CONTENTdm
Discorder
CITR-FM (Radio station : Vancouver, B.C.)
The following description has been provided by Discorder: "Discorder presents a guide to Music Waste 2014! Also featuring articles on The Tourist Company, Spencer Davis, The Flintettes, and Ace Martens!"
72 pages
application/pdf
o "» o I SSjsEwSte ~5_____3l GUIDE INSIDE! Ip^*^* DISCORDER THAT MAGAZINE FROM CITR 101.9 FM SUPPORTING VANCOUVER'S INDEPENDENT MUSIC COMMUNITY FOR OVER 30 YEARS * JUNE 2014 ♦ |NOTICE OF INTENT TO DIGITIZE| IBACK ISSUES OF DISCORDER MAGAZINE! We are so excited that Digital Initiatives is going to help us release every issue of Discorder online! CiTR IS pl< Discorder Magazine and make them available online. CiTR has never had formal copyright agreements with its contributors, and all content has been produced by volunteers and disseminated for free to eager audiences. Likewise, CiTR does not have express permission from Discorder contributors to take it available to eager readers online. When Discorder began, the founders had no idea we'd be published on the Internet—sorry Mike and Jennifer—and it would be impossible for CiTR to identify all of the contributors and obtain permission to republish their work electronically. Who knows where all you creative people are and what cool things you Therefore, CiTR is shouting out to our alumni and asking any authors, illustrators, and designers who object to let us know as soon as possible. Please contact me at stationmanager@citr.ca if you have any questions or concerns, or don't want your contribution published online. If we do not receive objections, we will assume that permission has been granted. If objections are made, we will omit these issues from the archive. However, we hope you see the value in releasing this content to the public. Please share this notice with your peers and fellow alumni! We will begin scanning shortly and need to spread the news far and wide. Discorder provides an incredible history of Vancouver's local music scene, and we're very excited to share Sincerely, Brenda Grunau s with ouj CiTR Station Manager and Publisher of Discorder Magazine UPCIMING SHIWS RICK OO0 SHAW #11011 254 Cast Hastings Street 604.681.8915 NICE PETER OF EPIC RAP BATTLES OF ■ HISTORY The Jackpot Golden Boys FIRST BLOOD: OMEGA CROM ommsignt, Crucifliction, Elysium Echoes, Baryon, and more DESTR0YER(S0_0SEO ■ml Blackout Beach HAVOK Wretched, Nylithia, Skull Vultures, Neck Of The Woods PEUCAN '3^11^3 Tombs, Red Vienna ABORIGINAL DAY COMEDY EXTRAVAGANZA Wayne Alexis, Chuck Cease, DJ Roy, and more J|ddifidT>al show listings, ticket sale info, videos and more: tWW.RICKSHAWTHEATRE.COM YAHRWAIII Bellydance Showcase AGES AND AGES "" with Guests l-TCR MURPHY(0F BAUHAIIS) "*""" Ringo Deathstarr BMRINGTON LEVY & DETOUR POSSE DJScovie SEPUCFLESH FLESHGOD APOCALYPSE, Hour of Penance, Necronomicon MD NOTHINGS AND METZ •- TheWytches ■Li http://facebook.com/RickshawTheatre [7j ©rickshawtheatre fiSij ©rickshawtheatre CONTENTS - 21 THE TOURIST COMPANY Slow and steady didn't win this Space Race, as the Tourist Company's EP ebbs and flows effortlessly between folk rock stompers and blissful harmonies. After being crowned Regional Champions in the CBC Music Searchlight competition, they're destined for a success that we can't help but describe as being out of this world. 27 SPENCER DAVIS Sure, a Vancouver musician playing in multiple bands isn't exactly unheard of, but it's nevertheless still impressive., If you're familiar with Cowards, Tycho Brahe, S.P. Davis, Nervous Operator, or the dearly departed Glass Armonica, then you're familiar with the multi-talented Spencer Davis. Discorder catches up with the man of many musical monikers to talk about projects past and his thoughts on the "No Fun City" label. 49 THE FLINTETTES Alternatively this feature could have been called "The Flintettes, or how they learned to stop worrying and love pop music." With June already here, the demand is high for catchy, upbeat tunes to keep your good times going—and the Flintette's debut release, Open Your Byes, is just what the summer ordered. 57 MUSIC WASTE 2014 It's hard to describe to non-Vancouverites just how special Music Waste is. It's like the Christmas of local music, except it lasts for four days and there's a lot more beer involved. The festival turns 20 this year and weVe got a special peek behind the curtains at how things have grown over the years and how local culture is still at the heart of it all. 62 ACE MARTENS Silence may be golden but Silent Days is even better. Ace Martens' debut EP—which enjoyed its physical release as a cassette last month— is a five-track gem chockablock with hazy guitaring and foot-tapping hooks. Get to know more about Martens, as well as his release, in this breezy feature. #& 'iJprfVHMtWt STlVftlOUl! 13 flLl* STRIPPED: *|pil ENIGMAS MVE IN CONCERT 16 HERB'S THE THING: D.|*WHY? Jft-f CHARTS -M 31 MUSIC WASTE GUIDE 36^€AIMMK; 42 llAlJlVE ACTION 46 liNOERiEVIBW 66 PROGRAM GUIDE ADVERTISE: Ad space for upcoming issues can be booked by calling (604) 822-3017 ext. 3 or emailing advertising@citr.ca. Rates available upon request. CONTRIBUTE: To submit words to Discorder, please contact: editor.discorder@citr.ca. To submit images, contact: artdirector.discorder@citr.ca SUBSCRIBE: Send in a cheque for $20 to #233-6138 SUB Blvd., Vancouver, B.C., V6T1Z1 with your address, and we will mail each issue of Discorder right to your doorstep for a year. DISTRIBUTE: To distribute Discorder in your business, email distro.discorder@citr.ca We are always looking for new friends. DONATE: We are part of CiTR, a registered non-profit, and accept donations so we can provide you with the content you love. To donate visit www.citr.ca/donate. WT«t« mmuim Let t oe known that CiTR <s currently working to digitize the entirety of Oiseenhfs archives. Soon ell ot the past issues you Imm and love will be available for viewing online. Ttianks, computers! If you have any questions or concerns, please Contact Brenda at stationmanager@citr.ca Wrtters:WillaBao,Alex de Boer, Robert Catherall, Julie Colero, Fraser Dobbs, Max Hill, Natalie Hoy, Erica Leiren, Daniel Una, Shane Scott-Travis, Angela Yen, Bob Woolsey Photographers & Illustrators: Sylvana d'Angelo, Yuliya Badayeva, Eduard Barceldn, John C Barry, Sarah Cordingley, Alisha Davidson, Alan Derksen, Dana Kearley, Steve Louie, Justin Longoz, Tylor Macmillan, Rob Ondzik, Alison Sadler, Nolan Sage, Andrew Volk Cover: photo by Nolan Sage, illustrations by Tylor Macmillan, design by Jaz Halloran Editor: Jacey Gibb Art Director: Jaz Halloran Under Review Editor: TBD Real Live Action Editor: Steve Louie Web Editor: Marcin Lasinski Ad Coordinator: Ana Elena Garza Copy Editors: Steve Louie Proofreaders: Natalie Hoy, Penelope Pots Calendar Listings. Sarah Cordingley Accounts Manager: Corey Ratch Official Tweeter: Evan Brow CiTR Station Manager: Brenda Grunau Publisher: Student Radio Society of UBC ' Student Liasons: Evan Brow, Josefa Cameron EDITORIAL CUTOFF: May 18,2014 ©Discorder 2014 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 10,200. Discorder is published almost monthly by CiTR, which can be heard at 101.9 FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ tine at (604) 822-2487, CiTR's office et (604) 822-3017, emeil CiTR at stationmanager@citr.ca, or pick up a pen and write #233-6138 SUB Blvd., Vancouver, B.C., V6T1Z1, Cenada. I remember it clearly. Discorder's art director, Jaz Halloran, and I were sitting across from each other, partaking in a few beverages post-office hours at the Gallery. It had been one of those days \ where you didn't get as much done as you wanted to but you had a beer in your hand and the company was good so none of it really mattered. Halloran was going on about the special effects in the new Star Trek movie—actually kind of old by this poin^Jbut new to him—and how visually satisfying it was to watch. &fe "People get paid to make that kind of stuff! That's their job, making these big blockbuster movies." I agreed with his musing and casually sipped my drink, when it suddenly dawned on me where A lot can happen in just 12 months' time and the same applies to the next 12, which means this merry band of merries is going to be a whole lot of fun to work with. the conversation was going: Halloran was about to tell me he was leaving the magazine. His departure was by no means sudden. That conversation of ours took place about seven months ago and I'm only now getting the chance to write about it. Numerous people have asked me why Halloran is leaving, just as we've found a groove with the new format, and it's been immensely satisfying telling people the truth: that there's no behind-the-scenes controversy and no one's being fired or forced to resign. It hardly even feels like Halloran is quitting, but rather just moving on from the position. In his own words, Halloran told me he wants to leave the magazine while he still likes the job he's doing and I can respect that. It's been an incredibly organic progression and as much as 111 miss sharing weekly office hours together, I'm excited to see what he does next. On the topic of new beginnings, Halloran's departure has another • significance for Discorder. over the past year, nearly every major position within the magazine will have traded hands with someone new. Well be welcoming our 2014/15 student liaison, frequent contributor Joshua Gabert-Doyon, after the summer's end; our new web editor, Marcin Lasinski, has been rocking and redefining Discordefs presence on the web and beyond; starting in June, well have a new editor taking over your much- beloved Under Review section; and even I myself didn't take over as EIC until last September. A lot can happen in just 12 EDITOR'S NOTE I T illustration by Yuliya Badayeva months' time and the same applies to the next 12, which means this merry band of merries is going to be a whole lot of fun to work with. IVe spent the last nine months of my life brainstorming, collaborating, arguing, and creating with Halloran and 111 miss it dearly going forward. Since he announced hi& resignation, our running joke has been it's because he's too old and we're having Halloran "put out to pasture* with the other 30 year olds. Kind of a dark gag when I write about it, but I know Halloran will appreciate it and so 111 end on that note. Enjoy the pasture, Halloran. Hope it's as green as they say it is on the other side and thanks for all your years of Discorder-ly conduct. So it goes, Jacey Gibb EDITOR'S NOTE Well, this is it—my last issue at the helm as art director of Discorder. IVe put ,in a lot of blood, sweat, and tears over the past few years. Those are the three main things that go into making every issue of Discorder. Or perhaps less blood and more all-nighters, in my experience. Lots of couch-sleeping in the cozy-ish, messy office at the, CiTR station. And coffee and hummus! I'm pretty sure hummus has been at more of our proofing parties than I have. I'd like to say thank you to Gregory Adams and Lindsey Hampton—whose shoes I had the honour of filling—my two makers, who gave me the opportunity to take the wheel of all things visual. Thanks also to Brenda Grunau and Jacey Gibb for entrusting me with the challenge of designing a new format and for their help in making it happen. And thanks to previous editor Laurel Borrowman, who was very fun to "make a magazine" with and was instrumental (that music pun's for you, Borrowman) in helping the new format take shape in the beginning. One of my intentions in the art direction and design of the new format and the past several issues has been to encourage Discorder to shift and change each issue, so that each month could be different, unique, and as a result, feel less disposable and more precious. To give the editor, art director, and contributors an opportunity to make Discorder their own, and express this collective voice as loudly, prominently, and with as much experimentation as possible. I'd like to sign off with a quote from Jennifer Fahrni, one of the co-founding editors of Discorder, on how she felt when leaving the magazine in 1983: "Every editor comes in and makes it their own. And that's what makes it last. You can't have something the same, it's got to keep changing." Best, Jaz Halloran o I 6 ART DIRECTOR'S GOODBYE NOTE Steve Louie is a live music photographer based in Vancouver, BC. He's attended over 1,500 shows in the past seven years and continues to document the Vancouver music scene. An exhibition of his photography opens at the Remington Gallery and Studio (108 E Hastings St) on Friday June 7, at 7p.m., and runs until June 21. 8 $r£V£ LOUIE STEVE LOUIE Gang Violence at Hone^ijLpunge, Music Waste 2009, « ■* WEVE LOUIE i*$ m '■*0« '•**>: m !_*< «._ IS £.*£? LIVE IN CONCERT by Erica Leiren illustration by Eduard Barcelon (on page 13) In an alternate reality, the Enigmas' "Flying Dutchman" is the theme song for the Pirates of the Caribbean movies parts one thru infinity and the boys have cashed out early to live in personal castles and drive their hovercraft down to the local' pub whenever they feel like it. Luckily for us, that hasn't happened yet. In 2010 the Enigmas reunited for the first time in 17 years—a raucous gig that was immortalized on film and is now available on DVD. The occasion was for a friend of the band's birthday and thanks to him and his film team, we now have the chance to experience an Enigmas concert, where the pent-up energy of band and audience make for a heady draught from the psychedelic stream. If you didn't see them in their mid-'80s heyday, now's your chance to learn how to do the Windshield Wiper (a Vancouverite-original dance craze) and sing along to "Teenage Barnacle," the Enigmas' pun-tastic ode to beach life and our beloved Girl-in-a-wetsuit at Stanley Park. The Enigmas' clever originals and well-curated selection of songs from an earlier era connect the This exciting concert film captures the gifts of four musicians so spectacularly endowed with talent, they make the rest of us feel both humble and thankful. dots at an '80s midpoint that forms the straight line for Vancouver's West Coast garage sound—from the Collector's "Lydia Purple" through to Abbotsford's BMX (a.k.a. Kick in the Eye) and their brilliant 1995 album Starliner right on up to today's Skinny Kids. The freshly released Enigmas Live in Concert DVD is now available in videoactive splendour at your local independent record stores. Included are some of their very best songs: wonderful originals like "A Bit too Far," "Strangely Wild," and "Roll With the Punches," as well as ripped covers of the Count Five's • "Psychotic Reaction," the Sonics' "Boss Hoss," MC5's "Kick Out the Jams," 13th Floor Elevator's "You're Gonna Miss Me," and the Balloon Farm's "A Question of Temperature." This exciting concert film captures the gifts of four musicians so spectacularly endowed with talent, they make the rest of us feel both humble and thankful. Nailing down the beat with supreme confidence is the hardest hitting rhythm section West of the Mississippi: Randy Bowman on drums and Stephen Hamm on bass. (Slow's epic player here standing in for original Enigma's bassist Brian Olinek.) Guitarist Mike Davies is a magnificent player 14 FILkf STRIPPED who bestrides the stage colossus-like, launching flamethrower riffs into the audience, apparently effortlessly, and sounding like three guitar players, not one. Everyone in the band can do backups, which makes for fantastic harmonies. This is one musical team that has totally gelled in every way. As for lead singer/ saxophonist Paul McKenzie, he is one vivacious bon vivant, a fun-loving raconteur, and natural entertainer. His wonderful voice is like good scotch: smooth, deep, powerful, with an overtone of smoke. He's an original, but if you must make comparisons, Paul McKenzie is Vancouver's own answer to Iggy Pop, plus whip smart and with a witty, subversive sense of humour. The Enigmas reigned as Vancouver's prime movers of party action on the alternative/ university/ club scene through the mid '80s via their explosive live shows and two vinyl releases, both produced by the Scissors Bill Barker: 1983'sEiVZGA_ASon their own Mystery Records label, and 1985's Strangely Wild:^ on the Zulu Records Label. These 12' 45 RPM EPs are hard to find now, but very worthwhile if you can get yourself a copy, as they contain excellent songs not on the set list of the filmed concert: "Pancho Villa," "Roll with the Punches," "Daymare," "Greenstreet," "Monsters in the Basement," and "Rush Hour in Russia." Of special note is the Strangely Wild EP's incredible Dali-esque cover artwork by photographer Dave Jacklinj who chronicled several bands during this era and famously fronted the Spasms, a Cramps cover-band. In the Enigmas, West Coast dreaminess merges with the harder influences of the Stooges and MC5 to produce a unique and powerful sound. As a band, the Enigmas are like one of their own favourite motorcycles or a* J beautifully tuned muscle car: revved up, pumping 450 HP, firing on all cylinders, and raring to go. Hop on and take a ride you won't regret. FILIVf STRIPPED 15 • ■__ataaa«Mi-"-i » I H" fir ,f 3tti A* At AW _r^ *W D 3^ \ mm- V U n W, by Bob Woolsey illustration by Rob Ondzik At a recent party I found myself regaling a group with my premiere foray into making fresh cheese at home. I'd gotten the kit from a farmer's market . and I was quite proud of my delicious, cheesy results. Someone was quick to point out that she feels like a chump whenever she has to do something for herself that's already available in its finished form. In her eyes, the whole DIY thing is a ridiculous proposal. Lately, IVe gained a lot of joy out of making things at home that I used to exclusively buy: beer, bread, the aforementioned cheese. Although my results aren't always as good as the store-bought stuff, there's a deep satisfaction that comes with making things myself. Granted, it's time-consuming and if a batch doesn't turn out it can be an expensive waste, but there's just something about doing it yourself that's so alluring to me. I'd never even considered The huge downside to having everything done for you—especially when it comes to food—is that you lose track of what's going on behind the scenes. Even if you never intend to make DIY your permanent lifestyle, shouldn't you at least have a passing knowledge of how all the stuff around you is made? that my efforts could make me a chump in any way, shape, or form. Had I been the victim of clever marketing or a cultural fad this whole time? I grew up in a household where my mum cooked—a lot. Going out for dinner or ordering in was a rare and special occasion. From a very early age I remember being included in the baking and learning the basics of food. My dad is a tradesman and my brother and I were always watching over his shoulder as he would work on the family car, build us a fort behind the house, or fix the plumbing. While IVe not pursued any of these skills seriously, this upbringing instilled a certain amount of normalcy in doing something for myself. When I moved to Vancouver and met people born and raised in larger centres, my habit of cooking most of meals at home and being able to change the oil on a car all by myself seemed strange to them. In my hometown, I'm not considered a handyman at all. Here in Vancouver, I'm nearly an expert in home repair. It stands to reason that if you grow up in a rural area, you'll pick up more DIY skills than if you grow up in a bustling metropolis. City living doesn't provide the same access to the space you need to work on a car. In Ay£ft£'$ 7"A/£ THING 17 rural areas you don't have a convenience store two steps away from your house so making your own food is somewhat more necessary. The huge downside to having everything done for you—especially when it comes to food—is that you lose track of what's going on behind the scenes. What are you really putting into your body when you eat that restaurant-prepared dish? How do you know if your mechanic is ripping you off when you have no idea what a carburetor is? Even if you never intend to make DIY your permanent lifestyle, shouldn't you at least have a passing knowledge of how all the stuff around you is made? Here's the thing about this whole DIY movement: it's not about the end result. If you happen to end up with a delicious ball of fresh mozzarella when you're done, that's awesome but it's not necessarily the point. At the core of the entire idea of doing something yourself is also where the art resides. When a person makes something, no matter how technical that task may be, they put their own personal stamp on the process. It's uniquely yours. Chefs refer to this as the love that's put into the food. Doing it yourself transforms even the most routine things in life creative endeavors. If enjoying that makes me a chump, then so be it. 18 Af£/*£'S THE THING Its slimmer festival season! Check out citr.ca and facebook.com/citt101.9 for updates on our live broadcasts from local music festivals. ;J^ Warpaint 8 Spring*+ ^|§ lll'6IIS%t 10 TheeAhs** ,. Dixie's Death n frn^." 12 Bend Sinister* .. Fist Full o' ^\ Snicks** 14 Jay Arner*+ |f^Wakefl»f^ 16 TheBinz*+ 17 Panther God STRICTLY THE DOPEST HITZ OP MAY 2014 CITR 101.9 FM CHARTS ARTIST ALBUM I Cool*+ Paint m 2 Mu*+ 3 Connecticut** 4 Role Mach*+ fHpbc DeMarco* Salad Days Small Town By The Sea Holy Shades of Night 6 Chad VanGaalen* Shrink Dust Warpaint Celebrations Mi'ens Corey's Coathanger Twin Galaxies Animals Climb the Glass Mountain LABEL Yellow Plum i Self-Released Aagoo Self-Released Captured Tracks Flemish Eye Rough Trade Self-Released Sell-Released Jigsaw Self-Released FU:M Self-Released T.S.A.T.S. (RSO Flexi) Mint Vagrant The Private World of Paradise* How to Freak out Responsibly,.. Golden Changes 18 iody Glenham*+ Dreamer 19- JPIasfc Palace*+ Ceiling i 20 Liars Mess 21 ^Man Uiedecke* 1 Never San imetYbu 22 Village** Village n Tycno Awake 24 Handle* In Flames m "rtiSouIja^1'' Orchestra* InnerFire Not Yer Buddy Outside Music f Self-Released Self-Released Mute True Noitti r Kingfisher Bluez Ghostly International Dare To Care Strut m 27 ARTIST Woolworm**/ GrownUps* Dorval & Devereaux*+ 28 Phono D'Enfant* 29 Cloud Nothings 30 Tinariwen 31 Blind Horses** Pink 32 33 Mountaintpps* Brian Eno & Karl ALBUM 71 Split Dorval & Devereaux The Wild Rose That Is Here And Nowhere Else •nmaar Avail Get Back LABEL Debt Offensive Moon Glyph Self-Released Carpark Ant> . Self-Released Outside Music Hyde 34 Eccodek* 35 Failing** 36 Allen Forrister** „ Katie and The Lichen** 38 Hunting** Someday World Warp Singing in Tongues Self-Released Self-Released The Apple in the Pig's Mouth You Show Me Things Yours Truly Hunting Self-Released Greenbelt Collective Nevada 39 Coast Redwood* Spirit 40 Angel Olsen 41 Fenster Radiclaw Jagjaguwar ThePink Caves Morr Music Burn Your Fire for No Witness . 0 Royal Foundry, u The* 43 She's* .. Sarah Jane Scwiten* 45 The Bamboos Where We Go She's- TheCape Self-Released Self-Released Self-Released Fever In The Road Nettwerk 46 The Belle Brigade Just Because mm 47 West My Friend* When The Ink Dries Self-Released Hard Boiled 48 Odonis Odonis* 49 Amen Dunes 50 Carta Bozulich Soft Boiled Love Boy Buzz Sacred Bones Constellation CiTR's charts reflect whats been played on the air by CiTR's lovely OJs last month. Records with asterisks (*) are Canadian and those marked (+) are local. Most of these excellent albums can be found at fine Independent music stores across Vancouver, if you can't find them, give CiTR's music coordinator a shout at (604) 822-8733. Her name is Sarah Cordingley. II you ask nicely she'll tell you how to find them. Check out other great campus/community radio charts at www.eHrahot-online.com. 20 CHARTS THE TOURIST COMPANY by Natalie Hoy photos by Yuliya Badayeva illustration by John C Barry (on page 21) "We wanted something to do with travelling or a feeling of transience, not having a permanent home. How would you describe it, Taylor?" Jillian Levey, who provides backing vocals, keys, and percussion in the Tourist Company, is describing the origins of their name. She motions to bandmate Taylor Swindells, taking a sip of her chai tea latte in the process. It's a rainy Sunday afternoon and I'm sitting inside a crowded Starbucks with three of the progressive folk band's members: Levey, Swindells (vocals/guitar), and drummer Brenon Parry—only missing bassist Josue Quezada. Surprisingly, none of the band members are originally from Vancouver. "Jillian was born in South Africa, Brenon is from Arizona, and I'm from out East," Swindells explains, while remaining member Quezada is from Guatemala. "We're kind of transient, so we wanted [the name] to be as well." Even so, their latest release, Space Race, seems to have found them a home within the Vancouver music scene—and the hearts of its loyal supporters. The original trio of Swindells, Levey, 22 7*A/£ TOURIST COMPANY Inspiration for the album's theme— the race to the moon during the Cold War and the optimism that surrounded it— originally stemmed from Swindell's life-long fascination with space. and Parry started playing music together in 2010 after meeting at a camp ministry and released their debut album, Brother, Wake Up, in May of 2013. Following the addition of Quezada last fall, the band decided to take a more lengthy approach with the Space Race EP—released on May 6. "A lot more time and attention went into how we got the sounds for each song," says Parry. Levey nods in agreement, adding that there are "a lot of layers to [the album]—a lot of intricacies." The band attributes their dynamic sound to working with fellow musicians Jordan Klassen and Dan Klenner, who produced and engineered Space Race, respectively. Both are mutual friends through the band's manager, Alex Wyder: "We asked Jordan [to produce the album] because we like his artsy mind," says Parry. "He's just this really creative person." As luck would have it, Klenner had recently, opened a studio space—coincidentally named The Space Studios—in East Vancouver around the time they were looking to record. "Jordan and Dan went above and beyond trying to make each song have its own unique r.*y£ TOURIST COMPANY 23 sound. Songs that are high energy reflect that in the sounds we got out of each instrument; [same with] the smaller, more delicate ones." Inspiration for the album's theme— the race to the moon during the Cold War and the optimism that surrounded it—originally stemmed from Swindell's life-long fascination with space. "Taylor likes to write with a story in mind," explains Levey, adding that their releases . are formed around concepts pitched by Swindells. "Science at the time was so optimistic about their idea of what the world would be [like] 50 years from now," Swindells says of his interest in the era. "When I pitched it to these guys, they were like, '... Sure."* He lets out a small chuckle. "I'm too much of a nerd for my own good, I guess." mM Interestingly enough, the band had already written a full-length album before the conception of Space Race even came into play. However, they decided to put the project on hold, opting instead to do "something that [they] could afford to do earlier." The decision seems to have paid off, with the group crafting a short, yet astonishing journey through time and space. Opener "Irrepressible Future" is an upbeat, folk-rock number, accented with sweeping vocals and xylophone magic. The looming desire for innovation during the era can be described perfectly by closing lines, "I don't wanna die until you know who IVe been." "They've Got Us on Our Heels" is another standout, and provides contrast with "Irrepressible Future" by drawing inspiration from the darker, despair-filled atmosphere of the Cold War. The vocal dynamics between Swindells and Levey are heartbreakingly haunting, yet there is something sweetly poetic about their lyrics: "We woke up today / Our futures planned / Walking side by side / So unaware that they were planning our demise." Releasing Space Race is not the band's only recent accomplishment. Earlier this year they entered the CBC Music Searchlight competition on a whim—and ended up being crowned the Regional Champions. The band was blown away by the support they received from family, friends, and even fellow competitors. "The other artists were so supportive and positive," says Levey. "It was such a great surprise, actually. I didn't expect that." Swindells is quick to agree: "I think it's unique to Vancouver. The community of musicians are really supportive of each other—it's not like you're all competition." Without any major touring plans in the foreseeable future, the band has a few local shows already on the horizon. "Hopefully this fall well be going out and touring the EP," Parry says. And how about that full-length album? "We're working on it already," shares Swindells. "I don't stop writing 'cause I'm just obsessive like that." That being said, the band plans to take their newfound knowledge into the current writing process, noting that a lot of their previously written material probably won't survive. "Our sound changed a lot with recording the EP," Swindells explains. "It shaped a lot of the way we do things, so the older songs just didn't feel like they followed suit with the [direction we were] headed." One detail they have settled on is the theme: a World War II love story. With the Tourist Company's innate ability to weave stories into wondrous soundscapes, it is most definitely another adventure you won't want to miss. @ i Don't forget to check out the Tourist Company at either of their next shows: June 7 at the Fox Cabaret with Colour the Wild and June 28 at the Narrows Pub, where they'll be sharing the bill with Rococode. -JSm 24 7*Ay£ TOUR/ST COMPANY '• ■ ■ I I illustration by Alison Sadler '.4f (#; s*.w C* f r If iVU- fffffffO I /I f | jr«t ^ rff £ f # _*„, ^P Bii if t- « ! f 1 & ■III I _, 5 * I | | g.. *• * SPENCER DAVIS by Robert Catherall photos by Sylvana d'Angelo illustration by Dana Kearley (on page 27) "When I asked my dad if I could get a guitar, he wasn't into it. He said it was a phase and thought I should get a parrot because it would last me longer," a man pensively recalls from behind wire-framed glasses. "They live for 40 or 50 years," he adds, cracking a smile. This is just the first of many light-hearted anecdotes Spencer Davis shares with me as we sit down to discuss his many projects, music as a dialogue, and how to have a good time in "No Fun City." Best known for his role as unaffected bass player in local aggro-rock outfit Cowards, whose early recordings found a home on Majorly Records last month under the title World Leaders in Male Chastity, the tireless musician maintains a lighter, yet determined air behind the antagonism of his Albini-esque stage presence. "I started out playing with Sydney [Koke] from the Courtneys. It was this noisy, messy kind of thing, but we had a lot of fun," says Davis, recounting the details of his first jam sessions in his hometown of Calgary. Then, as with most high school bands, graduation happened, reality sunk in, and the players went their separate ways. For Davis, the natural progression was to escape the endless prairie winters, and so he made inroads from Calgary to Vancouver eight years ago, where he did guitar and vocals for local noise-rockers Fortress. Since then, Davis has been involved with a variety of projects, such as the short-lived and challenging work of Glass Armonica, whose self-titled EP, which can still be found online, is a worthwhile journey into cross-cultural experimentation. Meanwhile, Davis' most 28 SP£7VC£$ DAVIS 1 1 • 1 ' 1 t T^ft^r*^*- P s « ' ■• vn"*'^^ » 1 '1 1 ' 1 1 1 * ^W*'f . ' 1 p 1 1 1 _ . 5 %& i 1 1 » _^ --~. *• *__._____ I m > i ^g _HK> 1 t 1 < :''A'"* .*sP ' ^sliii •'!" * * **' ** . '' J ^^<\ vi?a*« 1 s? .a_ss?§8_§<S5eKj§? « £8 ' ,J' i * ^^wssssIksskskk ■ ■ I 1 V:-' ■ js §_SPii l§§?£3i j ifPHK... Ill "mm ]k recent undertaking finds him at the opposite end of the spectrum, playing spastic garage psych alongside veteran rockers Jeremy van Wyck (Shearing Pinx, Aerosol Constellations) and David Rogers (Basketball, Aquanaut) under the Tycho Brahe moniker. Somewhere between these commitments the dynamic multi-instrumentalist always finds time to return to his solo projects: S.P. Davis and Nervous Operator. "IVe been working on the S.P. Davis stuff for around 10 years now," he says, describing the patient, progressive twang reminiscent of early John Fahey. Although his songs have been written slowly over the past decade, they are never agonized over and develop through an organic process that has taken on its own electro-ambient alter-ego: Nervous Operator. "It's fun because I can be booked at a noise show and show up with my acoustic guitar," Davis notes, explaining the interchangeability of the two monikers. "For me, [sangwriting] needs to be like a ballast with two opposite ends. Ill work on one project to the point where I'm sick of it and then be able to work on something completely different." SP£/VC£ft DAVIS 29 "It was this noisy, messy kind of thing, but we had a lot of fun," says Davis, recounting the details of his first jam sessions in his hometown of Calgary. Then, as with most high school bands, graduation happened, reality sunk in, and the players went their separate ways. Shuffling between acoustic and electronic means his solo live shows (whether as S.P. Davis or Nervous Operator) takes sidestepping an audience's expectations further thari just extending a solo or taking cues from a genre. Challenging the tradition of catering to audience expectations is not a new concept in music, especially in live performances, where bands in both jazz and noise circles continually change their sound or collaborate with others to skirt expectations. This, Davis insists, is part of a larger dialogue about challenging perpetuity and stasis: "I don't do a lot of improvisation at shows, but I definitely love the organic songwriting process." Nevertheless, the Calgary native's inquisitive nature spurred him to keep that dialogue open. The medium of music has given _him an outlet for ongoing . conversation that transcends not only listeners' expectations, but borders and cultures as well. Viewing music as a component of this larger dialogue, he sees it as a balance between bringing together communities and nurturing individual catharsis. With this in mind, Davis giyes no credence to the "No Fun City" subtitle when considering Vancouver's music scene. "It's always been a struggle but it's all about yourself: if you're a fun person, you're going to have a fun time wherever you go. If you're expecting the city to give you a good time, then youll be upset. If you go out to make a good time, then you'll have a good time." Whether curating shows at the Red Gate Art Society or performing in one of a handful of local bands, the tireless Vancouver mainstay shows no signs of stopping, "My dad is actually very supportive now. He says I should apply to 4AD. That's his favourite label." $f i Spencer Davis will perform back-to-back daytime sets with both Tycho Brahe and as Nervous Operator at Red Cat Records on June 7 as part of this year's Music Waste Festival. 30 SPENCER DAVIS GALLERY KINGSGATE GACHET MALL SMILIN' BUDDHA COBALT 88 E Cordova St 370 [Broadway 1 WASTE ..■: 1 111 1 ■'■ M ' ■ KINGSGATE 1 WASTE: I OPEN ■ ^^^^TEEjfflE [" .miB;' lEIrMWll CINEWORKS DUNLEVY GAM KINGSGATE PAT'S SNACKBAR GALLERY MALL PI Ii 1131 Howe St 433 Dunlevy Ave 110 E Hastings St 370 E Broadway 403 E Hastings (enter thru alley). (Ml MGOBNAGH, j - DUVDLO. 1 mm Art IffiiM 1 6o ^fbyr Own Waste [. mil • i is I REMINGTON SMILIN' n GATE GALLERY BUDDHA ASTORIA CABARET COBALT 855 E Hastings St 108 E Hastings St 109 E Hastings St 769 E Hastings St 917 Main St TYLDR Art STEVE LOUIE Aft III JtMI LIE VINCENT PARKE VILLA6E CDQL AVENUE DYNAMO GUYS KINGSGATE LUCKY'S GALLERY & DOLLS MALL COMICS 163 E Hastings St 30 E 6th Ave 2434 Main St 370 E Broadway 3972 Main St SHERRY '; gfypur own waste Wllf goyotir.osvs waste NEPTOON PAT'S RED CAT SIMPLY THE THEY LIVE TOAST RECORDS PUB RECORDS DELICIOUS ASTORIA VIDEO COLLECTIVE 3561 Main St 403 E Hastings St 4332 Main St 4316 Main St 769 E Hastings St 4340 Main St 648 Kingsway sis EATING LINE IPS' LEY PARK TT HI SEP •01 JESUS flUSTRUU. PRIEST OVERCOATS _*> w TH >^W^ Eagulls, Twin Peaks ©Media Club Jonathan Richman @ The Biltmore Cabaret MUSIC WASTE Sunny Pompeii @ Fox Cabaret The Jezabels, Gold & Youth @ The Imperial Tomorrow's Tulips, The Prettys, Scotty P & The Virgins @ Electric Owl 10 Metronomy, Cloud Control @ Fortune Sound Club 11 Hannah Epperson, Rococode, JP Maurice @ Fortune Sound Club 12 Old Man Markley, Fire This Time, Jesse Lebourdais @ Biltmore Cabaret Destroyer (solo set), Blackout Beach @ Rickshaw Theatre 16 Hillfolk, Hunter's Night, Ross Nuttall @ Electric Owl 17 y^wyxif 18 Pelican, Tombs @ Rickshaw Theatre Mystic Braves, Tropical Popsicle, The Electric Magpie @ Electric Owl 19 Public Animal, Slow Learners, The Rock Band Called Time @ Biltmore Cabaret The Flavr Blue @ Venue 23 The Backhomes, Betrayers, The Lad Mags, Scars & Scarves @ Electric Owl Fitz & the Tantrums @ Commodore Ballroom 30 Nick Cave & the Bad Seeds @ The Orpheum S. Carey @ Biltmore Cabaret 24 Veruca Salt @ Biltmore Cabaret King Khan & the Shrines @ Fortune Sound Club 25 Ages and Ages @ Rickshaw Theatre Run River North @ Media Club 26 Devo @ The Commodore Ballroom illustrations by Tylor Macmillan MUSIC WASTE The Archers, Ruffled Feathers, Luca Fogale © Electric Owl Nice Peter, The Jackpot Golden Boys @ Rickshaw Theatre 13 The Zolas, James Younger, Damn Fools ©The Imperial 20 Yamantaka//Sonic Titan, Sun Killer © Fortune Sound Club Top Less Gay Love Tekno Party ©The Imperial 27 Sheer Agony, Lab Coast, Jay Arner, Watermelon © The Astoria DeanWareham, Jody Glenham © Biltmore Cabaret 7 Sled Island Music Waste Showcase ft. Crystal Swells, Supermoon, Woolworm © The Toast Collective 14 We Hunt Buffalo, Shooting Guns ©Media Club The Dudes ©The Imperial 21 Chelsea Wolfe © Electric Owl Royal Canoe, Copilots © Fortune Sound Club Lily & Madeleine © Media Club 28 The Knocks, ASTR © Media Club Spanish Gold © Biltmore Cabaret Wu-Tang Clan © The Orpheum 1 Gordon Ashworth, The Rita/Molena, Rusalka, Worker, Mass Marriage © Rainbow Connection 8 MUSIC WASTE (see guide in this issue, pages 31-40) 22 AVENUE DYNAMO GUYS KINGSGATE LUCKY'S GALLERY & DOLLS MALL COMICS 163 E Hastings St 30 E 6th Ave 2434 Main St 370 E Broadway 3972 Main St 8:15 8:30 8:45 9:00 9:15 9:30 9:45 10:00 10:15 10:30 10:45 11:00 11:15 11:30 11:45 12:00 12:15 12:30 12:45 1:00 1:15 1:30 1:45 2:00 2:15 2:30 2:45 3:00 NEPTOON PAT'S RED CAT SIMPLY THE SUNSET TOAST RECORDS PUB RECORDS DELICIOUS ASTORIA TERRACE COLLECTIVE 3561 Main St 403 E Hastings St 4332 Main St 4316 Main St 769 E Hastings St 2028 Clark Dr 648 Kingsway THE JAMIE KB i BUD IH1 FAITH HAXWttl pnson lien III 11NILI iumes CULT BABIES Mill DW6ML THE NOBODIES <aq Your Own Wastt 6r>Y<3urOwr^Vmta iYSTAL SWELLS SIM w Hi r ANZA ff CLUB frS 3 W 8th Ave r 3:45 i 4:00 ■■■■mmmm^mm 4:15 liiniil 4:30 ....^____™«___r. 4:45 i sow PHANTOMS AGAIN OEFEKTDflS THE BEST 0 IN Til! 5 BUCK! (or, free for station members] Antisocial Skateboard Shop 2337 Main St. 10% off Australian Boot Co 1968 West 4th Ave $30 off Blundstones and RM Williams Aveda Institute 101-111 Water Street 10% off Audiqpile 2016 Commercial Dr. 10% off LPs/CDs BadBird Media www.badbirdmedia. com 10% off The Baker & The Chef Sandwich Cafe 320 Cambie St. 10% off Band Merch Canada www.bandmerch.ca 20% off Bang-On T-Shirts Robson, Cherrybomb, Metrotown locations 10% off Banyen Books and Sound 3608 W 4th Ave. 10% off Beatstreet Records 439 W Hastings St. 10% off used vinyl The Bike Kitchen 6138 SUB Blvd. 10% off new parts and accessories Bonerattle Music 2012 Commercial Dr. 10% off The Cove 3681 West 4th Ave. 10% off food Dentry's Pub 4450 West 10th Ave. $6.99 wings, $11.99 pitchers Devil May Wear 3957 Main St. 10% off Displace Hashery 3293 West 4th Ave. 10% off Dunlevy Snack Bar 433 Dunlevy Ave 10% off The Eatery 3431 W Broadway 10% off The Fall Tattooing 644 Seymour St. 10% off Fortune Sound Club 147 East Pender St. No cover Saturdays (excluding special events) Fresh is Best Salsa 2972 W Broadway 10% off Gargoyles Tap+Grill 3357 W Broadway 10% off Highlife Records 1317 Commrecial Dr. 10% off Hitz Boutique 316 W Cordova St. 75% off regular priced clothing and shoes Limelight Video 2505 Alma St. 10% off Lotus Land Tattoo 3278 W Broadway 10% off Lucky's Comics 3972 Main St. 10% off Neptoon Records 3561 Main Street 10% off used, $1 off new Nuba Kitsilano 3116 W Broadway 10% off food Pacific Cinematheque 1131 Howe St. 1 free bag of popcorn Pandora's Box Rehearsal Studios 1890 Pandora Street 10% off People's Co-op Bookstore 1391 Commercial Dr. 10% off Perch 337 East Hastings 10% off The Portside Pub 7 Alexander St. 10% off Prussin Music 3607 W Broadway 10% off The Regional Assembly of Text 3934 Main St. 1 free make-your-own button with purchases over $5 Red Cat Records 4332 Main St. 10% off R/X Comics 2418 Main St. 12% off Rufus' Guitar Shop . 2621 Alma St. 10% off everything but instruments and amps The Rumpus Room 2698 Main St. 10-20% off Save On Meats 43 W Hastings St. 10% off food UBC Bookstore 6200 University Blvd. 10% off clothing, gifts, stationery Used House of Vintage Granville, Robson St. locations 10% off Vancouver Music Gallery 118 HanesAve, North Van 12% off Vinyl Records 319 W Hastings St. 15% off The Wallflower Modern Diner 2420 Main St. 10% off Woo Vintage Clothing 4393 Main St. 10% off a niEWiFOntm scores you sweet deals AT VANCOUVER'S F NEST SMALL MERCHANTS AND SUPPORTS CITR. SHOW IT WHEN YOU SNIP! WWW.CITR.CA Evan Dando & Sarah Johnston photo by Alan Derksen 42 $£4(. LIVE ACT/ON PROJECT PABLO + NEU BALANCE + MESA LUNA + NOBLE OAK May 2 at the Fox Cabaret Few venues in Vancouver can boast a history as dubiously intriguing as the newly opened Fox Cabaret. Up until last year, the Fox was known as North America's last 35mm porn theatre, improbably located in the heart of Mount Pleasant. After several months of planning, renovations, and undoubtedly a lot of scrubbing, it officially reopened its doors in March of 2014. Under the new management of the Arrival Agency, (previously known as Waldorf Productions), the Fox has been hosting an increasing variety of shows and regular events, including the legendary Ice Cream Social. It has also stepped up to fill a void left by the now-defunct Waldorf Hotel, particularly as a much-needed nexus for Vancouver's % electronic dance music scene alongside prominent local artists, both seasoned and relatively fresh. The night kicked off with Noble . Oak, who has frequently been in the spotlight over the past few years with a collection of EPs, singles, and remixes. Combining reverb- drenched falsettos with house and DnB inspired beats, he warmed up a slowly filling dancefloor, at one point impressively recovering after a few seconds of silence caused by what looked like a snagged audio cable. sgifej Making my way back in after a mid-act smoke, I was treated to the sounds of newcomers Alex Cooper and Justice McLellan, a.k.a. Mesa Luna. They grooved on guitar and MIDI-controllers, channeling folk and lo-fi dreampop into brooding, yet entirely danceable music. Their new single "Shutting Down" closed the set, a head-nodding tune about existential anxiety featuring a killer synth solo. Next up was laptop-wielding duo Neu Balance, filling the Fox's cathedral- esque, high-ceilinged space with their cerebral concoctions. A familiar name to , anyone following Vancouver's output of electronic music, they've coupled sporadic web releases with consistently good live performances, including a set at last year's New Forms Festival. Friday night was no exception, although the intricate drum patterns and warm, sampled textures were, inexplicably, not quite enough to ignite a somewhat lethargic crowd. Following Neu Balance's set, the night was taken over in earnest by Project Pablo, a new house-directed moniker of the DJ and producer formerly known as 8prn, Patrick Holland. He had been inconspicuously spinning tunes between acts at the side of the stage, maintaining a grooving atmosphere with tasty 4/4 tracks that included some of his own material, in anticipation of a forthcoming EP on Hybridity. A personal highlight of the subdued final set was Joy Orbison's , superbly soulful house edit, "Donell." Around 1:30 a.m. the house lights went up and we all headed out, reminding us of our populated surroundings, far removed from the warehouses where Vancouver's dance music has been thriving lately. —Daniel Lins THE PAINS OF BEING PURE AT HEART + FEAR OF MEN + ABLEBOBY May 2 at Fortune Sound Club One of my favourite things about Fortune Sound Club are those initial steps up the stairs, where you can hear the echoes of the on-stage band spilling down into the lobby. Climbing the steps by two, I eagerly wanted to see the band that was luring me in with their bright haphazard melodies and garagey guitars. Playing to a decent crowd for 8 p.m., trio Ablebody got the night started with a fuzzed out, noise-pop set. The band had a chill, unkempt sound that had bite but remained catchy. Lead singer and guitarist Christoph Hochheim projected the standard reverbed blitheful vocals but also hit a surprisingly nice, $£4£ LIVE ACTION 43 floaty falsetto. Reminding me of a young Bobby Gillespie—okay, maybe just in terms of hair—Hochheim hooked the crowd with his sporadic guitar solos that were short and oh-so-sweet. Sure, Ablebody has a sound weVe heard many times before (though their records tell a different story, which are more dreamy and new-wave in comparison) the band delivered a no fuss, down-to-earth set that any crowd can't resist just vibing and bouncing along to. Like Ablebody, second openers Fear of Men proved that the band on record doesn't necessarily give you an idea of what they 11 sound like live. Hailing from Brighton, the four-piece band has the recipe to be the ideal loveable twee-pop group: soft vocals, forlorn and ho-hum lyrics, bright sunny guitars... they're British. But rather than succumbing to the sickeningly sweet genre that's already overly associated with any band that has female members sporting bangs, Fear of Men weren't delicate, whimsical or twee to any extent. They were bold and gloomy and won over the crowd wholeheartedly. With a girthy bass and pounding drums, the opening song brought everything down to a low and moody register. Contrasted by lead guitarist, Daniel Falvey's tinging, crisp notes, the band immediately set up an interesting dynamic for lead singer and rhythm guitarist, Jessica Weiss' pristine vocals and vigorous strumming to shine. It was their closing number, "Inside," that took an already impressive set to a memorable finish. With its impeccable build up, Fear of Men's shoegaze freak-out was by far the highlight of the night. Promoting their upcoming studio album, Days of Abandon, the Pains of Being Pure at Heart (let's go with Pains for short) gave the audience a preview of some new/ never -released material. Stepping away from their signature blitzed out, noisy tracks, Days of Abandon dares to be tender, poppier, and more sentimental which was perfectly demonstrated by the first song of the set, "Art Smock." It was just frontman, Kip Berman on stage with his electric guitar, singing about nostalgic memories and bittersweet loves. His bandmates, plus Weiss (on synth and backup vocals) discreetly joined Berman on stage. The essentially, three bands in one line-up, jumped seamlessly into "Just Like Heaven." Following with a couple older tracks, the next new one was, "Kelly," featuring Weiss on lead vocals and a very Smithsy's a la "This Charming Man" beat. Catchy as hell, the song put an extra pep in everyone's step as the crowd got their dance on. After playing smother upbeat track, "Simple and Sure," from the new record, the band went back to some oldies but goodies from their self-titled debut including the always crowd pleasing, "Young Adult Friction." When the band goes into the final verse, reciting, "Don't check me out," it just never gets old on how addicting that outro is. Offering a nice variety, the first encore song, "Coral and Gold" stood out with its misty and serene arrangement that calmed everyone like soothing ocean waves before being blasted again with closer, "Everything With You." I went in thinking I was in for just another show of the usual despondent shoegazing, dream-pop acts. But how sweet it is to witness bands that defy your expectations and give you an energetic slap in the face for being so pessimistic. —Angela Yen EVAN DANDO + SARA JOHNSTON May 9 at the Biltmore Cabaret The ^Os nostalgia train chugs ever forward, building with it some sprightly momentum that's easier to see than those Magic Eye illusion thingies ever were, and more digestible than those Pizza Lunchables ever were, too. Sure, the decade was synonymous with grunge and gangsta rap but it also brought alternative music into the vernacular and, for better or worse, the mainstream. Some of the power pop heavyweights of that era fared better than others—there's a shit ton of poseurs who just aped Eddie Vedder, most of them named Scott (Weiland, Stapp,' I'm looking at you!)—and of those who made ft clear, the Lemonheads have a modest but utterly laudable legacy. Their frontman, 44 r?Mt LIVE ACTION Evan Dando, remains relevant via sporadic but delightful releases and he tours his oeuvre tirelessly. Dando's current solo Canadian tour with Sara Johnston (of Montreal famed *90s-era electronica act Bran Van 3000) opening, touched down . at the Biltmore Cabaret for an early show promising and delivering wistful and rollicking pop in profusion. The crowd was sparse but building when Johnston took the stage, and while she was cheerful and feelgood, her songs were a little dull and unadorned in that exhaustively exuberant kinda way. I feel bad admitting it but I found her too complaisant and folksy in a Sarah McLaughlin vanilla kinda way. Fine and inoffensive, just not my cuppa tea. Johnston closed her set with a cover of Billy Idol's "Eyes Without a Face" for some reason, reminding me that I dislike the original version a fair bit and found hers somehow even more rasping and shrill,. Maybe needlessly singing a few verses in francais is what did it, or perhaps that Johnston's plumbing of the Me Decade went back a little too far for what I was after. Regardless of this lapse nothing could impede the elation of knowing that Dando was up next as the now buzzing throng edged up to the stage in eager anticipation of our favourite long-haired poster boy of all things alterna-awesome. Dando didn't disappoint, opening with "Tenderfoot," a fan favourite originally performed by Aussie slackers Smudge back in *94. Later in his set Dando would do another Smudge cover, "Divan" which was divine. Both those Smudge ditties were penned by Tom Morgan, one of the Lemonheads during their heyday, who also contributed hugely to It's a Shame About Ray, their chef d'oeuvre. After a couple songs, Dando, who wasn't fully engaging the crowd but still playing his heart out, left the stage in search of a capo. With the stage empty I had a brief panic attack. When he was in and out of rehab in the mid-^Os and every now and then since, his stage shows can get a little whack. Ill never forget the disaster that befell Richard's on Richards in 2001 when a very intoxicated Dando leapt off the stage, fists flying. That set was interrupted frequently by antagonistic fans and Dando's engaging with them. This reached a debauched crescendo when a drop-down drunk Courtney Love (accompanied by a painfully embarrassed Charlize Theron) joined him on stage, demanding he replay half his set (which he did) before flashing her boobs and her bird to the stunned audience, and later commandeering his guitar for a set of songs nobody wanted to hear. Thankfully Dando was back on stage in no time, capo in hand, and he dove back into a set peppered with some of his greatest hits. "The Outdoor Type," "Confetti," Being Around," and "My Drug Buddy" had everyone dizzy with delight. Playing requests like "The Great Big No," "Ride With Me," and "Skull" more than made up for the fact that his banter was non-existent. He ploughed through an enshrined tally of tunes, his voice intact and sunshiny as ever. He could have played all night long and the crowd wished he had. But, since Dando seemed to be enjoying himself on stage and rumours of another Lemonheads LP keep breezing by (though the lack of any new songs played didn't suggest such), hopefully hell be back before us again posthaste. —Shane Scott-Travis r?W( LIVE ACT/ON 45 BESTIE No Bad Days Independent With all the gorgeous weather hitting Vancouver recently, there really is no better time to listen to BESTiE's new album, No Bad Days. A lush, surf- and-sand feel oozes from every chord while the popy riffs and nasally vocal phrases urge you to bust out your coconut bra and pair it with a pina colada. It's amazing how BESTiE were able to produce such .a summery album, considering they likely wrote and recorded it during the fall/winter months. Songs are rich in lyrics that pine for various girls, using some interesting edible analogies along the way, including opener "Pineapple." At the album's forefront, the track starts with jungle animal noises before proceeding into a sunny, energetic beat complete with lip trills to give it that extra luau vibe. The staccato sung verses add to the catchy percussive rhythm. As isomeone whose mouth becomes ablaze at the mildest of salsas, it's quite surprising that my favourite tune on the album is "Sriracha." It begins with the sound of waves, establishing a beach setting. Cool, twangy riffs follow, alongside lyrics depicting a romantic, dare- I-say-spicy encounter with a girl; breathy "sriracha"s punctuate between verses, making it seem as if they just had some. It ends with a great last line that ties the whole schtick together: "She burned my lips." Contrary to their album's title, BESTiE does have its bad days, as demonstrated by exemplary "Foolish Hearts." The deep bass, unrelenting string of notes, and ooo's set the heavy-hearted tropical-surf tone. You can hear the yearning in singer Tristan Orchard's voice, lamenting about past love and using drawn out vocals to create an expansive-feel. A stormy day at English Bay with the palm trees swaying in the wind is the best image to summarize the track. Overall, No Bad Days is a fun album for a fun summer. It'd be nice if Orchard's vocals were a bit more distinguishable, but then again, that might take away from the island vibe. Regardless this album fill will undoubtedly be a cornerstone of my summer playlist. —Willa Bao IHlI llllllfllllil TrBITflGfW llllllt 5S GNOMADICS Try It Again Independent There's something that screams mild disorder in the artists merging rock, psychedelic, and power pop in the modern music scene j but something very right • 46 UNDER REVlEvV about the trance-like state listeners are put in whilst on the musical journey. And it appears Vancouver rockers Gnomadics know this all too well, and have helmed—and executed— their latest release accordingly. • Opener "Purple Flowers" begins almost childlike, complete with whimsical guitar riffs and nonsensical lyrics. Yet there's appeal in the clever instrumentation and raw vocals, drawing listeners in to each rhythmic strum and drum beat. The pace quickens with "Lend Me Your Bones," an oddly cheery tune for one whose lyrics I expected the worse from. It's thoughtful, almost playful, but still dons a groovy rock 'n' roll vibe. "Autobiography I" is clouded with nostalgic feelings on both sides of the spectrum. "Oh memories / At every corner / Oh misery / Never more than I need," outpours the lead vocalist, sombre and accepting. "Draws Surreal" has a depressing ambient, showcasing wounds and hurt. Powerful guitar solos and angst-ridden vocals are the strengths of the song, which help to draw out the vulnerable and wistful tones: "And I don't want to care to see that light again / Cause I don't want to fix my sight on this fight again." Clocking in at just under 3 minutes, closing track "Try It Again" impresses with its blend of roots-oriented sound, and could have easily been plucked from a *90s flick. ■ For a toe-tapping listen, Try It Again is the catch of the day. Although the songs lack cohesion with each other, each is well-crafted and unique to the ear. The shift in tempo and rough-edged rhythms are refreshing, and the passion for rock 'n' roll is undoubtedly present in the forefront of the melodic tunes. Far from solid direction, the wandering souls of the Gnomadics are carving their own approach to original music, and are surely making memorable waves in the process. —Chloe Hoy NO SINNER Boo Hoo Hoo Provogue Records "You know I love the smell of whiskey /And I hate the taste of gin / But I always feel at home in a place that's soaked _fc ILfc, -...3 in sin." Powerful lyrics for an album's second stanza, but No Sinner's latest offering, titled Boo Hoo Hoo, is about as subtle as a cinderblock to the jaw. It's not an album about self-pity or whining, but rather about self-reclaiming and acceptance. No Sinner knows where they've been and knows what they've done, but it's time to look towards what's next—endless optimism, but with an edge to it. Boo Hoo Hoo starts off appropriately with a thunderous opener, the album's title track. The initial 10 seconds of lone percussion dares anyone to not be immediately hooked, while the rest of "Boo Hoo Hoo" follows a steady pace. Though an amazing first song won't make or break an album, it certainly doesn't hurt either. Following up a knock-out with another knock-out, Boo Hoo Hoo's second track, "Love is a Madness" is as silky as the rock _i' soul numbers come, knowing exactly when to keep things low-key and when to crank them up. There's a certain air of intimacy to the song, no doubt largely credited to singer Colleen Rennison's signature voice and impressive vocal range | iNfcf|| Unfortunately, after the album's' first two tracks, Boo Hoo Hoo seems to stumble in following up with anything that seems completely fresh—and that's not necessarily a bad thing. In the year - 2014, it seems like a significant chunk of music could be classified as a retread, but that doesn't make the retreads any less enjoyable. There's something simultaneously throwback but modern about No Sinner's overall sound, yo-yoing between early classic rock and fresh upbeat tracks more common in today's UNDER RE VIE Vv 47 music. If you needed another act to draw comparisons to, Alabama Shakes would be a good one—though Rennison's vocals definitely have a more refined touch to them than Shakes' Brittany Howard could ever reach. At eight songs, Boo Hoo Hoo seems to end just as it's getting started, but better to leave 'em wanting more than wear out a welcome. With a couple of shining gems and a few other decent songs, Boo Hoo Hoo will make for easy listening but won't necessarily go down in the record books. —Brody Steeves MI'ENS experimentalsparklenoisepop Independent It can't be stated thoroughly enough just how much Mi'ens benefit from a studio-booth finishing session. Kim Glennie and Evan Johan, the sonic titans behind the math-rock project, seem to have been plagued in live performances by mismatched sound .systems, and Glennie's brand of looped guitar noise can overpower and muddle even the mightiest. of amplifiers. All of these troubles make it a rewarding experience to hear . experimentalsparklenoisepop, the duo's first LP, and to hear Mi'ens as the band members have always intended. Each song starts with a basic guitar loop before expanding on itself with multiple overlays, tempo changes, and flourishes; the band aren't exactly rewriting the world of math music, but it's refreshing to hear each glitchy electrical riff in the clarity it deserves. Standout tracks here are the ones that break from the mould Glennie relies on in a live setting. "Sparklecore" manages to sound even fuller than the tracks preceding it without the benefit of a looped guitar track, and instead hammers home with beautiful, tremolo- rich arpeggio chords and even the muted whisperings of Glennie herself, gracefully presented just below the mix of the quiet instrumentation. Elsewhere, the rabid "Pointillist Pilot" plays like a forgotten Fugazi song minus Ian MacKaye's indignation. The instrumental refrains are to the point and carry some of the most interesting guitar-work on the record. As the fastest song of the eight, it stops well short of wearing out its welcome which, at times, can be the main fault with Mi'ens' debut offering. While closer "Terrorist Attraction" is the most diverse—and best-r-track of the bunch, it highlights that the duo don't need loopers to create intricate and fantastically full- sounding noisescapes. Another instrument might go a long way in continuing the excellence that Mi'ens have gotten on tape in the studio, but for now it's enough to sit back and wonder at the amount of crazy sounds two people can put out at once. —Fraser Dobbs false control of your own contenl "Thousands of people deciding Ipr/iaf fa do tonight wiM Mm viewfa yourp*1#tes *nd event listings 48 UNDER REVIEW THE FLINTETTES by Max Hill photos by Nolan Sage illustration by Alisha Davidson (on page 49) "We were all friends from playing in other bands." Mike Flintoff, thin, sanguine, and bespectacled, sits at a 90 degree angle from me in the noisy Mount Pleasant bar where I'm interviewing the Flintettes, one of Vancouver's newest and most promising pop groups. It's trivia night, so we're all shouting over the din of a multiple choice quiz; every 10 seconds, a new song blasts through the speakers, and barflies shout out guesses for the name and artist. Flintoff and his bandmates—bassist Marissa Johnson and drummer CC Rose—seem unfazed. They're used to a little bit of noise. They're telling me the story of the first show they played together—10 years ago, when all three were in different bands. "I was playing with the Parallels, Marissa was playing with the Weathered Pines', and CC was with Vancougar," Mike remembers. The three debate over whether the show, a triple bill at The Marine Club, was in 2004 or 2005 (it was actually 2006); either way, it's clear the trio's history goes far beyond the Flintettes. All three are long-term, members of Vancouver's tight-knit community of musicians, and sitting with them as they share a pitcher of beer and trade barbs and in-jokes, it's clear that they go way back. As the Flintettes, the three are a force to be reckoned with—a concentrated dose of sun-soaked power pop with a strong '60s influence and enough high octane hooks to make the Beatles blush. "File under pop" is how they describe their own sound, and they leave it at that. Their new EP, Open Your Eyes, is a rollercoaster debut from a group who knows exactly what they want to say—and they say it pretty fucking well. "I'm not afraid to embrace pop," Flintoff, the band's principal songwriter, admits. "It used to be kind of a bad word for me, and I think it got to a point, in this band, where I thought, You know what, fuck it! I love pop music, let's just write pop songs."* All three bandmates share a love for pop music, along with an affinity for cheap beer and the Kinks. It's easy to play -spot-the-influence with the new record— Mike's vocals have definite shades of early 50 7*A*£ £U/V7*£7-7*£S PI _■_£ ■ » it <** >_ ft: ^■iin-ift " ** * i ilk WML _■•«-. _>■•__*'» "_r_ '• .i-._ .■',-' S Ii IHSIlLr Mfajami j" ^V"i'» -v'-'i " "'•.. ■Vim ^"^pS^'ii^^w^*^ Ifip ^le*mj liii _&^.$$$$&&* ■^8^"*W*- JiBf l*J»to^? :•"■ *«* :;■.*, 1111111 •*S_» B - m ■pi HSi •■.- p • V ■ IMP, H •-• I "Our other bands were perceived as more serious projects, so it was like, 'Let's just have this side project that's really fun.' But it's ended up being the most productive band of all my projects." Elvis Costello, and Johnson and Rose's chemistry as a rhythm section would feel right at home within the grimy walls of a late 70s CBGB's. "This band, I think, is the culmination of all of our influences," Johnson says. One of the biggest strength of Open Your Eyes, then, is its ability to mix its influences into something warm and familiar, but completely new in its own right. For the Flintettes, there's a simple secret to their success: having fun. "It's definitely not our first times around the block writing music or playing in bands," Flintoff notes. "We kind of wanted a band that was just fun," Johnson adds. "Our other bands were perceived as more serious projects, so it was like, 'Let's just have this side project that's really fun.' But it's ended up being the most productive band of all. my projects." "It's a combination of the music being fun to play and catchy, and also that we all get along really well and have a great time hanging out together as friends/ RoSe adds. "I think, inevitably, that ends up coming through somehow." It's easy to hear on the record, too. The .chemistry the three share inside our cramped booth in The Five Point is the same chemistry you hear on tracks like "What Was One," whose call-and-response vocals add a playful, spontaneous quality to the standard pop rock formula. "I'm just as excited about a weekly practice night as I am about going to a show. As long as the three of us are together, and we're getting to have fun playing our songs.'LFlintoff says. After years of playing music in Vancouver and elsewhere, the Flintettes are all about having a good time, and ignoring the drama. The main focus is to have fun and to enjoy playing music, and not get too riled up about turnouts and venues and money and band politics and stupid bullshit not worth getting riled up about," Rose says. "Having played with bands in this town for almost 20 years, I just wont take any shit. I dont care about any of that, I just want to play music." As I'm sitting with them, the three are recovering from a weekend of shows 52 r&£ pu/vrsrr^ w^ *!___^ «_!* *__(? Bh«—__ 3^^iv^_^^^» ^HftjPft*'^ * ' slr^i' ■ iH ^ ^-gatsag ^j£____B; •.,' <fi_«3 Kg. ; ig|U|fc ___Hl_{ 6"fey^_^^ ifljfllBte aP^-lk. »*« _L_rVj'_J* :^___y_i _fe ^ ii^l!^i____Swfcii__i ____*______ ^_SL *^ *"'_£+ ^__i Rfef^^Ji ^HK:* #1 i4*____s^B' __^_s^T:* * * * * <■ _fv *_*_w_*^ i** _*__ __«? _:«__.♦,v.. ^ .$T__&is__^_K$fi£*'__ %3 ^^^I1^^' _" jf"SsT *w8»i& sap1 L-%J||P? .'"V& ' - <♦ *' lilllllillifili m H._ '.V wis .._'_.*.'„. *_.\_ 1 'A™ . ■ s ii in Victoria—they can hardly contain their , excitement about playing for an island audience. "As a drummer, I just really like playing catchy songs with a good beat that people want to dance to," says Rose. "That's been a goal my whole life, to play in a band that plays songs that people want to dance to. So even if it's only like 15 or 20 people, and they're all dancing, I'm very satisfied." '^jM So, what's next for the Flintettes? They seem hesitant to plan too far in advance. There's a new single coming out soon, they say, with a darker feel than Open Your Eyes' shimmery pop—and they make sure to thank their label, La-Ti-Da Records, which Flintoff describes as "a real ma and pa shop." About the closest I can get out of them in the way of a future plan is an idea for the photo shoot: a dip in Flintoff s claw-foot tub, filled to the brim with poutine, another of the band's shared loves. "You have to eat your way out," Rose jokes. If there's one thing we can say for rll sure, it's that the Flintettes have no plans of slowing down, and they intend on keeping their focus on casual fun totally intact. "When it becomes work, it's not fun anymore," Rose muses. With these three, it's hard to imagine anything seeming like work, gf I If you're in the mood for some non-stop pop, look no further than Open Your Eyes, available as a limited-edition seven-inch through La-Ti-Da Records or as a digital download on the Flintettes' Bandcamp. 56 7*A/£ £U/v7-£7*7"£$ VANCOUVER'S WASTE-MAKERS by Julie Colero photos by Sarah Cordingley illustration by Justin Longoz (on page 57) On a sunny Sunday afternoon in mid-April, I arrived at the Strathcona store-front apartment of Mark Richardson, one of the main Music Waste festival organizers; with two flats of tall cans and an extra-large bottle of vodka in the back seat of my car. I was a little late, and there was already a living room full of alcohol- starved judges and tastemakers, all ready to crack the first beer of the day and settle into the arduous task of listening to 247 Music Waste hopefuls. ''So... are there any bands that I shouldn't make fun of?" I ask, somewhat nervously. Many of the Music Waste organizers are musicians themselves, and, knowing Ryan Dyck to be the frontman of Vancouver punksters B-Lines, I had a feeling there might be a few others with vested interests in the bands we were about to pass judgement on. As it turned out, all bands are fair game to ridicule. "We're curmudgeons who truly love local music," says Dustin Bromley, one of the organizers. "Our dedication to this festival comes from our sheer appreciation for musicians and artists who are pushing boundaries or branching out and trying something new. We want to provide a stage and an audience for those acts, as we feel they deserve to be heard. "That said, we don't think we're changing the world, and it's important to have a good sense of humour, especially in a city which at times seems to hate all culture-creators. Music Waste has this sense of humour ingrained deep in our core, and it helps to keep a positive head about things." That collective sense of humour helped the group make it through almost 10 hours of submissions, and the resolve to give each and every band its fair chance to make a favourable impression, well, made an impression on me. Music Waste has been running off and on for 20 years now, and the current organizers are using this year to celebrate the festival's successes. Its origins lie in a mid-'90s "fuck you" to Music West, a o 01 • _ E o o £ Ul r E o o £ a. 58 i^usic waste 2014 Mish Way (White Lung), Bradley McKinnon (Bakelite, Bison), and Cameron Reed (Babe Rainbow) at the Emergency Room, Music Waste afterparty, 2011 —. Nam Shub, 2010 corporate rock festival where bands paid to apply, and the venues were often filled with more networkers (and Nettwerkers, ha ha) than music patrons. Music West is no more, but Music Waste lives on, largely due to the commitment of its organizers and volunteers, and a local music community happy to have its own low-key festival where the focus \s on having a good time. "I feel that Music Waste is that once-a-year jumbling of bands and scenes that is needed to keep things from getting stagnant," says Richardson, about why the festival soldiers on. "A lot of bands tend to fall into scenes that revolve around a handful of bands and few outsiders are let in. When 75 bands are playing the fest, they're undoubtedly going to be playing alongside bands theyVe probably never played with—at least that's the way I aimed the schedule and have in the past." "There's always room for evolution," he continues. "Art Waste, Comedy Waste, merchandise, and Go Your Own Waste were additions over the last 6 years or so. The torch will continue to get passed down to hungry young volunteers, as it has in years past, and hopefully theyll add more to the fest as it goes into the future." As the listening party continued, bands met with lukewarm responses, and there was a very grey "maybe" scale, including pluses, minuses, and even a few plus plusses. Many bands came with back stories along the lines of "This girl is awesome. She disappeared for a while to have a baby, but now she's back and her band is rad." Some bands came completely out of left field, and those were the ones who sparked the most exciting responses; we Googled bands; we creeped on their Myspace (still a thing!) and Facebook profiles. lyus/c waste 2014 59 'So... are there any bands that I shouldn't make fun of?" I ask, somewhat nervously. Many of the Music Waste organizers are musicians themselves, and... I had a feeling there might be a few others with vested interests in the bands we were about to pass judgement on. As it turned out, all bands are fair game to ridicule. One unknown band that got the group salivating was the Poles. Their first song was strong enough to land them in the "yes" column, but then Bromley clicked- on the video link. What followed was, in my estimation, the sort of magic that keeps these guys coming back year after year: the Poles had made a music video on a beach with their lead singer, slightly balding and heavily paunched, wearing a mermaid costume and writhing about. The listening party crowd ATE IT UP. According to Richardson, "It can be tough slogging through hundreds of submissions, so when something genuinely interesting/innovative pops up it really makes up for the bands that I'm not particularly keen on, to put it very politely. Yes, every year has its own Poles. 2013 had Young Braised, Garbage Mountain (their first and only show?), and the Napkins Records bands, and years past I was blown away by bands like Freak Heat Waves, Bertha Cool, and more, many of which were brief flits upon the Vancouver music scene." Some of this year's flits may also include bands like Black Magique and the Nobodies. A band's bio, and the two tracks they submit, only tell the group so much. The proof will be in the performance. But Music Waste is not solely about performances, or even music for that matter. The organizers have expanded the festival to include Comedy Waste, Art Waste, and bands who are not accepted are actively encouraged to plan "Go Your Own Waste" shows during the festival period. One example of a GYOW event is taking place at Kingsgate Mall, where Western Front artist in residence Casey Wei has booked bands and events throughout the month of June. Her band showcases include Late Spring and Cut Losses on Friday, June 5 and Kele-Kenji, Only Wolf, and Strawberry in an afternoon show on Saturday, June 6. Comedy Waste will feature shows at China Cloud, the Havana Theatre, and Little Mountain Gallery throughout the weekend. Most bands, when turned away from the festival, take the GYOW idea and run with it. Others are not as receptive to rejection. Robert Catherall, the festival's beer and venue expert, ran into members of a band whose entry had been rejected by the festival, outside 33 Acres one evening in early May. "They had sent Music Waste some digital correspondence, either Facebook or email, I'm not sure, lamenting the fact that they had been rejected from the festival. Someone responded that they should host their own GYOW and call it *Fuck Music Waste.' I told them that would be great and really in the spirit of Music Waste." Cut to three weeks after the listening party. Katayoon Yousefbigloo, one of the two women heading up the Art Waste component of the festival, is busy running around the Red Gate Art Society, balancing the urge to tidy up the venue space with the need to prep the front room for band photos. It has become a tradition to invite all the bands to come by 0» o o :_ z 60 busic Waste 2014 for promo shots based loosely around the year's theme. We set up a living room style interior, festooning the room with balloons and streamers to celebrate the festival's 20th birthday. Over the course of the next seven hours, bands come and go, preen and pose, and contribute their own props to • the scene—candles, champagne, birthday cake, a pinata, and even dogs. As the day wears pn, people stop leaving. There is a genuine sense of community in the room and everyone seems eager to add more empties to the pile from the night before. Yousefbigloo's photography will be featured in one of the Art Waste shows, "The Taste for Eternity at Bargain Prices," which features female artists working in assorted mediums. Fellow Art Waste organizer Sarah Wylie will also be showing her photography. "Art Waste is in its second year in its expanded format featuring Vancouver artists in galleries across the city," explains Wylie. "The theme of June 5's submission group show will be 'public/ private.' We want to address this dichotomy in artistic practice and in the greater context of the collapsing divide between these two realms in modern society. The theme served as a catalyst for artists to share their private world with the public world." Other shows Wylie is excited to support include illustrator and designer Tylor Macmillan's show at Red Gate. She is also quick to point out that there is a great deal of crossover between musicians and artists: "The group show features musicians too, like Craig Pettman from Indian Wars, Kyle from TimeCopz/Buds, Aaron Read, Tom Whalen, and more." A highlight for Discorder fans—and anyone who goes to shows in this city, really, since we all know the guy—is the Steve Louie Retrospective at the Remington Gallery on June 6. Louie has been taking his signature swirlie shots and capturing the highs of the Vancouver music scene for several years and this will be his first solo gallery show. Wm As for the grand finale, this year's closing show will be hosted by the Anza Club, where you can see eight huhgover bands—including Weird Candle, Summer Babes, Love Cuts„ Wetface, Sontag, Phantoms Again, and Skinny Kids—play to an equally hungover crowd. Oh yeah, and Defektors. But this is definitely their last year playing Music Waste. Probably. From the 10-hour listening parties held months ahead of time to the rambunctious festivities themselves, it's easy to see why Music Waste has been such a mainstay in the Vancouver art scene. Whether this is your fifth year as part of the festival's lineup or you choose to Go Your Own Waste, there's something in it for everyone. $f i What are you waiting for? Get your Music Waste weekend pass for a mere $15, available at Red Cat, Neptoon Records, Audiopile, and Zulu. lyusic waste 2014 61 Besides breakups and new romance, Silent Days' most poignant explorations are of daydreams and feelings of discontent in day-to-day life. Put simply, the trope in.Silent Days is "everything's great, but you're still not happy with it." 4C£ SMARTENS by Alex de Boer photos by Andrew Volk The cover of Vancouverite Ace Martens' recent cassette release Silent Days is a photo of a man standing on the deck of a cruise ship. He's a small detail, in a full- frame pattern of identical rooms. Holding a margarita and wearing a smile, he is content. Alone and unobserved, but for the far off photographer, his contentment seems unwarranted. Without obvious attachment to any person or thing, the photo suggests his happiness is actualized and internal. Yet most people don't find this picturesque inner satisfaction. Most people are left a little bit disenchanted by life, even if they are lucky enough to meet their own expectations. Lyrically, Silent Days explores the idea that dissatisfaction can't be entirely planned against. And yet, Silent Days is the product of heavy planning and diligent artistic authority. All the music on the EP was performed—or looped—by Martens. His role as a solo artist set inevitable limitations on Silent Days, to which he had to adapt. After doing so, he then imposed further limitations, including the use of an aged drum machine and his decision to release the Silent Days on cassette tape. In a way, Martens uses deliberate measures of creative control to confront his own themes of life's drifting discontent. Chatting over two dollar beers at the Backstage Lounge, I learn that Ace Martens is relatively new to Vancouver's music scene, but well-acquainted with the music making process. Toying with various music projects since high school, Martens has played in bands both in Montreal and Vancouver. Wanting to move away from a group dynamic, Martens chose to make his most recent EP an entirely solo effort. He explains, "I've been getting kind of tired of playing with people who don't share the same taste as 4C£ GARTENS 63 me. This last tape is all stuff that I can play by myself. All the songs are based on loops." He even constructed his own guitar with two bass strings to avoid switching instruments during live shows. In addition to being independently composed and performed, Martens set other boundaries on Silent Days. He purchased a 505 Drum Machine off Craigslist, instead of reaching to the Internet for unending drum samples.| "It only has 12 options for sound," he explains. Enjoying the limitation, Martens reflects that his process was "a little more fun working with the tangible box." As for his final product, Martens chose to release Silent Days on cassette for its "keepsakey" connotations. Martens also sees this plastic medium as a reflection of his hard work. "It's hopefully a show of the effort I put into it. If I put it on a CD, I don't think it would seem as interesting." The sound on Silent Days bears evidence of Martens' influences. "I was listening to a lot of shoegaze and a lot of Bryan Ferry," he reflects. And in proper shoegaze fashion, the five tunes on Silent Days tend to neglect leading melodies. Martens sites favourably, "you can't really . hum a Ride Song." Silent Days does however host pOppier overtones and some melody hooks. Nodding to local influences, the most recent Gal Gracen tape is singled out in particular. Referring to Patrick Geraghty's jangle-hued, Blue Hearts in Exile, Martens explains: "I was very conscious of really liking it and not wanting to rip him off at the same time." The result is Silent Days; an album ornately influenced by shoegaze and jangle-pop, while still distinctly its own. The EP's unique sound is a blending of tropical beats and shearing distortion. By culminating light and dark sounds, Martens has created five stylistically contemplative tunes. The album's lyrics are equally as introspective. Martens discloses, "For me, it's kind of where I am in my life and that was sort of like a theme when I was writing this music." Besides breakups and new romance, Silent Days' most poignant explorations are of daydreams and feelings of discontent in day-to-day life. Put simply, the trope in Silent Days is "everything's great, but you're still not happy with it." Seemingly the inverse of the cover photo, which depicts happiness without obvious cause, Silent Days explores unprovoked discontent. The song "Waiting" is about the finite nature of goals and the familiar feeling of "waiting for something to happen and now that it's happened it's not appealing anymore." The title track "Silent Days" expresses a longing to be somewhere other than where you are. The idea that life often falls short of our expectations is the album's thematic focus. Martens' songs are honest and critical, without offering simplified resolutions. Heavily introspective, Martens feels confident he chose music as his mode of creative expression. With all the emotion and none of the egotism of a diary, Martens reasons that songs, "don't sound so self-important." Somehow earnest sentiment seems less hyperbolic, "because you can hide things in a song." In true Robert Smith style, Silent Days dresses disenchantment in rhythm and beat, proving that raw emotion is less devastating if you can hum along to it. Away in Europe for part of the summer, Martens' goal is to start performing in July. He's looking to match his music to the right Vancouver venue and to collaborate on live sets with other similar-minded musicians. Martens will likely be an appealing candidate to work with. His ability to remedy themes of powerlessness with assertive creative control displays how insight can be successfully woven into art. Silent Days is a dreamy album that is simultaneously a realization and a reaction to the inner contentment life often lacks, gf I You can check out Ace Martens' Silent Days release for yourself on Martens' Bandcamp page, where it's also available for purchase. 64 4C£ GARTENS m j mm DISCORDER SUGGESTS LISTENING TO CITR ONLINE AT CITR.CA EVERY DAY CITR GHOST MIX PACIFIC PICKIN' J CITR GHOST MIX CITR GHOST MIX TWEETS &TUNES ! CITR GHOST MIX j CITR GHOST MIX RADIO NEZATE T ........:.: ,..., J BEPI CRESPAN n. PRESENTS... RELOADED 11: 12:1 M M 3:1 4:1 6:1 QUEER FM BREAKFAST WITH I V«U„VCE„R: THE BROWNS SKA-T'S SCENIC DRIVE SUBURBAN JUNGLE END OF THE WORLD NEWS THE SECTOR UP ON THE ROOF CLASSICAL CHAOS THE AFROBEAT POP DRONES „„„„„„„ j " ' ' 1 SATURDAY EDGE f~ RUSSIA THECATSPAJAMS SH00KSH00KTA m»*^^^J IT AIN'T EASY iTPIrl beinggreen STEREO BLUES SYNCHRONICS MORNING AFTER SHOW PARTS UNKNOWN STUDENT SPECIAL HOUR THE SHAKESPEARE niiHrAH'c nnmiiK Mnnmriin. GENERATION SHOW gUNCAB S D0NUTS M00N GR0K . ANNIHILATION .. .0 : „IEnRH, I CHIPS N I „„..„.„,.... STUFF PODCAST DIP POWER CHORD THE ROCKERS SHOW GIVE EM THE BOOT extraenvironmentalist | L tANGUAG_° SO SALACIOUS I RADIO FREE THINKER MOON GROK RADIO ZERO THE LEO RAMIREZ SHOW SOUL SANDWICH DISCORDER RADIO SNE'WAYLH THE CITY ARTS REPORT ASTROTALK THUNDERBIRD EYE ASIAN WAVE SIMORGH 4'33" m FLEX YOUR HEAD ^™~*™™^T^™™™™™™i ARE YOU 1 PEANUT ; MOON ™ WBI SAMSQDANTCHf gpgj? ' NARDWUAR PRESENTS NEWS 101 STRANDED CODE BLUE LA FIESTA BLOOD ON THE SADDLE I EXPLODING HEAD L MOVIES MANTRA NASHAVOLNA SOULSHIP ENTERPRISE CHTHONIC BOOM! MOON GROK MORE THAN HUMAN «4 INSIDE OUT \ STEdSCdtPIC AFRICAN RHYTHMS m 10:1 11: 12:1 1: 2: 3:i FOLK OASIS I CRIMES 8 TREASONS |— THE JAZZ SHOW SEXY IN VAN CITY REDOUBT LIVE FROM THUNDERBIBD RADIO HELL A DEEPER REVERB RHYTHMS 1 TECHNO i IPROGRESSIVOI REAVER HOUR MOON GROK HANS VON KLOSS MISERY HOUR THE COPYRIGHT EXPERIMENT MOON GROK MOON GROK SYNAPTIC SANDWICH BOOTLEGS & B-SIDES TRANCENDANCE G4E I RANDOPHONIC VAMPIRE'S BALL CITR GHOST MIX AURAL TENTACLES THE LATE NIGHT SHOW CITR GHOST MIX CITR GHOST MIX i THE ABSOLUTE I VALUE OF INSOMNIA CITR GHOST MIX jjjgggjgjBjjgjgjjgj^ _______3___i__5_£__i Vancouver. Lots of human interest features, background on current issues DIFFICULT andgreatmusic.queerfmradio@gmail.com Bepi Crespan Presents... SUN 7-9am Radio Free Thinker TUE 3-4pm Bepi Crespan Presents... CiTR's 24 Hours Of Radio Art in a snack size for- Promoting skepticism, critical thinking and science, we examine popular ex- mat! Difficult music, harsh electronics, spoken word, cut-up/collage and traordinary claims and subject them to critical analysis. general Crespan© weirdness. Twitter: ©bepicrespan. Blog: bepicrespan. ■■ v- blogspot.ca $0JMi The City |||| TUE 5-6pm \ An alternative and critical look at our changing urban spaces. CLASSICAL New Website: www.thecityfm.org. New Twitter handle: @thecity_fm. Classical Chaos SUN 9-10am Terry Project Podcast Alternating Thursdays 1-2pm From the Ancient World to the 21st centuryjoin host Marguerite in exploring There once was a project named Terry, That wanted to make people wary, and celebrating classical music from around the world. Of things going on In the world that are wrong without making it all seem too scary. Wktj, 4*33" 1/3 MON 6-7pm |||| MM This program showcases "new music"- contemporary classical and exper- All Ears Alternating Wednesdays 6-6:30pm imental music, especially highlighting Vancouver's local performers and (Alternating with UBC Arts On Air.) All Ears is an advice radio program tar- composers of new music, to Uncover a new musical niche to the broader getted to the UBC community. We try to answer your questions and address public in a friendly and accessible manner. topics sent via social media and over the phone. Interviews and segments relating to campus life will be featured, all in our attempt to better our community and supply positive feedback. Extraenvironmentalist WED 2-3pm Exploring the mindset of an outsider looking in on Earth. Featuring interviews with leading thinkers in the area of sustainable economics and our global ecological crisis. TALK Alphabet Soup Alternating Wednesdays 11:30am-12pm A talk show focussed on the writing of MFA Creative Writing students at UBC. Topics include events happening in the program and the Vancouver art scene while promoting the writers and the genre which they are working in. AstroTalk THU 3-3:30pm Arts Report WED 5-6pm Space is an interesting place, Marco slices up the night sky with a new topic Reviews, interviews and coverage of local arts (film, theatre, dance, vi-. every week. Death Stars, Black Holes, Big Bangs, Red Giants, the Milky Way, sual and performance art, comedy, and more) by host Maegan Thomas and G-Bands, Syzygy's, Pulsars, Super Stars... the Arts Reporters. The Sector ||| FRI 8-9am UBC Arts On Air WED 6-6:30pm A showcase about different non profits and the work they do, with in-depth (Alternating with All Ears.) on break from June-September 2014. interviews with non-profit representatives about social justice, charities '-'My- and causes. Website: http://sectorpodcast.wordpress.com. Facebook.com/ Sexy In Van City WED 10-11pm SectorPodcast. Twitter.com/SectorPodcast Your weekly dose of education and entertainment in the realm of relation- shipsandsexuality.sexyinvancity.com/category/sexy-in-vancity-radio. Alphabet Soup Alternating Wednesdays 11:30am-12nm Alphabet Soup is a talk show which focuses on the writing of MFA Creative End of the World News THU 8-1 Oam Writing students at UBC Topics include events happening in the program End of the World News is grooves and news from around the world, mashed and the Vancouver art scene while promoting the writers and the genre and crashed against the wall. Lauren, Adam and Graeme talk trash about which they are working in. international events with caffeinated cartoon voices from the world press and the dark net. The Big World Love Vibe: Roots & Beats, Funk & Soul, Synchronicity MON 12-1pm Dubbed Vibes & Dyslexic Drum & Bass. The antidote to The Corporation. Join host Marie B and discuss spirituality, health and feeling good. Tune ■ Call in and we will put you on. in and tap into good vibrations that help you remember why you're here: to have fun I News 101 FRI 5-6pm Vancouver's only live, volunteer-produced, student and community newscast. Every week, we take a look back at the week's local, national and international news, as seen from a fully independent media perspective. Queer FM Vancouver: Reloaded- TUE 8-10:30am Dedicated to the gay, lesbian, bisexual and transexual communities of Language to Language Encouraging language fluency and cultural awareness. rv nvava/nc. The Rockers Show Reggae inna all styles and fashion. THU 2-3pm %m 12-3pm CITR 101.9 Eh* PROGRAM GUIDE 67 So Salacious MON 3-4pm Skadz and Sprocket Doyle bring you Electro Swing, Alternative Hip Hop, Dubstep, Acid Jazz, Trip Hop, Local and Canadian Content—good and dirty beats. EXPERIMENTAL More Than Human ":f v£| SUN 7-8pm Strange and wonderful electronic sounds from the past, present, and future with host Gareth Moses. Music from parallel worlds. Pop Drones WED 10-11:30am Unearthing the depths of contemporary cassette and vinyl underground. Ranging from DIY bedroom pop and garage rock all the way to harsh noise and, of course, drone. WORLD ROOTS / FOLK / BLUES Blood On The Saddle Alternating Sundays 3-5pm Real cowshit-caught-in-yer-boots country. Pacific Pickin' TUE 6-8am Bluegrass, old-time music, and its derivatives with Arthur and the lovely Andrea Berman. Email: pacificpickin@yahoo.com Folk Oasis WED 8-1 Opm Two hours of eclectic folk/roots music, with a big emphasis on our local scene. C'mon in! A kumbaya-free zone since 1997. Email: folkoasis@gmail.com The Saturday Edge SAT 8am-12pm 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. Afrobeat Tuesday 10:30-11:30am Code Blue SAT 3-5pm A show dedicated to expose UBC students and Vancouver to contemporary African From backwoods delta low-down slide to urban harp honks, blues, and music. Hosted by Achieng Orlale. blues roots with your hosts Jim, Andy, and Paul. -•••• Email: wcodeblue@buddy-system.org. La Fiesta Alternating Sundays 3-5pm Salsa, Bachata, Merengue, Latin House, and Reggaeton with your host Gspot DJ. SOUL/R&B Shookshookta SUN 10am-12pm Soulship Enterprise SAT 7-8pm A program targeted to Ethiopian people that encourages education and per- A thematically oriented blend of classic funk, soul, r&b, jazz, and afrobeat • sonal development. tunes, The Happy Hour has received great renown as the world's foremost p ' funky, jazzy, soulful, and delightfully awkward radio show hosted by people Radio Nezate SAT 7-8am named Robert Gorwa and/or Christopher Mylett Gordon Patrick Hunter III. A mix show with music and discussion in Tigrinya the language of Eritrea. ELECTRO / HIP HOP AsianWave THU 4-5pm \ Tune in to Asian Wave 101 to listen to some of the best music from the Vibes and Stuff WED 1-2pm Chinese language and Korean music industries, as well the latest news corn- Feeling nostalgic? Vibes and Stuff has you covered bringing you some of the ing from the two entertainment powerhouses of the Asian pop scene. The best 90s to early 2000s hip-hop artist all in one segment. All the way from latest hits from established artists, rookies only just debuted, independent New Jersey and New York City, DJ Bmatt and DJ Jewels will be bringing the artists and classic songs from both industries, can all be heard on Asian east coast to the west coast throughout the show. We will have you remi- Wave 101, as well as commentary, talk and artist spotlights of unsigned niscing about the good ol' times with Vibes and Stuff every Wednesday af- Canadian talent. Only on CiTR 101.9 FM. ternoonfrom l:00pm-2:00pm PST. E-mail: vibesandstuffhiphop@gmail.com G4E Alternating Tuesdays 12-2am Beaver Hour TUE llpm-midnight Vinyl mixes, exclusive local tunes, good vibes from around the world, a Dance music from local scenes, particularly underground music by African thought and a dream or two. Reggae, House, Techno, Ambient, Dance Hall, Americans, with a strong focus on music from ghettos. Hip Hop, African, Psychedelic, Noise, Experimental, Eclectic. Bootlegs & B-Sides SUN 9-10pm NashaVolna SAT 6-7pm Hosted by Doe Ran, tune in for the finest remixes from soul to dubstep and News, arts, entertainment and music for the Russian community, local and ghetto funk to electro swing. Nominated finalist for 'Canadian college radio abroad. Website: nashavolna.ca. show of the year 2012' Pioneer DJStylusAwards.Soundcloud.com/doe-ran and search "Doe-Ran" on Facebook. African Rhyhms FRI 7:30-9pm ••••-'••• Website: www.africanrhythmsradio.com Crimes & Treasons TUE 9-11pm Uncensored Hip-Hop & Trill ish. Hosted by Jamal Steeles, Trinidad Rhythmsindia Alternating Sundays 8-9pm Jules & DJ Relly Rels. Website: http://crimesandtreasons.blogspot.ca. Featuring a wide range of music from India, including popular music from Email: dj@crimesandtreasons.com. 68 CITR 101.9 Pkf PROGRAM GUIDE the 1930s to the present; Ghazals and Bhajans, Qawwalis, pop and re- •'• gional language numbers. Tweets & Tunes WED 6:30-8am We practice what we Tweet! Showcasing local indie music and bringing The Leo Ramirez Show MON 4-5pm bands, artists and fans together through social media. The best of mix of Latin American music. Email: leoramirez@canada.com Website: tweetsandtunes.com Twitter:@tweetsandtunes. Give Em The Boot TUE 2-3pm Duncan's Donuts THU 12-1pm Sample the various flavours of Italian music from north to south, traditional Sweet treats from the pop underground. Hosted by Duncan, sponsored by to modern on this bilingual show. Folk, singer-songwriter, jazz and much donuts. http://duncansdonuts.wordpress.com. <K more. Un prog«amma bilingue cheesplora il mondo delta musica italiana. ■ •• Website: http://giveemtheboot.wordpress.com.facebook.com/givetheboot. Samsquantch's Hideaway Alternating Wednesdays 6:30-8pm All-Canadian music with a focus on indie-rock/pop. Mantra SAT 5-6pm Email: anitabinder@hotmail.com. An electic mix of electronic and acoustic beats and layers, chants and med- - icine song. Exploring the diversity of the worlds sacred sounds - traditional, Parts Unknown MON 1-3pm contemporary and futuristic. Email: mantraradioshow@gmail.com An indie pop show since 1999, it's like a marshmaliow sandwich: soft and '■ sweet and best enjoyed when poked with a stick and held close to a fire. DANCE / ELECTRONIC il __ __ The Cat's Pajams FRI 10-11am The Copyright Experiment THU llpm-midnight The cat's pajamas: a phrase to describe something/someone superawe- . some or cool. The Cat's Pajams: a super awesome and cool radio show tejf" Moon Grok FRI 10:30pm-midnight turing the latest and greatest indie pop, rock, lofi and more from Vancouver ■■•■' and beyond! Techno Progressivo Alternating Sundays 8-9pm A mix of the latest house music, tech-house, prog-house and techno. Chips 'n Dip Alternating Thursdays 1-2pm Dip in every second Thursday afternoon with host Hanna Fazio forthe fresh- Trancendance SUN lOpm-midnight est local indie pop tracks and upcoming shows. Hosted by DJ Smiley Mike and DJ Caddyshack, Trancendance has been ■<■■■$._ broadcasting from Vancouver, B.C. since 2001. We favour Psytrance, A Deeper Reverb SAT 8-9pm Hard Trance and Epic Trance, but also play Acid Trance, Deep Trance, Bringing you the chillout world of the heavy reverb genres: shoegaze, post Hard Dance and even some Breakbeat. We also love a good Classic rock, dream pop, space rock, trip hop and everything in between, including Trance Anthem, especially if it's remixed. Current influences in- new tracks and old favorites. Online: facebook.com/adeeperreverb. Contact: elude Sander van Doom, Gareth Emery, Nick Sentience, Ovnimoon, Ace adeeperreverb@gmail.com. Ventura, Save the Robot, Liquid Soul and Astrix. Older influences include — Union Jack, Carl Cox, Christopher Lawrence, Whoop! Records, Tidy Trax, EC L ECTIC Platipus Records and Nukleuz. Email: djsmileymike @trancendance.net. ; Website: www.trancendance.net. Soul Sandwich MON 5-6pm A myriad of your favourite music tastes all cooked into one show. From Hip Inside Out TUE 8-9pm Hop to Indie rock to African jams, Ola will play through a whirlwind of drf- - ferent genres, each sandwiched between another. This perfect layering of yummy goodness will blow your mind. AND, it beats subway. Radio Zero FRI 2-3:30pm An international mix of super-fresh weekend party jams from New Wave to , foreign electro, baile, Bollywood, and whatever else. Website: www.radiozero.com Synaptic Sandwich SAT 9-11pm If you like everything from electro/techno/trance/8-bit music/retro '80s, this is the show for you! Website: synapticsandwich.net The Late Night Show FRI midnight-6am ROCK/ POP/ INDIE Discorder Radio TUE 4-5pm Discorder Magazine now has its own radio show! Join us to hear excerpts of interviews, reviews and more! Canada Post-Rock Alternating Wednesdays 6:30-8pm Formerly on CKXU, Canada-Post Rock now resides on the west coast but it's still committed to the best in post-rock, drone, ambient, experimental, noise and basically anything your host Pbone can put the word "post" infront of. The Shakespeare Show WED 12-1pm Dan Shakespeare is here with music for your ear. Kick back with gems of the previous years. Up on the Roof FRI 9-10am Friday Mornings got you down? Climb Up On the Roof and wake up with Robin and Jake! Weekly segments include improvised crime-noir radio dramas, trivia contents, on-air calls to Jake's older brother and MORE! We'll be spinning old classics, new favourites, and lots of ultra-fresh local bands! C77"* 101.9 Phj PROGRAM GUIDE 69 Breakfast With The Browns MON 8-11am Stereo Blues FRI 11am-12pm Your favourite Brownsters, James and Peter, offer a savoury blend of the fa- Every Friday host Dorothy Neufeld sinks into blues, garage and rock n' roll miliar and exotic in a blend of aural delights. goodies! Email: breakfastwiththebrowns@hotmail.com. It Ain't Easy Being Green FRI 12-1pm Chthonic Boom! Alternating Sundays 5-6pm CiTR has revived it's long-dormant beginner's show It Ain't Easy Being A show dedicated to playing psychedelic music from parts of the spectrum Green! With the support of experienced programmers, this show offers fully- (rock, pop, electronic) as well as garage and noise rock. trained CiTR members, especially students, the opportunity to get their feet ; - wet on the air MoonGrok SUN 6-7pm :-:r- Nardwuar FRI 3:30-5pm MoonGrok WM MON 11am-12pm Join Nardwuarthe Human Serviette for Clam Chowder flavoured entertainment. Doot doola doot doo... doot doo! Email: nardwuar@nardwuar.com MoonGrok MON Midnight-lam Randophonic SAT 11pm-2am The Morning After Show TUE 11:30am-1pm Randophonic is best thought of as an intraversal jukebox which has no con- The Morning After Show with Oswaldo Perez every Tuesday at 11:30a.m. cept of genre, style, political boundaries, or even space-time relevance. But Playing your favourite songs for 13 years. The morning after what? The morn- it does know good sounds from bad. Lately, the program has been focused ing after whatever you did last night. Eclectic show with live music, local on Philip Random's All Vinyl Countdown + Apocalypse (the 1,111 greatest talent and music you won't hear anywhere else. records you probably haven't heard). And we're not afraid of noise. Stereoscopic Redoubt THU 7:30-9pm Stranded FRI 6-7:30pm Experimental, radio-art, sound collage, field recordings, etc. Recommended Join your host Matthew for a weekly mix of exciting sounds, past and pres- for the insane. ent, from his Australian homeland. And journey with him as he features fresh tunes and explores the alternative musical heritage of Canada. Hans Von Kloss' Misery Hour WED llpm-lam Pretty much the best thing on radio. The Vampire's Ball WED 1-4am Industrial, electro, noise, experimental, and synth-based music. Suburban Jungle WED 8-10am thevamplresball@gmail.comtbeyampiresballoncitr.com. Live from the Jungle Room, join radio host Jack Velvet for an eclectic mix 1 of music, sound bites, information and inanity. Email: dj@jackvelvet.net. CIN E M AT IC Student Special Hour TUE 1-2pm Exploding Head Movies MON 7-9pm Various members of the CiTR's student executive sit in and host this blend Join gak as he explores music from the movies, tunes from television and of music and banter about campus and community news, arts, and pop cut- any other cinematic source, along with atmospheric pieces, cutting edge ture. Drop-ins welcome! new tracks and strange old goodies that could be used in a soundtrack to be. Are You Aware Alternating Thursdays 6-7:30pm Celebrating the message behind the music: Profiling music and musicians that take the route of positive action over apathy. i Peanut Butter Y jams Alternating Thursdays 6-7:30pm Explore local music and food with your hosts, Brenda and Jordie. You'll hear interviews and reviews on eats and tunes from your neighbourhood, and a weekly pairing for your date calendar. Live From Thunderbird Radio Hell THU 9-11pm Featuring live band(s) every week performing in the CiTR Lounge. Most are from Vancouver, but sometimes bands from across the country and around the world. Aural Tentacles THU 12-6am It could be global, trance, spoken word, rock, the unusual and the weird, or it could be something different. Hosted by DJ Pierre. Email: auraltentacles@hotmail.com -JiM jazz The Jazz Show MON 9pm-midnight Vancouver's longest running prime-time Jazz program. Hosted by Gavin Walker. Features at 11 p.m. June 2: The Jazz Show's annual Jazz Festival Special. Gavin takes a back seat and invites Jazz Festival Media Director, the ebullient John Orysik to pick the music and discuss the 2014 Jazz Fest lineup. A show not to be missed! June 9: One of the foremost exponents of the tenor saxophone....Illinois Jacquet. Monsieur Jacquet with an all-star cast including Roy Eldridge (trumpet) and Papa Jo Jones (drums) and others. "Swing's The Thing!" June 16: Multi-instrumentalist (clarinet and tenor and bari saxophone) and composer Jimmy Giuffre and his Trio with guitarist Jim Hall. Gentle folk-tinged Jazz by a master. 'The Jimmy Giuffre 3." June 23: One of the founding fathers of Modem Jazz Dexter Gordon. The giant tenor saxophonist burns up Denmark with pianist Kenny Drew and others recorded live. "Take The 'A' Train." June 30: One of the most original composer/pianists. The often underrated Elmo Hope and what many consider his masterpiece. 'The Elmo Hope Trio." 70 CITR 101.9 Mf PROGRAM GUIDE LITERACY / LANGUAGE PUNK Sne'waylh WED 4-5pm In many Coast Salish dialects, "sne'waylh" is the word for teachings or laws. The aboriginal language-learning program begins with the teachings of the skwxwu7mesh snichim (Squamish language). Originally aired on Coop Radio CFRO 100.5 FM in Vancouver, Tuesdays 1-2 p.m. Simorgh THU 5-6pm Simorgh Radio is devoted to the education and literacy for the Persian speaking communities and those interested in connecting to Persian oral and written literature. Simorgh takes you through a journey of ecological sustainability evolving within cultural and social literacy. Simorgh the mythological multiplicity of tale-figures, lands-in as your mythological narrator in the storyland; the contingent space of beings, connecting Persian peoples within and to Indigenous peoples. Language to Language THU 2-3pm Encouraging language fluency and cultural awareness. DRAMA / POETRY Skald's Hall FRI 1-2pm 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: ©Skalds Hall. SPORTS Thunderbird Eye THU 3:30-4pm Your weekly roundup of UBC Thunderbird sports action from on campus and off with your host Wilson Wong. Rocket from Russia THU 10-11am Hello hello hello! I interview bands and play new, international and local punk rock music. Great Success! P.S. Broadcasted in brokenish English. Hosted by Russian Tim. Website: http://rocketfromrussia.tumblr.com. Email: rocketfrom russiacitr@gmail.com. Facebook: https://www.facebook.com- RocketFromRussia. Twitter: http://twitter.com/tima_tzar. Generation Annihilation SAT 12-1pm On the air since 2002, playing old and new punk on the non-commercial side of the spectrum. Hosts: Aaron Brown, Jeff "The Foat" Kraft. Website: gen- erationannihilation.com. Facebook: facebopk.com/generationannihilation. LOUD Power Chord SAT 1-3pm Vancouver's longest running metal show. If you're into music that's on the heavier/darker side of the spectrum, then you'll like it. Sonic assault provided by Geoff, Marcia, and Andy. Flex Your Head TUE 6-8pm Punk rock and hardcore since 1989. Bands and guests from around the world. GENERATIVE The Absolute Value of Insomnia SAT 2-6am 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. ident music magazine. Show your r's independent music community and the development of new writers, editors, designers and artists. Sign-up to have Discorder delivered to your door! Fill-out this form and mail-in cash or a DISCORDER MAGAZINE #233-6138 SUB Blvd Vancouver. BC.V6T IZI 11 an annual subscription to Discorder magazine ($20 for Canadians, $25 for jj US subscribers). [j to support Discorder magazine with a donation of: total: CITR 101.9 £A/f PROGRAM GUIDE 71 AtrfaoMUH, vlnylrecords Vancouver Wwtd OPEN 12-6 PM DAILY 321W HASTINGS ST ©VICTORY SQUARE 604.488.1234 COME AND CHECK OUT OUR VAST SELECTION OF NEW, USED AND RARE RECORDS
Periodicals
English
Vancouver : University of British Columbia Library
Vancouver : Student Radio Society of the University of British Columbia
Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca
Original Format: Student Radio Society of University of British Columbia
Rock music--Periodicals
Text