larsen and Warnock before dropping into thick power chords paired with a brilliantly sludgy chorus effect. Ignoring a broken guitar string they obliged the call for an encore and despite Larsen's warning that it would sound bad, nobody was expecting perfection. —Dylan Joyce MARBLED EYE/TOUGH CUSTOMER/ BORED DECOR JUNE 15/RED GATE ^■^^ hen Vancouver locals Tough Customer ended their set, the band JjJJJjAr clustered together on stage in fits of laughter. Kat grabbed the mic and addressed the audience one last time, singling out Nik of Bored Decor: "Sorry Claire grinded up on you. She thought you were Aidan." This was the final punchline in Tough Customer's comedy of errors. The closing of a hometown sandwich with Bored Decor and Marbled Eye (Oakland), Tough Customer's set was nothing short of a hot mess. This outcome was foreshadowed by Katie and Claire's choice of warm-up music — guitar riffs from Heart's "Crazy On You." Though every song was bookend- ed with Kat cussing out malfunctioning parts on the drum kit, the beats were consistent enough to keep the crowd dancing throughout. After giving an impassioned "Tell You Off," Katie lost her voice to coughing and Claire took the mic, holding its stand at an angle. She stepped off stage to join the dancing audience, clunkily dragging the mic stand with her. Suddenly confused, Claire exclaimed into the microphone, "What? You're not Aidan," followed by, "I can't tell Liam about this." (Liam being her partner.) I Bored Decor 9 Music Waste, photo courtesy of Pat Valade REAL LIVE ACTION Claire was grinding up against Bored Decor vocalist Nik thinking that he was someone else. The absurd interruption of Claire's realization was more than anyone in Tough Customer could handle — except for maybe Ben on guitar, who kept his cool through all the mishaps and stage banter. If Tough Customer had a post punk doppelganger, it was Marbled Eye. The four-piece played a tight set. The vocals alternated between band founders Chris and Michael, who were stationed on opposite ends of the stage both playing guitar. Andrew on bass played between them, taking up most of the stage rocking out. The band thanked the venue and wished a happy birthday to Kat, who they claimed, "promised us a twerking crowd surfer during our set." The audience was tentative with their affection, but they inched closer with every song and were won over. Bored Decor opened the evening with dramatic flare. Nik lit candles on stage ritualistically, and the band started off with some of their slower songs. After the opening song, Nik said, "I would say come closer, but there are a lot of candles up here. I wouldn't want something to happen." In blatant disregard, the audience crowded the stage, casual swaying transforming to moshing. The set hit a climax at the lyrics, "Any form of pleasure is relief" in "Spasms," a song off their forthcoming album. The audience actually sighed in disappointment when the song ended. If only we had known then what was to come. —Leigh Empress FLEECE / FUNK SCHWEY / JERICHO / MY SISTER MARIA JUNE 16 / FOX CABARET Pn early show time often calls for a smaller crowd, and as the first bands set up at the Fox Cabaret, it seemed as though that would be the case. What is usually a lively and eccentric venue felt dull and divey — despite the rooms stark appearance, it wouldn't be too long till its vibe would be revived. First up was an acoustic set by My Sister Maria, who had yet to arrive. Nearing 8 p.m., there was no sign of My Sister Maria. A small crowd awaited her set, Jericho prepared for theirs. Without any formal introduction, Jericho transitioned from their sound check straight into their set. The crowd was sparse at first, but as they played, loyal fans shuffled in from the light of the early evening into the dark Fox. The energy, which was lacking at the start, was instantaneously sparked as the crowd grew in size and enthusiasm. Despite the light that leaked into the murky cave-like hall, Jericho's dark and entrancing sound enticed listeners and felt at home between the red and black walls. After what felt like a quick set came, what some may argue, the act of the night. If you've ever seen Funk Schwey before, you probably know what's next. They jumped right into spellbinding the crowd with charisma. As the two brothers, Isaiah on the bass and Jarah on the mic, grooved in Funkadelic unison, the crowd mimicked, hooked by the irresistible energy. The room was electric as the mass of charged bodies bumped and boogied. Between sets, My Sister Maria appeared and quickly played two acoustic songs. Her voice was soft and sincere, but it was diffused underneath the chatter of the buzzing crowd. It was steamy and hot after Funk Schwey, but that didn't stop the crowd from getting cozy with the show's headliner, Fleece. The five-piece started off humbly, the audience still charged from the previous set. Their jazzy psych rock sound contrasted with their casual demeanor. While seeming mildly dis- WEST 41 STREET PARTY THE ZOLAS THE COURTXEYS D.O.A. LOUISE BURNS WAR BABY ROOTS ROONDUP MALCOLM JACK JODY GLENHAMTHE WOODEN HORSEMEN TWIN BANDIT DOUSE ART D'ECCO PEACH PIT FRANCESCA RELCOURT V.VECKER ENSEMBLE ACTORS JOHNNY PAYNE MINIMAL VIOLENCE THE JUDYS DOPEY'S ROBE FRANKIE BLUE J UNKNOWN MOBILE TULIP ONLY WOLF DANIEL TERRENCE ROBERTSON THE ORANGE KYTE KASH HONEY + YWN PRADO THE WRITTEN YEARS Al HASHIMOTO MICHAEL & THE SLUMBERLAHD BAND SCUM LAUDE DID YOU DIE JO PASSED GENTLE PARTY HAZY GHOST MEAT DEVOURS DIRTY MIKE A THE BOYS JOCK TEARS LOVECOAST ZAAC PICK GABRIEL PALATCHI TRIO SATURDAY JULY 8TH West 4th Ave from Burrard to MacDonald IDS a ■"ImIUJ Egfey E3 CRR 2GO /A. mcbi Shaw) go DAILYhlVE IDE7 tralWW connected from the audience, the band seemed connected with each other and their music had a "mind-fuck" sort of presence. The ambiance of the room felt snug and pleasantly lethargic, as people swayed and minds wandered with the rotating disco ball lights, moving off tempo to the jazzy drumming and Sesame Sfreet-like synth. Just after 10 p.m. the final set came to a close. The crowd exited the building in a dreamlike state, only to find they still had the rest of the night ahead of them. —Lexi Melish EXCERPT FROM CAMPBELL BAY MUSIC FESTIVAL JUNE 23-24 / MAYNE ISLAND rike any music festival, you have to find your groove before you can settle yourself into the ebb and flow of festival community. Campbell Bay Music Festival is no exception. Even though it has been going for nine years, this Mayne Island festival has no formulaic feel to it — just people who love being on an island, listening to music together. For the first time in maybe 20 years, I found myself looking for a shady camping spot near a bathroom, but not too close. I should add that I brought my two kids. We set up near the top of the hill, away from the real partiers, amongst the somewhat familial folks who had an idea of longevity and pacing for the weekend. But the real bonus was the afternoon shade. The festival runs on volunteer power, while the money from tickets very obviously goes into securing excellent music from all over North America The folks who run it genuinely seem to be in it for the show. It was a perfect balance between every kind of music you'd want to encounter at a festival: bluegrass, '80s synth haunt pop, slam poets, poetic musicry, western shirts with pearl topped buttons, steely guitars, soul country, folkish rogues, naked beach jams and jokesters. There was art, murals, moving meditation dancers, hoop lessons, indigo dye workshops, and so much more. As for the bands, there were too many to talk about individually. Each had its own separate and sublime quality, I could never fully capture, so I'll vociferate a few of the standouts for me. On Friday night, Thus Owls, a Montreal-based Swedish / Canadian duo, caught my attention with the singer's heart-centric soul stuffs lingering in my ears. She ascended while the steely guitar stayed grounded, a friendly reminder to watch from below. There were The Revelers, a high energy grass-cajun-roots act that every Acadian can deeply relate, and Nanaimo's experimental electronic band, Top Men who did a cover of Peter Gabriel that made me cry a little tear in my beer under the stars from my tent, while I watched my finally sleeping children... [Read the full review on discorder.ca] —Oona Krieg !!! To have a live show cc nsidered for eviev v in Discorder 1 Magazine and online, please en nail event det ails 4 -6 weeks in advance to Jasper D. Wrinch, Real Live Action Edito at rla.discorde @citr.ca. RLA is also expanding t o include con nedy and theatre, an ong other live experiences. Fee I free to subn nit the )se event detai s to the e-mail above. 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Yet when we think no one is listening, we turn on Beyonce and Taylor Swift, and crank the volume. Pop music is always there for us when we need it, whether it's when we spend too long thinking about the ills of the world or when we finally overcome feeling guilty about our musical pleasures. In Vancouver, we have some of the best pop musicians in the country creating immaculate hits that will ease the pain of any heart break or existential crisis, all while showcasing extraordinary musical skill. Rococode's new EP Young Ones is a perfect example of the addictive hooks and seamless production that we have come to expect from Vancouver's own Laura Smith and Andrew Braun. This EP's dark, synth pop dreamscape acknowledges the heavy dread that has become synonymous with the year 2017, while simultaneously lifting the listener out of the gloom with unexpected melodies that float over the tracks with ease. Crafting music that encapsulates both the dark and the angelic hinges on refinement and talent. Smith's rhythmic runs in "Can't Get Enough," for example, are expertly written, and will send a shiver down the spine of an unsuspecting listener. In the last track, Smith sings "Wake me up, I thought that it'd be over / But dreams can't make me sober." This imagery brings to mind a generation waking up on November 9, 2016. All that darkness is there, amongst the synths and the drum machines and the show-stopping melodies. Yet, the duo also provides glimpses of light, as they coo, dove-like, on the vocal hook to "A Love That You Will Never Know." Rococode's music is carefully crafted by two veteran musicians who know what the hell they are doing. They further prove that pop can encapsulate complexity, depth and diversity. And while it may be easy to disregard music for its melodic, hook based sensibilities, it's time for Vancouver to stop judging musicians by genre and, instead, finally listen.—Sarah Jickling CHASTITY BELT (Hardly Art) 02 / 06 / 2017 most fleeting. Songs like "5 AM" roar suddenly out of a series of calm and thoughtful meditations; just as suddenly, the din subsides. Through these flashes of turbulent emotion, Chastity Belt evokes the plight of contemporary young adulthood, in all its timid self-loathing and earnest, honest expressions of love. / Used to Spend celebrates that we are capable of pure, raw emotion, and mourns that incessant paranoid anxiety is the price we must pay for those moments of uninhibited passion. In the end, though, we are left resigned to ourselves and our fates. Darkness is omnipresent; despite flashes of light, it will inevitably consume us once again. / Used to Spend reminds us of this. But it also reminds us to appreciate the moments when we can find freedom from our fears and worries. We may just have to be content that we are, for now, happy.—Joey Doyle AN ANT AND AN ATOM (Self Released) 01 / 06 / 2017 The latest record from Seattle's Chastity Belt, / Used to Spend So Much Time Alone, is an old lost friend, grown up and returned home. Dark, composed and mature, this record expresses not a longing for youth or a nostalgia for simpler times, but rather the coming to terms with a world that seems unrecognizable, full of unwanted responsibility and irrevocable choices. Chastity Belt's record understands that, while our lives are rarely desirable and offer little freedom to escape, we can still find moments of joy amidst it all. While the thematic concern of the album is fractured and uncertain, the musical and lyrical composition is anything but: this is Chastity Belt's most coherent and refined work to date. Julia Shapiro's vocals evoke the perfect balance of resignation and hope, underscored by the insistent interplay of Shapiro's own rhythm and Lydia Lund's lead guitar, and the stable presence of Annie Truscott's bass and Gretchen Grimm's drums. These elements come together to lull the listener into a space of calm amidst a storm of assorted emotions that constitute existence. Loneliness and uncertainty are contrasted against desire and confidence, each in brief glimpses. Nothing is sustained, nothing is sustainable. The brightest and most beautiful moments in the album are the rarest and UNDER REVIEW Pn Ant And An Atom's Exterior is an interstellar wonder. This Lethbridge, Alberta based artist has escaped our planet on a doomed spacecraft. Through the five-track composition that is Exterior, a journey of galactic survival is portrayed. Unlike other space-themed albums, such as Mogwai's 2016 Atomic, Exterior distinguishes itself by providing the listener with a greater sense of realism. Rather than emphasizing the spectacle of space, An Ant And An Atom chooses to highlight the magnitude and loneliness of the cosmos. The album opens with the heavy rhythm of "My Craft Broke At Launch." The pulsating bass perpetuates a sense of urgency. This intensity is in contrast to the latter half of the song. As, this initial rhythm fades and is replaced by a spacey mechanical tune defined by an unusual hum (perhaps that of a spacecraft). An eerie quietness now rests within the listener's ears, paving way for the rest of the album. Soon, however, long drawn out notes slice through this silence. The track, "The Crush of Gravity," begins and brings with it a wailing that sounds like unheard sirens. Following this jarring alarm, "Locked In Adrift" opens with a deceivingly peaceful melody that dissolves into an isolated tune adrift amongst steady interstellar winds. Having not truly been in outer space myself, I can only speculate that this accurately captures the essence of cosmic solitude. The somberness of these first three tracks is carried into the fourth: "I Dreamt Of Reaching Space, But Couldn't Calculate The Escape Velocity For Reality." As this song progresses, the listener becomes aware of the dangers and stress of space travel. The dreamy tones that opened the song suddenly escalate into chaos. Just as quickly as it arrived, this harshness cuts away, bridging into "Heat Up Another Planet, Burn Out Another Sun." An immediate sense of doom is realised within the first few seconds of this richly layered piece. Immense, it sounds like a train going through a tunnel lost amongst white noise. For someone who spent the summer rewatching Star Wars, Exterior was a brilliant reminder of the terrible power of the cosmos. Somehow, An Ant And An Atom has managed to sonically render the vast emptiness of space. I recommend Exterior to those who look to the stars with respect and wonder.—Austin Zeller SICK BOSS (Drip Audio) 26 I 0b I 2017 ^■^^ ith each of its three members playing in an obscene number of 4^J^P musical projects, it's a wonder Sick Boss even found the time to put a record of their own together. After years in the making, the self-titled Sick Boss is here. Comprised of drummer Dan Gaucher, bassist James Meger and guitarist Cole Schmidt, the Vancouver trio runs the gamut between genres and styles throughout their debut release with incredible ease and dexterity. "Amadman" kicks off the record with glitches and gloom alongside truly incredible musicianship. An unnerving soundscape emerges from the start, with tweaking guitar and synth noise and a wash of keys. Slowing, a steady pulse materializes and Gaucher's driving drums kick in, as a moaning voice floats in and out. The cacophony builds until, in perfect sync, all the sounds coagulate in a carefully orchestrated stab. This mixture of compositional nuance and free-wheeling improvisation is what brings the entire album together. Every song seems to be on the verge of exploding with musical ideas. At the hands of lesser artists, the album would crumble under its own weight, but Gaucher, Meger and Schmidt show that they have the confidence and skill to keep it alive and exciting. Despite diving into the depths of discord, Sick Boss is not afraid to produce something sonically beautiful as well. This dichotomy is best seen during the last two tracks of the record — "Bug Ya! (Pt. 2)" is a jittery, dissonant and intricate collection of sounds, more textured than harmonious, followed directly by "Troubled," a slow burning ballad featuring rich piano, string pads and Debra-Jean Creelman's gentle crooning. While technically only a trio, Sick Boss enlists the help of countless prominent Vancouver musicians to fill out the entirety of the nine tracks. Peggy Lee's cello slashes across "Mona," JP Carter's trumpet soars over the ending of "Bad Buddhist;" Jeremy Page's clarinet cuts through the noise of "Amadman." Vocalists Creelman and Molly Guldemond take centre stage on the jazz- age "See You Out There." Overtop the smooth shuffle of instrumentation they sing "See me / Out there / Always / See me / Always / Out there," as if embodying the music itself, suspended in time, drawing on both antiquated jazz and cutting edge experimentalism. Sick Boss's constantly morphing style and sound seems always to have been here and sounds like it always will. —Lucas Lund CAMERON MACLEOD (Self Released) 19/05/2017 ^■^^ ith Icon Of An Orange Juice Container, an instrumental comedy 4^J^P album, Cameron MacLeod strives to be a jack-of-all-content. He is a writer, director, producer and performer at Pleasant Mountain Productions, a comedian, and the driving force behind The HERO SHOW (a monthly Vancouver sketch comedy show). MacLeod flexes comedy at every level and this album attempts to stretch it further. Icon Of An Orange Juice Container's title and track names were born as late-night epiphanies and the beats and voiceovers were developed later. Each track name is an introduction for a spoken bit laid over bouncy beats that range from the precise in "Suck Me Like a Dyson," to the bubbly in "Chilly Toes & Bros." Home produced, MacLeod made everything himself excluding the Point Break samples in "Chilly Toes & Bros," an homage to MacLeod's work in classic action film parody. Music, rather than stand-up, comprises the bulk of the album. With three minute long songs like "Club Renovation" and its 20 seconds of voiceover, this album is more aptly classified as comedic instrumentals than instrumental comedy. Despite this musical emphasis, MacLeod draws heavily from his sketch comedy roots. Though the tracks merge music and narrative, the isolated voiceovers could be performed as stand alone sketches. An acoustic track, "I Can't Do The Dew Like I Used To" has both strong comedic content, a Mountain Dew advocate lamenting his waning ability to "do" it, and striking instrumentation. The content anchors and supports the music, and the slow guitar reinforces the ambiance of the track, each justifying the other. By starting the creative process with song names, however, the listener is left with mixed results. On one hand, this approach provides MacLeod with a lovely comedic springboard for each track. But, on the other hand, it limits the impact of the album as a whole. Each song being a separate burst of inspiration means that cohesion was forcefully imposed. The tracks' disparate content leaves the music to connect everything. Instead, MacLeod emphasizes the music's relationship to the bit, making the album feel like a collection of singles as opposed to an album unit. Icon Of An Orange Juice Container is a beautiful idea whose main fault lie in MacLeod's unfamiliarity with musical media. His palpable excitement suggests that this is a passion project meant to test himself and the boundaries of his comedy. The project is so conceptually exciting that the actual content is almost secondary.—Clara Dubber s^; SLATES (New Damage Records) 19 / 05 / 2017 SLATES! MM Coyotes," a buried B-side on Summery, begins with a dissonant major chord chiming beneath distant sirens and the howling of animals. Depicting backyard coyotes under the watchful eye of an indoor cat, vocals cut in and disrupt this eerie field recording. The song diverges abruptly into an extended instrumental. A simple rhythmic structure guides the guitars as they squeal discordantly through a four-part crescendo. It is as feral as much as it is nimble. Vocals cut back in and we revisit the coyotes. The song comes to a halt. Like "Coyotes," many of the memorable moments on Slates' fourth full- length album are found deep within songs. The expressive vocals use observational imagery to colour lyrical content about loneliness and death. Yet, the tension is created by unanticipated shifts into emotive, unconventional solo sections — sludgy rhythms, jagged guitar work and a trio of lo-fi segues between songs. The solo sections, typically repetitive two-chord vamps, are an exertion of strength from Summery's only apparent flaw. Although remarkably powerful, the vamp sections begin to wash together by the record's end. Is this intentional? It barely matters; the sequencing is seamless and the album hardly loses momentum within thirty-three minutes of music. Summery is a fitting rejuvenation of where Slates left off on their previous album. Slates continue to refuse the confines of circle-pit punk. The intricate guitar chords, boisterous rhythm section and articulated half-spoken vocals echo an Unwound influence. Yet the band is definite in carving their own trail, using meaningful subtleties that are fit for repeat headphone listens through summer rambles.—Mark Budd DO MAKE SAY THINK (Constellation Records) 19 / 05 / 2017 fvery time I spin a new Do Make Say Think album there is a moment of fear. Perhaps I'm not going to fall in love this time as I commonly do with every album they release. But then I listen again and it sinks comfortably under my skin, confirming and continuing the love affair. For years the Toronto post-rock instrumentalists have been creating urgent and tense music that jumps between blasting the skin clean from your body to soaking your weary frame in the healing waters of lucidity. Their seventh release, Stubborn Persistent Illusions, continues this trend and it is staggering to me just how beautifully it flows. "War on Torpor" is a hell of a way to open an album, as it is erratic and manic like a chicken without a head. Truth be told, I was not quite sure how I felt about this song at first, but then again this is my most treasured band and time must be allowed for the music to unfold organically. And good god does this album unfold in such a magnificent way, even after the rabid energy of its opening track. In contrast, "As Far As the Eye Can See" provides immediate gratification. It will quite likely go down as one of my favourite songs by Do Make Say Think, with its sweet buildup and finger picked guitar inflections that curl the hair on my noggin before a wash of steady chaos straightens it out again. This is their standard attack: delicious guitar tones leading into a twang and tremolo that smacks faintly of country. The gentle sweep of brush on snare and the even gentler thud of kick drum. Horns melt the spine as odd synth steer you into uncertainty. DMST will envelope you in warm gooey sauce and you will nearly fall asleep, only to be jostled into total alertness when the peace finally snaps and a furious din fills your eardrums. Stubborn Persistent Illusions is yet another foothold for DMST and it seems that their years of hiatus have been kind to them. Having gotten older, some married and now parents, this new album shows maturity and growth. As always I come away with these songs resonating, echoing and rattling my bones. This is what music should do. To make one feel, to make one think, to make one marvel over the beauty of it all. To have songs stuck on repeat in your head for hours at a time has never been more welcome. —Nathan Pike (Self Released) 12 / 05 / 2017 MARTIN GRICE ■V tVf-i,, 5r!tB TW leno.1 kerb car. .I ir*-r°7 problemj paired w\th J^r orrb^ ".'!* *»":«* l-mMi is r*V,.e 4 E.r.p*."e* rook no further than the playful, hand drawn album art — detailing a number of ways in which to consume the herb mullein — to have an idea of Singer-Songwriter Martin Grice's sense of humor on this set of ten alt-rock tracks. With its lo-fi, homemade feel, Mullein swings with an undeniably catchy groove. The album kicks off with "Roy" and "Palimpsest," a pair of tunes with jazz- tinged instrumentation and dark, esoteric lyrics. "Palimpsest" speaks of a recent break-up. Halfway through, its initially upbeat tempo suddenly falls into a mournful slow dance. The lyricism here is the album's best. While in the verses, Martin sings of twisting his ex-lover's image so as to frame her as the villain, the chorus overturns those words by musing that" It's easier to digest your unholiness / Than to feel nostalgic for our happiness." With "Palimpsest," Martin shows his vulnerability. With the next track, he reveals his comedic side. The breathy vocals of "Without Funds" play well into its humorous meditations on paying off college debt and aspiring to be rich. To this end, the song dissolves into a short rendition of the chorus of Lorde's "Royals" before finishing with a repeated desire for freedom. While the following song, "Last Resort," retains some of this rhythmic playfulness, the songs that come after slip in terms of both lyrical and musical focus. In "The Movie Theatre is a Bad Place for a Date," for example, Martin's chaotic vocals and odd lyrics do not amount to much more than filler. Moments like these summarizes the largest issue on Mullein: a lack of variety. And although I enjoy the lyrics and grooves of many of Martin's songs, a broader instrumental palette would've added a much-needed sense of balance. The final two tracks — "Let's Fall Asleep Together" and "Sloth" — buck this trend and are welcome additions, each sounding like nothing else on the album. The former is a soft, sugary slow jam, with its occasional trumpet working well alongside the quiet, unassuming vocals. The latter's echoey guitars and unrefined chorus finish the album off on a high note. Martin Grice's latest release is an imperfect set of songs, yet the album is defined by an honest sense of fun. I look forward to Martin's growth as an artist and his future releases which will surely break away from this album's mold.—Leo Yamanaka-Leclerc PODCASTS THE IMP0STER vnsmnsiistm 2016-Present Thirty minutes into Episode 34 of The Imposter, guest Sholem Krishtalka drops a nugget of truth which perfectly describes the entire podcast: "Criticism, for me, is always an act of care. Whether it's good or bad, it's always an act of care." The Imposter does not shy away from critiques of Canadian media, but only because it cares so damn much about art. In a national media climate where high-profile cases of cultural appropriation (and facetious calls for an Appropriation Prize) run free, the Imposter is a welcome antidote. It is a platform for Canadian artists to speak about their own lived experiences which inform their creative practice — along with a healthy dose of weirdness. Highly listenable, 77?e Imposter is a weekly dispatch of the country's most exciting creators, run out of the podcast network Canadaland. The show acts as a curator, using equal parts prestige and eccentricity to create wonderfully unpredictable content. Unlike most gatekeepers to the art world, The Imposter casts a wide net. Recent guests have ranged from internationally renowned comics artist Guy Delisle to emerging Anishinaabe electronic musician Ziibiwan. What ties together this eclectic curatorial slate is a charismatic host, Aliya Pabani. She's astoundingly candid with each interviewee: probing but never pushing in order to get to the heart of each artist's work. For example, in the bitingly titled "Why There Are No Period Pieces About Black People in Canada" (Episode 41) the filmmaker Charles Officer is interviewed about everything from his childhood hockey-playing aspirations, to untold stories of Canadian Black excellence. These topics are woven together by Pabani's conversational dexterity to form a dialogue around narrative truth. In Episode 34, "Century Egg," Pabani speaks to the admin of the @ CanadianArtWorldHaterz Instagram, who's biting memes have spawned reactionary accounts and online vitriol. The interview could have easily been a frivolous gag, but instead it becomes the starting point for a vital discussion about the difficulty of making it in this country's fragmented artistic scene. This is The Imposter's signature magic trick: conversations about each guest's current work often transform into immersive reflections on living an artistic life. There's an undercurrent of urgency in just about every interview — a common understanding that creating is often a tool for survival and livelihood. The Imposter is a reminder for us all: seek truth in art, even if things get a little weird in the process.—Hailey Mah BOOKS JETTISON Nathaniel G. Moore (Anvil Press) 06 / 10 / 2016 Jf ever there was a mystery novel in its purest form, Jettison would be among the forerunners. But this is not a mystery in the sense of crime and intrigue, cloak and dagger type shit. No, this is a mystery because half the time you will be left wondering what the hell is going on. To make matters even more mysterious, this is not really a novel at all but, instead, a series of short stories, each with their own dangling carrot of intrigue. Some of the stories follow a fairly straightforward premise. "The Amazing Spider Man," for instance, offers an easy to digest tale. Focusing on 18-year old Peter and Mulysa, it portrays young love at its simplest. Hosting slight turns and a twist, nothing is too sinister, save for a nagging spider bite, Ontario's bitter winter cold, and some fleeting back seat make-out sessions. Not all of Nathaniel G. Moore's stories are so clear. Many will leave you scratching your head. The opening tale of this weird, dark and twisting collection, "The Catullus Chainsaw Massacre," leaves you feeling thrashed about. Centering on a Waterloo University student, Henry, and his roommate Catullus (the ancient Roman poet), who appears to be out of his mind, the reader is both sideswiped and awe-stricken. Catullus has an unhealthy fascination with Henry's girlfriend, who Henry clearly would prefer Catullus to stay away from. But, unfortunately, Catullus does not understand boundaries. And here is where it twists and turns and leaves the reader in disarray. The last two pages are breathtaking and demand an immediate re-read in order to make the pieces fit a little more comfortably. In stories like these, the payoff comes with reading between the lines and "getting it" when the story wraps up. Though striking, Moore's commitment to the absurd can be a workout for the mind. Often, these stories are like being given pieces of lego, doll parts and a couple of Uno cards with the instructions to build a waterproof shelter. Possible and rewarding, but work is required. Now, this is not to say that Jettison is an unenjoyable read. In fact, author Nathaniel G. Moore writes with a style and imagination these eyes have rarely seen. I found myself poring over certain passages because they were just so damned moving. And my only qualm with his style lies in the fact that it demands a presence of mind. When your attention drops momentarily, you find yourself floating into a confused head space, babbling senselessly. While Jettison, with its quick shifting scenes, has its moments of confusion, it is the poetry with which Moore writes that keeps the reader interested. With some truly memorable lines and wicked wordplay, as well as a heap of pop culture references and figureheads cast into bizarre situations, I found myself wanting more. Though, when all was said and done, I had to take a deep breath and give the crossed wires in my head a shake.—Nathan Pike To submit music for review consideration in Discorder Magazine and online, please senda physical copy to the station addressed to Maximilian Anderson-Baier, Un- ..view Editor at CiTR 101.9FM, LL500 6133 University Blvd., Vancouver l~ " 11. Thouah our contributors prioritize physical copies, you may email do1.... '.discorder@citr.ca. We prioritize albums sent prior to their official release dates. Under Review is also expanding to include independent Feel free to submit those, too. ns, books and podcasts. UNDER REVIEW Q&AW c^Wzfc interview by Ivanna Besenskovsky // illustrations by Janee Auger // photos by Pat Valade I sat down for early-morning coffee with 18-year-old hip ^P hop artist Prado to chat about Vancouver's hip hop scene, challenging bro culture, and thriving as a woman of colour. IVANNA: Where did you grow up? PRADO: I grew up in Vancouver — the Joyce / Renfrew area, but not like, the good Renfrew. All the coloured people stuck in that one area. I didn't go to school with white kids at all. It wasn't like, Lord Byng or some shit. When did you first start making music? When I was 14, off of Garageband. Then I found Soundcloud and started building an online presence. No one knew I was a girl; I was just known as AlienKanye. People who liked my stuff would ask if I made the beat, and who the girl was singing on the track, and I was like, "Hah, I did them both." What compelled you to start performing? Well, about a year ago I was getting really serious about music, and I knew these boys from my neighbourhood. We made a group called Dead Poets. But literally, one of the dudes snatched the mic out of my hand during our first performance. They wanted me to play only bangers, and act in a certain way. I wasn't invited to certain meets, I was writing "overly emotional," and my ideas were shut down. I knew these guys didn't respect me as their equal. PRADO How'd you get out of that situation ? I jumped ship. I didn't want to take anyone with me. I was like, "Floaters, grab a fucking life vest," and they ended up eventually dropping the project because they just weren't working. I honestly had a falling out because I repositioned my target audience. I didn't want to be the Lauren Hill of the group. I want to help women in the industry, not raise up men, who most of the time, don't work as hard as women do. At the time I was [also] ghostwriting for some big rappers, and I got discovered that way last year. If you want to actually do something, you have to constantly be working. When I get up in the morning, I promote myself, I make music, I go to studio meets. I do everything that I possibly can. Especially if you're an oppressed minority, you have to do it even harder than anybody else. That's just how it goes. In what ways do you challenge 'bro culture,' and make space? I'm a bigger-bodied person. I was literally born like, 11.5 pounds — a big bitch from the womb. My dad always told me that when you're a bigger person, you'll always get due respect from people if you demand it. In my music, I express doubt, but putting it there makes it so the doubt doesn't linger on my body. It's cleansing, liberating. And that's what I want for other people. There are no rules. What's your view on the hip hop scene here? How do you see hip hop evolving? I feel like it's happening. People who have bad things to say about the scene are really stuck in asking "What is hip hop, what is hip hop?" You know what I mean? But hip hop can be anything now. As long as it bumps, it's working properly. Do you feel like putting conceptual limitations on hip hop — what it can and should be — is just another way of confining people of colour? Yes, and people should be challenging that. I try to challenge that with singing; So Loki is challenging that with unique electronic beats. Being Black is cool as fuck now. You know, hip hop culture has been so berated. I feel like there was a time when hip hop wasn't cool — that was the real oppressed days — but now it's cool to be Black, it's cool to make hip hop. Do you see yourself as a role model for women of colour who are coming up in the scene? That's what I want the most. When I meet other artists, my main concern is deciphering what the purpose of their art is. Like, I get it; everybody wants money, everybody wants to be a famous artist, but are you doing things to make sure that your community is safe? Are you catering to the right people? I want my music and everything that I do to be oriented towards women of colour and women being comfortable. I'm fighting for accessible spaces. How so? My goal is to build a [safe] studio for women of colour to come record, and it'll be exclusive — no open door policy. I'm trying to build a community of women who will be strong in their professions, and have a space to do that in, and not have to be controlled by some dude at a table, telling [us] how to do things. I want to make something authentic. I don't want to deal with bullshit. What other projects do you have going? My sister and I are publishing a book [called] Superniho — a nickname my dad had — that'll [include] photos and poetry. He's Afro-Colombian and came to Canada on a boat. We tell stories about our childhood, working our way out of poverty, not having money and eating at like, Little Caesars — just special shit that's important to us. It's really an emotional book. It'll be released in July, on a tight budget — 100 copies. We wanted to focus on, and have it produced by, people of colour. There's already books that white people have written about like, the potato famine or whatever. So, you know, I just want to tell a story that's not being told in 2017. Where do you see your music going over the next few years? I'll still be doing what I do. People expect to be relaxing or some shit after a few years, but life is not relaxation. I'm going to be working. Every single day I wake up and I'm like, I gotta do this. That's how it's always gonna be and I'm happy with it. I'm fine, I'm awake. 'it Listen to Prado at soundcloud.com/alienkanye and follow @lilkanye on Instagram for upcoming shows and such. You won't be disappointed. JM CHINATOWN CONCERN GROUP FIGHTING GENTRIFICATION WITH INTERGENERATIONAL COOPERATION WORDS BY CLAIRE BAILEY ILLUSTRATIONS BY ROZ MCLEAN PHOTOS BY SARA BAAR "^B^B^B hen I meet with Chinatown I Concern Group members 4^Q^Br Beverly Ho and Xing-Jun Gao next to the Chinatown Memorial Monument, it looks beautiful and grand in the golden light of a setting sun. The memorial sits directly next to 105 Keefer Street, the site of recent public outcry, and part of the reason I'm meeting with these two. Many readers will probably have already heard of the situation, but if you haven't, here's the run-down: a developer proposed building a luxury, mixed-use condo complex in Chinatown. Many residents and activists came together to fight the proposal, and in the end, Vancouver City Council voted against the development 8-3. Chinatown Concern Group was one of the groups leading the fight against the development, and I met with them to discuss their recent success and future directions. Ho is in her 20s, a recent graduate of Emily Carr University of Art + Design, and Gao is a longtime Chinatown resident in her mid-eighties. Together, they are a fair representation of the group's make-up; members vary widely in age, education and language skills. During our conversation, Ho acts both as interviewee and translator, as Gao is not fluent in English. As we walk past the site of 105 Keefer on our way up to the Carnegie Community Centre (where CCG has its office), Ho and Gao note that the rezoning application sign has been taken down. However, we soon pass another rezoning application sign — it includes "Details" and information on an upcoming open house. The sign is written entirely in English, something Gao notes (in Cantonese) with irritation. "It's very frustrating," she says when I ask her about it later. "How can the government make these policies and do these consultations in Chinatown if it's not also in Chinese? A lot of seniors, like me, came here later in life, or even if they've been here for a long time, they had to find a job right away so they didn't have time to learn English." BT ighting for language rights was a big ■^HF reason Chinatown Concern Group was ■^^ formed. King-Mong Chan, one of the founding members, discovered while doing his social work practicum with Carnegie Community Action Project that he was working with a lot of non-English-speaking people, especially seniors, who — because of the language barrier — didn't have an 'in' to organizing, and whose voices weren't being heard in local and provincial government. So, he decided to form CCG. Watching Ho and Gao interact, it is clear each views the other with respect and esteem, as well as friendship. It's a relationship rarely seen across such a wide age gap, and this type of comrad- ery and interdependence is clearly what gives the group strength. Younger members, like Ho and Chan, are able to bridge language gaps and ensure that the older non-English-speaking residents are heard by elected officials. In turn, it is these voices that really matter — "they know their struggles the best," as Ho says — and are possibly the ones that made the difference in the fight against 105 Keefer. "A lot of our members are elderly women who aren't educated or literate in English or Chinese, so they've always been told that their voices don't matter," Ho explains. "A lot of times they look to [Chan and I], because they're like, 'Oh, you guys went to college and you speak English, people will listen to you more.' But we're trying to [express] that their voices are really important too [...] Even in the past year that I've become more involved with Concern Group, they've become a lot more confident and better at speaking, and they're starting to believe that their voices do matter, and that they do have power." 6oing forward, the group intends to continue opposing market developments that displace established members of the community. They hope to see the government put policies in place to prevent the displacement of essential businesses like grocery stores and pharmacies, and for the government to build more social housing rather than allowing luxury condos to enter the area and push current residents out. "So many people right now S<V^' don't have a place to live," Gao says. "The government needs to solve this — they need to house these people. When I came here 30-some years ago, there wasn't a homelessness crisis. That's because the government was building social housing every year." As of now, BC Housing is not building any social housing — their current social housing strategy involves making deals with developers to include some below-market units in new buildings. For instance, the Beedie Group had proposed including 25 units of "low-to-moderate income seniors housing" in their 105 Keefer development, which would be owned by BC Housing. If you've ever been to the Downtown Eastside, you'll know that 25 units of social housing is a pitiful response to a dire need for housing. Furthermore, it was determined unlikely that these 25 units would have even been affordable to low-income residents of Chinatown. "We can't just rely on the government, we need to continue organizing and fighting," Gao says. For her, fighting for Chinatown is important not only because it is her current home, but also because of its history. "We can't forget the early Chinese Canadians who built Chinatown for us, who had to suffer a lot more than us [...] A lot of Chinese people built the railroad, or they worked other labour jobs after the gold rush was over. We can't forget our history and the people who came before us, who made it easier for us to be able to live here and who gave us our rights." You can learn more about Chinatown Concern Group /HASflli/ilJl by visiting chinatownconcerngroup.wordpress.com. CHINATOWN CONCERN GROUP \AffiM&m the technical workings of the studio, getting me turning dials and even manipulating tape. It's easy to see how this plays into his aesthetic as a producer. He recounted a session for Johnny de Courcy's Master Manipulator to describe how the analog workflow shapes his output. Want delay on the chorus vocal? Dial it in at just the right time. Make a mistake? Better try it again. Analog recording is a performance in and of itself, it provides limitations, it forces you to be good at your instrument, and it keeps you from endlessly fussing. His new record as Malcolm Jack comes after last year's Inner Circles, which provided acoustic folk meditations drifting in and out of twenty-seven minutes ^ of continued new age ambi- /&^y*T ence. Wide Rain will be more fcy~\}f song-based, but don't let that *f V* suggest convention. The sonic palette is filled with overlapping tape loops and field recordings. I asked him what he's been listening to lately, and he cited a list of open-tuned guitar masters: Bert Jansch, John Renbourn and John Fahey. For Malcolm, this seems the start of a new creative era. He wants music left to develop in the moment, even by chance. -r " r %i >^S3t« PsKfe? ■*^3£LL j^isf^* ^fcKiE*v^'' ijflR ' IbgV .' ^^» ! rl Ii 1^^^ ^^**" 5^< -" ppr 1 ^ ere are a few names to jog your I memory: Malcolm Jack, Malcolm P Biddle, Sun Wizard, Capitol 6, and Dada Plan. Over the past decade he has developed a reputation for reinvention, collaboration and experimentation in everything from folk to jazzy psychedelic. For our interview, Malcolm invited me to his home to hang out and hear some new recordings, and naturally, I had no idea what to expect. Two hours later, I left his apartment filled with aspirations of trying out some new guitar tunings. It might seem a bit irresponsible, but I didn't write anything down while we talked. To make the words permanent between quotation marks would have been to miss the point entirely. After a warm welcome I was whisked into his living room, which was adorned with a couple of Roberts tape machines, shelves packed with records, and a worn Persian rug. This is where the Tascam 388 analog recording console that has served as the centre of his studio since Dada Plan's The Madness Hides now resides in a small closet. There was just enough room for the two of us to squeeze into the gear-filled space. I couldn't make out everything Malcolm was saying when I put the headphones on, but I watched intently as he whizzed around the console while acoustic guitars and percussion flew in and out of the composition. For these new songs, a trio of Malcolm, Dada Plan bassist Colin Cowan, and Sick Boss drummer Dan Gaucher retreated to Galiano Island to record. Malcolm slid a fader and the sound of lush rainfall began — this is the field recording from which his upcoming album derives its name: Wide Rain. A flute had materialized in Malcolm's hands and he turned on the microphone in front of us — it was then that I could hear him properly. He told me he'd been learning to play the flute. I said "cool," hearing my own voice with a gentle reverb. Over the past few years the Vancouver native has recorded out of a shed behind The Lido, where he also played the role of producer (and often Eno-esque creative partner) on records including Colin Cowan's Spring Myths and Kim Gray's Perfume. To my delight, Malcolm explained ■^B^B^B e moved to the living room I couch and the conversation 4^Q^Br turned introspective as he cued up another new track on a Roberts machine. Malcolm's creative philosophy makes little distinction between the way he wants to create and perform music and the way he wants to live his life. There's something of that '70s easygoing Laurel Canyon spirit in his reflections. He's searching for pastoral perfection, where he can tour and record all while his creativity is informed by his experiences. He told me there are still a few missing pieces though, and while he circled around the idea, he didn't quite come to it. Maybe the song will swell at the chorus, but maybe not. If he doesn't feel like singing a verse, he could skip it. The sound is free spirited, uncontrived, flowing from whatever he's feeling. For the listener, the composition is left undefined, ephemeral, like wind blowing through a set of chimes. I caught a glimpse of this last summer when Dada Plan headlined the Smithers Midsummer Music Festival. The psychedelic 4-piece left their recorded songs behind and performed something entirely new. Malcolm didn't even have a real guitar, instead playing loops, pedals and a homemade oil can guitar over extended hypnotic grooves of congas, sax, and Juno synth. Legend has it Can vocalist Malcolm Mooney went insane when he got "caught in a Can groove," and I believe it. 3 descended Malcolm's stairs to leave thinking about my own creative aspirations and everything I could take away from our conversation. I kept ruminating on an offhand comment Malcolm made about his studio setup being "a long time in the making." I think anything that's really good needs a long time — time for connections to be made, experiences to be had, and time to have boundaries explored, pushed and refined. That's what it's all about for Malcolm. The free- and-easy outsider spirit that was present in our conversation was imbued in everything I heard from the spinning reels. The tentatively titled Wide Rain will be available this coming Fall. MALCOLM BIDDLE 0 SEPTEMBER H-17, 2017 I VICTORIA, BC V r . ■> o t *• 6r%Yfrf 'id * @ 9- •IS f MOBY™-ZEDS DEAD-B0N0B0 JULY TALK-A TRIBE CALLED RED £ ^ •$ /" DEAR ROUGE • HOT CHIP DJ SET * Z-TRIP • BLISS N ESO • THE GLORIOUS SONS DREAM WARRIORS • BUSTY AND THE BASS ♦ CHARLOTTE DAY WILSON * » <0» i © ' ■\ YUKON BLONDE • SAID THE WHALE FIVE ALARM FUNK • BLACK TIGER SEX MACHINE v HANNAH GEORGAS • LEEROY STAGGER » . TOO MANY ZOOZ • SKIITOUR • DJ SHUB ' P * BAND OF RASCALS • ASTROCOLOR * RALPH • FLEETMAC WOOD • NEON DREAMS ' * THE CHOIR • TWIN BANDIT ' f CHRISTIAN HUDSON • J GRGRY ^ AND MANY MORE TO BE ANNOUNCED! "N o & TICKETS AVAILABLE AT * AND LYLE'S JU PL/ACE! TWITTER.COM/RIFFLANDIA • FACEB00K.COM/RIFFLANDIA ( INSTAGRAM.COM/RIFFLANDIA \*\s\S t r inr atojm|que tr^u^kai- flLLI {£2450 ni KALYAN STUDIOS DOWNTOWN Victoria * TOURISM VICTORIA PAW c2^ ctistle <?*"■<*•, A m !SL ?*&■ &*&* BEATWUTi Ml straight » I" an a clear summer day, Vancouver residents flock to their favourite park like animals to an oasis, laying out blanket, and nervously plucking at blades of grass. Traditional Indigenous sites, colonial clearcuts, the result of an over-zealous urban planning committee, an impromptu lunch spot, or anything in-between, Vancouver's parks run the gamut of the good, the bad, and the ugly. We decided to ask some local musicians about the parks closest to their hearts — the results are a hazy collection of industrial backwash, natural serenity, fuzzy feelings, and slow afternoons. fMSttMM SUMMER PARK GUIDE compiled by Josh Gabert-Doyon illustration by Michael Shantz Jlauren jjMaon, $uft}> $ I &ttattano Beacfj $arfe "One summer I got a flat tire biking down Yew Street. There was a cold spicy chicken burger from Wendy's in my backpack, which I ate on a bench near the ocean. One person in a wetsuit swam really far, displaying a stamina I could not comprehend. It was a pretty good afternoon." SDorotfjp jjJoifelt), §>totm Ceam I labour (Drmt $arfe "I like it here the most because Coal Harbour is both empty and familiar at the same time. It's futuristic. It's great." 3feff Cancata, SDriwura I Crab $arfe "I moved to Vancouver from Montreal in 2010, and having been a fan of Japandroids, I was determined to find out where they were photographed for their No Singles cover art. Soon after moving here, I started dating someone who wanted to show me around the city; he brought me to Crab Park one summer evening to watch the fireworks, and as we stood on the pier, the mystery solved itself — I was standing right where their album cover was shot. It was a magical, starstruck moment, and everything has been downhill since then." .franco Koaatno, SDumb I W8L€* &Wq> $arfe "W.C. Shelley Park is overall kind of gross, but has perks. If you're trying to get rid of old furniture or electronics, Shelley Park is your zone. Also a hotspot for cigarette smokers, so if you're into cigarettes you may bump into some like-minded folk who frequent one of the three benches in the park." 0Ufe Jlpncfj, £>upermoon I jj&to Brtflrjton $arfe "Ever wanna get lost in nature, but not so lost that you forget about global shipping vessels? Then I've got the place for you: it's peaceful, it's strange, it's grassy and industrialized, it's a miracle of the paradoxical modern world and there's a damn outdoor swimming pool right next to a beach. It's New Brighton, and I've never seen a cop there." jjitfe Barfeman, ilBorrti SDecor I Cea §>toamp $arfe "There certainly is a place for everyone at Tea Swamp Park. After nightfall, expect the unexpected — the uncanny wisdom of anonymous drunken monologuing or perhaps the surely uncomfortable public displays of sexual affection splayed out upon the parks pointedly placed benches, decorative boulders, or on very special summer nights, the tenderness of Mother Earth's grassy boudoir." £Dmar ^ra^fjart, Mutual I spemortal WLt&t ^arfc "For 2 years I lived in Dunbar and I used to go that park a lot. One day me and my roommates hung out there for hours and by the end of the day we became best friends." 0prtt-2Ue Bfr&nion, itautibe I Crab^arb "It's a good place to jump into the water and build an immunity to filth." ¥i)omiv Kobftn, &bunt I Crout %abe "Trout Lake is my favourite park because you can walk around and look at all the dogs, and have a huge party with all your friends. If you sleep in your car there it feels like you are camping, but you can still go to Bon's in the morning." ffltiay 2D, ffltiotp 2D / Jlaptip Slama I £>tantep $arfe "Stanley Park is the main attraction, for me it's all in the colours — that mix of green and blue skies, browns and sunshine just gets me all the time! It's perfect for a bike ride, a little shade picnic and just a long walk to take it all in." W&, 2DaD 2D&t$* I Prince dDDtoarti $arfe "In the summer of 2013 Felix and I would hang out in the wee hours of the night at Prince Edward Park, after work. Sometimes the daycare there would leave their bucket of sidewalk chalk — we found it and used the chalk to write about how sad we were. Eventually we would write a song about the park, too." 0mte (Di0la0on, %ittlt Sprout I &im&t Beacfj ^arfc "Sean and I don't have a dog but we really like them, so we often walk down to the dog friendly beach at Sunset Beach Park and watch the doggos play like a couple of creepers. We never pet the dogs because we feel like it would draw attention to the fact we don't have a dog. We are always the only people without a pup." w. cHECKoincmjCMHiietttmRiW(Gtt\\ms> CITR.CA DISCORDER.cn 1101.9 FM BECOME A MEMBER AND GET SOME SWEET DEALS WITH OUR FRIENDS! GET OUR CUTE LITTLE CARD BY BECOMING A MEMBER OF CITR, DONATING TO OUR FUNDRIVE, OR SIMPLY BUYING ONE FOR $15! WESTSIDE/UBC AUSTRALIAN BOOT COMPANY $30offBlundstones and RM Williams BANYEN BOOKS ANDSOUND 10% off THE BIKE KITCHEN 10% off new parts and accessories DENTRY'S IRISH GRILL $8.99 wings, $11.99 pitchers, $9.99 burgers FRESH IS BEST SALSA 10% off ONTHE FRINGE HAIR DESIGN 10% off (does not stack with UBC student discount) STORMCROW ALEHOUSE 10% off RUFUS GUITAR SHOP 10% off everything but instruments and amps TAPESTRY MUSIC 10% off UBC BOOKSTORE 10% off UBC crested merchandise MAIN STREET ANTISOCIAL SKATEBOARD SHOP 10% off BOOKWAREHOUSE 10% off DANDELIONS RECORDS AND EMPORIUM 10% off used records DEVIL MAY WEAR 10% off EAST VANITY PARLOUR 10% off HOT ART WET CITY 10% off regular priced items LUCKY'S COMICS ;i o% off NEPTOON RECORDS 10% off used, $1 off new THE RAG MACHINE 15% off RED CAT RECORDS 10%offCD'sandLP's THE REGIONAL ASSEMBLY OF TEXT 1 free make-your-own button with purchases over $5 R/X COMICS 12% off TRUE VALUE VINTAGE 10% off THE WALLFLOWER MODERN DINER 10% off WOO VINTAGE CLOTHING 10% off DOWNTOWN BEATSTREET RECORDS 10% off used vinyl COMMUNITY THRIFT AND VINTAGE 10% off THE FALL TATTOOING 10% off LITTLE SISTERS BOOK AND ART EMPORIUM 10% off PACIFIC CINEMATHEQUE 1 free bag of popcorn SELECTOR'S RECORDS 10% off everything SI KORA'S CLASSICAL RECORDS 10% off VINYL RECORDS 15% off used vinyl, 10% off new COMMERCIAL DRIVE AUDIOPILE 10%off LPs/CDs BOMBER BREWING 10% off BONERATTLE MUSIC 10% off HIGHLIFE RECORDS 10% off JEAN QUEEN (JQ) CLOTHING 15% off MINTAGE CLOTHING 10% off PANDORA'S BOX REHEARSAL STUDIOS 10% off PEOPLE'S COOP BOOKSTORE 10% off THE RIO THEATRE 2$ off movie tickets STORM CROW TAVERN 10% off BAND MERCH CANADA 15% off services THE BILTMORE CABARET 10% off drinks EASTVAN GRAPHICS 10% off VINYL RECORD STORAGE COMPANY 10% off VANCOUVER MUSIC GALLERY 5% off pianos, guitars and violins SUMMER PARK GUIDE cmt 101.95m tmoGKfrm bujd£ TLE BIT OF SOUL TEXTBOOK SHOES ON A WIRE NASHA VOLNA NOW WE'RE TAL' 5 PM 6 PM 7 PM AFRICAN RHYTHMS 8 PM INSIDE OU IX CASET 8 PM 9 PM 9 PM 11PM 12AM 1AM LATE NIGHT 11PM 12 AM 1AM LATE NIGHT "DISCORDER RECOMMENDS LISTENING TO CiTR EVERYDAY" TRANCENDANCE GHOST MIX 12AM-7AM, ELECTRONIC/DANCE Up all night? We've got you, come dance. Contact: programming@citr.ca BREAKFASTWITH THE BROWNS 8AM-10AM, ECLECTIC Your favourite Brownsters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights Contact: breakfastwiththe- browns@hotmail.com UNCEDED AIRWAVES 11AM-12PM, TALK/CULTURAL COMMENTARY Unceded Airwaves is in its second season! The team of Indigenous and non- Indigenous peeps produce the show weekly. We talk about Indigenous issues, current events, and entertainment centering Native voices through interviews and the arts. Come make Indigenous radio with us! Contact: programming@citr.ca, Follow us @uncededairwaves 8 facebook.com/uncededairwaves/ SYNCHRONICITY 12PM-1PM, TALK/SPIRITUALITY Join host Marie B and spirituality, health and feeling good. Tune in and tap into good vibrations that help you remember why you're here: to have fun! Contact: spiritualshow@gmail.com PARTS UNKNOWN 1PM-3PM, rock/pop/indie Host Chrissariffic takes you on an indie pop journey not unlike a marshmallow sandwich: soft and sweet and best enjoyed when poked with a stick and held close to a fire. Contact: programming@citr.ca THE BURROW 3PM-4PM, rock/pop/indie Hosted by CiTR's music department manager Andy Resto, the Burrow is Noise Rock, Alternative, Post-Rock, with a nice blend of old classics' and new releases. Interviews 8 Live performances. Contact: music@citr.ca LITTLE BIT OF SOUL 4PM-5PM,JAZZ Host Jade spins old recordings of jazz, swing, big band, blues, oldies and motown. Contact: programming@citr.ca THE LEO RAMIREZ SHOW 5PM-6PM, INTERNATIONAL Veteran host Leo brings you talk, interviews, and only the best mix of Latin American music. Contact: leoramirez@canada.com FINDING THE FUNNY 6pm-6:30PM, talk Finding the Funny is a variety show with host Nico McEown 8 special guests who talk comedy. What makes us laugh, and why? What separates the best of the best from all the rest? Every episode you hear great jokes and bits from both famous and unknown comedians. Contact: programming@citr.ca EXPLODING HEAD MOVIES 7PM-8PM, EXPERIMENTAL Join Gak as he explores music from the movies, tunes from television, along with atmospheric pieces, cutting edge new tracks, and strange goodies for soundtracks to be. All in the name of ironclad whimsy. Contact: programming@citr.ca THE JAZZ SHOW 9PM-12AM, JAZZ On air since 1984, jazz musician Gavin Walker takes listeners from the past to the future of jazz. With featured albums and artists, Walker's extensive knowledge and hands-on experience as a jazz player will have you back again next week. Contact: programming@citr.ca ■ TUESDAY THE SCREEN GIRLS 12AM-1AM, HIP HOP/R&B/ SOUL The Screen Girls merge music and art with discussions of trends and pop culture, and interviews with artists in contemporary art, fashion and music. We play a variety of music, focusing on promoting Canadian hip hop and R&B. Contact: info@thescreengirls.com PACIFIC PICKIN' 6AM-8AM, ROOTS/FOLK/BLUES Bluegrass, old-time music, and its derivatives with Arthur and the lovely Andrea Berman. Contact: pacificpickin@yahoo.com QUEER FM8am-io:30AM, talk/ politics Dedicated to the LGBTQ+ communities of Vancouver, Queer FM features music, current events, human interest stories, and interviews. Contact: queerfmvancouver@gmail.com FEMCONCEPT TUES, 10:30-1130, ROCK/POP/lNDIE A show comprised entirely of Femcon* music and discussions of women's rights and social justice issues. Featuring all genres of music, with an emphasis on local and Canadian artists and events in Vancouver. •"Femcon" is defined as music with someone who self-identifies as female in 2/4 categories: music composition, lyric composition, performance, or recording engineering. Contact: programming@citr.ca THE MORNING AFTER SHOW 12PM-1PM, ROCK/ POP/ INDIE Oswaldo Perez Cabrera plays your favourite eclectic mix of Ska, reggae, shoegaze, indie pop, noise, with live music, local talent and music you won't hear anywhere else. The morning after what? Whatever you did last night. Twitter | @sonicvortex PARTICLES & WAVES 2PM-3PM, ROCK/POP/lNDIE Like the quantum theory it is named for, Particles and Waves defies definition. Join Mia for local indie, sci-fi prog rock, classic soul, obscure soundtracks, Toto's deep cuts, and much more. Contact: programming@citr.ca TEXTBOOK 4PM-5PM, talk/storytelling Textbook (FKA The Student Special Hour) is a show about students by students hosted by Josh Gabert-Doyon, CiTR's student programming coordinator. There are three segments: Feature interview, student storytelling, 8 "Tell Me About Your Paper". Contact: outreach@citr.ca DISCORDER RADIO 5PM-6PM, ECLECTIC, TALK Produced by the Discorder On Air collective, this show covers content in the magazine and beyond. Coordinated by Claire Bailey, Matt Meuse, and Jordan Wade. Get in touch to get involved! Contact: discorder.radio@citr.ca FLEX YOUR HEAD 6PM-8PM, loud/punk/metal Punk rock and hardcore since 1989. Bands and guests from around the world. Contact: programming@citr.ca INSIDE OUT 8PM-9PM, dance/electronic Tune in weekly for dance music! Contact: programming@citr.ca CRIMES & TREASONS 9PM-11PM, HIP HOP Uncensored Hip-Hop 8 Trill $h*t. Hosted by Jamal Steeles, Homeboy Jules, Relly Rels, LuckyRich, horsepowar 8 Issa. Contact: dj@crimesandtreasons.com www.crimesandtreasons.com STRANDED: CAN/AUS MUSIC SHOW 11PM-12AM, ROCK/POP/lNDIE Join your host Matthew for a weekly mix of exciting sounds past and present, from his Australian homeland. Journey with him as he features fresh tunes and explores alternative musical heritage of Canada. Contact: programming@citr.ca ■ WEDNESDAY SUBURBAN JUNGLE 8AM-10AM, ECLECTIC Live from the Jungle Room, join radio host Jack Velvet for music, sound bytes, information, and insanity. Contact: dj@jackvelvet.net POP DRONES 10AM-12PM, ECLECTIC Unearthing the depths of contemporary and cassette vinyl underground. Ranging from DIY bedroom pop and garage rock all the way to harsh noise, and of course, drone. Contact: programming@citr.ca THE SHAKESPEARE SHOW 12PM-1PM, ECLECTIC Dan Shakespeare is here with music for your ears. Kick back with gems from the past, present, and future. Genre need not apply. Contact: programming@citr.ca KOREAN WAVE: ARIRANG HALLYU 1PM-2PM, TALK/ POP Contact: programming@citr.ca MUZAK FOR THE OBSERVANT 2PM-3PM, ROCK/POP/lNDIE The CiTR Music department program, highlighting the newest/freshest cuts from the station's bowels. Featuring live interviews and performances from local artists. Contact: music@citr.ca KEW IT UP 3PM-4PM, EXPERIMENTAL/TALK Radio essays and travesties: Sonic Cate(s)chism / half-baked philosophy and criticism. Experimental, Electronica, Post-Punk, Industrial, Noise : ad-nauseum Contact: programming@citr.ca SHOES ON AWIRE 4PM-5PM, TALK/ ARTS 8 CULTURE Take a moment to look up. Tune in for stories, interviews, hot takes and sweet tunes that consider a side of things you may not have. Contact: Twitter | @mjeantaylor DOUBLE SPACE 5PM-6PM,TALK Investigating interactions with our surroundings and society. Every week we discuss our experiences with these interactions, how they emerge and the impacts of these invisible forces. Contact: programming@citr.ca ANECDOTAL EVIDENCE 6pm-6:30pm, talk / story telling Anecdotal Evidence is a live storytelling series in Vancouver, where people share true stories of how they experience science in their lives; stories of failure, fieldwork, love, death, cosmic loneliness and more. Tune in for humour, humanity, and sometimes even science. Contact: Twitter | aestories INNER SPACE 6:30PM-8pm, electronic/dance Dedicated to underground electronic music, both experimental and dance- oriented. Live DJ sets and guests throughout. Contact: programming@citr.ca SAMSQUANTCH'S HIDEAWAY 6:30PM-8pm, rock/pop/indie If you're into 90's nostalgia, Anita B's the DJ you for. Don't miss her spins, every Wednesday. Contact: programming@citr.ca MIX CASSETTE 8PM-9PM, hip hop/indie/soul A panopoly of songs, including the freshest riddims and sweetest tunes, hanging together, in a throwback suite. Which hearkens back to the days where we made mix cassettes for each other(cds too), and relished in the merging of our favourite albums. Contact: programming@citr.ca WHITE NOISE 9PM-10PM, talk/sketch comedy Join Richard Blackmore for half an hour of weird and wonderful sketch comedy, as he delves into the most eccentric corners of radio. Then stay tuned for the after show featuring Simon and Connor who make sense of it all, with the occasional interjection of quality music. Contact: whitenoiseUBC@gmail.com ■ THURSDAY SPICY BOYS 12AM-1AM, PUNK/HARDCORE/METAL Playing music and stuff. You can listen. Or don't. It's up to you. Contact: programming@citr.ca OFF THE BEAT AND PATH 7AM-8AM, TALK Host IssaArian introduces you to topics through his unique lens. From news, to pop culture, and sports, Issa has the goods. Contact: programming@citr.ca THE COMMUNITY LIVING SHOW 9AM-10AM, talk/accessibility This show is produced by and for the disabled community. We showcase BC Self Advocates and feature interviews with people with special needs. Hosted by Kelly Raeburn, Michael Rubbin Clogs and friends. Contact: citrlatenightshow@gmail.com ROCKET FROM RUSSIA 10AM-11AM, PUNK Hello hello hello! I interview bands and play new, international, and local punk rock music. Broadcasted in by Russian Tim in Broken English. Great Success! Contact: rocketfromrussia.tumblr.com: rocketfromrussiacitr@gmail.com, @tima_tzar, facebook.com/RocketFromRussia U DO U RADIO 11AM-12PM, ELECTRONIC A delicious spread of electronic vibes from across the decades. Acid, Afro-beat, Lo-Fi, Ambient and plenty of classic house. Let Galen do his thing so u can do urs. Contact: programming@citr.ca DUNCAN'S DONUTS 12PM-1PM, ROCK/POP/lNDIE Sweet treats from the pop underground. Hosted by Duncan, sponsored by donuts. Contact: duncansdonuts.wordpress.com K-POP CAFE 1PM-2PM, K-POP Jayden gives listeners an introduction music 8 entertainment in Asian Cultures, especially, Korean, Japanese, Chinese. Tune in for K-POP, Hip Hop, Indie, R8B, Korean Wave (aka K-Wave or Hallyu), News about Korean Entertainment Industry, and Korean Society in Vancouver. Contact: programming@citr.ca ALL ACCESS PASS 2PM-3PM, TALK/ACCESSIBILITY The Accessibility Collective radio show! They talk equity, inclusion, and accessibility for people with diverse abilities, on and off campus. Tune in for interviews, music, news, events, 8 dialogue. Contact: programming@citr.ca ASTROTALK 3-3:30PM, talk/science Space is an interesting place. Marco slices up the night sky with a new topic every week. Death Starts, Black Holes, Big Bang, Red Giants, the Milky Way, G-Bands, Pulsars, Super Stars and the Solar System. Contact: programming@citr.ca TERRA INFORMA 3:30-4pm, talk/enviromental Environmental News, syndicated from CJSR 88.5FM in Edmonton. SIMORGH 4PM-5PM, talk/storytelling Simorgh Radio is devoted to education and literacy for Persian speaking communities. 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. Contact: programming@citr.ca ADAMANT EVE 5PM-6PM, talk/interviews Feminist news, interviews, and commentary. Syndicated from CJSR 88.5FM in Edmonton. Contact: programming@citr.ca, ARE YOU AWARE ALTERNATING THURS, 6PM-7:30, ECLECTIC Celebrating the message behind the music. Profiling music and musicians that take the route of positive action over apathy. Contact: programming@citr.ca SOUL SANDWICH 7:30PM-gpM, hip hop/r8b/soul A myriad of your favourite genres all cooked into one show. From Hip Hop to Indie rock to African jams, Rohit and Ola will play it all, in a big soulful sandwich. This perfect layering of yummy goodness will blow your mind. AND, it beats Subway. Contact: programming@citr.ca C1 RADIO Contact: programming@citr.ca LIVE FROM THUNDERBIRD RADIO HELL 9PM-11PM, rock/pop/indie Thunderbird Radio Hell features live band(s) every week performing in the comfort of the CiTR lounge. Most are from Vancouver, but sometimes bands from across the country and around the world are nice enough to drop by to say hi. Contact: programming@citr.ca COPY/PASTE 11PM-12AM, ELECTRONIC If it makes you move your feet (or nod your head), it'll be heard on copy/paste. Vibe out with what's heating up underground clubs around town and worldwide. A brand new DJ mix every week by Autonomy 8 guest DJs. Contact: music@actsofautono- my.com ■ FRIDAY AURAL TENTACLES 12AM-6AM, EXPERIMENTAL It could be global, trance: spoken word,rock, the unusual and the weird. Hosted by DJ Pierre. Contact: auraltentacles@hotmail. com CANADALAND (SYNDICATED) 87AM-8AM, talk/politics Podcast hosted by Jesse Brown that focuses on media criticism as well as news, politics, and investigative reporting. Their website also has text essays and articles. Contact: jesse@canadaland- show.com CITED! 8AM-9AM, talk/academia This is a radio program about how our world is being shaped by the ideas of the ivory tower. Sometimes, in troubling ways. Formerly "The Terry Project on CiTR." Join multi award winning producers Sam Fenn 8 Gordon Katie every Friday morning. Contact: facebook.com/citedpod- cast, Twitter | @citedpodcast MIXTAPES WITH MC AND MAC 9AM-11AM, rock/pop/indie Whether in tape, cd, or playlist form, we all love a good collection of songs. Join us every Friday morning at 10 for a live mixtape with musical commentary. Who knows what musical curiosities you will hear from Matt McArthur and Drew MacDonald! Contact: programming@citr.ca THE REEL WHIRLED 11AM-12PM, TALK/ FILM The Reel Whirled is an adventure through the world of film. Whether it's contemporary, classic, local, or global, we talk about film with passion, mastery, and a lil dash of silly. Featuring music from our cinematic themes, Dora and Dama will bring your Friday mornings into focus. Contact: programming@citr.ca DAVE RADIO WITH RADIO DAVE 12PM-1PM, TALK/THEATRE Your noon-hour guide to what's happening in Music and Theatre in Vancouver. Lots of tunes and talk. Contact: daveradiopodcast@gmail.com FRESH SLICE 1PM-2PM, ROCK/POP/lNDIE Tunes are hot and fresh. Talk is cheesey. Pop, rock, DIY, pop-punk. Contact: programming@citr.ca RADIO ZERO 2PM-3:30PM An international mix of super- fresh weekend party jams from New Wave to foreign electro, baile, Bollywood, and whatever else. Contact: programming@citr.ca, www.radiozero.com NARDWUAR PRESENTS 3:30pm-5pm, music/interviews Join Nardwuar, the Human Serviette for an hour and a half of Manhattan Clam Chowder flavoured entertainment. Doot doola doot doo... doot doo! Contact: http://nardwuar.com/rad/contact/ CITR DOCS SEASON 2 5PM-6PM, talk/documentary Tune in for insightful work on niche topics. We cover everything from queer history to environmentalism, accesibility, the Grunge scene of the early '90s, and gentrification in Vancouver. Contact: Twitter | @CiTRradio RADIO PIZZA PARTY 6pm - 7PM, talk/comedy 6pm-7pm, Every week Jack, Tristan and a special guest randomly select a conversation topic for the entire show; ranging from God to unfortunate roommates. Woven throughout the conversation is a cacophony of segments and games for your listening pleasure.Also theSre is no pizza. Sorry. Contact: programming@citr.ca AFRICAN RHYTHMS 7:30PM-gpM, r8b/soul/inter- NATIONAL African Rhythms has been on the air for over twenty three years. Your Host, David Love Jones, plays a heavyweight selection of classics from the past, present, and future. This includes jazz, soul, hip-hop, Afro-Latin, funk, and eclectic Brazilian rhythms. There are also interviews with local and international artists. Truly, a radio show with international flavor.Genre: Dance Contact: programming@citr.ca SKALD'S HALL 9PM-10PM, talk/radio drama Skalds Hall focuses on entertainment through the art of Radio Drama. Story readings, poetry recitals, drama scenes, storytellers, join host Brian MacDonald. Have an interest in performing? Guest artists are always welcome, contact us! Contact: Twitter | @Skalds_Hall CANADA POST ROCK 10PM-11PM, rock/pop/indie Formerly on CKXU, Canada Post-Rock remains committed to the best in post-rock, drone, ambient, experimental, noise and basically anything your host Pbone can put the word "post" in front of. Stay up, tune in, zone out. Contact: programming@citr.ca, Twitter | @pbone THE MEDICINE SHOW 11PM-12:30AM, eclectic/live INTERVIEWS Broadcasting Healing Energy with LIVE Music and laughter! A variety show, featuring LIVE music, industry guests and insight. The material presented is therapeutic relief from our difficult world. We encourage and promote independent original, local live music, art, compassion and community building. Contact: vancouvermedicineshow@gmail.com ■ SATURDAY THE LATE NIGHT SHOW 12:30am-6am, electronic/ambient The Late Night Show features music from the underground Jungle and Drum and Bass scene, Industrial, Noise, Alternative No Beat takes you into the early morning. Contact: citrlatenightshow@gmail.com THE SATURDAY EDGE 8AM-12PM, ROOTS/BLUES/FOLK Now in its 31 st year on CiTR, The Saturday Edge is my personal guide to world 8 roots music, with African, Latin and European music in the first half, followed by Celtic, Blues, Songwriters, Cajun and whatever else fits! Contact: steveedge3@mac.com GENERATION ANNIHILATION 12PM-1PM, PUNK/HARDCORE/METAL On the air since 2002, playing old and new punk on the non commercial side of the spectrum. Contact: crashnburnradio@yahoo.ca POWER CHORD 1PM-3PM, loud/metal Vancouver's longest running metal show. If you're into music that's on the heavier/darker side of the spectrum, then you'll like it. Sonic assault provided by Geoff, Marcia, and Andy. Contact: programming@citr.ca CODE BLUE 3PM-5PM, roots/folk/blues From backwoods delta low- down slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy, and Paul. Contact: codeblue@paulnorton.ca Contact: sports@citr.ca MANTRA RADIO 5PM-6PM, electronic/mantra/ NU-GAIA Mantra showcases the many faces of sacred sound - traditional, contemporary, and futuristic. The show features an eclectic array of electronic and acoustic beats, music, chants, and poetry from the diverse peoples and places of planet earth. Contact: mantraradioshow@ gmail.com NASHA VOLNA 6PM-7PM, TALK/RUSSIAN Informative and entertaining program in Russian. Contact: nashavolna@shaw.ca NIGHTDRIVE95 7PM-8PM, experimental/ambient/ CHILLWAVE Plug NIGHTDRIVE95 directly into your synapses to receive your weekly dose of dreamy, ethereal, vaporwave tones fresh from the web. Ideal music for driving down the Pacific Coast Highway in your Geo Tracker, sipping a Crystal Pepsi by the pool, or shopping for bootleg Sega Saturn games at a Hong Kong night market. Experience yesterday's tomorrow, today! Contact: nightdrive95@gmail.com SOCA STORM 8PM-9PM, international/soca DJ SOCA Conductor delivers the latest SOCA Music from the Caribbean. This show is the first of its kind here on CiTR and is the perfect music to get you in the mood to go out partying! Its Saturday, watch out STORM COMING!!!! PapayoM #SOCASTORM Contact: programming@citr.ca SYNAPTIC SANDWICH 9PM-11PM, electronic/retro/ TECHNO Every show is full of electro bleeps, retrowave, computer generated, synthetically manipulated aural rhythms. If you like everything from electro / techno / trance / 8bit music / and retro '80s this is the show for you! Contact: programming@citr.ca RANDOPHONIC 11PM-1AM, EXPERIMENTAL Randophonic has no concept of genre, style, political boundaries or even space-time relevance. Lately we've fixed our focus on a series, The Solid Time of Change, 661 Greatest Records of the Prog. Rock Era - 1965- 79) We're not afraid of noise. Contact: programming@citr.ca ■ SUNDAY THE ABSOLUTE VALUE OF INSOMNIA 1AM-3AM, experimental/generative 4 solid hours of fresh generative music c/o the Absolute Value of Noise and its world famous Generator. Ideal for enhancing your dreams or, if sleep is not on your agenda, your reveries. Contact: programming@citr.ca BEPI CRESPAN PRESENTS 7AM-9AM, experimental/difficult Difficult music, harsh electronics, spoken word, cut-up/collage and general CRESPAN© weirdness. Contact: Twitter | @BEPICRE- SPAN CLASSICAL CHAOS 9AM-10AM, CLASSICAL From the Ancient World to the 21st century, join host Marguerite in exploring and celebrating classical music from around the world. Contact: programming@citr.ca SHOOKSHOOKTA 10AM-12PM, INTERNATIONAL/ AMHARIC/ ETHIOPIAN 2 hour Ethiopian program on Sundays. Targeting Ethiopian people and aiming to encouraging education and personal development in Canada. Contact: programming@citr.ca THE ROCKER'S SHOW 12PM-3PM, REGGAE All reggae, all the time. Playing the best in roots rock reggae, Dub, Ska, Dancehall with news views 8 interviews. Contact: programming@citr.ca BLOOD ON THE SADDLE Real cowshit-caught-in- yer-boots country. Contact: programming@citr.ca LA FIESTA Salsa, Bachata, Merengue, Latin House, and Reggaeton with your host Gspot DJ. Contact: programming@citr.ca CHTHONIC BOOM 5PM-6PM, rock/pop/indie A show dedicated to playing psychedelic music from parts of the spectrum (rock, pop, electronic), as well as garage and noise rock. Contact: programming@citr.ca NOW WE'RE TALKING 6PM-7PM, talk/comedy/interviews Now We're Talking features weekly conversation with Jeff Bryant and Keith Kennedy. You'll see. Contact: nwtpod@gmail.com , Twitter | @nwtpodcast MORETHAN HUMAN 7PM-8PM, ELECTRONIC Strange and wonderful electronic sounds from the past, present and future: house, ambient, vintage electronics, library music, new age, hauntology, fauxtracks.. Music from parallel worlds, with inane interjections and the occasional sacrifice. Contact: fantasticcat@mac.com, Twitter | @fcat RHYTHMS INDIA 8PM-9PM, international/bhajans /qawwalis/sufi Presenting several genres of rich Indian music in different languages, poetry and guest interviews. Dance, Folk, Qawwalis, Traditional, Bhajans, Sufi, Rock 8 Pop. Also, semi- classical and classical Carnatic 8 Hindustani music and old Bollywood numbers from the 1950s to 1990s and beyond. Contact: rhythmsindia8@gmail.com TECHNO PROGRESSIVO 8PM-9PM, electronic/ deep house A mix of the latest house music, tech-house, prog-house and techno + DJ / Producer interviews and guest mixes. Contact: programming@citr.ca TRANCENDANCE 9PM-11PM, electronic/trance Trancendance has been broadcasting from Vancouver, BC since 2001. We favour Psytrance, Hard Trance and Epic Trance, but also play Acid Trance, Deep Trance, Hard Dance and even some Breakbeat. We also love a good Classic Trance Anthem, especially if it's remixed. Contact: djsmileymike@trancendance.net THE AFTN SOCCER SHOW 11PM-12AM, TALK/SOCCER This weekly soccer discussion show is centered around Vancouver Whitecaps, MLS, and the world of football. Est. in 2013, the show features roundtable chat about the week's big talking points, interviews with the headline makers, a humorous take on the latest happenings and even some soccer-related music. If you're a fan of the beautiful game, this is a must-listen. Contact: programming@citr.ca OF LOST TOYS STUDENT FILL IN ECLECTIC A place for experimentation 8 learning! MOON GROK EXPERIMENTAL A morning mix to ease you from the moonlight. Moon Grok pops up early morning when you least expect it, and need it most. CITR GHOST MIX anything/everything Late night, the on air studio is empty. Spirits move from our playlist to your ear holes. We hope they're kind, but we make no guarantees. CiTR 101.9FM JUNE CHARTS 1 4 J! M M J 9 1 e I © I f|1 0rtt*t 01b«m Habel Jerk Jails*#+ S/T Do Make Say Think * iStubborn Persistent lllusionst Constellation Self-Released g ^^ 2 o Puzzlehead*#+ Trucks Self-Released Tiny Vipers# Laughter Ba Da Bing! Girlpool* Powerplant Anti- Mac DeMarco* This Old Dog Royal Mountain g 5/) .-4 » -a o 2 M - I 2 2 Late Spring*#+ Trembly Fog The Eisenhauers*# I 7/?e Road l/l/te Once Knew 1 Tops*# Sugar af f/?e Gafe Big Thief* Capacity Agony Klub ^ *™'~~~~™—"""""""""^"""""""""^™~*^ Black Hen ^ Arbutus ^ 3 B ■g-S Saddle Creek Prairie Cat* Is Cary Pratt % 2, Timber Timbre* | Sincerely, Future Pollution Independent ^ Arts & Crafts ^ Dalava*#+ \\~be Book of Transfigurations^ Shrouded Amps*#+ Come Along To The Chocolate Church songlines ^ Self-Released Dixie's Death Pool*+ \ Twilight, Sound Mountain \ •-f o.„u ,„„„ e ...„„*4t i When the Bloom Falls from % Sarah Jane Scouten #+ | ,, n Construction & Leisure Thief ^ 3 '3 S \ Sufjan Steven, Bryce Dessner, James McAlister, Nico Muhly | Bored Decor/OKGB*+ I Bored Decor/OKGB split | JL ROCKSALT LIVE7/18 CQ) THE COBALT W/ROYAL HEADACHE LP/CD/CASS - 8/25/2017 AVAILABLE ONLINE OR FROM OUR RETAILER CHUMS: RedC Records RedC Records NEPTOONb %, RECORDS 4307 MAIN 2447 E HASTINGS 3561 MAIN 2016 COMMERCIAL 604-708-9422 778-379-8405 604-324-1229 604-253-7453 REDCAT.CA REDCAT.CA NEPT00N.COM AUDI0PILE.CA mint r6C©rCiS www.mintrecs.com ST © Ii ©mintrecords FACTOR '-^sgiCanadi *> ^ '•V* M IN VANCOU July 2 JESSIE REYEZ Alexander Gastown July 13 ALGIERS The Cobalt July 8 THE DISTRICTS The Cobalt July 13 THE AVALANCHES Commodore Ballroom July 10 BEACH FOSSILS The Biltmore July 11 NITE JEWEL Fox Cabaret July 15 EAGLES OF DEATH METAL Rickshaw Theatre July 21 MAD ALCHEMY Rickshaw Theatre July 24 LUCY DACUS The Cobalt July 25 WAXAHATCHEE Imperial August 3 TY SEGALL Vogue Theatre August 7 DUNGEN Fox Cabaret August 7 BETTY WHO Imperial August 9 JOHN MORELAND The Cobalt August 9 TEMPLES Imperial August 14 VNV NATION Biltmore Cabaret August 15 PALLBEARER The Cobalt August 18 MEW Rickshaw August 19 QUANTIC (LIVE) Imperial August 23 RYX St. James Hall August 24 FRANKIE COSMOS The Cobalt August 24 POKEY LAFARGE Imperial August 25 DEAD CROSS Vogue Theatre August 26 SAN CISCO Fox Cabaret September 7 CIGARETTES AFTER SEX Imperial September 10 XYL0 Biltmore Cabaret August 31 MIDDLE KIDS The Biltmore September 2 VERITE The Cobalt September 9 BENJAMIN BOOKER Biltmore Cabaret September 12 & 13 MAC DEMARCO Vogue Theatre September 3 G0LDR00M Abitibi Boat September 10 THUNDERCAT Commodore Ballroom September 22 GOLDFRAPP Vogue Theatre September 23 THE SADIES Rickshaw Theatre September 24 THEE OH SEES Commodore Ballroom September 25 SHEER MAG Rickshaw Theatre September 25 SHEER MAG Rickshaw Theatre September 29 AUSTRA Imperial Tickets & more shows at imbreconcerts.com
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2017-07-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2017-07-01 |
Description | The following description has been provided by Discorder: “The July/August *Summer Issue* has hit the streets! The cover is local hip hop artist Prado, photographed by Pat Valade. Issue highlights include interviews with Chinatown Concern Group, Gabi Dao and Malcolm Biddle; features on Gayblevision and Vancouver Latin American Film Festival; live reviews of Music Waste and Mount Kimbie, and additional reviews of Sick Boss, The Imposter Podcast, and more. This issue also contains a Summer Park Guide courtesy of your favourite local musicians, and Summer Tarotscopes by Keagan Perlette. So, wanna take us to the beach?” |
Extent | 24 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2017_07 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2019-05-21 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | ce2d1b26-0a26-4575-a46a-d1bf2ea8056f |
DOI | 10.14288/1.0378943 |
AggregatedSourceRepository | CONTENTdm |
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https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0378943/manifest