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  254 EAST HASTINGS STREET  604.681.8915
UPCOMING SHOWS
APR ELECTRIC SIX
3       EMILY MOLLOY, DAVE TV
APR AT THE WISE HALL:
3    JANE SIBBERY
KELE FLEMING
APR THREE O'CLOCK TRAIN -
5    TONY KINMAN TRIBUTE
THE DILS, WASTED STRAYS
Mack MacKtnzie 5 Chip Kjnman Present
v*MvC*K:::'
THICC
O'CLOCK
iTfAIN
m
VINYL EP
RECORD
LAUNCH
Featuring songs by
tuck ociocic twin
fORD MAPOX fOtt
COWBOY NATION
a»S   JUttBTCD
MNK'fllC
THE PUS
APR SPACE ELEVATOR
6     ALBUM RELEASE
PHUTUREMEMORIEZ
APR BOB MOULD BAND
7       WITH SPECIAL GUESTS
-»«
Bob
Sunshine Rock Tour
APR SATANIC SURFERS &
11 BELVEDERE
BLACKED OUT, THE CORPS
APR THE INVISIBLE ORANGE
12 10TH ANNIVERSARY:
HYPOCRISY &FLESHG0D
APOCALYPSE
AENIMUS, OBSIDIAN,
BLACKWATER BURIAL
APR ATLANALOU'S:
12   SABRINA BENAIM
CLEMENTINE VON RADICS
THE INVISIBLE ORANGE
10TH ANNIVERSARY:
ARCHSPIRE
GROSS MISCONDUCT, DEAD
ASYLUM, PYRAMIDION, TORREFY
VERBODEN FESTIVAL:
BOY HARSHER & LIGHT
ASYLUM
WITH GUESTS
WHITE DENIM
SON OF STAN
THE MAIN EVENT:
PINEAPPLE EXPRESS
DJ SEKO
LUCITERRA-A STARLIT
SPECTACULAR
KAROUNA LUX, ERICA DEE,
BLACKBERRY WOOD
HYPERSPACE METAL FEST
DAY 1: WEST OF HELL
SKELATOR, THE ORDER OF
CHAOS, ODINFIST, OMEGA
CROM, BREAKING THE SILENT,
MAULE
HYPERSPACE METAL FEST
DAY 2: CRIMSON SHADOWS
JUDICATOR, RAVENOUS E.H.,
GATEKEEPER, GREYHAWK, RED
CAIN, THOUSAND ARROWS
Additional show listings, ticket info, videos & more:
WWW.RICKSHAWTHEATRE.COM
blueprint
UPCOMING EVENTS
Apr 27
Apr 30
May 02
May 25
May 25
)un07
Jun%
)un08
)unl5
)un23
Jun 26
Jul 05
Jul 06
Jul 11
Jul 20
Aug 07
Nov 04
KNIFE KNIGHTS
MEMBERS OF SHABAZZ PALACES
PETER BJORN & JOHN
FORTUNE
VENUE
MELVINS
VENUE
JENN GRANT
HIGHER BROTHERS
CHROMEO
(ALL AGES)
OPERATORS
FORTUNE
COMMODORE
KRANIUM
-m>f Yi -If hutifrtfrfl 11 rti fltr i fitf'
REVEREND HORTON HEAT
BLUE OCTOBER
THE MESSTHETICS
MEMBERS OF FUGAZI
FVDED IN THE PARK
DAY ONE
FVDED IN THE PARK
DAY TWO
BOB LOG III
HOLLAND
PARK
HOLLAND
PARK
cuco
(ALL AGES)
THE DRUMS
PETER HOOK
IMPERIAL
PLEASE CHECK OUT BPLIVE.CA
FOR ADVANCE TICKETS AND MUCH MORE
 TABLE of COnTEnTS
APRIL 2019
COVER I PHOTO OF BO DYP BY COLE SCHMIDT
JFeature*
05  - WARM NOTICE
Mfjen Uncomfortable,
fl lobster imll Cake
£Dff 3W £>&eH to
dDrofo
here to support women, non-binary, POC and otherwise
marginalized BC musicians.
06   -  BO DYP
"I do hare a life saturated in things that I hare to care
about in order to surTiTe."
08  -  THE  STEW JAMS
Celebrating the Energy of Hip-Hop
10  -  MAX AMMO
Filling and filing papers
EDITOR'S   NOTE
15 -  RUSSIAN  TI„
& PAVEL  BURES
"the energy of these songs will be
super great."
16 -  KIMMORTAL
Inherently Disruptive /
Uncomfortable and Grounded
04 - Filmstripped
Mino Bimaadiziwin
10 - On The Air
Bepi Crespan Presents
11 - Art Project
By Max Ammo
14  - April  2019  Calendar
18 - Real Live Action
Music + Comedy
19 - Under Review
21 - CiTR Program Schedule
22 -  CiTR Program Guide
23 - March 2019  Charts
ADVERTISE: Ad space for
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Rates available upon request.
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SOCAN
FOUNDATION
Publisher: Student Radio Society of UBC // Station Manager: Ana Rose Carrico // Advertising
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Administration Coordinator: Halla Bertrand // Charts: Myles Black// Production Assistants: Christina
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Krishna, Leo Yamanaka-Leclerc, Valie Madejska, Lexi Mellish Mingo, Zoe Power, Cae Rosch, Vihaan
Soni, Jessie Stainton, Faur Tuuenty // Photographers & Illustrators: Max Ammo, Amrit Krishna, andi
icaza-largaespada, Matthew Lim, Alistair Henning, Kalena Mackiewicz, Jessica May, Terry Mota, Sunny
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Ghayedi, Zoe Power
©Discorder 2019 - 2020 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 8,000. Discorder is published almost monthly by
CiTR, located on the lower level of the UBC Nest, situated on the traditional unceded territory of the hehqemihem speaking Musgueam peoples. CiTR can be heard at 101.9
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(604) 822 1242, email CiTR at stationmanager©citr.ca, or pick up a pen and write LL500 - 6133 University Blvd. V6T1Z1, Vancouver, BC, Canada
WHAT SHAPE DO YOUR INTERSECTIONS MAKE?
In this issue you'll read that we can express ourselves in any medium, and still be in
our roots; that intentions along with intersections will take unique personal shapes:
that whatever your flavour; equal representation can welcome all; and that art-making
knows no borders.
Yours,
M'aritime  N'8V
1»0> A
DOCUMENTARY FILM FESTIVAL
MAY 2-121
DOXAFESTIVAL.CA
O © © #DOXA2019
 Discorder magazine | APRIL  201^
FILIHSTRIPPED
MINOBIMAADIZIWIN
words by Zainab Fatima // illustrations by Sunny Nestler
c   ©
"So MUCH WAS TAKEN AWAY."
Jim, a transgender Anishinaabe
man, finds himself with the
opportunity to reconnect with his
culture after meeting an Anishinaabekwe,
Bangishimogikwe. From the opening line
in the short film Mino Bimaadiziwin, one
can tell that the film will be sentimental,
thought provoking and beautiful.
This was the first time I watched a film
that is only ten minutes long, and I didn't
expect myself to notice a new detail each
time I watched it. It amazed me how the
film manages to compress such a detailed
story in such a small time frame. The
editing, visuals, writing and characters
make it a subtly intricate and captivating
work of art.
The first scene opens to a beautiful view
of trees and forest greenery, with the voice
of Jim's Grandma saying, "so much was
taken away." The scene then cuts to her
telling a young child about the history and
struggles of their people. Grandma is my
favourite character in this film, because of
the emphasis in the words she speaks. Aside
from the opening line, what also stuck
out for me was when she told the child to
"follow the sunset to find the goodlife."
One of the things I found most
compelling in the editing was the way the
camera would show two opposites consecutively: image of trees and sunshine with
Grandma's sorrowful story, a shot in a car
followed by a view of the woods, isolation
within a social setting, and the best one of
all, Jim and Bangishimogikwe.
Jim is Bangishimogikwe's contrast.
These two are so different, from
the colours in their clothing, to
their language, and worldviews. Despite
their differences, they come together as
Bangishimogikwe invites Jim to return to
his culture, reminding Jim of his Grandma.
It's poignant as the film is bookended with
the first voice being Grandma's, and the last
words being Bangishimogikwe's.
Grace Dove, who plays Bangishimogikwe,
does an exemplary job at illuminating her
character as a young Anishinaabekwe who
is strong, genuine and kind. I love what her
character represents: she is proud of who
she is, and conveys that in the way she
carries herself.
When I watched the film, I saw Jim as
someone who is struggling with identifying himself. He doesn't speak his
Native language and doesn't spend much
time in cultural celebrations. Because of
this, he initially doesn't want to take up
Bangishimogikwe's invitation. Feeling out
of place is definitely a feeling that is familiar
to me; I saw myself in this position when
my family moved to Canada. I was ten
years old, and Canada was so different from
Pakistan and Oman. I felt odd and isolated
with the smallest things like my school
lunch being different from others, which,
I've now found out, is a pretty common
struggle for immigrant children. Similar to
Jim, language was also something that I
struggled with.
After coming to Canada, I saw that kids
my age spoke in English and not Urdu.
This was weird to me, and I didn't feel
like myself when I spoke English at home.
Even now, I realize that whenever a family
friend comes over, I only speak to them
in English. Speaking this language is now
second nature to me. After living here for a
while I've gotten used to these things, and I
sometimes feel that my Urdu isn't as good
as it used to be.
This happened naturally as I grew up,
and there isn't a specific moment that I can
point to and say "that is what changed
everything." I think this sort of ambiguity
can also be seen in Mino Bimaadiziwin,
and I can imagine that for viewers who
don't share similar experiences or understand the impacts of colonialism and inter-
generational trauma, this film might have
been a little confusing, because we don't
know what specifically caused Jim to lose
touch with his culture.
But personally, I kind of like that. There
are things left for the audience to interpret
on their own, and this can encourage people
to talk about the film and further connect
with one another.
The message Mino Bimaadiziwin delivers
is timeless, but in a time of social media, it
matters even more. As a young adult, I was
deeply affected by Bangishimogikwe and
what she stands for, because I am vulnerable
to what is said about me, especially because
of how I portray my life online. It can
be difficult to stay connected with your
heritage, particularly if you're in a society
that is completely different. But the main
message this movie delivers is that however
we're connected to our roots, they are
always a part of us, and we can be proud of
that. Being different, or standing out from a
crowd is not a negative quality. It's easy to
forget this. Watching Mino Bimaadiziwin
has been a powerful, but gentle reminder
that there is more beauty in self-realization,
than anything else.
3 O ©
3 © e>€>€>©o<$>€)©©>©e>©(Cs.
4
FILMSTRIPPED I Mino  Bimaadiziwin
 gXOS  IlfliAj 9nisD9DffI i9bioD2iQ
warm
notice
words by Zoe Power
illustrations by Terry Mota
Y V ■   ARM NOTICE IS AN EXCITING NEW NOT-FOR-PROFIT COLLECTIVE created to support
A   A women, non-binary, POC and otherwise marginalized BC musicians. The collective was founded by artist
^■J^^P   and community organizer Amanda Nicole, who brings nearly a decade's experience in artist and project
^w^r        management, and even features a former Discorder Editor-in-Chief among its ranks!
In 2019, Warm Notice has partnered with nightlife and independent music mainstay The Lido to present The Lido Music
Residency. This program runs seasonally, with 4 residencies offered per year, and secures each recipient a paid one-month
performance residency at the iconic Vancouver venue. Artists in residence are guaranteed 2-4 evenings of stage time, which
can be booked within a single week or spaced across weekday evenings throughout the month, and are also offered the
opportunity to use an additional day for hosting a workshop or artist talk.
Applications for the very first residency, Spring 2019, have now closed, with the artist in residency soon to be announced.
But Warm Notice are actively seeking applicants for future residencies, and encourage artists of all different backgrounds,
approaches, and experience levels to apply. We sat down with Amanda Nicole to find out more about Warm Notice, and to
ask what interested musicians need to know when considering The Lido Music Residency.
Who makes up the collective? How
did you come together?
AMANDA   NICOLE: The collective in
its current form is me, Amanda Nicole,
interdisciplinary artist and musician
Casey Wei, and multidisciplinary artist
and editor Brit Bachmann. The three of
us started sharing ideas about a year
ago, and Warm Notice took shape.
For me it feels like it's formed in part
as a response to feelings of isolation
as women in music and a longing
to speak freely, create and be heard
amongst peers. We look forward to
having many more artists, activist and
community members join the collective
along the way.
Why the Lido?
A: The Lido was a really easy choice
for us, I've worked there for four years
and I took over the programming in
January. Since day one The Lido has
supported local music and artists,
offering hundreds of free concerts and
OH THE AIR
REVIEWOF DOWNLOAD
-UKNOWN ROOM
words by Mark Hjorthoy
events over the years. It's a wonderful
and safe space, there is a very serious
zero tolerance for shitty, hurtful
behaviour. The people who work there
prioritize learning and adapt to what
makes people feel safe and respected.
We already know about the residency
project at the Lido. Are there other
projects in the works, and/or dreams
and schemes for the future?
A: Our main focus is creating opportunities to showcase emerging musicians
who have been marginalized in BC
with the intent to further their career
and/or export their music outside of
British Columbia and Canada. Our
first effort to do so is with the artist
residencies. Earlier last year I started
reading about and listening to $
talks linking the treatment of a '
women to climate change and it      6
blew my mind. I started reading
about the brutalities women face
pointless, unless we could weave in
ways to shine a light on that. A big
focus for us is finding ways to do that.
How is Warm Notice funded?
A: We want to be totally transparent
about where our money comes from
and where it gets distributed. We
think it's an opportunity to contribute
something educational for artists to
reference. Once we have any money
we'll work towards creating a public
document that is easy to read. The
artist residencies currently are solely
funded by generous donations from
our peers.
jWbat do artists need to know if
6 4 , they're interested in applying Jo
when climate disaster strikes and it
made starting up a new project seem
0 0*6 ,
The Lido Music Residency?
tf . d 6 /)    A:We hope musicians of all
'J'
different backgrounds, approach
*and experience feel comfortable
applying, we especially want artists
who are women, artists of colour or
marginalized for any reason to feel
comfortable to apply. Once an artist
is selected for the season we'll meet
with them to plan out their residency.
Each residency includes live video
documenting and recording which will
be given to the artist. Currently we
offer $400 per residency, which goes
directly to the artist. We want this to
be a useful opportunity during and
following the residency. Our deadlines
for the summer, fall and winter
residencies are still rolling, so find us
online and apply now!
Following the news of the death of
Vancouver electronic music icon,
Phil Western, cEVIN Key has
announced that "Unknown Room" will be
the last Download album. If that wasn't
hard enough to hear, this latest album
seems like the beginning of something. It's
impossible to say what that is now, but on
first listen, it's obvious that a change was
happening.
Starting out as an experimental project
by Key and Dwayne Gottel, (featuring
Western, Mark Spybey, Genesis P-Orridge,
Dan Handrabur, etc), Download's music was
tense, creepy, unnerving and full of vocal
treatments. Similar to Skinny Puppy in some
ways, but miles apart and more brutal in
others. When Dwayne passed away in 1995,
Phil stepped in as Gottel's replacement.
Following that release, and a tour of North
America, Mark Spybey left the project and
moved back to England, to concentrate on
other plans, which left a decision for Key
and Western to keep moving in this direction
or to change up the formula.
Their decision led to Download being a
purely instrumental act. With Phil Western
in the co-pilot's seat, "Download III" was
born. A tremendously glitchy yet listenable
mix of melody, cacophony, and techno
beats brought Download from an obscure
"art noise" act, to "experimental techno"
and beyond. Each release since fell into this
formula, even if loosely, and their fans were
in favour of the change.
This newest and final Download release
"Unknown Room," makes an obvious
gesture towards yet another change. It's
been rumoured that Western had taken
over the majority of the project with "III,"
and his style is all over every Download
album since. Phil's ability to "get inside the
'Warm notice'
music" and create hard to categorize tracks
is a feat not many people could achieve.
And "Unknown Room" is a brilliant sonic
masterpiece that fits into this mould.
The opening track "Calling Monster
Island" is a cheeky poke at their style. The
fragmented beats, coupled with freaky
sequences that push and pull are punctuated
with a sample from old Godzilla movies.
This is pure Download, and is a great
headphone listen for the record.
The second track "Gaslighter" brings
back old "Bites" era Skinny Puppy. With
it's slowed down drum machines and
massive synth pads, you'd get the feeling
that Key had this track around a long
time. Add a bit of Tangerine Dream, and
Gaslighter takes you back to a time of too
much eyeliner and big hair.
"Happy Tribe Conspiricy" is where the
change is most obvious. This track to me
sounds more in line with Western's former
project "Off & Gone," mixed with his
"Longform" full length. Bubbling, sparkling
synths, and hypnotic grooves. Great
songwriting in a style that any techno head
would be happy to hear on a dancefloor.
The rest of the album switches from "III"
era Download, to Puppy, to Phil's projects
seemingly random that makes you wonder
"what are they up to next?" Unfortunately,
we will never know.
I believe "Unknown Room" will be a
great mystery for die hard Download fans.
The changes hint at something that won't
be revealed, and leave us with too many
questions. Never again will we be waiting
to hear what's next. Thanks cEV, and RIP
Phil, this one IS history.
This review was written by a contributor for
CiTR101.9 FM's Bepi Crespan Presents radio
show. To listen to Bepi Crespan Presents tune in
tocitr.caorl01.9 FM every Friday 2pm -3:3 0pm.
ON THE AIR!Bepi Crespan Presents
5
 FEATURE
Discorder magazine | APRIL  201^
^^^^B        lthough it seems, retrospectively, both perfect
m and inevitable, Soleil O'wadi hadn't planned to
W make their drag debut last Canada Day. In fact,
•^r they'd left the city, and were intending to spend
the entire long weekend volunteering at an overnight camp.
But after experiencing transphobia
from a fellow volunteer, Soleil
decided not to stay, and found
themselves back in Vancouver putting
in a same-day request to the host of
Commercial Drag: "I had a horrible
weekend. Can I perform?
"And then I got ready in a couple of
hours," Soleil tells me. "I went to Value
Village to get something to wear; went to
the dollar store to get my Canada flag, that I
drenched in fake blood. And yeah, I debuted
the same day that I decided to debut."
The politically charged, emotionally
intense debut, performed to Highly Suspect's
defiant "My Name Is Human," could
not have been better choreographed to
introduce the bold and powerful style of Bo
Dyp: the drag name under which O'wadi
performs. But then, they aren't really one
words by Zoe Power
Photos courtesy of Cole Schmidt and Soleil O'Wadi
illustrations by Jessica May
for pre-planned choreography. Bringing
a background in contemporary dance to
their performance, Bo's approach to drag
is less about rehearsed reveals and meticulously mapped-out flourishes than an in-the-
moment, embodied expression of their raw
connection with a song and an emotion.
The impact of this profoundly honest
performance style can be felt in the
responses which it garners: "I often have
the experience of a quiet and still audience
while I'm on stage," says Bo. "And a lot of
people tell me about their experience of the
quiet and still audience. It's always a cool
thing to experience for me: to just have the
attention, and to have the space to share
what I want to share."
What Bo has to share goes well beyond
what one may expect, or be prepared for,
at a traditional drag show. In the 8 months
they've been performing, they've hushed
audiences across the city with their uncompromising refusal to shy away from complicated topics, and a visual style which
references their Kwakwaka'wakw heritage
(Soleil is from the Dzawada'enuxw nation,
and bears the strikingly apt Kwak'wala
name Kwanxwalaogwa: "One Who
Possesses Thunder").
But despite bringing attention, through
their drag, to real-world injustices from
ongoing colonial violence to sexual assault
and ecological destruction, Bo is hesitant to
describe their art as 'activist'. Reflecting on
the label, they tell me "I wouldn't consider
myself [activist], but I do have a life
saturated in things that I have to care about
in order to survive."
The name Bo Dyp is a double
entendre referencing both the
term 'body politics' and the late
Kwakwaka'wakw Chief and master carver
Beau Dick, to whom Bo is loosely related
and from whose style they draw for their
mask-inspired drag looks. Indeed, part of
what is so remarkable about Bo's drag is
that it does so much: continuing Dick's
powerful legacy of bringing to life and
reinterpreting Kwakwaka'wakw cultural
heritage, while simultaneously offering a
complex exploration of the body politics
with which they have experience. Bo's drag
is informed by their intersecting identities,
which include being queer, AFAB, and
non-binary; mixed-race, with Indigenous
and white-settler ancestry; a survivor
of sexual assault; and a person who
experiences arthritis, depression, dysphoria,
addiction, and ideation of body death.
Unsurprisingly, Bo can find bringing
these experiences to the stage exhausting:
"Performing is emotionally laborious for
me, because of the content I perform. But
it's also releasing, and then to have the
positive feedback that I do makes it even
more rewarding. But the other side of that
is people being like 'you're an asshole, you
made me cry!' — saying these things that
they don't need to say.
"And then touching me nonconsen-
sually — like, here have a bunch of hugs;
I'm gonna touch your arm; I'm gonna rub
your neckpiece... People, I think, forget
that performers are people. So I'm not
just this shiny thing that is to be admired.
If you appreciate my work: pay me.
a
'Bo Dp'
 gXOS  IIHIA! 9nisD9DffI i9bioD2iQ
HUTAH
Thank me for my emotional labour, and
give me some money."
Although the emotional tax of performance is exacerbated by these tendencies
within drag audiences, Bo is drawn to
the medium for its accessibility and the
nature of the platform it provides. Having
withdrawn from formal dance education as
a consequence of their arthritis, Bo explains
that "drag gives me space to dance, but to
dance to my own ability, without pushing
my body too hard, and without doing it for
a very long amount of time."
Indigenous musicians (M'Girl, Frank Wain,
Jeremy Dutcher, and Snotty Nose Rez Kids
have all served as inspiration for Bo's drag
numbers) to starting off-stage conversations. "My make-up is sometimes inspired
by specific artists and specific looks, so just
having that and being able to talk about
that with people [is important]," says Bo,
who has modelled previous looks on masks
by Klatle-Bhi, as well as Beau Dick and
carvers from their own family. "It's about
getting all of us out there."
"My main thing is Indigenous visibility:
I want people to know that we're still here,
that we can engage with pop culture in a
way that remains true to who we are."
Drag is also a tool to further what they
identify as the primary goal of their practice:
drawing attention to Indigenous people,
Indigenous art and Indigenous issues. "My
main thing is Indigenous visibility: I want
people to know that we're still here, that we
can engage with pop culture in a way that
remains true to who we are... like, I'm me,
and I'm Indigenous, and I'm doing this other
thing that's still me."
Through drag, Bo is able to showcase
the work of other Indigenous artists; a
practice which extends from performing to
Os Bo's star continues to rise in the
Vancouver drag community, they've
been bringing this mission and
message to ever more prominent stages.
After winning Commercial Drag's first ever
"All Stars" event this January, they went on
to compete in the high-profile Vancouver's
Next Drag Superstar competition, where
they made it all the way to the finale.
(Those yet to experience Bo's drag can find
these performances online, including the
finale in which they lip sync to Lady Gaga's
"Til it Happens to You" as an abused and
Bo Dyp'
violated Mother Earth — the silence is
palpable even via Youtube.)
But alongside these competitive
milestones, 2019 has also brought success
of a more personal kind. Shortly after their
VNDS success, Bo was officially adopted
by established local drag sensation Gender
Spice, marking the inauguration of the
House of Spice.
For Bo, the adoption means a chance to
collaborate with one of their drag idols:
"They were actually one of the first drag
artists who I saw and was like: 'Wow.
Amazing. I'm so impressed,'" recalls Bo.
"It was my [very] first show that I went
to, when I saw Gender Spice perform, and
I thought: 'Woah. They are so cool. And
someday they're gonna think I'm cool, too,
because I'm gonna perform.' And then it
happened!" Laughing, Bo explains they
were drawn to the style of their now drag
zather because "they are really good at
genderfuckery. Just like — confusing the
audience. And that's what you gotta do!"
You can find and follow Soleil O'wadi (Bo
Dyp) on Instagram. Their work also appears
in the catalogue of the recent Hatch Gallery
exhibition Masquerade: Exploring Fashioned
Resistance. To see them live, watch out for
their FernGully-themed Commercial Drag
booking this month, where they'll perform
both as Crysta and as Mother Earth.
1
 FEATURE
Discorder magazine | APRIL  201^
THE STEW
JAMS
Celebrating the TSnergy
of Hip Hop
words by Lexi Mellish Mingo  //  illustration
by Amrit Krishna // photos by Coltrane Yan
^^^^B s I turn on Binz by Solange and close the blinds so that my landlords don't
m catch me busting loose, I know I'm about to release some real shit. What's
W happening in our bodies as we throw limbs, twist hips, hop, and tap our feet?
^^ Self-expression. And it's feeding an endless circuit of vibrancy, transcending the
body into surrounding space. What's better than this?
Obviously, doing it with others! The
benefits become infinite, and The Stew Jams
has created a space for all flavours. As long
as you bring yours, there'll be enough for
everybody.
In my own search for something more
fulfilling than dancing alone, I got the
pleasure to meet with three very important
members of The Stew Jams, Larisa Sanders,
co-host and co-founder of the event, Chris
Couto, band leader and organizer, and
Rupert Common, co-host and organizer. The
Stew Jams is a community Hip-Hop event
run by a conscious collective, charged by the
diversity of people, sounds and expressions.
Larisa, Chris, and Rupert each
took part in creating The Stew for
different reasons, but they all share a
communal intention: to enable a safe space
for expression by acknowledging the unique
offerings of others. For Chris, percussionist
and band leader, the energy of collaboration
is what keeps him animated. "When I play
a dope beat and hear Rup feel inspired, and
Larisa is singing one of her favorite covers,
that's my favorite part," he beams, "it's
always nice to be in a space that's bigger
than you."
Each night starts with an intention and
a beat, but what carries the night forward
is all in the timing. Channeling a collective
intuition, the group checks in with the
energetic temperature before they open
the space for the opening cypher to start.
"It's really hard to freestyle if the energy
is not in the room," admits Larisa. After
'The Stem Jams'
the opening cypher, the night is directed
into a showcase, where the core collective
members improvise with the live band.
The event's conception was directly
inspired by Kalmunity, a Jazz-based
performing arts and music event, that both
Larisa and Rupert experienced separately in
Montreal. The legacy of Kalmunity was the
catalyst for The Stew Jams, but Vancouver's
Stew Jams differs in its event structure and
creative conceptualization. Branching off
from Kalmunity Jazz focus, Larisa explains
that these jams seek to offer a more nuanced
perspective of Hip Hop, which includes an
open-style jam in which anyone can get on
stage. "Hip-Hop started as a movement
and a culture. It was a way for people who
felt unheard to be heard. The Stew Jams
is tapping into that."  In order to do this,
Rupert adds that they "bring together
different elements of Hip-hop such as the
MC, the DJ, dancers, and occasionally a
graffiti or art installation."
In Vancouver, a Hip-Hop scene existed
long before the brewing of The Stew
Jam,  "Years ago I was walking down
Main street and I bumped into Sara Kendal,
a youth facilitator and a Hip-Hop artist,
and a part of the group Metaphor, this
kind of old school, multi-element group
with Rup Sidhu (aka Rup Loops) and DJ
Su Comandante, Kia Kadiri and Ndidi
Cascade," acknowledges Rupert. "I feel like
I am a part of a generation who inherited
the torch they were carrying, and in turn,
we are carrying it onto the next people."
Rupert's first-hand experiences in
Vancouver's male dominanted  Rap
scene encouraged him to become an
innovator. "When I first got into facilitating Hip-Hop events I noticed the lack
of women and female rap cyphers. It
would be all guys and the topics would
be super aggressive and macho, misogy-
nistic and homophobic," admits the MC,
"I'd go to hip-hop events and everyone was
all hardcore and nobody was freestyling.
8
 gXOS  IIHIA! 9nisD9DffI i9bioD2iQ
HUTAH
" Equal representation goes with
the fabric of who we are and
what we do."
Where's the Hip-Hop? Where's the organic
and sporadic?"  In response, he collaborated with several other people to create
the Freestyle Rap alliance, which has
eventually given way for his involvement in
The Stew Jams. The Stew Jams create a safe
space for self-expression through emphasizing the founding elements of Hip-Hop
with a uniquely Vancouver Flavour.
The Stew Jams practice inclusion and
acceptance by acknowledging the boundaries and barriers that individuals in
their community encounter. The group
practices this by giving land acknowledgments, holding people accountable for what
they say on the mic, and educating when
needed. At its foundation, the organizing
team and collective are comprised of
people of contrasting backgrounds and
actively consider what that models in the
community. "Equal representation goes
with the fabric of who we are and what we
do. When I see people on the stage with a
mic, it shows me that we made that person
feel comfortable and safe enough to do
that," radiates Larisa.
The event's venue acts as the base of
the Stew, determining how welcome an
individual or community feel within it.
In response to the deeply embedded and
imposing patriarchy lingering in certain
venues, The Stew Jams has recently moved
from their former location to Red Gate Arts
Society. "Everybody didn't feel comfortable
and safe in [the former location] space
anymore. Even if it was just a couple of
people, the trickle-down effect was just
too much for us as a community event. It
wasn't worth it, so we just decided to move
places," tells Larisa. The new venue aligns
with the collective's growing values of
inclusion and accessibility.
This March marked The Stew Jam's
one year anniversary. "I remember
a week before the first event I
was so nervous, and I asked Chris if he
thought people would be able to do this
for an hour," said Larisa. Chris responded
to Larisa without doubt, "Yes of course.
They're going to jam, and it's going to be
ok." In that same faith, Chris remembers,
"I just had a sense that everything was
going to go exactly how it's supposed to.
Creeasian performed and each transition
happened so seamlessly." With relief in
her voice, Larisa concluded that "[We] just
threw everything together and it worked!"
Honouring the success of their first event,
the one year anniversary of The Stew Jams
again featured Creeasian - a b-boy, DJ,
beatmaker and Grass-dancer with A Tribe
Called Red / Original Rudes Crew.
In the same way that the Stew Jams
completed a year of hearty offerings by
reminiscing the first ingredients that came
to play, each night ends just the way it
started: with an open jam and cypher.
Although making music, dancing, and
freestyling alone is always going to reap
rewards, you can't physically do it all alone.
"The most amazing thing about The Stew
is the people," says Larisa, "the people who
come are so beautiful and expressive and
open. The whole room just buzzes with
love from our community." The Stew Jams
offers those who seek a safe space to give
and receive. By showing up, your energy
partakes in filling space and complimenting
others and becomes an essential part of
the stew. So, what's the best part? The
communal stew is always overflowing, so
everyone goes home with some leftovers!
"The Stem Jams'
9
 FEATURE  .
Discorder magazine | APRIL  201^
**i ***$
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words by Zainab Fatima // photo by andi icaza-largaespada // illustrations courtesy of Max Ammo
m
ax Ammo, a local animator
from Mexico City, is
currently going through
the complex process of
immigrating, a process which has been a
major influence in their creative practice.
With a notable emphasis on immigration,
we also spoke an array of topics from
art-making, to magic and creating work
despite or sometimes in spite of the
adversity we face. Our conversation was
heavy, but Max's endearing personality
and openness to share their experiences
made the conversation approachable and
engaging.
Interested in experimenting with multiple
forms: drawing, music, film, storytelling,
each medium expresses itself uniquely. For
example, with their music, Max reflects
feelings about the cultural climate they
are in, whereas their drawings are a form
of therapy. What does remain a constant
across Max's work, is working to portray
the obvious and not-so-obvious political
climates we are living in. Max explains
that the struggles of the countries we live
in are inescapable, so naturally, art and
art-making is directly influenced by that.
Using music to encounter themes such as
feminism and migration, Max explains that
their music is a space to reflect the topics
that are more serious for them. But beyond
the seriousness of their music, Max find a
lightness in other media. Most notably, this
lightness exists in their visual art, sharing
that drawing is what they use to distract
.themselves from the stress of the world.
D
t  hen asked about the colour
I   schemes in their art, Max stated
that they don't choose a palette
before drawing a picture, "I just do it [in]
the moment." Sharing that the colour
schemes in their animation don't necessarily
have a deep meaning behind them, but they
do try to convey what they are feeling in
their drawings.
And those feelings have resonated with
their shared communities in Mexico. In
February, they posted their artwork on
the Instagram page, Concha Electrica,
a feminist collective from Mexico City.
Created by Max's friends, the collective
has grown in its diversity and has been a
positive platform for Max to share their art
more broadly and reconnect with Mexico
City's art community.
"I'm here for a reason.
My work counts.
My life counts.
And it counts more
than the paper that I
have to fill."
Ofter coming to Canada, the
workload of immigrating has
limited the amount of time and
energy Max has been able to put into their
work. In some ways, more time-consuming
media has stopped altogether, like pixelated
animation, because they are only able to
create pieces that can be completed quickly.
"max Ammo'
Unsurprisingly, immigration is a stressful
and tedious process. Max explains that
feeling undervalued and unwanted is often
crushing, and makes it difficult for them to
create art in general. But even then, they
find the strength to not give up by sending
personal reminders to themselves, "I'm
here for a reason. My work counts. My life
counts. And it counts more than the paper
that I have to fill."
When the immigration process is over
and Max decides to stay in Canada, they
want to experiment with film. "I really
t
\   II
want to do short films. I've been wanting
to create that, but you have to have time,"
they laugh. "I would really like to find some
funding or find a part-time job that would
allow me to have time for experimentation
and for production." In these films, Max
imagines exploring the conflicts between
upper and middle class, with other themes
to include queer representation and magic.
I was curious to know why it was
something Max wanted to work with. "I
just really like the possibility of what you
can do visually and how it can surprise
someone. In animation there's the surprise,
that 'the cloud turned into something really
weird.' I really like the element of surprise
and I think that magic does that for me."
But while the immigration process is
still in progress, Max had some advice
for anybody who is also going through it:
"Keep all your papers in order! Keep every
little single receipt, email, everything dated
when you send it. I was actually thinking
about making a Youtube tutorial of tips
and advices. I will do it in animation,"
they laughed. Hopefully within the near
future, we'll get to see the magic of Max's
animation turning the complex and
often stormy clouds of immigration into
something surprising and weird.
Max's Calendar piece (right) is positioned
vertically so you can pull it out and display it
on your wall along side our events calendar.
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STOR
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SPECIALS'-
Red Cat Records
RECORD STORE DAY
2019
Big Sale!
LIVE MUSIC!
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FREE INSTORE PERFORMANCES BY:
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  gXOS  IIH1A! 9nisD9Dffl i9bioD2iQ
HUTAH
f you haven't moshed to a punk rock cover of t.A.T.u.'s
"All The Things She Said," you've never truly lived.
Russian Tim and Pavel Bures are here to help with that.
words by Cae Rosch
// Photo courtesy of Tim Bogdachev
The band, fronted by Tim Bogdachev
long-time host of CiTR's own punk
rock power hour Rocket from
Russia, plan on releasing their first EP this
April. Finally, you'll be able to practice
your Russian at home and sing along at
their many, many shows.
Russian Tim and Pavel Bures exemplify
the strongest values of Vancouver's local
punk scene, and they've been a cornerstone
of the community since they started playing
together two years ago. Tim, Kristy, Julia,
Ilya, and Sergei embody the diversity and
raucous enthusiasm of Vancouver punk.
Of multiple national origins and musical
backgrounds, they come together nearly
every week these days to play joyous,
wild shows to put the fun back in punk.
It doesn't matter that the word "punk"
doesn't have "fun" in it, because they're
going to do it anyway. They describe
their performances as "superFUN and
megaENERGETIC," capslock and all, and
they're in no way exaggerating. No one has
as much fun as hyped up Canadian punks
shouting in broken Russian as they bounce
along to Russian Tim and Pavel Bures'
racing, dynamic tunes.
On April 20, to celebrate the digital
release of the long-awaited EP, they'll be
playing a release show at the WISE Hall,
and they clearly couldn't be more stoked
about it. Though the band says the new EP,
titled Greatest SuperHITS (So Far), won't
"change anyone's life or cure stomach flu,"
and you probably won't understand a single
word of their mostly-Russian lyrics, they
are quick to reassure you that "the energy
of these songs will be super great."
Super's a big word with Russian Tim and
Pavel Bures, which makes a lot of sense for
what is effectively a supergroup. Julia and
Sergei both play in Stranded Hikers, an up
and coming three-piece punk act, and Ilya
plays in multiple groups including Generals
of Monrovia, Zafirios, and Blue Wagon.
If you've heard a trumpet on a track from
virtually any Vancouver-area band, it was
probably Kristy, and the talented multi-instrumentalist also sings and plays guitar
for Rong (another supergroup, where
she's joined by three of the other raddest
women of the Vancouver scene, including
Emilor Jayne of Pet Blessings). Tim himself
has been involved in so many chunks of
Vancouver's punk community that it's
impossible to see him confined to any one
role. From show promotion, to hosting
radio, to punk rock trivia, to playing in this
band himself — Tim is nearly omnipresent.
Together, they bring their diverse
experience and forcefully high
energy to a unique brand of music:
one that started with punk rock covers
of pop songs from Russia and grew into
its present whirlwind from there. Now,
they feel it's time to set those songs down
in a real recording, so they'll be available
outside the context of their enthusiastic
yet inherently ephemeral shows. They've
recorded six songs with Stuart McKillop of
Rain City Recorders, and the EP is nearly
ready for digital release across streaming
services. And it's only digital release. The
band explains, "Rather than spending
$3,000 on vinyl, we would rather release
more superHITS." They're not going to
waste time on money on pressing records
and CDs when they could be creating even
super-er FUN, even mega-er ENERGY, and
even more HITS. It's not the objects that
matter to Russian Tim and Pavel Bures. It's
the experience.
Community is the foremost element
of that experience. Tim describes
a philosophy of punk rock
community where bands support each
other, promote each other's shows, and
break down the walls of musical cliques.
To that end, the band will be joined at
the release show by five other acts (and
friends) — the Corps, YOU BIG IDIOT,
the Greatest Sons, Aanthems, and Modern
Terror. These are some of the band's oldest
friends, groups they've grown with and
collaborated with for years, and that proves
this is not only a release show. When the
doors open at 6:30, it's time for a full-on
party. For $10 ($15 at the door,) Russian
Tim and Pavel Bures promise an evening of
friendship and celebration, musically forced
upon you with their tried and true brand of
reckless enthusiasm.
They promise they won't flake - they're
Russians, after all. They just want to see
you at the show. It's time, Tim says, for
"great success!!"
Unsurprisingly, the multiple exclamation
points are his.
"Russian Tim & Pauel Bures'
15
 FEATURE
Discorder magazine | APRIL  201^
K   immortal is on stage at the launch
of X Marks the Swirl, their second
full-length album, speaking before
their first song.
"Now that I've released this album,
people are already like, what's next, Kim?"
We are speaking less than a week since her
launch, and Kimmortal is reflecting on the
night, something they have barely been able
to do. A ring has fallen off my hand from
the patio onto the Main Street sidewalk.
We have decided that if someone picks it
up, it's theirs. Our conversation is about
to be joined by a passerby, a homie of
Kimmortal's. By the time we stop recording
our interview, we will have opened up three
times to folks we encountered — mostly
BIPOC femme rappers, artists, comedians
whose welcome presences and support of
each other becomes an undercurrent of our
time together.
Five nights ago Kimmortal had said:
"This is a big thing for me — as much
as the swirl is awesome, I've definitely
wanted the swirl-spiral to die, cuz I just
wanted to kick this project out, but where
it's at currently is a beautiful space, a
beautiful place, and I give it up honestly
to the features on this album including JB
[the First Lady], Missy D, Khingz, Jillthy,
OS12, who couldn't be here, and also
the producers behind this album, namely
David Telarico. I usually don't work with
white people, but David, he is like really
dope, and I say that out of love, because
decolonial love is not nice, it's straight
up, it's straight up and it's honest, and it
doesn't deny the fact that white supremacy
and racism exist in this world. It's about
acknowledging our intersections."
Today: "What is it like to take up
space as a Filipino here? Am I taking
up too much space, but then I'm
told to take up space, and I feel mahiya..."
I repeat the word, as a question, and they
continue: "I feel shameful for taking up
space. Is it ok? Is this alright? I don't know.
And there's a real correctness to having a
question, but then what is it to be like, this
is who the fuck I am, what does it mean,
can that exist? And what does it mean to
talk about these things in a way that can
unite the people?"
Five nights ago, Kimmortal shouting
from the stage, "Anybody in love?
Anybody in queer love?" The crowd in the
Fox Cabaret responding, loud. Already
enthralled.
Today: "And I realized, wait, love is kind
of queer, you know what I mean? — spirits
are kind of queer."
At the launch: "Rage and anger informs
a lot of the art you just saw on this stage.
In that acknowledgment, there's also joy,
there's also an abundant amount of support
and love — resilience in our existence,
healing methods that we're tuning into,
and so there's a movement, there's changes
happening. I know you get me on that rage,
I know you get me on that anger, I know
you can hold me, I know we can hold each
other, we can do better. And, sometimes
we'll fail at doing that."
In reflection: "On the real, I'm a queer
filipinx, who grew up in a middle class
neighbourhood [in Surrey], friends and
homies with BIPOCs. I have my privileges, I
have my non-privileges. I'm hearing myself
more clearly from that front. And it's not
glorified, but it is not a voice that's heard.
More and more I'm realizing I have to
speak from where I'm coming from, and it's
not heard as much. So when people remind
me of that, that humbles me."
Reminders are another echo: "I'm being
intentional, but I'm also open to be judged,
and that's been hard, but also, I love this.
And I love where things are headed. And
I'm up to talk about it, and where I can
do better, I'm up for that, because I'm also
part of this... I'm also trying to have a fine
balance between acknowledging that it is
my career and it is where I'm getting sustenance financially as well as spiritually,
mentally, all of that, but it requires people
like Lai, Rae Spoon, Khalil [Khingz], Purple
Hearts [Social Club], Missy, JB. It requires
that community to stay remembering why
I'm doing this, but at the same time, I'm like
'I don't have to live like a broke artist,' so
I'm trying to navigate that.
"Lai is like a pinch, and a nudge forward,
and also a reality check for me. I definitely
clicked on their Facebook a couple of times
[recently] to just remember why I do what
I do — also ground myself as to what is,
what can I do in the future, and how to
hold myself as an artist with an awareness...
four years ago, when I opened for Lai at
the Cobalt... it was Vivek [Shraya], Lai,
Missy D and myself, and I remember Lai
laying it on the Vancouver audience that
hip hop's origins along with funk, pop, and
electronic music came from Black roots,
and I remember that hitting the audience.
So it's been a journey for me as a hip hop
head to realize that, but also realizing
that that's where my grit comes from, like
Bambu, Blue Scholars, and the first spoken
word poet I've ever seen drop a poem
about police brutality and what it meant
to be Filipino on this land, and roots, and
ancestry, hitting that on a spoken word mic
at Charles Tupper [Secondary], and that
was when I was like, ooh, what is this?"
44
There's an urgency that hit me
to perform for the first time
at Rhizome, late Rhizome,
and Khalil and Jill being in the same room,
I was 18, and then them cheering me on
along the way, and watching each other's
stories come through in the medium of hip
hop. Hip hop is no bullshit. It's like your
senses are more attuned, and you can smell
if there is bullshit. Like is it even fair to say
my mom breathes hip hop? My mom can
smell bullshit from afar, like when she's
flipping through TV, she's like "shataaap...
shataaap...shataaap...shataaap.
"It's funny, the more I come into myself,
the more I'm like, I get you, mom, the
more I'm like, I get myself a little more.
I get myself in hip hop a little more, not
just hip hop, other mediums, I kinda know
myself a little better, so it's funny how
things are coinciding. Getting to know my
roots, getting to know my place in hip hop,
getting to know my place here. Not getting
too comfortable."
is
'Kimmortal'
 gXOS  IIH1A! 9nisD9Dffl i9bioD2iQ
HUTAH
Holding tension becomes crucial for
Kimmortal. "I create songs so I can emote,
and I want to get better and feel like I'm a
part of something, [at the same time] the
language I'm speaking on the microphone:
I'm trying to come from a language of
decolonial love, which is not often spoken
in our communities... so it's okay if we're
not speaking the same language."
Perhaps listening is a language, too,
and the cipher is an example of
that: alive in the album's launch, in
the back and forth between the emcees and
the artists; the vulnerability and strength of
both openers Dakk'one and Khingz, who
double as sound and guest features; between
"the sharp jabs" in tin lorica's comedy and
the reflective "emo sadness" in the poems
that intersperse their stand-up set; between
Kimmortal and the background singers
and the band and the folks in the audience.
Kimmortal announces, "I'm very inspired
just by the people around me, because you
inform my work.
"I read Julay [Nieto's] Ilocano translation
of the land acknowledgement at the end [of
the set]: that's what I closed with, because
we shouldn't just open with it, it should be
embedded, flowing through it all."
The swirl flows into their thinking on the
album through their work in community.
C-O
c-o
c-o
c-o
"OS-12, when we go into high school
classes, he says, we talk about Totemization,
and Totemization means you scope it, you
draw it, you rap it, you dance it... this is
the new gen, where people are just starting
to talk about truth and reconciliation, so
how we talk about that from a decolonized
perspective means trying to employ different
modes of art and thinking, and even the
way thinking needs to be questioned, and so
that's what inspired shapes.
44
ID
hen people ask, what do
you mean X marks the
Swirl?, there's a three part
answer:" One: swirl marks a movement:
"I'm inspired by the mass movement of
people, which Khari [Wendell McClelland]
really referenced in his release when he's
talking about Black Lives Matter and Idle
No More." This resonates with Kimmortal's
intentionality of having the album — and
the launch — open up not with their own
words, but with those of Indigenous artist
JB the First Lady and Black artist Missy D.
"With Missy and JB, when we work on each
other's tracks, we push a different type of
creative expression, different facets of our
own creativity that we wouldn't necessarily
be able to find by ourselves."
Two: I'm non-binary, so fluidity of
self: "I've always understood myself as a
young'un looking up to folks who have
been doing this for so long, and to know
that I'm in this, creating culture with other
folks, that's kind of weird, I think I'm still
adjusting to that... you put something in
the world, and it's watched, but that's not
where it started. Being aware of where
people are at to witness, but also knowing
that you're embedded in it, it's this weird
thing I'm trying to stay grounded in,
because I've always been an observer, ever
since I was a kid in a stroller, now that
I'm creating, I'm still watching. And our
society is so binary in the ways in which
we perceive. And it comes through in hip
hop shows, from the very thing of Lemme
hear the ladies say... lemme hear the dudes
say! — how we interact in the space." Their
fluidity extends to the tension between
voice and ear, community and self: "This
is for the fam, blood and not... this song is
about ancestral longing, and these lights are
hella bright, I kinda wanna be in my head."
Kimmortal reflects, "I want to be in conversation with people for my whole life. And
within the conversation, too, you can take a
break, go into your own."
Three is the question: "Sometimes all I
can do is just be quiet. I'm realizing more
through this queer journey how much I
need to sharpen my listening skills, which
is directing me to what is next for Kim?
is actually listening." And listening for
community: "There are hella queer filipinx
folks out [here] doing their thing, and it's
a voice that's quiet, but it's loud, and so
I'm happy, because I'm a part of it." Julay
Nieto, who Kimmortal credits as helping
illuminate their connection to cosmology
and knowledge of their ancestry, states:
"When I was in my darkness, they were
just present when they could have been
elsewhere, they took me to the hospital, we
wrote music together and it saved me."
I think back to the folks who had
passed through our conversation and
how all their exchanges with Kimmortal
involved attention to each other's work, to
disruption, to urgency, to care. The end of
one such exchange resonates for me:
So much respect for what you do — You
too — every time I see you I say, yes,
you're out here, rising!
For X Marks the Swirl, Kimmortal
echoes, "I hope there's a real, genuine,
authentic cipher coming through, that's
my prayer. Turning a monologue as an
individual, as an independent solo artist,
into a conversation. That's what I can
stand behind."
"Kimmortal'
V
 Heal Hue
fiction
MARCH 2019
MUSIC
NATHAN SHUBERT (ALBUM RELEASE) /
JODYGLENHAM
MARCH 1 / CHINA CLOUD
I
f Nathan Shubert's album release show could be
described in one word, it would be hygge — the Danish
& Norwegian word that refers to a cozy and convivial
atmosphere that promotes wellbeing. Entering the venue, I
was greeted by a friendly face at the door, warm lamp light,
vocal jazz music featuring the stylings of Chet Baker to Ella
Fitzgerald, soft couches and wooden chairs arranged in a
semi-circle around a piano — all recalling a living room one
would like to settle down in after a long day.
The night opened with the well-crafted songs of Jody
Glenham, a close friend and long-time bandmate with
Shubert. Her songs explored the value of dreaming, peace
in death, lemon rinds, listening to The Sound, in addition to
a Fugazi cover. They were all performed on the felted upright
piano that contrasted Glenham's strong and passionate
voice.
Then came Nathan Shubert. It was clear that he is a
master of his craft, utilizing his main tool: an upright piano
prepared with a large sheet of soft felt. This treatment of the
instrument resulted in a softening of the hammers, drawing
attention to the mechanical nature of the instrument and
creating a physicality to Shubert's work.
His intentional cozy setting of the space was executed
mindfully. Around the room during the set, couples embraced
on couches and audience members closed their eyes to
listen. The sound of the bar service, the cracking open of
cans and pouring of liquids into glasses, was a fitting sonic
accompaniment alongside the music. The performance
space was a safe world in which to let go — a complex
feeling given the neighbourhood of the venue, located in
Chinatown; the harsh reality of gentrification just outside
seemed to become a distant world. Regardless, Shubert's
music, gently invited audience members to listen and
practice silence on a Friday night otherwise packed with
many loud shows, bars, and parties.
Shubert's set, seamlessly wove in and out of his new
record, When You Take Off Your Shoes and his first
record, 2017's Folds. His performance was nothing short
of masterful. Following the seemingly simple harmonic
and melodic relationships that over time expand, shift, and
re-align, Shubert's carefully crafted work rewards you by
bringing you back to where you began. After Glenham's set
of poignantly chosen words, listening to the instrumental
music allowed the mind to reflect, meditate, and embody the
delightfulness that is musical sound, leaving one with an
experience of a perpetual becoming undone.
Nathan Shubert's music is deserving of a careful listen.
When you listen to this music at home, you should take a
cue from this show and execute Shubert's listening methods:
dim the lights, find a comfortable place to sit and a nice
audio source, and allowing yourself to take off your shoes.
—Faur Tuuenty
FUNDRIVE 2019 FINALE: MILK/BB/
WHY CHOIR
MARCH 8 /RED GATE
marking the end of CiTR's 2019 Ruby Jubilee Fundrive,
the station held a Finale at the Red Gate Arts Society,
located on the traditional, ancestral and unceded land of the
Coast Salish People.
As it happens, the day of the Finale fell on March 8,
International Women's Day — a day for all cis and trans
women to be celebrated. To celebrate, CiTR brought out the
Dame Vinyl DJs to spin some incredible FemCon so that the
night of fundraising and the very funky lighting — for anyone
who's been to Red Gate knows that the disco balls play a
huge role in any concerts there — was accentuated by some
great music.
Bringing the room and the intermissions to life, Dame
Vinyl blasted some old, but gold tunes across the dancefloor.
Selecting from a large collection of records, the DJs put the
disco balls to their primary purpose of making you feel as
though you were in a 70s roller rink. It was a perfect way to
get people into the vibe that was to be expected for the rest
of the night, and to keep energy high between acts.
Why Choir took to the stage first. The duo combined
drumming with some incredible electronic beats and sounds.
The instrumental sounds felt like an eerie, insect-like 3D
experience... in a good way. The disco ball's reflective
lights began to look like fireflies dancing on the ceiling,
as the drumming magnified the earthy sounds that Why
Choir radiated. Unfortunately, the vocals seemed to sharply
interrupt the instrumental journey, with short, loud and
cutting lyrics that didn't add very much to the experience.
Milk definitely earned its name, with the sound of the
lead singer's voice seeping through the speakers paired
with some beautiful guitar harmonies. Their opening songs
felt serene, as the red reflections of the disco balls swayed
hypnotically on the ceiling. As the set went on, Milk evoked
other indie acts like Superfood and Mac Demarco, but with
an air of reminiscence, perfectly mixing country, rock and
jazz. Milk's set crescendoes, finishing with some heavier,
rock songs to contrast their mellow, soft start.
Last up were BB, who brought so much energy to their
performance. Finishing off the night with a bang, this pop
rock trio had amazing stage presence that rippled through
the room. Even the singing — done by both the guitarist and
the bassist — while not being 100% on pitch, felt completely
right for the style of this music, which was loud, fast and
made you want to jump around. It also made it look like the
disco balls were going into overdrive, spinning faster.
The music and the ever-present disco balls worked
together to make the evening a success. In terms of music
and fundraising, the 2019 Fundrive Finale proved to be a
great celebration for everyone. —Valie Madejska
MIXED GEMS: DREAM CARS / YOON /
POISON MIND/GROUP ART SHOW
MARCH 9 / RED GATE
1 hen I first looked at the Facebook event for Mixed
f Gems, and discovered that it went all the way from
8:30 PM to 1:00 AM, in addition to being a 45-minute bus
ride away, I was definitely a bit apprehensive. However, after
having gone, I'd say it was certainly well worth the trip out.
Mixed Gems is a monthly event series, curated by
photographer / artist / Jock Tears' frontperson Lauren Ray,
featuring an assembly of local bands, artists, DJs, comedians,
film showings, and more. This month's edition contained
a group art show, DJ set, stick and poke tattoo table, and
three-band concert, all held in the Red Gate Arts Society.
While it looked fairly unassuming from the front, Red Gate
immediately felt larger as soon as I stepped inside and took
a look around.
The first room on the right, featuring stark white walls and
exposed tube lights, was being used as a gallery to display
the various visual artists' works that night. Across the walls
were an array of photographs, paintings, and illustrations.
One work that immediately stood out to me was Shahin
Sharafaldin's beautifully done portrait of a young person of
colour. I especially admired how well the artist utilized color:
the tones on the subject's flowing outfit perfectly mimicking
some of the colors in the surrounding scenery.
I was also fond of the collection of double-exposure 35mm
film photos taken by James Gibbs (who I later found out is
also the lead vocalist of the band Yoon, who performed later
in the night), depicting a variety of island scenes as well
as photographer Sara Baar's bright, vibrant and summery
collection of photos.
The gallery also displayed art across various media by
artists Tom Bancroft, Sam Morgan, Nadya Isabella, and Jack
Morris. Also in the room, amidst the art show, was a steady
line around a table where a stick and poke artist was doing
both flash and custom tattoos throughout the evening.
As interesting as the art on the walls was I often found
my eyes being drawn away to the attendees of the event.
The crowd, with plenty of DIY bangs, rolled-up beanies, dad
shoes, and fur coats, was almost intimidatingly fashionable.
Around 10:15 PM, a crowd began to form near the stage
in the main room of the venue as the first of three bands
performing that night, Yoon, was setting up. As a disco ball
cast purple and blue light across the room, Yoon proceeded
to rock out with a series of grunge and garage rock tracks,
complete with many sick electric guitar riffs. The four-piece
Poison Mind took the stage for the next set, playing some
classic rock tracks for the growing audience. I especially
loved how into the performance the band's singers got — they
really seemed like they were having a great time up there.
The final performance of the night came from the band
Dream Cars, who delivered a collection of nostalgic,
new-wave inspired ballads, featuring powerful vocals from
the bands' frontperson, Phil. Throughout the night DJ's
Serena S and Leah B spun a variety of records between the
sets, keeping the vibes light and fun.
One aspect of Mixed Gems I especially liked was how
free-flowing the event felt. People were continuously walking
back and forth, checking out the various rooms of the
venue. Despite the abundance and variety of art on display,
everyone seemed casual, relaxed, and having a good time. I
know I did. —Amrit Krishna
; COMEDY
ANGRY & AFRAID: A COMEDY SHOW
; ABOUT HATES AND FEARS
I   MARCH 9 / LITTLE MOUNTAIN GALLERY
Little Mountain Gallery, the hole-in-the-wall comedy
venue tucked away off Main Street, was dimly lit before
Angry & Afraid began. The space, which is operated by a
Not-For-Profit society consisting of volunteers as well as a
collective of Vancouver comedians, had a grunge feel and
a nip in the air. Voted Favourite Comedy Room in 2018 by
the Vancouver Comedy Awards, Little Mountain Gallery
was once used as an automotive garage. However, today,
instead of a storage facility for vehicle parts and a workshop
for busy mechanics, it's a noise depot for laughter, music
and conversation brought on by standup comedians, the DJ
booth nestled at the side of the room and an audience eager
to laugh.
On March 9, seven young and local comedians took
the stage to illustrate, through humour, their personal
definitions of what it means to be angry and / or afraid.
This was the final installment of the show, which was
hosted and organized by Vancouver comedian, Kody
Audette. Post-Trump inauguration, Audette garnered
comedic inspiration from the world's political freak-out. "A
lot of standup comedy material is already about stuff you
don't trust or things that annoy you," he exclaimed over
the booming sound of The Notorious B.I.G.'s "Hypnotize."
Despite the theme of Angry & Afraid, Audette didn't want the
comedians involved to have to do too much writing. Instead,
he wanted them to be able to pull from existing material and
morph it into the show.
Audette kicked off the event by asking the cheery and
intimate crowd, "Who has a weird fear?" A voice from the
audience yelled out, "Being alone!" One-by-one, local
comedians Brett Skillen, Maddy Kelly, Joel Oxales, Jake
Spencer, Gina Harms, tin lorica and Alannah Brittany
performed, shedding light on topics relating to mental
health, relationships, misogyny, racism, politics, addiction,
religion, sexuality, and death. Angry & Afraid— the show of
many emotions — was as gloomy and depressing as it was
lighthearted and hilarious. Each comedian successfully wove
serious subject matters with authenticity and humour. And,
considering the consistent stream of laughter coming from the
crowd, it was all undeniably relatable. The final line of Kelly's
act hit the nail in the show's coffin, "Turns out the lesson
today is that when you're angry, you're actually just afraid."
18
REAL   LIVE  ACTION
Discorder magazine | APRIL  2019
 Audette announced the event's hiatus, as Roast Battle
Vancouver— another Little Mountain Gallery comedy show
that he hosts and organizes on the last Wednesday of every
month — takes time-consuming work and priority. Even
though Angry & Afraid is finished for now, this doesn't mean
it won't be back, because as it was made abundantly clear,
if humans can connect with each other over anything, the
things that make us angry and afraid take the cake.
—Sarah Amormino
III
To have a live show considered for review in Discorder Magazine and
online, please email event details 4-6 weeks in advance to
Jasper D. Wrinch, Real Live Action Editor at rla.discorder@citr.ca.
RLA also includes comedy and theatre, among other live experiences.
Feel free to submit those event details to the e-mail above.
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DIVORCER
Debt Jubilee
(Comfortable on a Tightrope)
January   10,   2019
It's hard to pin down the sound of weirdo-pop project
Divorcer's quick moving LP Debt Jubilee. Given the
infectiously fun rhythm of the album, tied together with lyrics
that are equal parts cynical and hilarious, it's not a shock the
album climbed to second on the CiTR charts.
The painfully relatable thematic content ranges from
mundane tasks to shitty dudes to millennial self-doubt. Debt
Jubilee moves fast, highlighting the band's diverse use of
vocals, guitar-forward melodies and heavy bass lines. With
13 songs spanning a total album length of just under half an
hour, the album is like a quick and dirty rollercoaster.
The album kicks off with "Newborn," a single released in
July 2017. The rooted bass line and loud vocals begin a high
energy that continues throughout the album.  The track's
chorus, "Are you born yesterday / Or have you just been
cradled / All your life," sets a not-so-subtle jibe at so-called
"soft boys." The lyrical gold continues with "My Beautiful
Coin Laundry," a fun take on a mundane experience. The
song is super relatable, as everyone in a cheap apartment
endures the laundromat.
"Rice Cake Sardines" marks a noticeable shift in the
album with a synth heavy intro and the endearing line,
"Touch myself to self doubt." This is followed by "Snakes,"
the album's most memorable song, with rallying voices
chanting, "No more snakes at the punk rock show / Cause
they're all on the internet / Jacking each other off." It's an
effective picture of all the angry boys on reddit.  "Cherry
Cola," the next track, features synthy sounds, a steady
bass line and a viola, showcasing the group's instrumental
creativity. The album's final track, "Loser Lover Boy," ends
steady with softer vocals and a guitar centred melody.
Divorcer formed in a booth at Duffin's Donuts, which
sets the scene perfectly for an album laden with comical
perspectives on typical city life. Overall, Debt Jubilee
flows well, placing it on the more approachable end of
the weirdo-pop spectrum. The lyrical content matches its
musical flair, making it an album that is equally enjoyable
with commanded attention or as background music. This
album does not disappoint. — Jessie Stainton
LNDN DRGS
Brain on DRGS
(GDF Records)
November   16,   201?
<*
Pnybody telling you g-funk is dead clearly hasn't heard
LNDN DRGS. The rap duo, consisting of Vancouver-
based producer Sean House and Compton MC Jay
Worthy, have made a name for themselves in recent years,
consistently delivering classic, hard-hitting bars over
silky-smooth, funky beats. This past November, the duo
linked up with rapper/producer Left Brain, member of the
former rap-collective Odd Future, to deliver their latest
project, Brain on DRGS.
Aptly named, listening to this album feels a bit like taking
a psychedelic trip - the eight tracks (nine with the intro) flow
together seamlessly to form a unique listening experience
that leaves you wanting more.
On my first listen, the gorgeous production was
immediately apparent. Right from the intro, which
ironically samples a 1970s anti-drug PSA, Left Brain and
Sean House's beats give this album its distinctive, trippy
atmosphere. There's a cool variety of beats on display,
ranging from the mind-bending, experimental production
on "Dodgers" to the classic, buttery, g-funk beat on "Make
Money." I was especially fond of how each track flowed into
the next, giving the whole album a cohesive, jazzy feel.
LNDN DRGS delivers bars on this thing too, with Jay
Worthy riding the beats like a true player. Throughout the
project his delivery is cool, calm, and collected; he really
makes it seem effortless. Though he's known mostly as a
producer, Left Brain also hops on every track to rap too, his
gritty, boisterous delivery complementing Worthy's nicely.
Lyrically, the album is strictly gangsta rap. If you're
looking for really thoughtful, conscious, lyrical depth, this is
probably not going to be for you - topics here rarely deviate
from the usual drug-slanging, getting paid, and chatting
up women. The track "On Mamas" does offer a bit of a
switch-up. Featuring a hot verse from veteran trap rapper
Da$h, the lyrics go into what it truly means to "put something
on mamas" (to swear on your mother that what you say
is true.) The project's standout track has to be its closer,
"Violation." Worthy laments the reality of street life over this
dazzling, multi-instrumental beat and we get another dope
feature, this time coming from New Orleans rapper T.Y
For fans of West-coast hip-hop, Brain on DRGS is
definitely worth a listen. It blends psychedelic, experimental
production with classic elements of g-funk to deliver a
quality collection of gangsta rap. — Amrit Krishna
ONLY A VISITOR
Technicolour Education
(Self-released)
January,   01,   2019
On their latest independent release, local Vancouver
quintet Only a Visitor makes it their vision to explore the
depths of the human voice. Over a backdrop of soft synths,
occasional piano, and brush-swept drums, the three singers
weave delicate, avant-garde abstractions through lyrics on
family, remembrance, and longing.
Sometimes, as in the opening moments of "Blue Gold
Green and Red," they place a single voice front-and-center,
while the other two form a background of vocal beats and
hums in place of instrumentals. In other places, as on the
opening track "Big and Small," the singers work in delicately
fragmentary tandem before tightening into compact,
energetic harmonies reminiscent of classic acts like Simon
and Garfunkel, where no single voice owns the melody.
Nowhere are the band's eclectic talents more prominently
displayed than on the most ambitious piece on the album,
"Legacy." The song opens with uncharacteristically
aggressive instrumentals: messy, gritty guitar tones mix with
tumultuous drum beats that seem almost improvisational
in their chaos. This quickly dies away to a slow, tight-knit
pair of harmonies that sing a tale of the legacy of Chinese-
Canadian immigrants and the building of the Canadian
Pacific Railway. This is an intensely personal narrative
— the band's leader and composer, Robyn Jacob, is of
Chinese and European ancestry, and her grandfather and
great-grandfather both emigrated from China.
The album's flow is consistent and relaxed, aided by the
thematic cohesion of the lyrics in discussing personal and
societal narratives of family, legacy, and remembrance.
"Bedroom Archaeology" is the most personal of these
narratives, describing Jacob's exploration of her family's
old belongings: "Letters I couldn't even read / They were
written in Chinese." The song has an energetic and playful
feel, something immediately upended by the following track,
"Letters from a Child," a wistful memorial to a forgotten or
deceased somebody. The stories told here are vital and
engaging, and songs such as "Bedroom Archaeology" reveal
the songwriters' unique approaches to their craft.
Blending playful experimentalism with pop sentimentalities, Technicolour Education is another step forward for this
eccentric quintet. — Leo Yamanaka-Leclerc
RUPERT COMMON
Veganese Folk-Hop
(Self-released)
December   29,   2018
Rupert Common is direct with his message. On his
newest record, Veganese Folk-Hop, he explains, stating
that "Veganese" is "an invented word" that "incorporates
vegan life-style choices with context dependent flexibility....
pagan spiritual beliefs and an open worldview," and that
"Folk-Hop" is "a hybrid musical genre derived from Settler-
Canadian Folk tradition and Hip-Hop idioms." And this is only
in the album notes. Common starts from such an explicit,
verbal message and centres it throughout the album.
From very beginning of the first track, "Lost in Privilege,"
Common establishes a cool tone with simple instrumentation
and clear vocals that make such focus possible. The song is a
straightforward introduction to the album's themes. Common's
bright yet soft-edged vocals describe a privileged upbringing
and its attendant trappings. His discussion of the perils of
privilege is so frank that before the end of this first track he
has directly compared John A. Macdonald and Adolf Hitler.
Common's words remain this frank across the album. He
rejects privilege, settler-colonialism, overuse of cell phones,
superficial materialism, and is always perfectly upfront about
his rejection. The body of lyrics is wide-ranging and politically
forward. Below the lyrics, the cool tones of the strings and
the steady yet loose percussion give the whole album an
underlying lightness. Regardless of the frustration Common
expresses with societal conditions, his sound stays chill.
"White Jury (for Colten)" picks up the pace slightly.
Somewhat faster and more emphatic, with a significantly
more noticeable bass line, Common engages with the
egregious unfairness of the trial of Colten Boushie's
murderer. In a moment with a darker and more metallic tone
than anywhere else on the album, Common sings, "Canada
shot him down," increasing the reverb on the vocals as
though they are spiraling down a well.
On "Canadianized," K. Vox's guest vocals are a pleasure
to hear, and the song sprawls languidly through its
exhortation to "self-educate / take the book right off the
shelf" on the subject of your own identity and heritage. The
song's title is appropriate given Canada's assimilationist
history, and while the exhortation to is admirable, it does
fail to acknowledge that the process of "climbing up" one's
family tree is not necessarily possible given the prevalence
of closed adoptions, especially among marginalized people
who are interracially adopted. Still, the harmonizing vocals
and simple instrumentation make it a memorable track.
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UNDER REVIEW
19
 The album's simplicity is intentional. It enables the
passage of Common's message. "Excuse me while I play
three chords and strum / I got some shit to say," he sings
on the album's sixth track, "Officianado." Over the span of
Veganese Folk-Hop, he does exactly that. — Cae Rosch
SWIM TEAM
(Self-released)
January   11,   2019
44
▼ onventional" is the last thing that comes to mind
0 to describe V, Swim Team's third release. The
Vancouver-based group, comprised of Dorothy Neufield,
Murat Ayfer and Nick Short, recorded the album and
mastered it with Jordan Koop (the mind behind albums such
as No Dumb Puns by Dumb and Dead Soft by Dead Soft)
over the course of a year and a half. The band describe the
process of recording as always being in flux, changing with
time, each song representing a particular moment.
The truth in that description of their process is the diverse
range that Swim Team exhibits throughout the album.
Through every song, the band show that they are a powerful
emerging player in the avant garde rock scene. Swim Team
showcases their range of sounds and feelings in every song.
Tracks like "Rabbit" exhibit soft vocals and drum solos,
while also maintaining dark undertones developed by the
lead guitar. This gives the song a complicated finish and a
very ominous and conflicted mood, expressing an image of
approaching dark clouds. On the other hand, songs such as
"X" and "Empire" show an abrupt change in pace and feeling
in the middle of the song, moving into buzzy guitar riffs and
sharp vocals.
V is a complex and dense collection of sounds, rife with a
spectrum of emotions, giving the listener a completely new
and fresh look into the experimental rock genre. The album
is a must-listen for fans of the genre, as well as for those
who are looking for a first peep into what experimental/art
rock holds. — Vihaan Soni
THETUBULOIDS
Issue No. 1 Flexizine
(Beer City Skateboards and
Records)
March 1, 2019
44
he future sucks," remarks a cartoon version of
I   Tubuloids guitarist Rob West in the final skit of
the band's debut flexizine, a raucous duo of live tracks
on a flexidisc with a tight little collection of comics in tow.
Recorded in September 2017 at Club Vijon in Osaka, Japan,
the flexi opens with the shredding punk of "This Wave
Sucks." The song bursts in with a cascading collage of
psych-tinged guitars before blasting into its riff driven core ,
with drummer Teddy Rennie providing a rattling, snare heavy
drive to the tune. Vocalist Kevin Baxter shouts, "When you
follow your lies you run a sinking ship / the crew is always
better and they took life jackets," before launching into the
chorus's declaration, "This wave sucks." On "31st Century
Rock," the band members find themselves transported to
an idiosyncratic future via a "NOWAY! BACK MACHINE"
upon being hired to play a gig. There's a certain melancholy
to be found in this environmentally destitute future, with
Rob's character bitterly asking, "A venue that lasted 1,000
years? I doubt it, what's changed?" Perhaps, then, "This
Wave Sucks" refers to this wave of music, of culture, rather
than the merely literal wave. Certainly, the title parallels
Vancouver punk icons D.O.A. and their lament against
changing times, "New Wave Sucks."
On the second track, "Police Truck," the guitars adopt a
drippier, surfish swagger, bringing to mind Tarantino films
and spaghetti westerns. Unsurprisingly, the song is rife with
moral ambiguity. Grappling with corruption and thoughtless
law enforcement, each member of the band dons "a black
uniform / and silver bats," adopting the role of police officers
drunk on status, merely "playing cops for pay." Dave Dolan's
bass line underlays the rollicking groove of this track,
providing it substantial power and drive.  Despite their live
recording, these songs show little compromise in terms of
sonic quality, and the fullness of the sound is consistent
throughout.
Nowhere in this package is the band's offbeat sense of
humor more evident than within the zine itself. With three
comic strips and one Where's Waldo type puzzle, the zine
is pervaded with hints of science fiction and the occult.
The grimy digital art style lends itself spectacularly to the
delivery of these strange tales, with a grungy-digitalism
that reminds me of Hotline Miami's aesthetic (albeit less
pixelated). I'm looking forward to the Tubuloids continuing to
create issues of flexizines like this one well into the future.
— Tate Kaufman
To submit music, podcasts, books or films for review consideration, please
email Cae Rosch at ur.discorder@citr.ca.
To media that applies, please send a physical copy to Discorder Under Review
at CiTR 101.9FM, LL500 6133 University Blvd., Vancouver, BC, V6T1Z1.
20
UNDER REVIEW
Discorder magazine ! APRIL  201^
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'DISCORDER  MAGAZINE  RECOMMENDS  LISTENING  TO  CiTR EVERY DAY!
sponfcap
6AM
7AM
8AM
9AM
10 AM
T'RANCENDANCE
GHOST  MIX
BREAKFAST  WITH  THE
BROWNS
Cue*tmp
PACIFIC PICKIN'
QUEER FM
YOUR NEW SHOW
11AM    FEELING SOUNDS
12 PM
1PM
2 PM
SYNCHRONICITY
3 PM
PARTS UNKNOWN
CiTR Charts With
Kaila Fewster
MORNING AFTER SHOW
©UIctmc6tiap
CiTR GHOST MIX
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CiTR GHOST MIX
OFF THE BEAT AND
PATH
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AURAL TENTACLES
CANADALAND
&>aturt>ap
CiTR GHOST MIX
SUBURBAN JUNGLE
POP DRONES
THE SHAKESPEARE
SHOW
CONVICTIONS &
CONTRADICTIONS
YOUR NEW SHOW
COMEDY ZEITGEIST
ROCKET FROM RUSSIA
SEEKING OFFICE:
AT LARGE
MIXTAPES WITH
MC & MAC
U DO U RADIO     THE REEL WHIRLED
THE SATURDAY EDGE
DUNCAN'S DONUTS
DAVE RADIO WITH
RADIO DAVE
THE COMMUNITY       KOREAN WAVE:
LIVING SHOW       ARIRANG HALLYU
120BPM HOSTED BY   UNCEDED   .A^ee
AARON SCHMIDKE   AIRWAVES   pASS
DIALECTIC
C-POP CONNECTION
4 PM
SHOES ON A WIRE     INTERSECTIONS
THUNDERBIRD EYE
K-POP CAFE
ASTROTALK
120BPM
TOO DREAMY
BEPI CRESPAN
PRESENTS
NARDWUAR PRESENTS
GENERATION
ANNIHILATION
POWER CHORD
CODE BLUE
5PM   DELIBERATE NOISE    INTO THE WOODS
6PM   RECORDS MANAGEMENT
7 PM
8 PM
9 PM
10 PM
11PM
12AM
1AM
2AM
LATE
NIGHT
EXPLODING HEAD
MOVIES
FLEX YOUR HEAD
CRIMES & TREASONS
ARTS REPORT
YOUR NEW SHOW
DEMOCRACY WATCH   WORD ON THE STREET
MANTRA
^'HE
MEDICINE
SHOW
SAMSQUANCH'S
HIDE-AWAY
MIX CASSETTE
NINTH WAVE
THE JAZZ SHOW
THE SPENCER    ANDYLAND RADIO WITH
LATU SHOW        ANDREW WILLIS
CiTR GHOST MIX
STRANDED: CAN/AUS
MUSIC SHOW
CiTR GHOST MIX
YOUR NEW SHOW
CiTR GHOST MIX
NASHA VOLNA
NO DEAD AIR     RADIO PIZZA PARTY
CI RADIO
LIVE FROM
THUNDERBIRD RADIO
HELL
COPY / PASTE
AURAL TENTACLES
AFRICAN RHYTHMS
SKALDS HALL
CANADA POST ROCK
CI RADIO
CiTR GHOST MIX
YOUR NEW SHOW
SOCA STORM
SYNAPTIC SANDWICH
RANDOPHONIC
THE ABSOLUTE VALUE
OF INSOMNIA
&>unt>ap
CiTR GHOST MIX
PACIFIC PICKIN"
YOUR NEW SHOW
SHOOKSHOOKTA
THE ROCKERS SHOW
BLOOD ON THE SADDLE
LA FIESTA
THE  LEO  RAMIREZ
SHOW
MORE  THAN  HUMAN
RHYTHMS
INDIA
TECHNO
PROGRE
SSIVO
T'RANCENDANCE
THE  AFTN   SOCCER
SHOW
CiTR  GHOST  MIX
6AM
7AM
8AM
9AM
10 AM
11AM
12 PM
1PM
2 PM
3 PM
4 PM
5 PM
6 PM
7 PM
8 PM
9 PM
10 PM
11PM
12AM
1AM
2AM
LATE
NIGHT
DO YOU WANT TO PITCH YOUR OWN SHOW TO CiTR?
EMAIL THE PROGRAMMING MANAGER AT PROGRAMMING@CiTR.CA TO LEARN HOW
pc-hey, this kind of cell means this show is hosted by students
They are also highlighted in the sp       * on the guide,
you can't miss it.
 ■ mono/iy
TRANCENDANCE GHOST MIX
12AM-7AM,  ELECTRONIC/DANCE
Up all night? We've got
you, come dance.
Contact: programming@citr.ca
BREAKFAST WITH THE BROWNS
3AM-11AM,  ECLECTIC
Your favourite Brownsters:
James and Peter, offer
a savoury blend of the
familiar and exotic in a
blend of aural delights
Contact: breakfastwiththebrowns
@hotmail.com
■ FEELING SOUNDS
11AM-12PM, ROCK/POP/INDIE
A show about indie music and
emotion as well as building a
community by featuring local
and student musicians!
Contact: sara.y.carbone@alumni.
ubc.ca Spotify: https://tinyurl.com/
saracarbonespotify
SYNCHRONICITY
12PM-1PM, TALK/SPIRITUALITY
Join host Marie B in spirituality,
health and feeling good. Tune
in and tap into good vibrations
that help you remember why
you're here: to have fun!
Contact: spiritualshow@gmail.com
PARTS UNKNOWN
1PM-3PM, rock/pop/indie
Host Chrissariffic takes you on
an indie pop journey not unlike
a marshmallow sandwich:
soft and sweet and best
enjoyed when poked with a
stick and held close to a fire.
Contact: programming@citr.ca
• CITR CHARTS WITH
KAILA FEWSTER
3PM-4PM, MUSIC
Find out what we're pumped on
Contact:programming@citr. ca
SHOES ON A WIRE
4PM-5PM, rock/pop/indie
Music + Stories, by and
for Women + Queers.
Insta: @shoesonawirepod
Tweeter: @Shoesonawire
• DELIBERATE NOISE
2PM-3PM, ROCK / POP /INDIE
Love rocking out to live music,
but don't feel like paying
cover? Tune in for the latest
and greatest punk, garage
rock, local, and underground
music, with plenty of new
releases and upcoming
show recommendations.
Let's get sweaty.
contact: programming@citr.ca
• RECORDS MANAGEMENT
10AM-11AM, ROCK/ROOTS/FOLK
A show for Canadian Rock,
Indie, Folk, Country, and other
Canadiana! Curated for you by
your hosts, Nathalie and Adrian.
contact: programming@citr.ca
EXPLODING HEAD MOVIES
7PM-8PM,  EXPERIMENTAL
Join Gak as he explores
music from the movies:
tunes from television, alone
with atmospheric pieces,
cutting edge new tracks:
and strange goodies for
soundtracks to be. All in the
name of ironclad whimsy.
Contact: programming@citr.ca
THE JAZZ SHOW
9PM-12AM, JAZZ
On air since 1984, jazz
musician Gavin Walker takes
listeners from the past to the
future of jazz. With featured
albums and artists, Walker's
extensive knowledge and
hands-on experience as a
jazz player will have you
back again next week.
Contact: programming@citr.ca
■ rutstiay
PACIFIC PICKIN'
6am-8am, roots/folk/blues
Bluegrass, old-time music and
its derivatives with Arthur and
the lovely Andrea Berman.
Contact: pacificpickin@yahoo.com
QUEER FM
3AM-10AM, TALK/POLITICS
Dedicated to the LGBTQ+
communities of Vancouver
Queer FM features music:
current events, human interest
stories and interviews.
Contact:
queerfmvancouver@gmail.com
Twitter | @recordsmgmtyvr
THE MORNING AFTER SHOW
11PM-1PM,  ROCK / POP / INDIE
Oswaldo Perez Cabrera plays
your favourite eclectic mix of
Ska, reggae, shoegaze, indie
pop, noise, with live music:
local talent and music you
won't hear anywhere else.
The morning after what?
Whatever you did last night.
Twitter | @sonicvortex
THE COMMUNITY LIVING SHOW
1PM-2PM, TALK/ACCESSIBILITY/
DISABILITY
This show is produced by
the disabled community and
showcases special guests and
artists. Originally called "The
Self Advocates", from Co-Op
Radio CFRO, the show began
in the 1990s. We showcase
BC Self Advocates with lots
of interviews from people with
special needs. Tune in for
interesting music, interviews
and some fun times. Hosted
by: Kelly Reaburn, Michael
Rubbin Clogs and Friends.
contact:
communitylivingradio@gmail.com
• 120BPM HOSTED BY
AARON SCHMIDKE
2PM-3PM, MUSIC
120 BPM hosted weekly
by Aaron Schmidke!
Contact: @CiTRRadio
programming@citr. ca
• DIALECTIC
3PM-4PM, ROCK/POP/INDIE
Defined as "The way in which
two different forces or factors
work together", Dialectic brings
the distinct music tastes of
hosts Chase and Dan together.
Each episode showcases
a variety of indie rock and
beyond, bound together by
the week's unique theme.
Contact: @CiTRRadio
programming@citr. ca
• INTERSECTIONS
TUES 4PM-5PM, TALK/POP
Tune in every two weeks
for intersectional feminist
news, opinion, music
and more, brought to
you by CiTR's Gender
Empowerment Collective!
Contact: programming@citr.ca
• INTO THE WOODS
TUES 5PM-6PM, ROCK/POP/INDIE
Lace up your hiking boots and
get ready to join Mel Woods as
she explores music by female
and LGBTQ+ artists. Is that a
bear behind that tree? Nope,
just another great track you
won't hear anywhere else. We
provide the music mix, but
don't forget your own trail mix!
Contact: programming@citr.ca
FLEX YOUR HEAD
6pm-8pm, loud/punk/metal
Punk rock and hardcore since
1989. Bands and guests
from around the world.
Contact: programming@citr.ca
CRIMES &TREASONS
3PM-10PM, HIP HOP
Uncensored Hip-Hop & Trill
$h*t. Hosted by Jamal Steeles:
Homeboy Jules, Relly Rels:
Malik, horsepowar & Issa.
Contact: dj@crimesandtreasons.com
www.crimesandtreasons.com
• THE SPENCER LATU SHOW
TUES 10PM-11PM, TALK/ POLITICAL
COMMENTARY
The Spencer Latu Show is a
progressive politics show that
speaks truth to power. We
provide much needed coverage,
and media criticism of stories
at the municipal, provincial,
national and international
level from the perspective of
two progressive working class
students; Spencer Latu and
Ajeetpal Gill. We are based
out of UBC in Vancouver BC.
Contact: programming@citr.ca
STRANDED: CAN/AUS MUSIC
SHOW
11PM-12AM,  ROCK/POP/lNDIE
Join your host Matthew for a
weekly mix of exciting sounds
past and present, from his
Australian homeland. Journey
with him as he features fresh
tunes and explores alternative
musical heritage of Canada.
Contact: programming@citr.ca
■ uurtmrstiay
SUBURBAN JUNGLE
3AM-10AM,  ECLECTIC
Live from the Jungle Room:
join radio host Jack Velvet
for music, sound bytes:
information and insanity.
Contact: dj@jackvelvet.net
POP DRONES
10AM-12PM,  ECLECTIC
Unearthing the depths of
contemporary and cassette
vinyl underground. Ranging
from DIY bedroom pop and
garage rock all the way to harsh
noise, and of course, drone.
Contact: programming@citr.ca
THE SHAKESPEARE SHOW
12PM-1PM,  ECLECTIC
Dan Shakespeare is here
with music for your ears.
Kick back with gems from
the past, present, and future.
Genre need not apply.
Contact: programming@citr.ca
• KOREAN WAVE: ARIRANG HALLYU
1PM-2PM, TALK/POP
Jayden targets audiences in the
Korean community in Vancouver
to introduce the News on
Korea, Korean Culture while
comparing other Asian Cultures,
playing all kinds of Korean
Music(K-POP, Hip Hop, Indie,
R&B,etc),talking about popular
trends in the industries of
Korean Movies & Korean Drama
(aka K-Drama), TV Shows,
Korean Wave(aka K-Wave
or Hallyu), the news about
Korean Entertainment Industry,
what's going on in the Korean
Society here in Vancouver and
conversations with guests.
Contact: programming@citr.ca
• ALL ACCESS PASS
ALTERNATING WEDNESDAYS
2PM-3PM, TALK/ACCESSIBILITY
POLITICS
We talk about equity, inclusion,
and accessibility for people with
diverse abilities, on campus
and beyond. Tune in every
second Wednesday from 2-3pm
for interviews, music, news,
events, and awesome dialogue.
Contact: Twitter | @access_citr
• UNCEDED AIRWAVES
ALTERNATING WEDNESDAYS
2PM-3PM, TALK/CULTURAL
COMMENTARY
Unceded Airwaves is in its
third season! This team of
Indigenous and non-Indigenous
folks produce a weekly show
on Indigenous issues, current
affairs, entertainment, culture
and news - all centering
Native voices. Come make
Indigenous radio with us!
Contact: programming@citr.ca,
Follow us @uncededairwaves &
facebook.com/uncededairwaves
C-POP CONNECTION
C-POP Connection brings you
some of the most popular songs
in the Chinese music industry!
The show also talks about
Chinese culture to connect you
to the Chinese society. Tune in
every Wednesday from 3-4 PM
with your host DJ Sab to get
updated on the hottest singles,
album, and news in C-POP!
Contact: @CiTRRadio
programming@citr. ca
• THUNDERBIRD EYE
4:30-5PM, TALK/SPORTS
CiTR Sports treat you to
interviews with UBC's top
athletes and Olympians,
off-field stories ofthe
accomplished sportspeople.
T-Bird Eye is your weekly
roundup of UBC Thunderbirds
sports action with hosts Eric
Thompson, Jake McGrail,
Liz Wang, and Jacob Aere.
Contact: Twitter | @CiTRSports
• ARTS REPORT
5PM-6PM, TALK/ ARTS & CULTURE
The Arts Report on CiTR brings
you the latest and upcoming
in local arts in Vancouver
from a volunteer run team
that likes to get weird! Based
primarily in Vancouver, BC,
your show hosts (Ashley and
Jake) are on the airwaves.
Contact: arts@citr.ca
SAMSQUANTCH'S HIDEAWAY
alternating wed 6:30pm-8pm:
rock/pop/indie
If you're into 90's nostalgia:
Anita B's the DJ you for.
Don't miss her spins:
every Wednesday.
Contact: programming@citr.ca
THE MEDICINE SHOW
ALTERNATING WED 6:30PM-8PM:
eclectic/live INTERVIEWS
Broadcasting Healing Energy
with LIVE Music and laughter!
A variety show, featuring
LIVE music, industry guests
and insight. The material
presented is therapeutic
relief from our difficult world.
We encourage and promote
independent original, local
live music, art, compassion
and community building.
Contact:
vanco uvermedicinesho w@gmail. com
MIX CASSETTE
3pm-9pm, hip hop/indie/soul
A panopoly of songs, including
the freshest riddims and
sweetest tunes, hanging
together, in a throwback suite.
Which hearkens back to the
days where we made mix
cassettes for each other(cds
too) and relished in the merging
of our favourite albums.
Contact: programming@citr.ca
NINTH WAVE
9PM-10PM, HIP HOP/ R&B/ SOUL
Between the Salish sea and the
snow capped rocky mountains:
A-Ro The Naut explores the
relationships of classic and
contemporary stylings through
jazz, funk and hip hop lenses.
Contact: Facebook \ NinthWaveRadio
ANDYLAND RADIO WITH
ANDREW WILLIS
10PM-11PM, TALK
Listen to your favorite
episodes of Andyland Radio
with Andrew Willis. Our
borders are always open.
Contact: programming@citr.ca
THUNDERBIRD LOCKER ROOM
11PM-12AM, TALK / SPORTS
The Thunderbird Locker
Room gives you a backroom
perspective on varsity athletes:
coaches and staff here at UBC.
Contact: programming@citr.ca
■ THURStiay
OFF THE BEAT AND PATH
7AM-8am, talk
Host Issa Arian introduces you
to topics through his unique
lens. From news, to pop culture
and sports, Issa has the goods.
Contact: programming@citr.ca
• CONVICTIONS* CONTRADICTIONS
THURS, 8AM-9AM, TALK/COMEDY/
SOCIAL OBESERVATIONS
Convictions and Contradictions
is about our own convictions
and contradictions about
society, shown through social
observational comedy. To boot,
a comedy of human psychology
and instrumental music.
Contact: programmingcitr.ca
• COMEDY ZEITGEIST
g:30AM-ioPM, talk
Comedy Zeitgeist is a variety
show with host Nico McEown &
special guests who talk comedy.
What makes us laugh and
why? What separates the best
of the best from all the rest?
Every episode you hear great
jokes and bits from both famous
and unknown comedians.
Contact: programming@citr.ca
ROCKET FROM RUSSIA
10AM-11AM,  PUNK
Hello hello hello! I interview
bands and play new:
international, and local punk
rock music. Broadcasted
by Russian Tim in Broken
English. Great Success!
Contact: rocketfromrussia.tumblr.com,
rocket from russiacitr@gmail. com,
<3>tima_tzar,
facebook. com/Roc ke tFromR ussia
U DO U RADIO
11AM-12PM,  ELECTRONIC
A delicious spread of
electronic vibes from across
the decades. Acid, Afro-beat
Lo-Fi, Ambient and plenty of
classic house. Let Galen do
his thing so u can do urs.
Contact: programming@citr.ca
DUNCAN'S DONUTS
12PM-1PM,  ROCK/POP/lNDIE
Sweet treats from the pop
underground. Hosted by
Duncan, sponsored by donuts.
Contact: duncansdonuts.wordpress.com
• K-POPCAFE
1PM-2PM, K-POP
Jayden gives listeners an
introduction to music &
entertainment in Asian Cultures,
especially, Korean, Japanese
and Chinese. Tune in for
K-POP, Hip Hop, Indie, R&B,
Korean Wave (aka K-Wave or
Hallyu), News about Korean
Entertainment Industry and
Korean Society in Vancouver.
Contact: programming@citr.ca
ASTROTALK
2PM-3PM, talk/science
Space is an interesting place.
Marco slices up the night sky
with a new topic every week.
Death Starts, Black Holes, Big
Bang, Red Giants, the Milky
Way, G-Bands, Pulsars, Super
Stars and the Solar System.
Contact: programming@citr.ca
■ 120BPM
3PM-5PM, MUSIC
120 minutes of Beginners
Playing Music! This drive time
block is for BRAND NEW
programmers who want to find
their feet, practice their chops,
and rep CiTR's playlist. Get
at us if you want this airtime
Contact: @CiTRRadio
programming® citr. ca
■ DEMOCRACY WATCH
5PM-6PM, TALK/NEWS/CURRENT
AFFAIRS
For fans of News 101, this is
CiTR's new Current Affairs
show! Tune in weekly for
commentary, interviews
and headlines from around
the Lower Mainland.
Contact: news101@citr.ca
NO DEAD AIR
No Dead Air is dedicated
to shocasing jazz fusion:
experimental electronic and
post-rock programming.
Contact: Facebook \ NoDeadAir
C1 RADIO
thurs 7:30PM-gpM, hip hop/r&b/
RAP
Best of new and local hip hop
Contact: programming@citr.ca
LIVE FROM THUNDERBIRD
RADIO HELL
9PM-11PM, rock/pop/indie
Thunderbird Radio Hell
features live band(s) every
week performing in the comfort
of the CiTR lounge. Most are
from Vancouver, but sometimes
bands from across the country
and around the world are nice
enough to drop by to say hi.
Contact: programming@citr.ca
COPY/PASTE
11PM-12AM,  ELECTRONIC
If it makes you move your
feet (or nod your head), ifll
be heard on copy/paste. Vibe
out with whaf s heating up
underground clubs around
town and worldwide. A brand
new DJ mix every week by
Autonomy & guest DJs.
Contact: music@actsofautono-
my.com
■ TRltiay
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)
37AM-8AM, talk/politics
Podcast hosted by Jesse
Brown that focuses on media
criticism as well as news:
politics and investigative
reporting. Their website also
has text essays and articles.
Contact: jesse(3>canadalandshow. com
• SEEKING OFFICE: AT LARGE
8AM-9AM, TALK/NEWS/POLITICS
Seeking Office is innovative
storytelling and municipal news
coverage from Vancouver and
the Lower Mainland. Join us for
Season 2, At Large.
Subscribe to Seeking Office on
iTunes, Stitcher or Google Play.
Contact: @CiTRNews
MIXTAPES WITH MC AND MAC
9AM-11AM, rock/pop/indie
Whether in tape, cd, or playlist
form, we all love a good
collection of songs. Join us
every Friday morning at 10
for a live mixtape with musical
commentary. Who knows
what musical curiosities you
will hear from 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
TOO DREAMY
1PM-2PM, BEDROOM POP / DREAM
POP/SHOEGAZE
Let's totally crush on each other
and leave mix tapes and love
letters in each other's lockers xo
Contact:
Facebook | @TooDreamyRadio
BEPI CRESPAN PRESENTS
2PM-3:30PM, experimental/
DIFFICULT MUSIC
CiTR's 24 HOURS OF
RADIO ART in a snack size
format! Difficult music, harsh
electronics, spoken word:
cut-up/collage and general
CRESPANA© weirdness.
Contact: Twitter \
NARDWUAR PRESENTS
3:30PM-5PM, MUSIC/INTERVIEWS
Join Nardwuar, the Human
Serviette for an hour and a half
of Manhattan Clam Chowder
flavoured entertainment. Doot
dooladootdoo... dootdoo!
Contact:
h ttp://nardwuar. com/rad/con tact/
• WORD ON THE STREET
5PM-6PM, ROCK/INDIE/POP
Hosted by the Music Affairs
Collective, every episode is
packed with up-to-date content
from the Lower Mainland music
communities including news,
new music releases, event
reviews and upcoming events,
interviews with local musicians
and industry professionals and
discussions over relevant topics.
Contact: programming@citr.ca
• RADIO PIZZA PARTY
6PM - 7:30PM, TALK/COMEDY
Every week Jack, Tristan and
a special guest randomly
select a conversation topic
for the entire show; ranging
from God to unfortunate
roommates. Woven throughout
the conversation is a cacophony
of segments and games for
your listening pleasure. Also
there is no pizza. Sorry.
Contact: programming@citr.ca
AFRICAN RHYTHMS
7:30PM-gpM, r&b/soul/inter-
IMATIONAL
African Rhythms has been on
the air for over twenty three
years. Your Host, David Love
Jones, plays a heavyweight
selection of classics from
the past, present, and future.
This includes jazz, soul:
hip-hop, Afro-Latin, funk and
eclectic Brazilian rhythms.
There are also interviews
with local and international
artists. Truly, a radio show
with international flavour.
Contact: programming@citr.ca
SKALD'S HALL
9PM-10PM, talk/radio drama
Skald's Hall focuses on
entertainment through the art of
Radio Drama. Story readings:
poetry recitals, drama scenes:
storytellers, join host Brian
MacDonald. Have an interest in
performing? Guest artists are
always welcome, contact us!
Contact: Twitter | @Skalds_Hall
CANADA POST ROCK
10PM-11PM, rock/pop/indie
Formerly on CKXU, Canada
Post Rock remains committed
to the best in post-rock
drone, ambient, experimental
noise and basically anything
your host Pbone can put
the word "post" in front of.
Stay up, tune in, zone out.
Contact: programming@citr.ca,
Twitter | @pbone
C1 RADIO
FRI  11PM-12:30AM, HIP HOP/R&B/RAP
Repeat of Thursday's show -
Best of new and local hip hop
Contact: programming@citr.ca
■ saruRtiay
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
3AM-12PM,  ROOTS/BLUES/FOLK
Nowin its 31styear on CiTR, The
Saturday Edge is my personal
guide to world & roots music:
with African, Latin and European
music in the first half, followed
by Celtic, Blues, Songwriters
Cajun and whatever else fits!
Contact: steveedge3@mac.com
GENERATION ANNIHILATION
12PM-1PM, PUNK/HARDCORE/METAL
On the air since 2002,
playing old and new punk
on the non commercial
side of the spectrum.
Contact:
crashnburnradio@yahoo.ca
POWER CHORD
1PM-3PM, loud/metal
Vancouver's longest running
metal show. If you're into
music that's on the heavier/
darker side of the spectrum.
then you'll like it. Sonic assault
provided by Coleman, Serena:
Chris, Bridget and Andy!
Contact: programming@citr.ca
CODE BLUE
3PM-5PM, roots/folk/blues
From backwoods delta low-
down slide to urban harp honks:
blues and blues roots with your
hosts Jim, Andy and Paul.
Contact: codeblue@paulnorton.ca
MANTRA RADIO
5pm-6pm, electronic/mantra/
IMU-GAIA
Mantra showcases the many
faces of sacred sound -
traditional, contemporary
and futuristic. The show
features an eclectic array of
electronic and acoustic beats:
music, chants and poetry
from the diverse peoples
and places of planet earth.
Contact:
mantraradioshow@gmail. com
NASHAVOLNA
6PM-7PM, talk/russian
Informative and entertaining
program in Russian.
Contact: nashavolna@shaw.ca
SOCASTORM
3pm-9pm, international/soca
DJ SOCA Conductor delivers
the latest SOCA Music from
the Caribbean. This show is
the first of its kind here on
CiTR and is the perfect music
to get you in the mood to go
out partying! Its Saturday,
watch out STORM COMING!!!!
Papayo!!#SOCASTORM
Contact: programming@citr.ca
SYNAPTIC SANDWICH
9PM-11PM, electronic/retro/
TECHNO
Every show is full of electro
bleeps, retrowave, computer
generated, synthetically
manipulated aural rhythms.
If you like everything from
electro / techno / trance /
Sbit music / and retro '80s
this is the show for you!
Contact: programming@citr.ca
RANDOPHONIC
11PM-1AM,  EXPERIMENTAL
Randophonic has no concept of
genre, style, political boundaries
or even space-time relevance.
Lately we've fixed our focus
on a series, The Solid Time of
Change, 661 Greatest Records
of the Prog. Rock Era - 1965-
79. We're not afraid of noise.
Contact: programming@citr.ca
■ suntiay
THE ABSOLUTE VALUE OF
INSOMNIA
1AM-3AM, experimental/gen-
4 solid hours of fresh generative
music c/o the Absolute Value
of Noise and its world famous
Generator. Ideal for enhancing
your dreams or, if sleep is not
on your agenda, your reveries.
Contact: programming@citr.ca
PACIFIC PICKIN'
3AM-10AM,  ROOTS/FOLK/BLUES
A repeat of Tuesday morning's
favourite Bluegrass Show -
Bluegrass, old-time music and
its derivatives with Arthur and
the lovely Andrea Berman.
Contact: pacificpickin@yahoo.com
SHOOKSHOOKTA
10AM-12PM,  INTERNATIONAL/
AMHARIC/ ETHIOPIAN
2 hour Ethiopian program
on Sundays. Targeting
Ethiopian people and
aiming to encouraging
education and personal
development in Canada.
Contact: programming@citr.ca
THE ROCKER'S SHOW
12PM-3PM, REGGAE
All reggae, all the time. Playing
the best in roots rock reggae,
Dub, Ska, Dancehall with
news views & interviews.
Contact: programming@citr.ca
BLOOD ONTHESADDLE
3PM-5PM,COUNTRY
Real cowshit-caught-in-
yer-boots country.
Contact: programming@citr.ca
LA FIESTA
5PM-6PM, international/latin
AMERICAN
Salsa, Bachata, Merengue:
Latin House and Reggaeton
with your host Gspot DJ.
Contact: programming@citr.ca
THE LEO RAMIREZ SHOW
5PM-6PM,  INTERNATIONAL
Veteran host Leo brings
you talk, interviews and
only the best mix of Latin
American music.
Contact: programming@citr.ca
MORE THAN HUMAN
7PM-8PM, ELECTRONIC
Strange and wonderful
electronic sounds from the
past, present and future:
house, ambient, vintage
electronics, library music, new
age, hauntology, fauxtracks..
Music from parallel worlds:
with inane interjections and
the occasional sacrifice.
Contact: fantasticcat@mac.com,
Twitter | @fcat
RHYTHMS INDIA
3pm-9pm, international/bhajans
/qawwalis/sufi
Presenting several genres of
rich Indian music in different
languages, poetry and guest
interviews. Dance, Folk,
Qawwalis, Traditional, Bhajans:
Sufi, Rock & Pop. Also, semi-
classical and classical Carnatic
& Hindustani music and old
Bollywood numbers from the
1950s to 1990s and beyond.
Contact: rhythmsindia8@gmail.com
TECHNO PROGRESSIVO
SPM-gPM,  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 Antherrr
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
■ i5tant>°f
VOSTTOyS
• STUDENT PROGRAMMING
ECLECTIC
Marks any show that is
produced primarily by students.
YOUR NEW SHOW
ECLECTIC
Do you want to pitch a show
to CiTR? We are actively
looking for new programs.
Email programming@citrca
MOONGROK
EXPERIMENTAL
A morning mix to ease you from
the moonlight. Moon Grok pops
up early morning when you
least expect it, and need it most.
CITR GHOST MIX
anything/everything
Late night, the on air studio
is empty. Spirits move from
our playlist to your ear holes.
We hope they're kind, but
we make no guarantees.
 CiTR 101.9 FM FEBRUARY CHARTS
artist
fflmtn
ilabei
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Miri
Out Here
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Forma
CUCHABATA
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the Mandingo Band
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Tightrope
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Signs
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Beat My Distance
LUMINELLE
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The Night We Couldn't Say Good
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Please Don't Walk Away b/w
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KlMBERLITE
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Warm Computer
Animal Street
II
Steph Wall"**
Never Gonna Get Over This
Self-Released
1*
Frank Solivan and Dirty
Kitchen
If You Can't Stand The Heat
FlDDLEMAN
1*
Dave Young*
Lotus Blossom
Modica
I  »
Tim Hecker*
Konoyo
Kranky
1*
Kellarissa*+#
Ocean Electro
Mint
I"
Dumb*+#
Seeing Green
Mint
N
Kat Danser*#
Goin' Gone
Black Hen
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Colours
Full Flight
l«
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Wolastoqiyik Lintuwakonawa
Self-Released
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Rae Spoon*
bodiesofwater
Coax
N
Joija Smiths
Lost & Found
RCA
1®
Tovi*#
Midnight Hum
Self-Released
1*
Zoe Boekbinder#
Shadow
Self-Released
I «
Elf Pity*+
The Ghost Of God Mountain
Placeholder
I *
Snakies*#
Night Lights
Self-Released
1*
Russian Tim And Pavel
Bures*+#
SuperHit & The Other Song
Self-Released
l«
Erosion*+
Maximum Suffering
Hydra Head
1*
Part Time
Spell #6
Tough Love Records
1*
Andrew Collins Trio
Tongue
Sytesounds music
1  SD
flatbed**
Drug Mom
Arachnidiscs
o
b
a
o
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o
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Pi
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OF
CiTR 101.9 FM+
DISCORDER MAGAZINE
You get discounts at these
FRIENDS OF CiTR + DISCORDER locations.
>••:
a1
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C3
ritfiin
THE BILTMORE CABARET
10% off at the bar
eomm€R€iJiL
AUDIOPILE RECORDS
10% off
STORM CROW TAVERN
10% off
DCKUIKJCKUH
BEAT STREET RECORDS
10% off used records
THE CINEMATHEQUE
One small bag of
popcorn per person
per erening.
DEVIL MAY WEAR
10% off
LITTLE SISTER'S BOOK
R ART EMPORIUM
10% off
VINYL RECORDS
10% of New and Used
AUSTRALIAN
BOOT COMPANY
15% off Blundstone and
& R.M. Williams Boots
THE BIKE KITCHEN
10% off new parts &
accessories
BANYEN BOOKS R SOUND
10% off
RUFUS GUITAR SHOP
10% new instruments
and accessories.
RUFUS DRUM SHOP
10% new instruments
and accessories.
STORM CROW ALEHOUSE
10% off
031*01
BOOKWAREHOUSE
10% off
(VISIT:
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THEATRE
1660 EAST BROADWAY
APRIL       |
APRIL
T
Ruth Bader Ginsburg Biopic   H
*0N THE BASIS     1
OF SEX
M. Night Shyamalan's
*GLASS
APRIL
A STAR IS BORN (1976)1
Oscar Winner!
*SPIDERMAN:     I
INTO THE SPIDERVERSE |
APRIL
Paul Anthony's Talent Time: 1
Renaissance Faire!
First Thursday of Every Month!    \
APRIL
Oscar-winners!
'FREE SOLO
'BOHEMIAN RHAPSODY |
CANDYMAN      1
Friday Late Night Movie       1
APRIL
6
Peter Jackson's
THEY SHALL NOT
GROW OLD
APRIL
To
STORY STORY LIE
"You're Fired!"
The Gentlemen Hecklers present 1
CATWOMAN
APRIL
12
THE HANGOVER
Friday Late Night Movie
APRIL
T3
20th Anniversary Screening
THE MATRIX
APRIL
17
The Fktionals Comedy Co. Presents 1
IMPROV AGAINST HUMANITY I
Superhero Comedy Special! #IAHATRIO B
APRIL
18
Fundraiser screening for
Dude Chilling Park
THE BIG LEBOWSKI 1
APRIL
19
The 20th Annual
'ANIMATION SHOW OF SHOWS ■
Luke Perry Tribute!         1
BUFFY THE VAMPIRE SLAYERl
Friday Late Night Movie          H
APRIL
20
WILLY WONKA & THE
CHOCOLATE FACTORY (1971||
April O'Peel presents
FLEETWOOD MAC BURLESQUE! |
APRIL
21
"Oh, hoi, Mark!"                1
'THE ROOM       1
16th Anniversary Screening    1
With Greg Sestero Live!
APRIL
24
THE CRITICAL HIT SHOwl
A #DNDLive Improv Comedy Adventure 1
APRIL
26
Elizabeth Moss in Alex Ross Perry's   1
HER SMELL
David Lynch's                 B
FIRE WALK WITH ME 1
Friday Late Night Movie             |
APRIL
27
The Geekenders Present
TALK NERDY TO ME! 1
A 'Nerdlesque' Variety Show        H
APRIL
29
UWE BOLL Double Bill!
Documentary
*F*CK YOU ALL:           ■
THE UWE BOLL STORY
RAMPAGE
Plus Live Q & A with UWE BOLL!
MAY
3"5
The Geekenders Present
A NUDE HOPE
A Sci-Fi Burlesque Adventure       H
*www.riotheatre.ca for additional times
COMPLETE LISTINGS AT WWW.RIOTHEATRE.CA
 UPCOMING SHOWS IN VANCOUVER!
Apr  5
DIRTY RADIO
Fortune
Apr   6 Apr  7
WIZKID    JD MCPHERSON
HCC       Imperial
Apr 11
Apr 10 Apr 11
DULY DALLY 'GRATEFUL SHRED
Wise Hall     Fox Cabaret
Apr 13       Apr 13
SATANIC SURFERS AND BELVEDERE     SASAMI     THE MURLOCS
Rickshaw Theatre
Wise Hall
T
Apr 15 Apr 18
EARL SWEATSHIRT   BLAC RABBIT
Commodore Ballroom   Wise Hall
1
Fox Cabaret
Apr 18
MR EAZI
Commodore Ballroom
ol/,
Apr 19 Apr 19
LEIKELI47 "ACRYLIC TOUR"    SHY GIRLS
Fortune Fox Cabaret
••    ••
Apr  26
RUFUS DU SOL
PNE  Forum
May  9
SHANNON SHAW
Fox Cabaret
Apr 19
WHITE DENIM
Rickshaw Theatre
May 2 May 6        May 7
ALEC BENJAMIN   BAD SUNS   EZRA FURMAN
St. James Hall
Venue
1
Wise Hall
May 9
THE JAPANESE HOUSE
Fortune
May  11
JOSEPH
St.   James  Hall
May  15
LOCAL NATIVES
Commodore
May  16
AMERICAN FOOTBALL
Imperial
May  17 May  18 May  18
WEYES BLOOD   BEA MILLER  THE LEMONHEADS
Wise Hall       Venue        Rickshaw
1
May  19 May 22 May 24
ORVILLE PECK IjORJA SMITH & KALI UCHIS   THE TWILIGHT SAD
Wise Hall
PNE Forum
Wise Hall
May 26
SWINGIN' UTTERS
Wise  Hall
June  1
SEBADOH
Fox Cabaret
June  6
T
June  6
AMANDA PALMER   ROYALTRUX
Chan Centre Rickshaw
Tickets  & more  shows
timbreconcerts. com

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