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Mis|^1artin, Nolan Sage, Manny Sangha, Emma Porter, Karl Ventura, Declan Wileman-Hopkins, Daniel Witnicki // Proofreaders: Brit Bachmann, Ricky Castanedo-Laredo, Erica Leiren, Jonathan Kew, Andy Resto, Jasper D. Wrinch, Chris Yee, Katayoon Yousefbigloo itder 2015 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 8,000. Discorder is published almost monthly by CiTR, located on ie< level of the UBC Nest, situated on the traditional unceded territory of the haiiqamiham speaking Musqueam peoples. CiTR can be heard at 101.9 FM, online at cilr.ca, as i through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at (604) 822-2487, CiTR's office at (604) 8221242, email CiTR at stationmanager@citr.ca, or pick up a pen and write LL500 - 6133 University Blvd. V6T1Z1, Vancouver, BC, Canada. STRANGE FASCINATION EDITOR'S NOTE ^p or me, what makes change so unsettling is not having to adapt to the new ^^ or mourn for what's gone, but the way time itself suddenly feels more real ^P when things change. Normally time is an abstract concept that we as humans attempt to interpret through clocks or moon cycles, but time doesn't actually have shape or substance... Unless something changes, and then two separate timelines are created in our minds: the before-change, and the after-change. These periods of time are no longer abstract concepts, rather, they become pockets of memories or ambitions — memories to reminisce over, or ambitions to look forward to. September is a time of change. Either you're a student or faculty returning to studies, or you're outside a seasonal institution and feeling the actual change of season — crisper air, and all that. And maybe you've been reading Discorder for a couple years and you've realized that we have changed, too: The new format you are holding in your hands or admiring online is the result of spirited masthead discussions around the nature of independent publishing and distinguished design, and lovingly produced by our Art Director, Ricky Castanedo. This reformat is not a rebrand; it's more like a really good dye job. Discorder has changed its style many times since 1983, but our content and overall aesthetic stays the same: passionately and provocatively representative of the local DIY arts community. There is also new staff! The Station Manager of CiTR and Discorder's new publisher is Hugo Noriega, whose creative projects have been featured. (Hugo is actu- ■ ally close to acquiring the most mentions in Discorder, second only to D.O.A., and tailed closely by War Baby.) We also want to welcome CiTR's new Program Manager, former Spoken Word Coordinator Madeline Taylor. Finally, shout out to the new Student Executive for the 2016 / 17 year led by Shea McConkey and Christine Powell, and our new Discorder Student Liaison Claire Bailey. Change is an inadvertent theme in this issue: Art d'Ecco discusses the cosmetic change that brought him closer to his creativity; Wishkicker becomes a 5-piece for the release of Wider Vision; Andrea Lukic grows Hick's presence on stage, but not in the studio; Erica Leiren's Discorder Revisited is inspired by the sighting of an old bandmate; and Destroy Vancouver concludes with a series finale on September 8. Everything changes. SUBSCRIBE: Send in a cheque for $20 to LL500 - 6133 University Blvd. V6T 1Z1, Vancouver, BC with your address, and we will mail each issue of Discorder right to your doorstep for a year. DONATE: We are part of CiTR, a registered non-profit, and accept donations so we can provide you with the content you love. To donate visit w« PS. New to town or just wanting to crawl out of your shell? Flip to page 19 for a list of local venues and galleries, and page 13 for upcoming events. And see you at Sweet Pup Studios September 16 for The Micro Mac-rodeo in the Sky! PPS. Thank you Web exPress for the really good dye job. CiTR DISCORDER 101.9FM j CITR.CA / DISCORDER.CA WE HAVE AWESOME VOLUNTEER OPPORTUNITIES! AT CiTRioi.9FM, UBC's Community radio station, you can be trained and participate in: + Sports broadcasting + Independent news journalism + The music industry + Arts journalism + On-air show hosting + live sound and live audio broadcasting + Digitization and archiving + Production for radio + Promotions and outreach You can also volunteer for Discorder, CiTR's own magazine: + Contribute live show and album reviews + Write about Vancouver's thriving music scene + Contribute art, illustrations, photography + much more! And if that wasn't enough for you, CiTR offers work-study opportunities and practicum placements for students (at UBC and beyond) interested in a multitude of fields EDITOR'S NOTE j 11 a PRENUP7" Twee/pop/punk from Josiah & Sara of Grown-U ps. Co-release with Kingfisher Suez EMPTY HEADS ugly 7" Featuring members of Unfun, PMMA, and Sabertooth. uHfun UNFUN waterboanding LP The final Unfun recordings. One time pressing on blue vinyl. order at debtoffensiverecs.com Joseph Staples Garden of Paradise Sep 9 - Oct 22 Opening reception Sept 9,7 -10 pm SWARM After party Fundraiser w/Zen Finger & hazy Sept 9 10 pm-1 am $5 UNIT/PITTJ Chinatown! Tue - Sat noon to 5 pm I mesmsm CITR MSCORDER GET INVOLVED AT CiTR Come to our open house! Friday September 9 from llam-5pm rm LL 500 in the AMS Nest. We will be a having a cd/vinyl garage sale the inside station from llam-2pm Sept 6-9 + will be doing membership sign-ups. Come out and say hi! STOP .IN FOR A STATION TOUR weekdays at noon. Email volun- teer@citr.ca or visit www.citr.ca to book a tour. CiTR and.AMS Events Present Live at Lunch, bringing Vancouver bands to UBC 12-1PM from Sept 6-9 12-14 Bands will include: Ashley Shadow, Devours, hazy, Marin Fetenaude and more! We Live Broadcast every performance! So come out and talk on the radio Upcoming Live Broadcasts Come say hi! September 2 Graduate Student Society Orientation SHINDIG! Workshops CiTR s 13:week battle of Join CiTR! You git the bands is starting once access to our weekly again this October! broadcast training and You can still submit until our workshops! September 10,. 2016! For more info, visit www.citr.ca/shindig Writing for Discorder SgSSiwBkH* Every Tuesday in September from 8pm-5pm to learn p^TJ7 bquare mock the ins and quia of writing for Discorder Magazine with Editor Brit Bachmann September 6-14 Live at Lunch UBC Become a DJ Sign up for our free digital mixing and beatmatching IfPteF11^-26 ™ , & program, DJ.101.9. Classes start in Oct. Email Highline Live Broadcast volunteer@citr.ca for more information 101.9PM | CITR.CA / DISCORDER.CA RMS F RST WEEK THERE'S NOTHING LIKE YOUR FIRST WEEK. SUBMITTO SHINDIG 2016 1 - A MNIUUU OF 3 SONGS OF ORIGINAL NATERIAL ROUGH DEMOS ARE A-OKAYI WEIL GET THE IDEA. 2 - CONTACT INFO! PHONE # + E-MAIL Featuring dsly everts inducing a massive stages pair* party, a scenic shopping trip, comedy show, and a hugs oubdoor concert, AMS Ftsfcweek is the official sbart-c^the-yearcetebrattonabUBC SHINDIG.SUBMISSIONS@GUAIL.COU OR. IF YOUDE OLD SCHOOL PUT EVERYTHING IN AN ENVELOPE AND EITHER SEND IT OR DROP IT OFF AT: LL500-6133 UNIVERSITY BOULEVARD. VANCOUVER BC.V6T1Z1 ' SUBMISSIONS DEADLINE IS SEPTEMBER 101 BY STUDENTS FOR STUDENTS GENERATION GAP THE MAINSTREAM BETWEEN LIE AND THE FALL words by Daniel Geddes // illustration by Olga AbeleYa ])Ms^~^ Mjfeg&S op r^^^w'^^<\^Af/r Hecently people have been telling me that pop music is in a pretty good place right now. They say that the songs are good or that the produc tion is amazing — and every now and then when I hear music on the radio while I'm driving, I grudgingly have to agree. Additionally, some of these confections even have clever subversive messages, the kind that tell us that our collective consciousness may actually be evolving for the better. That can be very encouraging. And yet I still feel frustrated as a music fan, and I think I always will. Part of what I like about music and art is actually disliking the stuff I don't like and defining it against what I do. And what I can't seem to let go of is that, even when popular music contains messages, production values or melodies that I find appealing, it still just isn't as open to directly confrontational or radical messages as less popular music. You still have to go to the underground to hear something that is free to speak openly about the world. Listening to he's new album Truth Or Consequences reminds me of why I consider pop music to be slightly inferior in terms of its capacity to feel urgent and real. The album isn't even particularly inaccessible: it's fun to listen to. As somebody who has seen the band many times over the years, I feel confident in saying that Jordan Koop's production suits these songs perfectly, and that the music is full of a powerful musi- cality with its pulsing rhythms and glowing, nuclear melodies. It just feels subterranean and vital, and gives you the sensation that perhaps you are being confronted with both the truth AND the consequences. To me, being able to grab hold of a bit of truth, even if it's a dark or ugly one, is a good feeling. I won't go into any lyrical analysis here. I'm talking more about a feeling that what you are hearing hasn't been calculated for mass appeal, but rather speaks to you in a more specific, personal way should you be open to it. he atmosphere of lie's record reminds me of one of my favourite albums, and one that I definitely consider to be a triumph of rawness and truth-telling over smooth professionalism. The Fall's second album, Dragnet is a much more sonically eccentric record, but that sense of absolute commitment to the genuine realization of the music is similar. Recorded in 1978, when making a record like this would have been much harder on a practical level, it sounds like it exists against the odds. In a way,, the recording quality of the record actually kind of sounds like the forces of mainstream music attempting to snuff it out in real time. And yet, Mark E. Smith's insistent, incisive jabbering persists through the tape hiss. Just as lie does, the band plays with an awe-inspiring energy and originality, not knowing whether there is an audience, but knowing that these things need to be said and done. In 2016, it sometimes appears that the underground has succumbed to the same rat-race mentality that marred the mainstream music industry in the first place. New musicians grasp at the blog posts, 'likes,' and instant appreciation that appear just out of reach. But there is still a portion of the underground that is going about the business of saying and doing the things that need to be done against the odds, and to me this is still the truly important and enjoyable work, and the reason that, although I do find myself occasionally tapping on the steering wheel, I will always gravitate back towards the things that I have to seek out. J DESTROY VANCOUA XVIII SERIES FINALE words by Jonathan Kew // illustration by Sharon Ko // photo by Manny Sangha names and gestures reverberate throughout my interview with Elisa Ferrari and John Brennan, co-curators of Destroy Vancouver. These are the names of Vancouver's artists and sonic neighbours, the gestures they send into the world. But our conversation also returns to the name of that ostensibly punk prerogative itself — Destroy Vancouver — and its productive gesturing at a network of artistic production. The experimental music series, which now in its fifth and final year, concludes with volume XVIII this September 8 at VIVO Media Arts. If there is a trace that Destroy Vancouver draws out with the myriad of local and international artists, the present seems like a time for reflection. First, a brief history. Years ago Brennan, who worked as Technical Coordinator at VIVO, was using the performance space for Destroy Vancouver. The series' conception was to provide a space for eclectic experimental music, with a focus on improvisation and deconstructed stage / audience bmaries. Brefmwliys, at the day job. » Smile is Glad Rags' first full-length release and one of the most ' cohesive albums I've heard in awhile. The band has one volume and ' that's loud. The drums are fast, the bass, chugging, the vocals are , screams. Each song is fast and short. I listened to this album for the t first time while getting ready to go out dancing and my makeup has » never been more on fleek. ' The first track "Popsicles," which begins with the bold give-no- fucks statement: "We're in this bitch" and ends in the lyric "It's okay / , It's alright / You're gonna die," opens the listener to the world of Glad i Rags. For those who have experienced misogyny, the album gives » voice to almost every irritating aspect of patriarchal living, from body ' shaming to assumed incompetence. The lyrics center around the ' everyday violences a misogynistic culture wreaks on women, and ( for Glad Rags, this violence seems to hit the psyche hardest. Tracks > like "5HTP" (named for the antidepressant amino acid supplement) I REAL LIVE ACTION and "Anorexia" discuss the mental heaviness that accompanies social pressures to appear happy, to be nice, to be in control of one's life and one's body. "Something in the air / Makes her wanna be / A little less herself" sings Taylor on "Anorexia." The song "Bullshit" invokes the idea of the "bullshit meter," the intuitive knowledge that someone is lying, that manipulation is occurring. This gives way to Glad Rags fighting against the gaslighting-induced feelings of cra- ziness that lead to self-doubt, and, ultimately, compliance with the status quo. The band calls bullshit. It's hard to talk about Smile without acknowledging Glad Rags' roots as a Hole and Bikini Kill cover band. Koop and Taylor's combined vocal power recalls the projectile volatility of the emerging Kathleen Hanna and Courtney Love. Crammed with the rage of generations, their anger just waiting to be unleashed, Glad Rags approach punk with a modern a feminist sensibility, which is the acknowledgement of vulnerability and that emotional pain can be the root of female rage. In "My mind" the lyrics "Gotta slam the bedroom door to my mind" repeat like an anxious mantra, a chant that wards off thoughts of a beloved who won't say the right things or provide the necessary care. The subtle revelation is that tough girls get their hearts broken, too. As I listened to the album for the second time and applied a final coat of lipchap before leaving the house, I was reminded of actress Charlize Theron's advice for how to walk like a queen: "Just think 'murder,' and walk." I would augment this suggestion: just listen to Smile.— Keagan Perlette -^^^ PUP The Dream Is Over (SideOneDummy Records) Bfter their debut, self-titled album, PUP pursued the lofty goal of playing 200 shows in one year. They reached their goal, and surpassed it by 50+. Spending nights on a cramped tour bus, driving days on end, and ending up at some shows with an audience of eight people, an album like The Dream Is Over is bound to be born. The album focuses on failed relationships and trying your hand at maturity — and the anger, frustration, and exhaustion that can amount from that. The first song "If This Tour Doesn't Kill You, I Will" is pretty explicit in the mounting tension felt during touring and being constantly in such close quarters with the same people. As with many of the songs on the album, the track, despite dark lyrics, is accompanied by playful, jovial rhythms. Steve Sladkowski provides unconventional guitar riffs that both add complexity to the simple, rousing beats and make the harsh (though often joking) lyrics easier to digest. The context of the track is very specific, but the feelings are painfully relatable. It'll be instantly familiar to anyone who's ever been in an intimate — maybe utilitarian, maybe domestic — relationship that obviously is not working, and the frustration that builds from feeling trapped, despite tireless effort to make things right. Many of the tracks also feature attempts at maturity. "DVP" features the lyric of, after making some drunken phone calls to an unamused recipient, Babcock yelping, "She says I need to grow up!" The song "Sleep in the Heat" is a ballad detailing how Babcock "was feeling lonely so he brought [a person] in." It was his attempt at domestication, and demonstrates how forcing intimacy and maturity like that can be strainful, and even damaging. "You started falling apart / Six months after you moved in." The second person eventually cracks under the pressures of Babcock's expectations, which leads to another, subtler theme in the album — death. Death is featured in 3 songs ("Sleep in The Heat," "The Coast," "Pine Point") and it's usually brought up as just another plot point within the rest of the song, as opposed to being the true focus. "Pine Point" is a profile of an abandoned town, riddled with metaphors, and in the beginning, Babcock mentions, "In Pine Point, '86 / My older brother died when we were kids." The song is sobering, yet buoyant and rousing. It's about the uncertainty of the future, and,' how the potential of what could be, with no actual substance or certainty, can seem bleak. Of the song, Babcock says to The FADER, "When you're a kid, you kind of assume you're going to have your shit figured out by the time you're 28. And I'm so far from having my shit figured out." Pup will be in town November 21, if their tour doesn't kill them. — Kat Kott B Place to Live is similar to Dri Hiev's sophomore EP Contravirtual in that it generates a chaotic, swirling cloud of sound and disorientation. However, A Place to Live has added a post-punk quality to their noise. The result is emotionally evocative and highly experimental. One of my favourite elements of Dri Hiev's sound is Crough's screeching vocals. On this release, however, his vocals evoke emotion through dissonant tone and melody rather than harshness. This change generates a refined type of cloudy angst reminiscent of Joy Division. Dri Hiev does have a tendency to overpower the vocals with drums and samples. While I can respect this as an artistic choice, it makes listening to the music exhausting at times. Where A Place to Live excels is in the composition. Individual tracks have interesting changes in melody and pace. Pacing is a huge part of listenability on heavily chaotic albums and Dri Hiev have a great grasp of this. For example, the first two tracks come in heavy on noise and chaos but the third track comes in softer. This change in momentum gives listeners a chance to regain their footing after all the intensity. Overall, A Place to Live shows that Dri Hiev is not afraid to explore new sounds and directions. Their passion for exploration will continue to drive them closer to unique sound. In the future I hope to see more experimentation with sampling and synths. I will be keeping an eye on Dri Hiev's journey through genre and advise you to do the same.— Bridget Gallagher SECRET PYRAMID Distant Works II (Self-Released) Secret Pyramid has a minimalist approach to ambient music. Their minimalism is also progressive. The nTusic sounds like a narrative that can be different based on the listener's experience with the music. For that reason, Secret Pyramid's Distant Works II is a unique ambient record that evolves with each listen according to different situations and times of the year. At only 31 minutes across seven cohesive tracks, Secret Pyramid creates music that is equally warm and eerie, a mix that not many recent ambient records have managed to achieve. Other than three interludes consisting of field recordings from the Pacific Northwest, there are four full songs ranging from four to nine minutes. Secret Pyramid takes their time and carefully introduces the elements of each track, as if each element is a character with their role, until they all come together in the end to close the narrative and fade into the next song. For instance, in the record's 8-min- ute centerpiece, "IV," we first hear a distant, slow synth melody thai gradually becomes more prominent. Then we notice the equally distant strings are gradually added to the synth melody while the original drone section from the end of the previous track still remains. What further emphasizes Secret Pyramid's music sound like a narrative, is their ability to create expectations for the listener. We keep guessing and anticipating the next element. Again, this can be noticed in "IV," where the drone becomes more layered halfway through and we notice the sound of the synth and the strings becoming distorted, as opposed to their clean sound in the beginning. A similar sense of narrative can also be heard in "V," a more subtle and haunting track, which begins with a recording of winds. This is seamlessly joined by a distant synth line that becomes prominent for few moments, while the field recording fades out as a distorted piano melody fades in and remains the only sound for moments. Then an equally distorted synth line appears that occasionally reflects the piano melody, as if it is creating a dialog, before fading out to another field-recording that leads to the next track. This sense of narrative in each track is what makes Secret Pyramid's music unique. Distant Works II is a cohesive album that only gets better and more valuable depending on where and when it's listened to. It is haunting music that is equally warm as it is cold.— Sam Mohseni RAMZI ForHaku (RVNG Intl.) Hamzi's music deserves deep listening — it's intricately layered, serene/disorienting, and highly detailed. As per last month's feature on the genre in Fact Magazine (which included, as it were, a Ramzi track in it's accompanying playlist), Ramzi invites a reappraisal of new age music as a complex and potentially subversive genre. On For Haku, the latest release from Ramzi, a.k.a. Phoebe' Guillemot, the acupuncture clinic's background noise drifts towards horror and anxiety. There are murmurs from the Upsidedown. It's a specific kind of technological horror — fragmentary, and automated, with porous borders. There's a disturbing immediacy to noise, even more so than the computationally rendered images which we so readily associate with the digital turn. That said, while ForHaku's sonic palate may be full of groaning and distortion, there's still enough mugginess and groove here to smoke a joint to. "Haku" feels like walking into a music shop possessed by spirits, although the listener receives little more than a snippet of what lurks inside. "Houti Beni" is a smooth, jazzy track, exquisitely textured — an organic structure, like an overgrown vine, with melody growing slowly outwards, 8 bit electronic tones reaching out towards the sun. The statement released with this album stressed its narrativity. It makes the most sense to think of For Haku as an internal journey. The a narrative probes moods and memories, digging into the crates of the subconscious. In interviews, Guillemot has talked about the persona of Ramzi as a double in itself — already doubled, always involved in exploration and discovery, both male and female, fighting and fucking, truthful and contrived — with a dial turning between them, as if tuning for a radio channel. For Haku's new age horror is personal and intense, but also oddly liberating. — Josh Gabert-Doyon UNDER REVIEW I I was thinking, like, high-school- Roxanne would be pretty impressed with adult-Roxanne." Graftician's eponymous debut was released two summers ago, a collection of songs that she produced entirely on her own. Nesbitt's technical skill is evident in her masterfully produced tracks, though Graftician is anything but: Jt's nighttime on a road leading out of the University Endowment Lands, the forest leans over the road and Roxanne Nesbitt is riding her bike through the shadows cast by foliage caught in intermittent streetlights. She's singing softly as the wind catches her dark hair. This is how I imagine Nesbitt writing songs for Wander / Weave, the second album she produced for her experimental music project, Graftician. Nesbitt began writing Wander / Weave as she completed a master's thesis in architecture at UBC. With intentions of focusing solely on< design entering into the architecture program, Nesbitt says, " found that I couldn't quit [music], and I was writing songs on the back of my drawings and singing in the bathroom and on my bike ride home." I meet Nesbitt in a candlelit bar on Commercial Drive, and it's hard not to be intimidated by the musician's talent and wide-ranging accomplishments. On top of her impressive architecture thesis (which Nesbitt later tells me she will begin to build during a residency in Berlin next ritri^t; / FEEL LIKE SOME PEOPLE ARE MADE TO MAKE THINGS. AND ** ■»■-**-•» IF YOU DONT, THEN YOU GET ARTISTICALLY CONSTIPATED. an artist residency at the lauded Banff Center, and is already a notable performance and multimedia artist. When I sit down with her, I realize she's really silly, and really committed to her work. "I shot a music video at New Brighton pool recently," she tells me. "I was at home editing it and WM GRAFTICIAN classical. Nesbitt's music is ambient, with elements of musique concrete featuring samples she records from her environment, infused with Nesbitt's jazzy vocals and spoken-word-poetry-esque lyricism. Graftician pushes aural boundaries, the beats leading the mind through a maze of unexpected sounds. "In music school you learn that you can do whatever you want," Nesbitt says, laughing. "My hierarchy is kind of like: sound and texture, then emotional reactions to the sound, and then lyrics. I don't care that much about [stuff like] harmony! I was thinking that I should just sit down with all of my favourite songs and kind of pull them apart and ask what they're made of instead of just doing whatever I want all the time." Graftician's second album, Wander / Weave, released in July, features guitar by Craig Aalders and percussion by Ben Brown. "I wanted it to be more collaborative as a way for it to be less of me being obsessed in my bedroom by myself, and more of a social [thing]. And in a way, that didn't work. [Wander/Weave] took longer than I wanted it to [because] I had to consider other people's schedules, and then I started working on a movie. I ended up taking more ownership of it in the end." gPll^ ander / Weave is I Graftician with expe- ^Sf^p' rience. Nesbitt's clear vision for her sound becomes more precise and her skills sharpen in this second album. "It's a response to the cleanliness of architecture," she says of writing the music while studying. "[A response to] how restrictive and logical I kind of had to be in school. I just realized that [Graftician] had to be about design and music. It made everything more difficult, but it also made it richer and more worthwhile." "I've always been kind of a weirdo, I guess. I've always made a lot of stuff," says Nesbitt of her prolific creative life as an architect, musician, multidisciplinary artist and filmmaker. "I feel like some people are made to make tilings, and if you don't, then you get artistically constipated. I didn't feel good when I didn't make things." "I've gone through a lot of phases of making. I made books for a long time. I made paintings and collage, but I don't really anymore. But all those investigations inform videos [for Graftician], I feel better having them be videos than about them being art objects." Her drive to continue to have a creative outlet is what led Nesbitt away from architecture and into the more flexible schedule of the film world. "While I'm waiting at work, I'll work on a video or something," she says with a big grin. Nesbitt has incorporated visuals into her live performances since November 2015, and has already created videos for many of her songs, including one for "modern girls" which is a recorded kaleidoscope of lipstick, keys, cigarettes and vitamins. "I always meant Graftician to be visual and sonic, but when I started I wasn't sure how that would happen," Nesbitt says. Making visuals for her music project was a defense mechanism for Nesbitt as much as it was a natural progression. "In November of last year I was procrastinating applying for architecture jobs," she recalls, "I made 10 music videos because I was scared of working 9-to-5 for the rest of my life, and scared of making condos, and scared of selling out. I was scared of being boring and doing something boring." Going forward, Nesbitt doesn't plan on slowing her steady drip of creativity. Having found a kind of rhythm to her own desire to make and challenge herself, Nesbitt is planning the next iterations of Graftician. "I'm really excited to make new stuff," says Nesbitt. "I think for the next album, I'm gonna challenge myself to try making images first or try making them simultaneously. I want to push my own boundaries and my own process," she says. "I have been making music for dancers, and I've been joking with myself that I would just hire dancers as my band, but that they wouldn't make sounds." Wander/Weave was released July 22, 2016. Listen to Graftician and see Nesbitt's other work at roxannenesbitt.com/graftician. WORDS BYJASPER-p-WRrN"CH . ILLUSTRATIONSB^DANAKEARLEY PHOTO BY EVAN B^^^S **~-^^Wthought jt was kind 11 of pretentious to go •:':J^b^pay name," says Andrea Lukic, multi-disciplinary Vancouver artist and musician. "I don't know, it took the fun away from performing if I had to just be the regular me." So she became Hick. Sitting down with Discorder, Lukic discusses %ia«4dyl|a|pc8: nature of her experimental music project, and how shej%nanages to maintain control over Hick despite extensive cohaboratibn - and a curse. ',"ril look for sounds that are otherworldly," explains Lukic. With Hick, she tries to create sound- scapes that are eerily close to the world around us. "There's something off with everything there, but it still seems like it could be here. I like music that gives you that feeling." A year ago, having slowly tested- out those otherworldly sounds in various live settings, Lukic recorded her first tape, Travelers, fiin?o"n.efd^Mfert;of on a whim." ^fflS^cpS^oh and technical assistance from Sam Risser, of ■indus"trial*electrohfc act Sunstroke Militia, Lukic 'laid* down' what seemed to her tb be a perfect representation -of jwhat:'.sh£\wante<}£ Hick to be "I was in the right place at the' •"iright -time," says Lukic, "and I really went for it. I pushed myself vocally, ata|oft%vfo11i absurdity. I was confident enough to make sounds thatfelt really humiliating IpM&Ke, but sounded just right." Being at ease with her voice while recording isn't something Lukic has always enjoyed. She explains, "It used to takes me a long time to record vocals. It's a hard stage to get through." Having sung and played bass in Nii Sensae, a Vancouver based grunge-punk band, Lukic admits that the pressure of recording took its toll on her well-being. "I'd contract an illness - every time," she says. "I*d go to the doctor, and they would tell me it was strep throat.af||^§l| that it was stress induced. j^l^S body would not let}ml; record vocals." So, in a physical sense, the recording of Travelers was a feat, which made its loss all the more impactful. "It got corrupted in the transfer," explains Lukic. "I don't even know what that means, but that's what happened." Ever since, Hick has been presented almost exclusively in the live settmg^irfca mid— titude of irkSr6atffi^^i(8lb5^ revolving roster of musicians that join Lukic at Hick performances — including Morgan Cook of Sister Blanche, Claire Newton of Cave Girl, Katayoon Yousefbiglo^ of Tough Customer and OtK« Jesus, Chandra Melting Tallow of" Mourning Coup, and Sam'Risser; among others — the very nature cdf her project is altered depending on whoVinvolved. "> ""* FrqriiT^nibient tape-loop based performances, to 'aggressive full band shows,*"Hick is practically a different bi3|l|?at every turn, and it's that unpredictability that keeps Lukic so engaged. "When you play with another person, you can kind joilii go for a minute, and let them take the reins," she says. "They might take it somewhere you're not expecting — it's just this chain of chance and consequence that's a lot more interesting." EXPEcmem mm cmmom mtmmm.* wmrfAiOT : ImiTinixmrn '^g&^M espite Lukic her- I self being the only Jsg^P constant element within Hick,>she admits that she Jau't maintain the project Completely by . 'hersejjjpi just don't think playing alone is that fun," >ij^^^q>lains. "It's miss- I ing a component of music that makes music so special. The spontaneity"" isn't there — there's a disconnect for me." Lukic gives her last Hick performance as an example of the way in which the unexpected can alter and improve her experience. "I played with Sam [Risser] and he was really drunk," she relates. "It was fine, but it definitely didn't go according to how we rehearsed it. I didn't know what was coming next, and it was so much more interesting to me. I was listening to it just as much as the audience was." While she thrives off the collaborative energy of live performance, Lukic still uses her solitary time as a way to fuel her music. "I feel'mwisual art and music are pretty interconnected," she* sara. "The thing about . drav^g-is that it takes so "mu^Kone time, so much timellh your own head. You have to make music aftjfe'just to release some tension | . W§t Lukic, her visual and ifSfticiU practices come . jgfer^lhe same creative Source, despite manifesting in different artistic products. "With drawing and music, it's all channeling the same information from the same place, just in a different way," she says. "For Hick, it's important to keep certain aspects of my drawing really present in the music — certain colours that control how you can receive my message." And that control is integral for Lukic to maintain in Hick, despite the unpredictability of her live shows. "I thought it would be so satisfying to control every aspect of it," explains Lukic on why she started Hick. "And it is. It's just not that satisfying to play. I think the solution is to record by yourself, and find people you connect with to play with." After a year of adapting after the loss of her tape, experimenting with lineup configurations, and walking the line between collaboration and solitary^^^p- ation, Lukic is about to embark on another venture into the world of recording. "I thought about recreating the last record, but I don't see the point," she explains. "It was a very true and real expression, so it'll always be close. I'm just approaching it superstitiously this time. I feel a bit cursed." Hick performs September 1 with John Wiese, Rusalka, Mass Marriage and Fracture at the Remington Gallery. For more info, visit thehick.bandcamp.com. ANNU BOOKS MAGAZINES ZINES flj PRINT EPHEMERA %* TALKS PERFORMANCES ARTIST'S PROJECTS ?i®;i®^^iy ST 16.10.16 > GEIST i ■ &«■ f2W/ -preAentA- THE DARK EIGHTIES EpJgTCE PAR^NJT| -THE ASTORIA- $5 FRIDAY SEPT 16 $10/12 SATURDAY OCTOBER 22 FEATURING BANDS BLACK MARBLE + RITUAL HOWLS «•-*. TO i--» «l~ ■»"|p --.'.. ft.« ra< *m r*-. VCT TO GIGAN^^ j||s PA^^ -THE ASTO^IA- $5 SUNDAY SWT.'l $5-10 SATURDAY SEPT. 24 VENEWS SPECIAL MUST-VISIT MUSIC VENUES, MUSIC SHOPS AND ART GALLERIES IN VANCOUVER collected by the Discorder Masthead // illustrations by Fiona Dunnett 'I&£jgg0t Biscorder has compiled a broad list of our favourite Vancouver venues. Within this list there are music venues, art galleries, music shops, and a couple surprises. We don't give details, for many of these spaces are interchangeable between media, and best experienced rather than described. You'll notice that we have organized them by area: our designations are a little unconventional, but you'll get the point. Many of these places are all-ages, but some are 19+. If that is relevant to you, do your research before heading out. Go forth and explore! ~&k CJinatofon attb dDastofon 221A — 221A East Georgia Street ACCESS GALLERY— 222 East Georgl^^ ALEXANDER GASTOWN — 91 Powell Street"''' AUDAIN GALLERY — 149 West Hastings Street BEAT STREET RECORDS — 439 West Hastings Street BESTWAYSTUDIOS — 21 East Pender Street THE BOXCAR — 917 Main Street CENTRE A— 229 East Georgia Street CHINA CLOUD — 524 Main Street CINEWORKSANNEX— 235 Alexander Street COBALT — 917 Main Street ELLIS BUILDING — 1240 Main Street THE EMERALD — 555 Gore Avenue FORTUNE SOUND CLUB — 147 East Pender Street GALLERYGACHET — 88 East Cordova Street GAM GALLERY — 110 East Hastings Street GOLD SAUCER — 207 West Hastings Street GROUNDSWELL — 566 Powell Street LOSTd FOUND — 33 West Hastings Street IMPERIAL — 319 Main Street PUB 340 — 340 Cambie Street PUBLICATION STUDIO — 8 East Pender Street REMINGTON GALLERY — 108 East Hastings Street RICKSHAW THEATRE— 254 East Hastings Street SELECTORS RECORDS — 8 East Pender Street SPARE ROOM — 2F-222 East Georgia Street STUDIO VOSTOK — 246 Keefer Street SWEET PUP STUDIOS — 19 East Pender Street UNIT/PITT PROJECTS — 236 East Pender Street UNTITLEDARTSPACE — 436 Columbia Street VINYL RECORDS — 321 West Hastings Street WAAP — 688 East Hastings Street ANTISOCIAL SKATE SHOP — 2337 Main Street ANZA CLUB — 3 West 8 Avenue THEBILTMORECABARET — 2755 Prince Edward Street BUDGIES BURRITOS — 44 Kingsway BURRARD ARTS FOUNDATION — 108 East Broadway CATRIONA JEFFRIES GALLERY — 274 East 1 Avenue CCA SPACE — 5-2414 Main Street DANDELION RECORDS — 2442 Main Street DONT ARGUE PIZZA — 3240 Main Street DYNAMO ARTS ASSOCIATION — 103-30 East 6 Avenue EQUINOX GALLERY — 525 Great Northern Way FAS IN FRANK — 2425 Main Street FIELD CONTEMPORARY — 17 West Broadway Street FOX CABARET — 2321 Main Street GRUNTGALLERY — 350 East 2 Avenue HOTARTWETCITY— 2206 Main Street KRANKYCAFE — 228 East 4 Avenue THE LIDO — 518 East Broadway Street LUCKYS COMICS — 3972 Main Street THE MAIN — 4210 Main Street MONTE CLARK GALLERY — 525 Great Northern Way NEPTOON RECORDS — 3561 Main Street OPEN STUDIOS — 252 East l Avenue PROJECTION ROOM — 2321 Main Street (upstairs) PULP FICTION BOOKS — 2422 Main Street / 1830 Commercial Drive / 2754 West Broadway REDCATRECORDS — 4332 Main Street SLICKITYJIMS/SKINNY FAT JACKS — 3475 Main Street STYLUS RECORDS— 293 East 2 Avenue (Alleyway) TOAST COLLECTIVE — 648 Kingsway VANCOUVER ARTS a LEISURE— 1965 Main Street WESTERN FRONT — 303 East 8 Avenue WINDSOR GALLERY — 2-258 East 1 Avenue f^X^s?^'; Wk*t of flj&ount Meaiant CHARLES H SCOTT GALLERY — 1399 Johnston Street MALASPINAPRINTMAKERS — 1555 Duranleau Street MORRIS AND HELEN BELKIN GALLERY — 1825 Main Mall MUSEUM OF VANCOUVER — 1100 Chestnut Street NORM MOVIE THEATRE — Old SUB at UBC RUFUSGUITARSHOP — 2621 Alma Street STORM CROW ALEHOUSE — 1619 West Broadway Street VANCOUVER THEATRESPORTS — 1502 Duranleau Street ZULU RECORDS — 1972 West 4 Avenue CINEMATHEQUE — 1131 Howe Street COMMODORE BALLROOM — 868 Granville Street CONTEMPORARY ART GALLERY — 555 Nelson Street INSTANT COFFEE FIELD HOUSE — Stanley Park Second Beach MEDIA CLUB — 695 Cambie Street OR GALLERY— 555 Hamilton Street ORPHEUM — 865 Seymour Street SAKORAS CLASSICAL RECORDS — 432 West Hastings Street VANCOUVERARTGALLERY — 750 Hornby Street VANCITYTHEATRE — 1181 Seymour Street VENUE — 881 Granville Street THE VOGUE — 918 Granville Street jftot ejracflp tn tWancoufcer BEATMERCHANT RECORD STORE — 160-12240 2 Avenue, Richmond BURNABY ART GALLERY — 6344 Deer Lake Avenue, Burnaby CINEVOLUTION — 7700 Minoru Gate, Richmond NEW MEDIA GALLERY — 777 Columbia Street, New Westminster PRESENTATION HOUSE — 333 Chesterfield Avenue, North Vancouver SURREY ART GALLERY — 13750 88 Avenue, Surrey J^oit'U )u*t frafte to a*ts around 333 — You'll hear about it THE BLACK LAB — ask an anarchist GROUND GALLERY — on abandoned lots, ask around JUNIPER ROOM — on Industrial Ave, but attendance is limited THE MATADOR — Ask a punk PROJECT SPACE — 2-236 East Pender Street, but also organizes events in other spaces, like Vancouver Art / Book Fair at the VAG New venues are popping up all the time, and others are. ■sbnit- ting down. This list was created from scratch, laboriously added to over several weeks in August 2016. If you are&mmie and we forgot you, we apologize. Email editor.discorder@citr.ca to have your space added to the web version of this article. ON THE AIR COPY/PASTE words by Christine Powell // illustrations by Zad Kokar // photos by Manny Sangha fhope that people are listening alone in their rooms and they start dancing." The host of CiTR's copy/paste, Tim Fernandes, is a DJ by the name Autonomy. Every Thursday at 11pm, he creates underground dance mixes with the station's turntables and occasionally vinyl from his own collection. The mixes incorporate beat matching and blending so that each song smoothly fades into the next, creating uninterrupted narratives. Fellow radio host and CiTR Student Executive Co-President Christine Powell interviewed Autonomy on creating dance mixes and finding inspiration in the stars — WHYISTHE SHOW CALLED COPV/MSTWIVmrHOT CONTROL/FOR ESC OR DELETE? copy/paste is a concept we're all familiar with. It's the process of duplication and repetition using a computer. To me, this is the essence of dance music. Dance music is all about repetition because that's how we dance. We can use computers to create music that inspires very human emotions through dance and social interactions. It's taking something very mechanical and straightforward and turning it into an emotionally human thing. So that's why it's called copy/paste. And when you're making dance music on a computer, you're going to be using copy and paste a lot. HOW IS CREATING MIXES IN THE STUDIO DIFFERENT FROM MIXINGAGIG? When I'm in the studio I'm completely focused on what I want to put out. I'm not even thinking about audience. When DJing at a gig, you have to be very responsive to what's happening on the floor and lead people in certain directions without pushing them or alienating them. But in the studio I have the freedom to craft an hour-long set that follows a logic that I want it to follow rather than what other people are expecting, copy/paste gives me the opportunity to craft experiences or narratives through music rather than existing to be the party. WHAT PROCESS DO YOU USE TO FIND NEW MUSIC? In dance music especially, the concept of a label is important to defining a sound. So if you follow specific labels, you can know what to expect. I play a lot of stuff from io8op on the show — everyone at CiTR does. And I really like this label in Berlin called Utramajic ... Turbo Recordings is always interesting as well. They're based in Montreal. 100% Silk — I really like that label. And they're primarily tape-based, like io8op. WHAT SORTS OF CHANGES ARE HAPPENING IN THE DANCE MUSIC SCENE? Well across the last few years the Vancouver house and techno music scenes have gotten a lot more popular worldwide. There's definitely a Vancouver dance music sound which I character as "inspired by trees" or "arboreal house". It's very lo-fi, organic house with relaxed driving beats and ethereal synths. When I say inspired by trees I am also referring to the abundance of weed in Vancouver, which creates a very specific sound palate. I LISTENED TO THE OUTERSPACE EPISODE ["BLANK SPACE"]. WHAT ARE SOME OF YOUR FAVOURITE SHOWS YOU'VE CRAFTED? I really enjoyed the ambient mix I did [July 14]. I made a version where I cut out all of the parts where I'm talking and I call it the "maximum introspection" mix. I listen to it when I go to bed sometimes. I did one [on June 23] called the "solstice soundtrack" that was inspired by the summer solstice. It started light and fun, and then it moved progressively darker in tone and by the end it was driving techno sounds. WHERE DO YOU FIND INSPIRATION FOR YOUR SHOW? Mostly my life, really. Music is all about emotional expression. I'm not that interested in music that doesn't have emotional character to it. There's a lot of dance music that doesn't and I'm not interested in that at all. ["blank space"] was because I saw the meteor shower over the weekend and saw the full moon after that. And the ambient mix was because I was having a really rough week and I needed to cool down and think about things. If you listen to the show regularly, you could probably chart what's going on in my life based on the music I'm playing. i copy/paste broadcasts on CiTR 101.9FM every Thursday from upm-nam. You can find show archives or subscribe to copy/paste as a podcast at citr.ca/radio/copypaste. Want to get involved at CiTR or pitch your own show? Join us for a station tour every Monday-Friday at 12pm. CiTR is located on the lower floor of the Nest at UBC. THipSTIST GROWING BIA IN VANCOUVER \ Hastings Crossings Business Improvement Area Is home to^ome of tnalnijst exciting new restaurants, ^^^^^'SnikwSttve startups in Vanrcouver ' I Chepyirt what we have to offer at hxbia.com HASTINGS L CROSSING\ ON THE AIR cms ioi.9$m pttOGiaflin sum* DISCORDER RECOMMENDS USTMjMG TO CITR EVERYDAY ■ SJitonDap CneuDap WetmwDap JE&UMDap JFtrfoap £>atnrDaj> : i&urtDap ■ 6 AM crm GHOST MIX PACIFIC PICKIN' CITR GHOST MIX CITR GHOST MIX CITR dffk)ST MIX"' CITR GHOST MIX CTn\6&SfMIX 6 AM 7AM 7AM 8 AM BREAKFAST WITH QUEER FM VANCOUVER: RELOADED SUBURBAN JUNGLE UBC 100 THE SATURDAY EDGE 8 AM SAM THE COMMUNITY LIVING SHOW WIZEMEN CUSSICAL CHAOS 9AM 10 AM POP DRONES A FACE FOR RADIO VANCOUVER, SHOOKSHOOKTA 10 AM STUDENT FILL-IN 11 AM UNCEDED AIRWAVES ROCKET FROM STUDENT FILL-IN 11 AM MORNING AFTER SHOW 12 PM SYNCHRONICS THE SHAKESPEARE DUNCAN'S DONUTS DAVE RADIO WITH RADIO DAVE GENERATION ANNIHILATION THE ROCKERS SHOW 12 PM 1PM SHINE ON PERMANENT —SPECIAL KOKO FEMCONCEPT iPM 2 PM PARTICLES & WAVES CANADALAND (syndicled) MUZAK FOR THE OBSERVANT RADIO ZERO 2PM 3 PM THE BURROW RADIO FREE KEW IT UP ASTROTALK CODE BLUE FIESTA SSH 3 PM TOUNDERBIRDEYE NARDWUAR PRESENTS 4 PM LITTLE BIT OF SOUL STUDENT FILL-IN ASIAN WAVE SIMORGH 4 PM 5PM THE LEO RAMIREZ SHOW RADIO EL SONIDO LATIN ROOTS ALL ACCESS PASS NEWS1101 MANTRA CHTHONICBOOM! S PM 6PM RADIO PAGEANT Si MmONM ARE LADY RADIO NASHAVOLNA NOW WE'RE TALKING 6 PM 7PM EXPLODING HEAD MOVIES SPACE SS kjwic- QUESTION EVERYTHING N,GHTDR,VE95 MORE THAN 7 PM THE SPICE OFUFE RHYTHMS fPi INSIDE OUT MIXCASETTE NEW ERA SOCA STORM SET ™ 8 PM gPM THE JAZZ SHOW TREASON WHITE NOISE LIVE FROM SKALDS HALL TRANCENDANCE 9 PM 10 PM S RADIO HELL CANADA POST ROCK SANDWICH 10 PM 11PM STRANDED: CAN/ AUS MUSIC SHOW COPY/PASTE THE MEDICINE 11 PM 12 AM CITR GHOST MIX RANDOPHONIC 12 AM 1ANT CITR GHOST MIX CFTRGHC ST MIX AURAL TENTACLES §HOW 1AM HS THE ABSOLUTE VALUE OF INSOMNIA 2 AM LATE NIGHT LATE NIGHT ■ CARIBBEAN SOCA STORM SAT. 8 PM DJ SOCA Conductor delivers the latest SOCA music tracks out of the Caribbean. This party music will make you Jump out of your seat. 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! It's Saturday, watch out STORM COMING!!!! ■ CLASSICAL CLASSICAL CHAOS From the Ancient World to the 21st century, join host Marguerite in exploring and celebrating classical ■ CHINESE ASIAN WAVE ■ DANCE / ELECTRONIC COPY/PASTE If It makes you move your feet (or nod your head), it'll be heard on copy/ paste. Tune in every week for a full hour DJ mix by Autonomy, running TECHNO PROGRESSIVO TRANCENDANCE 6:30 PM Dedicated to underground electronic music, both experimental and dance-oriented. Live DJ sets and guests throughout. INSIDE OUT sian Wave 101 to listen to best music from the Chinese id Korean music industries, atest news coming from the two entertainment powerhouses of the language ar Asian f e. The la ■ CINEMATIC EXPLODING HEAD MOVIES the.movies, tunes from television and any other cinematic source, along with atmospheric pieces, cutting-edge new could be used in Noise, and Alternative No Beat into tr early morning. Following the music, » play TZM br RADIO ZERO mix of super-fresh week party jams from New Wave to foreign electro, balle, Bollywood, and whatever MIX CASSETTE A panopoly of songs, Including the fresh riddlms and sweetest tunes, hanging together, in a throwback suite. Which hearkens back to the days when we mac mix cassettes for each other (cds too), a relished in the possibilities of merging the best moments frorrfbur favourite albums Hosted by DJ Smiley Mike and DJ Caddyshack, Trancendance has been broadcasting from Vancouver, B.C. since 2001. We favour Psytrance, Hard Trance and Epic Trance, but also play Acid Trance, Deep Trance, and even some Breakbeat. We also love a good Classic Trance Anthem, especially If if s remixed. Current influences Include Sander van Doom, Gareth Emery, Nick Sentience, Ovnlmoon, Ace Ventura, Save the Robot, Liquid Soul, and Astrix. Older influences include Union Jack, Carl Cox, Christopher Lawrence, Whoop! - Records, Tidy Trax, Platlpus Records, and Nukleuz. Email: djsn Website: w ■ DRAMA/POETRY SKALD'S HALL Skald's Hall entertains with the spoken word via story readings, poetry recitals, and drama. Established and upcoming artists Join host Brian MacDonald. Interested in performing on air? Contact us on Twitter: ■ECLECTIC A FACE FOR RADIO A show about music with interludes about nothing. From Punk to Indie Rock and beyond. ARE YOU AWARE ALTERNATING THU. 6 PM Celebrating the message behind the music: profiling music and musicians that take the route of positive action over apathy. AURAL TENTACLES It could be global, trance, spoken word, rock, the unusual and the weird, or it could be something different Hosted by DJ Pierre. Email: auraltentacles@hotmall.com BREAKFAST WITH THE BROWNS Your favourite Brownsters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights. Email: breakfastwiththebrowns@ CHTHONIC BOOM! SUN. 5 PM A show dedicated to playing psychedelic music from parts of the spectrum (rock, pop, electronic) as well as garage and noise rock. FEMCONCEPT electronic and punk, with an emphasis on local and Canadian artists. LIVE FROM THUNDERBIRD RADIO HELL Featuring live bands every week performing in the CiTR lounge. Most are from Vancouver, but sometimes bands from across the country and around the world. Upcoming guest include Koban on July 14 and Inherent Vices on July 28! THE MEDICINE SHOW A variety show, featuring musicians, poets, and entertainment Industry guests whose material is considered to be therapeutic. We encourage and promote independent THE MORNING AFTER SHOW The Morning After Show every Tuesday at 11:30(am). Playing your favourite songs for 13 years. The morning after what? The morning after whatever you did last night. Eclectic show with live music, local talent and music you won't hear anywhere else. NARDWUAR PRESENTS FRI. 3:30 PM Join Nardwuar the Human Serviette for Clam Chowder flavoured entertainment Doot doola doot doo...doot doo! EmallMiardwuar@nardwuar.com RANDOPHONIC Randophonic has no concept of genre, style, political boundaries or even space-time relevance. Though we have been known to play pretty much anything by anybody (as long as it's good), we do often fix our focus on a long running series, the latest of which (due to premiere in April-2016) Is The Solid Time of Change (akathe 661 Greatest Records of the Progressive Rock Era -1965-79) And we're not afraid of noise. THE SHAKESPEARE SHOW Dan Shakespeare is here with music for your ear. Kick back with gems of the previous years. Anec lixofth er underground and beyond, connected through a different theme each week. Join your host Shea every Tuesday for a groovy musical experience! SOUL SANDWICH A myriad of your favourite music tastes all cooked into one show, from Hip Hop to Indie Rock to African Jams. Ola will play through a whirlwind of different genres, perfect layering of yummy goodness will blow your mind. It beats Subway. IT SPECIAL HOUR ut on-campus events re from the Jungle Room, join ra ■ ETHIOPIAN SHOOKSHOOKTA A program targeted to Ethiopian people that encourages education and personal development. ■ EXPERIMENTAL KEW IT UP WED. 3 PM Fight-or-flight music. Radio essays and travesties: Sonic Cateschlsm / half-baked philosophy and criticism. Experimental, Electronica, Post-Punk, ETHAN HUMAN Plug NIGHTDRIVE95 directly into your synapses and Immediately receive your weekly dose of dreamy, ethereal, vaporwave tones fresh from the web. Ideal music for driving down the Pacific Coast Highway In your Geo Tracker, sipping a Crystal Pepsi by the pool, or shopping for bootleg Sega Saturn games at a Hong Kong night market. Experience yesterday's tomorrow, today! POP DRONES Unearthing the depths of contemporary cassette and vinyl underground. Ranging from DIY bedroom pop and garage rock all the way to harsh ■ GENERATIVE THE ABSOLUTE VALUE OF INSOMNIA Four 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. ■ HIP HOP CRIMES & TREASONS Hip-Hop & Trill $h*t Hosted by Jamal Steeles, Homeboy Jules, Relly Rels, LuckyRich & horsepowar. Showcases up and coming artists who are considered "underdogs" in the music industry. The show will provide a platform for new artists who are looking to get radio play. Hip-Hop music from all over the world along with features of multi-genre artists. ■ INDIAN RHYTHMS INDIA Featuring a wide range of music from India, Including popular music from the 1930s to the present Ghazals and Bhajans, Qawwalis, pop and regional language numbers. ■JAZZ THE JAZZ SHOW Sept. 5: Of all the recordings done by tenor saxophone master Stan Getz, this one was his favourite. It's features Stan playing over compositions by composer Eddie Sauter with a large string section. The album is called "Focus" and it's a gem. Sept 12: Tonight begins a regular September (back to school, back to work etc.) educational Jazz Feature for two Mondays. This first is a brief and informal Jazz History lesson narrated by the great alto saxophonist/bandleader Julian "Cannonball" Adderley. "A History of Jazz". Sept. 19: Part Two of The Jazz Show's educational Feature Is Maestro Leonard Bernstein who narrates "What Is Jazz". Bernstein takes a different approach and explains what is and what isnt Jazz and delivers some simple musical theory for the lay person. Educational and fun tool Sept 26: A belated Birthday tribute to John Coltrane (born Sept 23,1926-July 17,1967). His classic album called "Blue Train" with a super sextet of players including the teenage trumpet wonder Lee Morgan and trombone master Curtis Fuller and drummer Philly Joe Jones. A Jazz masterpiece. LITTLE BIT OF SOUL Old recordings of jazz, s ■ KOREAN KOKO CHANNEL This show is in Korean but not for playing just popular K-POP. We play Korean Indie pop, K-rock, K-hip hop, and K-ballad. Host DJ Megan talks about news or daily life of Korean society In Metro Vancouver. Enjoy Korean talks and get the information of Korea through KOKO Channel by Megan! ■ LATIN AMERICAN EL SONIDO LATIN ROOTS THE LEO RAMIREZ SHOW ■ LOUD FLEX YOUR HEAD Vancouver's longest running metal show. If you're Into music that*s on the heavier/darker side of the spectrum, then you'll like It Sonic assault provided by Geoff, Marcia, and Andy. SAMSQUANTCH'S HIDEAWAY All-Canadian music with a focus or rock/pop. Email: anltablnder@hotmall.com. SPICE OF LIFE Thur. 4 pm Slmorgh Radio Is devoted to the education and literacy for the Persian speaking communities and those interested In connecting to Persian oral and written literature. Slmorgh takes you through a journey of ecological sustalnablllty evolving within cultural and social literacy. Slmorgh the mythological multiplicity of tale-figures, lands-in as your mythological narrator In the storyland; the contingent space of beings, connecting Persian peoples within and to Indigenous peoples. ■ PUNK ROCKET FROM RUSSIA play new, International and local punk rock music. Great Success! P.S. Broadcasted In brokenlsh English. Hosted by Russian Tim. Website: http://rocketfromrussia.tumblr.com. Email: rocketfromrussiacitr@gmail.com. Facebook: https^www.facebook. com/RocketFromRussia. Twitter: http-7/twftter.convllmaJzar. GENERATION ANNIHILATION On the air since 2002, playing old and new punk on the non-commercial side of the spectrum. Hosts: Aaron Brown, Jeff The FbaT Kraft Website: generationannlhllation.com. Facebook: facebook.com/ generationannihilation/ Reggae inna all styles and fashion. ■ ROCK/POP/INDIE THE BURROW Noise Rock, Alternative, Post-Rock, Formerly or now resides on we west coast out its still committed to the best in post-rock, drone, ambient, experimental, noise and basically anything your host Pbone can put the word "post" intrant of. DAVE RADIO WITH RADIO DAVE D, Canada-Post Rock DISCORDER RADIO TUE. 5 PM Named after CiTR's sister magazine, Discorder, this show covers content in the magazine and beyond. Produced by Sweet treats from the pop underground. Hosted by Duncan, sponsored by donuts. http://duncansdonuts.wordpress.com. MUZAK FOR THE OBSERVANT A program focusing on the week's highlights from CiTR's Music Department. Plus: live In-studlo performances and artist interviews! PARTICLES AND WAVES Much like the quantum theory which Inspired its name, the content of Particles and Waves defies definition until directly observed, and can produce unexpected results-local Indie, sci-fi prog rock, classic soul, obscure soundtracks, Toto's deep cuts, and everything in between. Join Mia every Tuesday at 2pm for a quirky Journey through music that will delight and Intrigue. PARTS UNKNOWN a marshmallow sandwich: so with a stick and held close to THE PERMANENT RAIN RA >p culture-spanning pr Music-based, pi co-hosts Chloe and Natalie for ar llghthearted twin talk and rad turn variety of artists who have been f thepermanentrainpress.com The spice extends life. The spice expands consciousness. The Spice of Life brings you a variety of Post-Rock, Shoegaze, Math Rock and anything that else that progresses. Join host Ben Lite as he meanders whimsically through whatever comes to mind on the walk to CITR. RADIO PAGEANT Radio Pageant puts the spotlight onto Independent and local artists that really put on a show. Pop, rock, DIY, pop-punk Join your host Matthew for a weekly mix of Australian homeland. And Journey with him as he features fresh tunes and explores the alternative musical heritage of Canada. ■ ROOTS / FOLK / BLUES BLOOD ON THE SADDLE From backwoods delta low-down slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy, and Paul. Email: codeblue@paulnorton.ca PACIFIC PICKIN' TUE. 6 AM Bluegrass, old-time music, and its derivatives with Arthur and the lovely Andn Berman. Email: pacificplckin@yahoo.com THE SATURDAY EDGE SAT. 8 AM A personal guide to world and roots music- with African, Latin, and European music In the first half, followed by Celtic, blues, songwriters, Cajun, and whatever else fits! Email: steveedge3@mac.com ■ RUSSIAN NASHA VOLNA SAT. 6 PM News, arts, entertainment and music for th Russian community, local and abroad. Website: nashavolna.ca ■ SACRED MANTRA i An electlc mix of electronic and acoustic beats and layers, chants and medicine song. Exploring the diversity of the THUNDERBIRD EYE The Inside edge on the lates UBC Thunderblrds varsity ■SOUL/R&B AFRICAN RHYTHMS FRI. 7:30 PM Website: www.africanrhythmsradio.com ■ TALK ALL ACCESS PASS THU. 5 PM CfTR Accessibility Collective's new radio show. We talk about equity, inclusion, and accessibility for people with diverse abilities, on campus and beyond. Tune in every week for Interviews, music, news, events, and awesome dialogue. ASTROTALK Space Is an Interesting place. Marco slices up the night sky with a new topic every week. Death Stars, Black Holes, Big Bangs, Red Giants, the Milky Way, G-Bands, Syzygy's, Pulsars, Super Stars... THE COMMUNITY LIVING SHOW s. The to outlook on programs and events for the entire community. We showcase BC Self Advocates and feature Interviews with people with special needs. Hosted by Kelly Reaburn, Michael Rubbln Clogs and Friends CANADALAND (SYNDICATED) LADY RADIO FRI. 6 PM CITR Women's Collective's new radio show! Rad women talking about things they like. Tune in weekly for Interviews, music, events, commentary, and such. NEWS 101 FRI. 5 PM Vancouver's only live, volunteer-produced, student and community newscast. Tune in to hear an Independent perspective of what's going on In the world how ft affects you. News 101 covers current affairs ranging from the local to the International. NOW WE'RE TALKING Now We're Talking features Interviews that will capture your Imagination (or at least prevent you from frantically changing the frequency on your radio). QUEER FM VANCOUVER: RELOADED Dedicated to the gay, lesbian, bisexual and transexual communities of Vancouver. Lots of human interest features, background on queerfmvancouver@gmail.com RADIO FREE THINKER Promoting skepticism, critical thinking and we examine popular extraordinary claims and subject them to critical analysis. SHARING SCIENCE to all members of the community. We discuss current research and news about a different topic each week, providing vastly different perspectives based on the science backgrounds of a rotating set of hosts. SYNCHRONICITY Join host Marie B and discuss spirituality, health and feeling good. Tune in and tap into good vibrations that help you remember why you're here: to have fun! UBC 100 DOCUMENTARIES FRI. 8:00 AM A series of ten radio documentaries produced by CiTR using clips from our collection of archived tape to mark UBC's 100 year legacy. Each documentary portrays a slice of Vancouver history, covering challenging topics relevant to the local community, including the rise of the UBC football, early hip hop battles In Vancouver, the fight for trans health care, accessibility and the media, and the Lady Godiva ride and rape culture at UBC. The documentaries use archival content from CiTR's history audio collection in addition to interviews with faculty, students, alumni and community members. UBC ARTS ON AIR Ira Nadel, UBC English, offers scintillating profiles and unusual interviews with members of UBC Arts world. Tune In for programs, people and personalities in art UNCEDED AIRWAVES Unceded Airwaves is a radio show produced by CiTR's Indigenous Collective. The team is comprised of both Indigenous and non-Indigenous people who are passionate about radio, alternative media and Indigenous topics and issues. We are committed to centering the voices of Native people and offering alternative narratives that empower Native people and their stories. We recognize that media has often been used as a tool to subordinate or appropriate native voices and we are committed to not replicating these dynamics. VANCOUVER, RIGHT? Need some comic relief? Join Richard Blackmore for half an hour of weird and wonderful radio every week, as he delves In to the most eccentric corners of radio for your listening pleasure. Then stay tuned for the after show featuring a Q and A with the creator, actors and a guest comic every Email: whitenoiseUBC@gmail.cc STUDY AND a GOJMROADf EXPERIENCE THE WORLD OF EDUCATION SEPT 24 iPfe») VANCOUVER 111 CONVENTION CENTRE / jjj EXPO • 1 pm - 5 pm * E SEMINARS • 12 noon - 5 pm studyandgoabroad.c 1 : »•]: NNNNW#«*T^ 1 '1*1*1* $•••••v• H• l*v• ""^H 1660 EAST BROADWAY 1 SEPTEMBER HIGHUGHTS WWW.RIOTHEATRETICKETS.CA I ■ ■ 1 i ■ I I I SEPT 1 PAUL ANTHONY'S TAUNT TIME BACK 2 SCHOOL SEASON 9 LAUNCH SEPT 2 DOUBLE FANTASY: DOUBLE BILL THE SECRET Of NIMH 1EGEND Friday Late Night Movie HGHT CLUB SEPT 3 STEPHEN KING TRIPLE BILL See one, or see 'em all! STAND BY ME THE DEAD ZONE PET SEMATARY SEPT 4 Back To Back Double Feature! THE RAID THE RAID 2 SEPT 5 The Gentlemen Hecklers Present DUNGEONS & DRAGONS 4th Anniversary Show SEPT 6 CLOSET MONSTER MADONNA TRUTH OR DARE 25th Anniversary Screening SEPT 8 18 THE VANCOUVER FRINGE FESTIVAL See www.vonauverlringe.tom for info SEPT 9 Friday Late Night Movie PINK FLOYD'S THE WALL I 1 SEPT 16 Friday Late Night Movie RETURN OF THE LIVING DEAD I I I ■ ■ I I I SEPT 20 COCO LOVE ALCORN WONDERLAND RELEASE TOUR SEPT 21 THE FICTIONALS COMEDY CO. PRESENTS Improv Against Humanity Rush Week Revelry At The Rio #lAHatRio SEPT 23 Friday Late Night Movie SHOWGIRLS SEPT 23 24 DAN SAVAGE PRESENTS The HUMP! Film Festival ON TOUR SEPT 28 THE CRITICAL HIT SHOW! An Improvised Comedy Spectacular #DNDlive VISIT WWW.RIOTHEATRE.CA FOR A COMPLETE CALENDAR OF EVENTS CiTR 101.9FM JUL/AUG MONTHLY CHARTS SUBS-CULTURAL ANOMALIES 1 #rti*t 01bum llabei « H 2 Adrian Teacher and The Subs*+ Terminal City You've Changed \ ^ p Heaven For Real* Kill Your Memory : 1 8 I I 4 hazy* x.o. Virgo Ox Agony Klub \ 2% 1 Jay Arner*+ Jay II mJ \ ^ j § Brave Radar* Lion Head Arts & Crafts f © Frigs* Slush EP \ Is 1 1°- I JL. White Lung*+ Supermoon*+ Paradise Domino 1 ll 1 Playland Mint Self-Released Choose Yer Own Self-Released Light Organ 1 S-B" 1 g Dories* Outside Observer 1 !i 1 •§<§ 1 TO L.T. Leif* Ten Strings And A Goat Skin* Shadow On The Brim / Rough Beasts Aupres du poele Passing Shade 1 119 Twin River*+ No Sinner*+ III 1 Old Habits Die Hard Provogue \ 3!7 p Marissa Nadler Ii6*+ Strangers Truth Or Consequences A Youthful Dream Sacred Bones Monofonus Press Fat Possum | 5f S 1 US JL. Yung 1 BADBADNOTGOOD* Death Valley Girls IV Glow In The Dark Arts & Crafts Burger i °-i 1 JL. 20 Fuzzy P*+ Motherhood* On A Lawn Baby Teeth Self-Released Monopolized P 1" 23 Vallens* Cheena Consent Spend The Night With... Hand Drawn Dracula Sacred Bones ; Jlj jf 2i Kaytranada* Old Girl* 99.90% Objeta XL Recordings Gary Cassettes i SB 1 28 Weaves* Weaves Absolute Truth Buzz Thankless tl 1 2© Softess*+ • I"2 | 2P., Kubla Khan*+ Kubla Khan Self-Released 1 fj-8 j 2® Sarah Davachi*+ Dominions Jaz l! *H 29 as Blood Orange Freetown Sound Domino | Whitney Light Upon the Lake Secretly Canadian I Q e K2 Spray Paint Feel The Clamps Goner \ ri Hannah Georgas*+ For Evelyn Dine Alone : "^,21 | JJU D^I Beach Church Self-Released Self-Released l.l'l i Kristine Schmitt Advertisement* Good Dirt || Advertisement Self-Released pM i© m Holy Fuck* Congrats Last Gang Self-Released Light Organ Self-Released SB, ^ We Found a Lovebird** Lobby Divorce Who Will Read Your Mind % 1 1 s® JPSNSGRLS*+ f 39 Les Chaussettes*+ 1" 4$) 4H 4H Mitski Mick Harvey Puberty 2 Delirium Tremens Dead Oceans :|l | Moths and Locusts* Helios Rising ' f^ | Sonny & The Sunsets Moods Baby Moods Polyvinyl | 44} Ace Martens*+ Palm Springs Self-Released ll 1' iL. Petunia & The Vipers** Dead Bird On The Highway Self-Released s s | *p" Dysnea Boys* Betterhaif* For Evelyn Take It Back 1° 1 Cute Doom Self-Released Sometimes Music !§ I 4M) IS) Counterfeit Jeans* Counterfeit Jeans 1 Young Rival* Koban*+ Strange Light Paper Bag |l | Abject Obsessions Avant! SLICES Licenced Pckiicv Jukebox/ Cfoed/3lmeV 3240 Main St. Vancouver's Community-Driven Concert Calendar j HmkImiK* StE^t^r^ Integrated with profiles taken from the ll^fi^ 'Vancouver Musicians Directory rllltfcijr -'< f*8 C/TR Radio Sponsored ' "■ "-JC^§f%5SSB ^^fc|C&^'^^J; Vancouver Band Directory- :v 1 anrf ffte • ""^Vancouver Music Servic'ij^^^^a H^a^sfr"^^^^^^"' ® Ftesource D'rec*onifJ$»^S^^^^^^H3| ^^^^^A^P^J^/pfa/neef £>y thousands', because it works! '•' f;^^13E^&'«';n***tfw5Jfc'^iaf includes LiveVictoria com. ArlsVictona ea. CowichanCulture ca 0 more ALBUM AVAILABLE NOW 0LDRDDIAMDNDS.CDM / U^fc -pJ^Sbs FACTOR ' CONCERTS iy? 9Jni^u wv 8r • n ▼ «»• *^^^^^^■^ * *•* ** Sept 03 THE WHITE PANDA Imperial Sept 16 I JOSEPH ARTHUR The Cobalt Sept 25 ST. PAUL ©THE BROKEN BONES Commodore Ballroom Sept 28 | PREOCCUPATIONS (FKA VIET CONG) Rickshaw Theatre Oct 5, Oct 6, Oct 7 & Oct 8 JAPANDROIDS The Cobalt it Sept 05 EXPLOSIONS IN THE SKY Commodore Ballroom Sept 20 BEATY HEART The Cobalt Sept 06 GADELMALEH Vogue Theatre Sept 20 WARPAINT Imperial Sept 26 TA-KUOIVE) Vogue %neatre Sept 15 BDIB0URELLY Alexander Gastown I Sept 21 CHROME SPARKS The Biltmore Sept 27 ALLAH-LAS The Biltmore Sept 24 NA0 The Biltmore ^l^t 28 NICKWATERH0USE1 The Cobalt Oct 2 Oct 4 DRIVE-BY TRUCKERS CYMBALS EAT GUITARS | Rickshaw Theatre I The Cobalt Oct 6 KING I Alexander Gastown Oct 6 DANNY BROWN Vogue Theatre Oct 7 THE JULIE RUIN Rickshaw Theatre Oct 10 GR0UPL0VE Commodore Ballroom Oct 7 MARLON WILLIAMS & THE YARRA BENDERS | The Biltmore Oct 8 BEACH FOSSILS Rickshaw Theatre Oct 9 WHITE FANG and NO PARENTS | The Cobalt Oct 12 PANTHADU PRINCE LIVE The Biltmore Oct 13 COLD WAR KIDS Commodore Ballroom Oct 13 TALWILKENFELD The Biltmore Oct 13 JAMES BLAKE The Orpheum Theatre I Oct 14 THE FELICE BROTHERS The Cobalt Oct 15 CHIXDIGGIT The Cobalt TM8mM&v^& '&&&*'-'8hpW$^'HfP. TlmbreConcerts. com I