CONTENTdm
Discorder
CITR-FM (Radio station : Vancouver, B.C.)
36 pages
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\ / /7\ A G A Z I H E that BETWEEN THE SYNTAX ERROR mag from CiTR 101.9 FM opmi-Movaoai vilii - «i,oa - iccke qos -zeri cent; Tfcerf BETWEEN THS Saim>< SKKOK mag ; from CiTR 101.9 fm •April-Nay 202V/ UoLH1 // No.2 // Issue #H3S ;cover by sophy EDITOR'S NOTE H&SSP, Vancouver has what is known as a music scene. You've probably heard of it. I've seen it myself. Good friends who know more than me have shown me places to go. Places to go watch people play songs, places to dance to songs. Where to eat eggs for dinner, where to feel loveless underground, where to be transcendent in a field. In the sparse confines of a city that keeps regulation and punitive damage on an even keel, it's easy to look out into a sea of shuttered doors and let the bile run up your throat. These rooms are where the scene lives, eats and smokes normal-style, but rooms are closing faster than we can have fun in them.There's an alternative path, I think, and it's not disregarding the reality of this situation completely, but simply navigating it as it unfolds in the present with a sense of curiosity. Everything changes and nothing stops, but you don't need to protect your future self by treating the present like a precursor to "better things," thereby demeaning it. The present scene — fraught, anxious and jittery — will eventually slip away into different rooms, into different songs and people. And I'm not saying you have to enjoy everything. This is not a gratitude thing. What I am saying is: complaining is boring and stupid. If the scene is a bad time to you, the only thing there is to do about your bad time is to pretend it makes you interesting. It doesn't, of course, but sometimes pretending is the only place there is to start from. The only way to get out of a bad time and over to something else is to be meddlesome and somewhat delusional; to keep moving into new experiences like you were fucking born yesterday and what's it to you anyways? If we are to keep getting rooms and songs in this city, there has to be more to it than the good vs. bad dichotomy. Maybe I'm just some jerk, and maybe this is my concrete-headed diatribe against negativity that I perceive as patronizing — but we do this thing where we fill up 36 pages of people doing things in this city, against all odds. Tike 36 little snapshots of Vancouver at any given moment. It feels like trying to make sense of things, kind of crookedly, and on the run. Never revolutionary, but because of that, more profound. Invest in those rooms and hopefully we will get to a place where they're bigger and grosser and full of the kind mischief we've always been capable of. TT;DR: This issue is a big romantic gesture. We had to add extra pages!! Extra pages!! That's only happened once before and it was for less fun reasons (advertising.) Here you can read Stephanie van Wijk's interview with Ana-Eve of Goats & Tasers — which is also kind of about crows. Isabelle Whittall, Harmela Kassa and Naomi Endale give us honeyed glimpses of Cozy Corner, and Oceania Kee takes us into a night of Films for Gaza at Tiquidation World. Discorder also offers you: Into the Archives, pt. 2 with dani larose — a look into our past because, not only do we still got it, we always had it. any questions, don't ask ~T Publisher: Student Radio Society of UBC // Station Manager: Jasper Sloan Yip // Discorder Student Executive: Isabelle Whittall // Editor-in-Chief: Tasha Hefford // Art Director: Ricky Castanedo Laredo // Social Media Coordinator: Lauren Park // Administration Coordinator: Audrey Reich // Charts: Aisia Witteveen // Designers: Ricky Castanedo Laredo // Contributors: Contributors: Stephanie Van Wijk, Sophy, Alistair Henning, Isabelle Whittall, Harmela Kassa, Naomi Endale, Rhi Forsyth, Mary Jim Akaya, Zephyr Frebold, Wendy Vong, Meghan Lok, dani larose, Jenna Changler, James Spetifore, Yuko Yajima, Zoe Shelton, Hana Ito, India Morgan, Julia Zhu, Emily Lau, Liz, Renee Paul, Morris Hayes, Brian Lee, Marianna Schulz, Marie Erikson, Oceania Chee, r. Hester, Samuel Albert, Sarah Elbeltagy, Brielle LeSage, Cameron Robinson, Sofia Wind, Fiona Sjaus, Tessa McDermid, Leo McGurk, Elita Menezes, Zachary Andrade, Annabel Smith, Oliver Cheung, Matt Schmidt // Proofreaders: T, J, A, R, C, Isabelle Whittall chops 05 'COZY CORNER w/ FAY, Haleluya Hailu and Sam Chimes 08 -GOATS & LASERS Ciows, Bobby McFenin & Cat-shiit Tuesday 11 'CHILL X STUDIO Tiaditional w. a twist 12 'INTO THE ARCHIVES Real Dyke shit 22 -DISCORDERXRAWFILES Poitals 24 'TEETH by DALLAS HUNT Huitling towaids mentality 25 -DEBI'S (TEENAGE) THEOSOPHICAL ENLIGHTENMENT Deboiah Edmeades @ Afternoon Projects 26 'FILMS FOR GAZA Solidarity foi Palestine, thiough film, thiough liteiatuie, thiough laughtei 27 'A CANOE IS AN ISLAND "what else could a vessel be?" chips 19 ' APRIL CALENDAR aitwoik by JAMES SPETIFORE 20 ' HAY CALENDAR classic pop-ups couitesy of Music Waste 21 ' DISCOTHRASH "Micioplates" by Zoe Shelton 28 ' UNDER REVIEW even moie woids about sounds in context 32 ' STAR CANYON DIGEST Fiom the desk of Di. Phineas Winnebago 33 ' CiTR's PROGRAMING GRID 34 ' CiTR's PROGRAMING GUIDE 35 ' MARCH 2024 CHARTS!!! ^ADVERTISE Ad space for upcoming \ issues can be «o booked by emailing ', ^> advertisingwcitr.ca. ^ Rates available upon \ \ request. ^CONTRIBUTE "^s,To learn how to ^^ get involved with \ ^» Discorder contact ; "^ hello#citr.ca. ^SUBSCRIBE ^]WE FINALLY MADE '■ ^IT EASIER! Head on ', ^over to: \ \ citr.ca/discorder/ "^subscribe DISTRIBUTE .To distribute Discorder ; | in your business, email . «advertising#citr.ca. *We are always looking ■ "for new friends. DONATE I 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: ! donatetocitr.ca > To inform Discorder of |an upcoming album "release, art show or .significant happening, | please email all .relevant details 4-6 | weeks in advance to * Tasha Hefford, -Editor-in-Chief at | editor#citr.ca. * You may also direct 'comments, complaints ^and corrections via .email. o^Mf •■»■■■• in FOR OFFICE USE ONLY ©Discorder 2024 - 2025 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 3,000 Discorder is published bi-monthly by CiTR, located on the lower level of the UBC Nest, situated on the traditional unceded territory of the hariqamiriarh speaking Musqueam peoples. CiTR can be heard at 101.9 FM, online at citr.ca, as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at (604) 822-2487, CiTR's office at (604) 822 1242, email CiTR at stationmanager@citr.ca, or pick up a pen and write to LL500 6133 University Blvd. V6T 1Z1, Vancouver, BC, Canada. MV pet cnr POKEV or #omt contributor biof of ftpB!l/MftY 2024 ZEPHYR FREBOLD Zephyi Fiebold is a UBC undeigiad in the Faculty of Aits and is gonna majoi in whatevei he finds easiest in his thiid yeai. Some of his inteiests include window shopping at Whole Foods and Stand-up Comedy. BRIELLE LESAGE 2nd yeai UBC student in Poli Sci and Visual Aits . ALISTAIR HENNING Aw aid winning poitiait and ait photogiaphei based neai Vancouvei, Canada. || www. Alist a iiHen ning.can 11 IG: @Alist a iiHen ning R. HESTER Final Fantasy IX Disc 4 eneigy 4evei. MEGHAN LOK Meghan Lok is a cat whispeiei and animal welfaie student and goes by @fidgioied in cieative spaces. This altei ego's hypeifixations may include Muay Thai, listening to metal, and exploiing as many ait foims as she can. WENDY VONG Wendy Vong is an aspiiing event photogiaphei. SARAH BELTAGY Saiah Beltagy is a pait-time student, pa it-time falafel-wiappei, full-time menace. SOPHY (BLUEROCKETSHIP.JPG) diawing silly doodles to fill up my time and empty my mind. RHI FORSYTH Rhi Foisyth is an illustiatoi, giaphic designei, and tattoo aitist fiom the iainy city of Vancouvei. She illus- tiates ait that is both cute and calm, piimaiily woiking with colouied ink and wateicoloui. Hei ait style is influenced by natuie, liteiatuie, folkloie, and animation. HARIANNA LEE SCHULTZ Maiianna Lee Schultz lives in Vancouvei wheie she woiks a job and tiies to wiite stoiies. ELITA HENEZES Elita Menezes is A UBC student who secietly doesn't know much about music. She wiites in vaiious genies whenevei she isn't watching ciingy television. LEO (TCURK Leo McGuik is a music lovei and aspiiing journalist. Cunently on exchange at UBC ficrn Urdveisity College London. TESSA nCDERniD Tessa McDeimid is a fouith yeai psychology and english liteiatuie student at UBC who loves music, photogiaphy and psychoanalyzing hei fiiends with hei limited and sometimes deeply flawed psychological knowledge. In hei fiee time, she enjoys standing awkwaidly in the ciowd at local shows and making bad financial decisions. STEPHANIE UAN UIJK Stephanie van Wijk is plant lovei and aitist, wiiting fiom my desk in the jungle. RUBY BOOTH Ruby Booth is an aits student and lovei of the aits. Read hei in Discoidei and 'the hell jai' on substack. Jackson Ramsey Tropical Drone TANTAKIXOKDS VV J m^ |« etc son Kumsvy Tropnal Drone lra?c"*£i USTEN AND 0BTAIN AT FANIAREC0RDS.BANDCAMP.COM **■* ■/ ■ / i s*^;:~£r SAMUEL ALBERT Samuel Albeit is a Discoidei wiitei and co-host of CiTR's Back to the Gaiden conceit ieview show. A novel, essay collection, poetiy chapbook, TV seiies, and a couple of scieenplays aie cunently in the woiks, but don't ask Sam too much about them since they aie aveise to punctuality and will only get flusteied. ctanl larose Cpcunty 2S michif plains ciee diva etc. she/hei * TURTLE ISLAND TO PALESTINE OCCUPATION IS A CRIME .■■■■■■■■■■■IH j*: ft UM H- ***n Ws easy to get on this list. Contact «f tor@dtr.ca or a r tcootd n a tor^ci tr^a •**** ■H rr; RAWFILES MAGAZINE INVITES YOU TO reus hwjewa awrsfiDffli moatreio "7. Sam Chimes, Haleluya Hailu and Fay WCKDS KTISABELLE WfflTTALL, HARMELA KASSA, NAOMI ENDALE I ILLUSTRATIONS BY RHI FORSYTH I PHOTOS MOSTLY BY MARY JIM AKAYA CiTR/Discorder presents; Cozy Corner, a three-night showcase inspired by NPR's Tiny Desk to highlight Black musicians in Vancouver during Black History Month. Cozy Corner is the brain- diild of Hail! Discordia! co-host Zoie Mcclymont, and took place on February 16th, February 23"% and March iiC. We were honored to invite Haleluya Hailu, Sam Chimes, and Fay to the station to eadi play a small, intimate set. Low lighting was set, cushions were arranged on the fioor, and beautiful cozy tunes filled the air. HALELUYA HAILU Haleluya Hailu kicked off the event perfectly, accompanied by Chris K on guitar; the melodies mere warm and fun and comfortable and everybody was happy to jive along, 1 had a great time chatting with Haleluya beforetheshow! Isabelle; Welcome to Cozy Corner!! Haleluya: Yes> I'm very cozy and in a corner. We*resogladthatthlsls happening What are you most excited for tonight? I've actually never come down to CiTR/Discorder in person and it's really cool! I love college radio. I'm a big lover and supporter of college radio and community radiOj and I love seeing the piles of Discorder Magazines everywhere. Aww yeah, that's so great! I'm glad that you can be here In person, tve do have such an awesome little setup. But you've been covered by QTR/Dtscorder before, although it's been a while.... Yeah! That was when I first started^ like my first EP ever. I believe Maya Preshyon — who is at VBL now — wrote the article. It was really fun because it was the first time I'd done an interview. It's sweet that you kind of started with us though! What has been new andexeiting since then? "Wellj I went to college. That was a choice. I loved the learning bitj I just didn't like the I-moved-to-a- sm all -t own - f or-n 0 - d amn -re a s on bit. I lived in Nelson for two years and I went to school at Selkirk College. I am now diploma'd. I got that Contemporary Music Diploma. It wasn't that hard. You should've seen some of the people. That can stay on the record; you should've seen some of the people that I went to school with. I mink the thing about going to art school is not everybody is there to make art or build community. Some people see it as a competition, or a way to tear down others who are just there to build skill. But you knoWj I've made my peace with it j I kept my head down and went to school^ and dare I sayitj some of the people who were kind of hard to work with and not very community minded aren't here doing an interview with Discorder for the second time. That's Interesting to me because you're Vancouver-based. So you went there for the art school, which Is where you would think the inspiration for music making would come from, but that's not what you found. But here, growing up, did you feel like you needed an escape from the Vancouver music scene? Do you feel like It's stifling, or constantly new inspiration? oozy owner 1 DISCORDER KCAZDC APRIL-fiftV 2D2M "Wellj I have a lot of comments about the state of the Vancouver music scene. "We've lost lots of ideas. "We've lost lots of bands, especially post-pandemic. "When I was first starting to make music in Vancouver, it was really hard because it was right when things had opened up and I struggled to find a sense of community, especially as a Black woman making music — there weren't many spaces that weren't about the same 15 people starting new bands over and over again. And that's still an issue: I find that it's a very cliquey scene. I think [it is better] now — like with the work that Couch Jams Collective or The Vancouver Black Library', as well as 648 Kingsway and Green Auto. But there are still big issues I have [with the scene.] I didn't necessarily even mean to escape Vancouver, I was just impulsive and seventeen. But it did give me a new perspective. ft Is nice that there is hope for the future with new social movements and new venues. Do you have any pressing, burning, fantastic information that you want Discorder readers to know? "Well, today, February 16*, my latest single, "Manic Pixie Pacifist" has come out. And of course, along with that, my new EP will be out March 22nd. Exclaim! leaked it first but CiTR gets it second! It's my second EP, and my first one with 604 Records^ "Eternally, Yours." This is an EP mildly inspired by Eternal Sunshine of The Spotless Mind. I wrote it in the Kootenays and it's an amazing project. I put out a couple singles from it, but the best songs are unreleased and we're playing a couple of mem tonight! Little sneak peek! SAM CHIMES Sam Ghimes headlined night 2 of GiTR's cozy corner series, 1 had the opportunity to chat with him after the show, Naomi: Thank you so much forbeing here! Ama#ng set, 1 know you do a lot of improvisation during your sets, so 1 was wondering how much of your set today was Improvised — how much Is preplanned and what Informs the Improvisation you choose to integrate? Sam Chimes: "What I do is organized chaos, so I follow the basic rules of music: 3/4, 4/4 time, circle of fifths, all that stuff, and then within that structure I go crazy. I do my improvisation, whatever feels good. I also base it off the people in front of me. If I notice someone is upset, I ask myself why: am I off-key? Is there a beat off? Or, sometimes it works out that maybe I should do this in a whole other genre. Sometimes my instruments start messing up randomly, and I'm like, ok let's try something different. But, yeah, organized chaos. That's awesome. In your set, you talked about busking, 1 was wondering if and how your experience doing that informs your performance style now? Busking informed my performance style big time. I was telling a gentleman earlier today, I was doin n r n r^ ... i r-\ r eezy owner race hwjewa arasfiDffli moatreio 6 performances a day to pay rent. So hey, when money's a matter, it motivates right, it pushes you. So yeah, I was doing about 6 performances a day, lots of performances, lots of interactions with people, sitting at the feet of great performers too. One of the first guys that I learned from is now on cruise ships, like traveling around the world, doing crazy stuff. Riding 50 feet in the air on a unicycle, swallowing knives on fire. But through him I learned a few things about crowd control, about telling stories. I see some performers — and no shade on them — but they only do the music, and I think it's important, even if it's a cover, to tell the story behind the music. "What does it mean to you? How do you feel about it? Interacting with the audience is so important in busking because if people aren't stopping, I would kind a look like a fool * laughs* I mean who am I singing to then? I learned the most about crowd control and interaction from the circle acts while busking. It's so cool to hear about the different artforms you took Inspiration from. That flows Into my next question quite well; I was wondering If there are any acts past or present that you take inspiration from. Tupac saved my life. I was in a very bad state of mind once upon a time and his messaging and delivery really affected me. Old Kanye beats — that vibe also inspired me. You know, he has a brand of being cocky, being too much, having an ego, and he even sings about it. But it's that confidence — I love and appreciate that. I like Common, his flow. Another artist called OddlC. As far as music, those guys really inspired me. Any other endeavors outside of your music you want people to know about? Yeah I have a few things. I'm a stunt guy in film — so if you know any stunt coordinators looking for a young black guy, athletic build, 5'8", hit me up! Also sound in film and practicing acting, which just helps with everything. Acting isn't therapy, but it can be therapeutic. The major thing I'm focussed on building this year is my company called HiChi Media. It's on instagram too, and I help small businesses with their branding, artists, videos, all the things. Thank you so much for sharing your art and words with us today! Any final words or advice for Discorder readers? Live your dream and never back down. It's not easy, and the best of us are trial by fire. You can't get gold without taking a few of the flames. Go through the flames, if you're meant to be there, the universe got you. And you know the main thing, the common denominator for success is first, never give up, and second of all, self-awareness and being in alignment with the universe — whatever that means to you. mm Fay enchanted the entire room. She called on the wisdom of her parents and Nigerian heritage to invite the audience into an open exploration of love languages, vulnerability and granting the next generation with lessons on love that might not have been modeled for us. Here's what she had to say before her stunning vocal performance, Harmela: Where are you from? Fay: I'm from Nigeria. I came here in 2011. Where In Nigeria [are you from?} I'm Yoruba and Urhobo. So it's like two different tribes that are not supposed to be together, but hey man, Romeo and Juliet! And you moved here — what was the culture shock like? It was one of those things where the kids around me -we weren't really on the same page. I learned to kind of adjust. I was bullied a lot as a kid. I lived in Burnaby, and I was the only Black kid in my school. I remember that coming with a whole lot of oppression. I remember my 2nd grade teacher advised us to move to Surrey so I could be around more Black people. Most of the people I knew from Surrey I knew through church, or from gatherings. ["When my teacher] was like, I think y'all should move to Surrey, that's what we did and the whole bullying phase stopped. Was it in Surrey that you really chose music? Honestly, yes. Surrey is when I started getting into choir and I sang the National Anthem at a game. I would use my voice more, but I still hid it for years. Even growing up in music I still hid [my voice]. To this day, I'm still figuring out why I hid for that long; but it's perfect timing low-key, cause it's one of those things where you have to cook 'till it's ready. Until it's ready to share to the world and as it's out there; it's developing. I didn't want to be half-baked. So I would cook on the side, and be with the Marcus Mosely Chorale and perform and tour, and I never told anybody until 2022. That was when I started telling people I do music. What is your guiding light now? My guiding light at this moment is honestly God. My spirit. Being somebody that has had to overcome things. It's really easy to get distracted by the noise but if I block the noise out, and I listen to God, and I do things with intention; everything just works out and everything aligns. I really try not to chase things — even time. That's honestly been my drive. If it was just for me, I'd do music in my room and never share it. But me choosing to share is inspiring somebody else. That's one of the things that motivate me because I thrive around people, and I love seeing people thrive, period. I'm gonna prepare myself to be able to be in the best condition to deliver this message that I have to gve. What do you want your community to have access to? I want people to realize that they can do so much more than they actually think they can. I find myself sometimes hearing people doubt themselves, or not use all they're capable of using — whether that be skill, or talentj or mindset, or conversation. I feel like we use five percent of what we can really do. So anyway that I can [help,] I love to be a voice to other people like, "yo, you can really do this." I think a lot of people either don't try, or don't believe it because they don't feel prepared — but it wouldn't be coming to you or for you if you weren't prepared. God really puts you in places that you're prepared for. That's why things don't come as fast because we're not prepared for [the next thing] yet, but we're prepared for this. oozy owner 1 DISCORDER M&ZM APRH-fiftY 2D2M GxLCLt/L; Q/L UX£L %L WORDS BY STEPHANIE VAN WIJK ILLUSTRATIONS BY SOPHY PHOTOS BY A LI STAIR HENNING Do you ever wish you could talk to crows? Trade gossip with the bees in the fields, complain about the weather with guppies at Jericho Beach? What would you say to them if you could? If you asked a crow (in warbled crow-speak) how its day had been, something in the shrieked response might resemble the frustration of the work week. The somet imes S isyphean struggle of eating enough. sleeping enough, and taking care of our bodies in a world full of bird-spikes. If you gave Ana-Eve Shendebray of Goats and Lasers three wishes, I'm certain one of them would be to talk to animals, and in a way, she already does. Ana — who also goes by Lady — is fiercely appreciative of communication and its nuances, as well as the imperfections that make sharing information both more difficult and more interesting. Few are as equipped as Lady to apply this to making music; and the overlap between language, communication, and melody finds a comfortable balance in her work. Armed with a portable synthesizer, her voice, and the objects around her. Lady celebrates imperfection and the beauty it brings to the things we do; our handwriting, fingerprints, voices and mannerisms. Lady simply organizes the sound, makes music from the things that are imperfect and beautiful. It's hard to imagine anyone else performing her work; her improvisation is as much a part of the performance as the actual sound, and her presence in the Vancouver music scene over the last decade has had undeniable impact. Her samples are captured in a flash using anything and everything around her, and her beats are fresh, developed before the audience's eyes at many of her performances; all of which are stomped out in a frenzy by confident, experienced fingers. All of this occurs in the moment; incomplete without the interaction of others, the eyes of an and the ears of her 0P- synthesizer; Lady capt exchange between them as beautiful thing in t reciprocal and whole. But more on that in a s now, coffee, I meet Lady at the Wil a cafe on the corner of neighborhood in Strathe warm, and the gleamin wood interior re vital iz second I enter. Transit takes a lot out of me in the last lingering months of cold, but I feel better immediately as I see Lady and grab a seat. She's already ordered a matcha latte and a croissant and set up shop at a table by the window with a sketchbook, I grab an iced chai and we find a spot on a bench across the street to talk. From there we can see crows playing in the field, and on the baseball pitch a murder of old men chainsmoke with glee. Lady is wonderful to talk to for a few reasons — but mostly because she's full of stories, little analogies, and you can never tell where one ends and the other begins. You just have to wait for the big picture, I listen intently as Lady tells me about her job at a cafe in East Van, and a local holiday that the employees have started... Ana: I like my co-workers. They're nice and it's fun. I started this thing we call cat shirt tuesday. And people get really into it. I love when customers notice that we're all wearing cat shirts. I'm hoping to kind of make it like a block-wide thing. I'm going to start putting up cat posters — nothing but a cat and the words 'cat shirt tuesday.' I'm just trying to advertise the idea. And then it'll catch on, hint, hint. Nudge nudge. Clearly, cat shirt tuesday is a group effort, but Lady has been making music solo as Goats and Lasers for over six years now, and I'm curious about her process as someone who makes music in such a collaborative style, So, Goats and Lasers is just a solo proj'ect for now? Yes. Yeah, it's always just been me. My first performance -whatever it was, maybe six, seven years ago? - I was on a bill at Avant Garden. I'd always be on some bill and people would think I was a band. It was sort of advantageous to me? I had just gotten my OP-1, so I was still a little, like, uncomfortable performing with just that. So for like half of it, I would do ukulele and beatboxing. And then the other half, I would just like, shoot samples, do some loops and things. I think my very first one was an open mic night at Stylus Records. The store is closed now, but Stylus Records used to sit on a block just off the Great Northern Way in Mount Pleasant, further south, where Ana tells me they used to perform wi th their friend Bala on keys, Is there a certain album, that hit you in that time when you were starting to make music, that you heard and just went * I want to make stuff like this'? I just really like improv. Bobby McFerrin was super influential for me. That was like, as a really little kid. You know "Don't "Worry, Be 8 (oats d lasers HSffi YAflkfflflA 3MKft»ffl raQflOEia Happy"? That guy is like the last guy to have an acapella chart-topper. My dad did a workshop with him one time — he has a framed photo of the two of them on the wall, so he'd play a lot of that for me. The first piece on piano I learned was the "Moonlight Sonata Prelude," but it was because of Bobby McFerrin's acapella version that I wanted to learn piano in the first place. That's part of why then I got into beatboxing as a kid. Beatboxing is just such a silly thing. Was there something into beatbcacinci? specific that got you Mostly Bobby McFerrin. "When my mom would drive me to school I would just hum and beatbox for the whole ride, every single time. On, you know, like a little electric vespa. And it was really loud and I had this huge helmet on. And you'd only be able to hear yourself on the ride? Yeah, yeah. And she would hear it too. It was sort of like the radio for her I guess. Did she ever say anything? She'd be like 'Okay, yeah, this is nice.' Sitting on that bench, I can easily imagine being sucked into a world of percussion on the back of a cherry-red Vespa wi th Lady, She has an easy rhythm to her movements that shows even as she taps melodies into her sketchbook in the sun, I savor the feeling of warm sunshine on my face and we find our way to talking about Lady's history with percussion - all the while, I picture that cherry-red scooter roc ke tin g th ro Ugh th e ci ty i n th e s Un, My first instrument was hand drums when I was around three. Like djembes and stuff. I feel like I've just drummed and beatboxed and hummed as long as I can remember, really. I learned how to like, do rhythms and poly rhythms before I even knew what those were called, just because I would just listen to other people. Up in Shuswap in the middle of B.C. I would listen to people play at this festival called Solstice. Super rural. It was kind of a vaguely neo-pagan festival that my parents liked to go to. they'd take me every single summer solstice. Then, when I was 10 or 11,1 moved to the sunshine coast with my Mom, and I got really sick with Lyme disease. It actually ended up being from an untreated tick bite that I got at Solstice when I was four. I got the bullseye rash and everything, but we just didn't know what it was, and then it just faded away. At the time, my mom was more worried about me getting mosquito bites. They were always like, getting infected because I was a four-year-old, scratching them. Call me crazy, but I'm not a huge fan of mosquitoes. Gotta be the worst insect. Can I ask about your experience with Lyme disease? It can't have been easy finding yourself as an artist while managing a condition like that. I've just always had like, weird, kind of unexplained-by -doctors health issues. I mean, it was the reason I got into stringed instruments. I bought my mom a ukulele for mother's day, and it was just hanging on the wall while I was bedridden for a year or two, and like, didn't really leave the house at all. I remember so little of it because I was just laying in bed most of the time, and my mom is truly an amazing person who helped get me better. Yeah, it was a crazy experience. It was crazy having to relearn how to walk at like, 13. From where we're sitting. Ana and I can see the crows playing in a strip of trees down the block. She mimics their calls and I try my best to do the same, I feel like... If I saw a crow making a sound that sounded vaguely human, I think it would weird me out too. I mean, it's what cats do — mimic us to communicate. And when you meow back to them and they're happy about it! I think we're not meeting cats halfway enough. I think we could form a kind of pidgin-like communication between us and cats if we get on their level a little bit more. I really like the idea of making art pieces for animals. Like, when birds do that sharpening beak motion? I think it's crows. Yeah. It's supposed to be a sign of distress. And, hey? "Why have we gotta be stressing out crows? Now I'm thinking about that one sculpture — 'Can't Help Myself by Sun Yuan and Peng Yu - I think it was in the Gugenhe im for a few months. It's like a hydraulic, robotic arm that continuously wipes this pool of blood back into itself. It's interesting to me that it's not meant to be a representation of human suffering, but it still endears us to the machine. It kind of makes us think about how, you know, it's a hydraulic arm, but it's dealing with the same monotonous struggles that we are. And that we're dealing with the same issues the crows are in some ways. We have to find food, we have to find shelter, we have to fight age and entropy. I really think it's the same struggle in some ways. I feel like in general we don't give animals enough credit. I remember I saw this guy that taught his cat to touch his nose whenever it didn't want to be picked up, and I think that's really neat - to give [domesticated animals] a tool for consent. (oats d lasers 1 DISCORDER M&ZM APRIL-fiftV 2D2M Would you ever want to make ah art piece for animals? Yes, I would love to. There's that album, Music for Cats. I love a small little concept. I'm planning to do a string of conceptual EPs. I want to just put ideas for albums, like challenges, in a hat or something, or a bucket, and then once a month pull them and create whatever that is. I'm working on the list — the first one was supposed to be a sound collage inspired by Lilien Rosarian. It was just supposed to be a bunch of little tape loops, but then it got a lot bigger when I realized I wanted it to have voice acting and audio puzzles. The OP-1 is what I've used the most [for sampling.] I saved up for like, two years in high school, working as a music teacher, to get it. Do you see yourself working with other people more for live shows or recorded work in the future? Yes, I very much would love to. "With Goats and Lasers, basically all I'm doing the whole time is trying to get the audience involved in some capacity — so it's always a collaborative thing. Last year was when I really got into the swing of performing, but because it was how I made rent for a while. I didn't have a job for like, eight months after moving off the coast, and then suddenly I was just like, 'okay, I'm in the city now. "Whoa.' It made sense [to base it on improv] because I didn't have to practice at all, and I was a solo act, so I would get all the money I made from the shows. That made it financially viable. Listening to your music, I really get this impression of appraising the mundane and plain as beautiful, and with that in mind, I'm curious... You have a single called 'The Official Anthem of Spokane, Washington' but you say you've never been there. Why Spokane? Ana: It was, um, the random article button on "Wikipedia. I didn't even read the article before I started writing the song! I think that you could look at absolutely anything in the world, and the more you look at it, and the more you think about it, and the more you focus on it — it becomes special in itself. And that's all that really matters. This circles back to my philosophy around Tinseltown, which people think is a bit, and I will admit, it did start out as a bit. But I love Tinseltown. And people ask 'why Tinseltown? "Why do you go to Tinseltown?' I just feel like I've just invested time into this 10 place and like, that's what makes it special: the fact that I find it special. And it could be literally anything. I think everybody has a Tinseltown. I agree! I think a lot of beauty is just choosing to find beauty in something. Even if it's something that's generally accepted to be beautiful, it's the decision to appreciate something that makes it valuable a lot of the time, I notice a lot of organic sounds and appreciation for nature in your music, do you find there's any kind of translation process between those kinds of natural sounds and putting that in electronic music? Yes, that's the thing I do! I like the imperfections. I don't think I've ever really used MIDI. All my drumming, even if it's electronic, it's literally just me hitting buttons. I'll quantize it if it's really off, but if it's just a little bit, I'll leave it. That's why I keep the little fumbles in my work. I like that sound of hearing laughs and hearing me not quite say the word right. I'll make a mistake and then make it not a mistake, and all I need to do is repeat it. I just find it's hard to work with a blank piece of paper when I try to write. So I'll just force myself to just do it. Usually how I write lyrics is just recording them. And I never really perform any songs that were songs before the performance. It is all just improv, whatever. I get the audience to write, like, prompts. And then I'd sing about it. Bobby McFerrin did this thing where he hopped, like, he got the audience to sing in the pentatonic scale, and then he would hop and had them sing a note each time he did. I saw this as a kid, and I remember thinking, 'oh my god, that's the coolest thing ever.' "What was really fun was that (oats d lasers he would hop one more time without telling the audience what note to sing, and yet they would already know, because it's just intuitive. And that always felt exciting to people because, even if they don't know anything about music, they all get to be like, 'woah, look at this. "We all suddenly did something together!' I really just want to encourage more people to make music. Is there an experience, or a way of seeing things, that you want to see more in music out there? More queer people making weird music. "Whenever I'm listening to music, I always find I'm looking for something that doesn't sound like something I've heard before. That's what's always the most interesting to me, and it can be literally anything. Lady performs regularly at local venues and DIY spaces, and you can get the scoop on her next live performance via her Instagram, @goatsandlasers, There's word of new projects already underway and flourishing on her OP-1, You can find her recorded work on Band camp, and on the lips of shells found along the Sunshine Coast, if you listen carefully, race hwjewa awrsfiDffli moatreio WORDS BY ZEPHYR FREBOLD // PHOTOS BY WENDY VON G // ILLUSTRATION BY MEGHAN LOK Like many stand-up comedians, Talie Perry thought openfag her own comedy club would always be fust a "delusional dream" she kept in the back of her mind, but after four years of producing shows and dealmg with unsupportive venue owners, she finally opened her own space, mspired by Vancouver comedy club The MOTN. Talie immediately brought Ariane Seiler onboard, a comedy producer who had worked at The Comedy Mix for 8 years."Right away I knew Ariane had to be mvolved," she tells me when we sat down to chat about Chill x Studio, "she knew a lot about comedy, and I knew she was well-respected within the community." Shortly after, Jason Rowland, who managed The Comedy Mix forZS years, jomed and completed their team, bringing the perfect combination of traditional experience to a new vibrant space. Where colorful lights, disco balls, a tinsel chandelier, and an astroturf stage replace the typical all-black comedy club aesthetic. Talie: I knew I didn't want a traditional comedy club, I just wanted traditional elements. Ariane: It's traditional with a twist. Talie: Exactly. The traditional club environment and the aspirational part of comedy is what the team at Chill x Studio intend to bring back to Vancouver, as during the pandemic the city's only commercial comedy clubs The Comedy Mix and Yuk Yuks, closed down. Clubs where local and touring professionals could perform in a dedicated space for comedy and amatures could aspire to get the sought after 3-minute spots on Tuesdays pro/am show — A spot that allowed up-and-coming comics to showcase their best work to producers and established comedians. These traditional and aspirational aspects of the comedy industry is what the Chill x Studio believe are necessary for a city to have a strong comedy scene that supports its working artists and helps new ones to grow. Talie: I wanted to create a space that comedians aspire to perform atj emulating a club environment that supports and inspires comics to grow. Zephyr: After Yuk Yuks and The Mix closed down, what changed in Vancoucers comedy scene and why is the aspirational element of comedy so important? Talie: I noticed when everything opened back up there was and still are, a lot of very new comedians that don't know what traditional comedy is — it's like the scene lost a lot of its structure. Vancouver now has a very indie scene, and that can be great, but it's not necessarily teaching the proper etiquette of comedy and that's really dangerous for people that are wanting to pursue this full time. Jason: Right now I think the scene needs a bit more of that aspirational element to it, where comedians understand there needs to be this underlying motivation to improve their showcase sets and their ability to perform on stage because that's how you are going to get bigger opportunities outside Vancouver. "When The Comedy Mix and Yuk Yuk's were still around, everyone knew if you got that 3 minute spot, it was like winning the Stanley Cup for open mic comics. High caliber comedians that now tour the country like Ryan "Williams and Randee Neumeyer all started with those 3 minute sets — I think that's what all three of us mean hvasnirafional. Z: As a performance venue; it seems that you uphold a strong expectation of your performers to bring these 'showcase sets' to your shows. What does having this expectation do for both comics and a comedy scene? Ariane: "When I got back into the scene, I was kind of seeing that comics were always trying new stuff — even on a weekend show. You're not going to have a lot of returning customers if the standard of quality is not there. It's not that no one can ever try new stuff on our stage. "We just want to create a finite environment where comedians are performing their best material. Because that builds a brand and makes comedians stronger as well. Talie: "We also want to help out new artists, which is why we recently held open auditions for our new Level Up pro/am Showcase Show. "Which kind of mirrors the Tuesdays at The Comedy Mix... "We also have been thinking of incorporating work shops/seminars just so we can try and add a few extra tools to new comics toolboxes. Z: What kind of place do you want Chill x Studio to be known for in Vancouver's art and comedy scene? Talie: "Well, I know when Ariane produces a show she is very focused [on the idea] that someone in the audience is choosing to watch live stand up comedy for the first time, and they deserve to have the best possible product because then they will think, oh, this is going to be an option for me moving forward and they will add it to their rotation of entertainment choices. So creating that sort of environment is very important. Jason: Also the hope from the management team is that Chill x Studio can become a place for comedians to hang out and network — that is part of the reason why Thursday's show always features a credited headliner, so comedians who aspire to that role can come watch for free and pick the brains of comedians who've gone through the process. Talie: I feel there's just a lot of love in this place, and if I never make it as a comedian I want to be a legacy. I want to be a home people remember when they started their journey in comedy. Chill x Studio is a woman owned and operated business, putting on a wide variety of comedy shows and events Wednesday through Saturday. The studio is also available to rent. More information and tickets can be found on their Instagram @chillxstudio. jpg I @chillpillcomedyl or by visiting their website www.chillxstudio.ca ifc, DISCORDER MAGAZINE APRIL-MAY 202H INTOTHEARCHIUESw/dani ▲ SCATTEfiEDLO VE LETTER TO THE NON-TEfiFI SIDE OF 90' S QUEEfi FEMINISM Discorder April 1992, issue no. Ill Tribe 8 by Jane Farrow words by dani larose // illustrations by Jenna Chandler as i 5m intoxicated off of a plethora of delights, i sit with my queer kin, stoned, drunk, et cetera, hope sandoval (my beloved) sways my mind into a trance as "fade into you" blasts in my headphones; the glass of the bus window too scratched to clearly see city lights, i wonder what a dyke thirty years ago in my same position felt, i imagine she's on the bus ride to grrrlapallooza, worried to see her many ex flings in the all-too-small Vancouver dyke scene, if i could choose an era to be in Vancouver during my early 20's, it would be 1992-1996. i feel a spiritual parallel to a lez who just got involved in college radio, wears cheap and ill-fitting thrifted clothes with one or two trusty pairs of doc martens, silver thrifted rings that turn your fingers green, can roll up a joint in a minute or two. just like they did, i pick up my discorder mag, walking past known drop sites: my favourite cafes and record stores, carefully excavating only the best posters and clippings for my ever so niche and esoteric dorm-room wall collage. discorder first interviewed tribe 8 in the april 1992 edition, later interviewing them again in may 1998. i yearn for an event that could truly match the energy of tribe 8's concerts, where going fully topless was the norm and dykes mashed and mo shed, tits to the wind to their lavender heart's content, real dyke shit. i imagine my 1994 self in the crowd with all the other femmes going ballistic, i love real dyke shit like the tribe 8 song "tr* * *y chaser" where the lead singer, a transmasc dude himself, sings about his lust for cute cis-male drag queens in a way that doesn't care to cater to any other audience. back in february 2023, i started the instagram ©discorder.archives with the goal of creating my own highlight reel of the discorder mag archive, since then, i've seen multiple people connect with the bands highlighted there, just like i have with tribe 8. other alternative/queer people have expressed to me how they too feel more represented by tribe 8 and other dyke bands of the 90's more than anything currently trending, today, there are many frustrating archetypes; the femme4femme cottagecore lesbian, the bi girl with partially dyed hair who dates gamer boys, the specific and weirdly cis-het dynamic of butch4femmes, etc. as someone who fits the categories of cisgender, femme, and twospirit lesbian, i feel that we need to decolonize and challenge categorization, the later stages of this thinking leads to things like terf ideology and transmedicalism — which are actively anti-indigenous, eugenicist movements, kathleen hanna from bikini kill and le tigre is often credited as the kickstarter to the riot grrrl movement, and though she may backpedal now, she chose to perform at the Michigan wotnyns music festival aka (michfesf in 2001 and 2005. michfest was complicit and silent in their policy which excluded transfemmes in 1991 with a 'womyn born womyn' rule — later policing genitalia directly, in 1994, tribe 8 played michfest to the outrage of many at the festival, they wore bondage gear and strap-ons, and sang songs about being sexually attracted to transfemmes as cis & transmasc lesbians, and getting suffocated by tattooed boobs, the audience reacted to their set with cries of "phallocentric!" "objecti- fying!" "misogynist!" what i love about tribe 8 is that they challenge these ideologies with that real dyke shit — a vague spectrum of lust, attraction, gender presentation, gender identity and sexuality that needs not to be defined. m 12 Into the archives \kc& vflffl-jrmfl 3iflSfla=fli raaatreiq o> j. t< u u E W| rl*» * i« * aej/-pr©rn*ead "girl band for \ giflr." (It you Ain't -gat" Choir nama. look tnbfidm in tha dictionary/. Tfcoy'r* grungy, crunchy, ilauy and aamrt - off yamh, and not rauUJy int«r»#t«d in hiding thai r pr*faxwice> /or aharincr tbeUr bjankota with girlr. H .'.•/' ▼■ boon playing around San Fraraci aco /or about « year and hava> mold out thoir /irat 8 *ong oaaaatta which included the> now clnaaicti*'*** -Ma«noWth#J !**•. ■ -Powmsboy "(about polio* brutality), "laurophobU" and "1 Party 2 Many. " Tbm Tribm la mlatad to put out a ooupla of India aiffglmm moon and will almo apfmar on an upcoming eonpllatlon tamturing audi dnwixan* of thm thriving underground girl aoana am Bikini Kill, 7 Yoar Bitch, and Tha Lucy Stonarm. Thalr contribution la called "1 Juat Manna Manipulate My Girlfriend", nana, mound* LLka mcmmtthing you might want to pawn your Serbia* collection for. Anyway, thay'rm planning to do mcem touring thim aprlng and might avert gat to Kuropm chj a rimir. mo chock your ioeaJ limtinga and don't auaa ens'. Eribm 8'm aggtmamiraly frank tretatjravit of aaxual nojitica and oainatraam gay culture) prat ty anich pracl udaa theur total acceptance) by all dytaa. lmt alone your armragm ahrad-haad. Oia> woman I mat want out ct box way to toll mm mho thought tnoy warm "ruda. obnoxioua and naaty and can't avail play thmir inatruaanta. " Ibat'a whan I knam tot aura I'd Uka tbam. So I a**ad around for tham and avmntually convinoad tham to tit down and chat about chair amntlc, iiva ahowa and tha San rranclaco acana. Praeant *nd accountad for at thm chin way marm Lmmlia (guitar), Lyrma Bramdlovm (vocala). and Hmhia (tmaa). OnawmJjmbla tor 00—t w*»ro druanor JCaC and guitaxiat Flippar. Leslie: hV** been together for •boot a year. I went to thla party and lynsw aad T] lFper and Set war* playing. It wen the fiiit thing they ewer did. and thay tad aaybe « eooge that they kept playing ©war and owar. Lynn* BraadJOV*: Thaia vara flwe artca liy and we aada thaa up la ona waak. L: And I thought, that'a cool. Then Lynn* atarted yelling that thay naadad a bene playar and I aald I' d play b**e with l bea and aha atarted yelling "hay. we ooc a baaa playar.- 1 didn't know a^ of thenar* they didn't ■now each other raally wall althu. Li: Ma callad Rat and aaked bar if aha oould play druna and aha aald n»i:. I Hawen't played In four pin. but I'U gl*a it a ■hot.- KaSia: I &■*•> knaw all thia. L: Than «• atartad playing in tha back root ot aoaaona'a houaa and It waa nally loud. LB: Ha had to •cand-proof It kacaaaatha landlool'aalfaaaa dylag or aoavthlng. Dlacorder: yo- didn't ean- UlUto to bar daa'-hat all did li: aaU, I don't Udak ana diad M «a Odbawa taagaaodE. X: So wa bad to find a oatl pcactloa apaoa and wa f looxad If aw had aora paopla la tba band It would be cheaper. So tnat'a afaan I evitchad to gul- tai and wm got Mabla on baaa. M: O). that'ihowlt hapfenad. Ct ay god. 1'a a3 plaaed off. lit: Kahia actoally aoond* tba beat 'cot aba actually hai rlaooa on bat Inatroeau - Our diet o.loa ear* at partlaa, than aoM basafm. M: Than wa didn't waata any tlaa and want Into tha atodlo. L: Our flrat ahow waa totally great. It >aa probably tba tier. tlM I had ewer aeon that ■any dykee elth thalr ehlrta off all H: Ml thaaa braa and panUaa flying aroond and talng thrown an atege.,. paopla ripping thalr ahlrta off. Wa kept tboaa braa and pantlaa in our atoraga rooa for bom. So hoe doai the «;U'"j on, colleetiva! tyr*i*leair ft OB L ft Joat happww, aao-pt freed- loea wataa tha lydca. all tba poetic ahlt, than w* all pratty ancb onntrlhnta to tl» anato, "hat Intpirad yo^j to woar a tan BY JANE FARROW (sot, rar.ft«r ten lac* oiloo on »t*oe lor you; Oeilwty o! •rotrnrhcy-i tha: sor.} |b pijllcB brutality and rtonopho- bla? 1>: awcanaatha llnelnitoeea •you got your night atlck, your aurroaatadldt.* I yowt thought ■a gotta do aoaathlnq. *e got ao little talent ua got to gat ooreeleee eoaa propa. to I eeM owar to ttouay laatbaf and they had thla big old gnarly, ngty, robber thang for Juat 513. SO i aald. -That'a for aa,* L: That'a allghtly aora a dollar an Inch. M: feopla lowed It. thay got Into It. L: Teah. auapt the atralabt boy"- thay tend to look down . thalr on laga and feel M: Daflaltaly. Thay ana totally open and cool, and I think thay purpoeely coltirete aa- tdgooua eaauallty. L They're waty aawar poaltlva. ■tan thay played that aon, That and Fright anlnf. here la laa Pnancaaao, thay nartinafed rt to Tribe ■ and Uwy wanj all —arlnj Oaar Nation atickara. Toll -#• aooet a gig thai yoj DMllj Hkaat, LB: rugail. alL: T«h- IS: We araot lead for flee daye atralgfct - wa ware all aa paranoid. X fan, aa bad put out our owl leaflet that aald Tuck Pata KU' ■on. Puol ffaak Jurmn, rodt tha bailee. Pom Thla, Pock That.- U: "...puck 1-wrytUnn, Die Die Din.* and awaa right -wind aaahole ah^-a up at tba clob. Cafe San Dleoo, waning tba flyer aad aeylng *you aada a alatata. ron don't hawe year peaut ye* and we can aaae Ufa hall for you.' So tba bar annager callaaa and talla ua wa can't play If wa dldn't take tba flyera down right away. She aald tha police called aad aald thay couldn't hawe any punk rock acta pi eying; there bocauee thay're toe loud. Solaadetbo aletaka of telllaa bar I didn't think ponk roc* waa a "woliawt eauee we're mally into nop- portlag thla *B 101 Defaona rund thing, a-O. It waa In bar beat Internet 'on wa can draw bundrwda of people and thay drlek a lot of beer, So aba aaya, "Okay, you can play and tba police will loo* tha other ■ay thla tiaa.' M: But they told lyune that aha had to agree not to take her top off; an pulling dlcka out. L: and thay told bar aha couldn't anck anything. IB: So than wa go around and tall all onr friende that tbay bad to go to tha gig. 'cut we ear* really big ehtt, and thay had to aupport tha ka 101 thing. bat> • bat Inferior. Actuaiiy, I'aiindof int-i-Al- ad in knowing exactly "ho yowl audience I*} !-: knybody frcai record rap. a ta aUelgbta, to aaaara. and Iota of glrla. aorord rap.i -h? Mel), girt grung* doai a-an -o be getting notlord by wnw :abe!i* habwi in foyland Juit got a Jlarrat'i dul and I? *jtped fn» St-b-Pop to SlaaK. Of coufta there'a Th^rator.Hxre's "fox-core" en- ooiV-w-K... L: A yeah, that waa ao tarrl - bla, that tarn thay can to iiwr> all aoaaa' a banda Into one big pltw of nothlngnaea, H: I think we're too offnoeiwe for anyone aa Jcr. TtTnlaf* aaln- atrwaa anaie bit aoolda't go oaar ua with a tan foot pole. They di3 .." law] (toaa. L: Teah but ha happen* to be rabidly heteroeeruel. aala and whit*. Hew bout t> thnuoh? L: faab. they're big Una. tbay-'wB baaa around tot yaara and thay really daaarra It. H: laah, they're great, thay •all oat all tba tlaa bare. And they' I* pretty out U»'* i n UM of content* H: Tba Boat fan waa thai Berkley gig, a benefit foi Paopla'a r*rk whan thay wanted to am It down and aaka it into a bench ot voUeyball court". L Bat ancther ona waa tha ho JptlogloB, an IMgnaU bwnatU. ft waa &» tha paopla who wans in at ad during tha rlota which followed tha defeat at tha Aa 101 aeaaskawnt which would hawe glean gaya legal right ■ in California; Ilka thay couldn't loan thalr housing or John owar laeuee of oamal orientation. Anyway, it turned into thla big fight heEween ua and the bar boating th* ewant. Who becaM raally worried that wa wan too orreroweraial and would Upeat thalr larel" and that aaytw *e weren't quite tba kind ot band aha wanted playing at bar bar onx. "we ain't aw fucking lounge act, wa'raatBMrintanaa, anar- oklat. pornogiaphy punk rock aotharfuckara - we be auckla' dick, wa be takla' oar elothae off, awybo aw batter ra-tnlnk thla whole thing.' She aald, "fine, doa't play." Than 1 raallaad that ay ana would bo grata if eweryona got bona froa tha Grand Canyon and found out wa waran' t gonna play thla gig, a* I raallaad I had to atari "iaalng bar *aa. So 1 aald, Tfcat aaa on ehoae tlyariT Ok raally, I didn't awaa know ahat waa oa tbaa.* Than I told her It would be a rani drag if aw couldn't play the benefit be- M: It waa really big, tone of people cane out. paopla wa newer ewan aaw bafor*. Thay war* yel 1 ing, paahlng, ahovlng and elaaaUag. Tfaan thalr abow got cui abort an) paopla got pleaed off. L: Teah, thay turned off our aoond: It waa getting rowdy, but it wa* tba onlf tlaa In tha whole night the place actually rocked, ft waa graat. alL: Taeh. that waa a graat Anyona Ittmraatad in geCCiag aunw Tribe • muaic on coo- tact tram UffOuflh L Mb, 3354 22nd St. C» M110 APRIL © tribes *3 8 * o 3 3 <U 'A 1J '.' 44 •~ •~ <U rt in n irt n ^ ^H ■j irt i-J ii (-1 fd '3 rt 0) J2 ft -H O J p> o i-l Si Oj vs» T3 a.' '3i n o o! is a.' O 5 ,^_ o! U-. w w n o Oj •H i-H W i4 a.' -rt 2, " '.'j ■ co . @ o M •H Illegales nyl Select ed Gate ^4 •3! a.' Ls Oj aj ^2 Ai 3 a.' Oj •H p J4 ft CO aj 44 anadas ical Vi era @ R T3 n a.' o o! 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Here is a photograph of a dear friend. We stood before this foreign landscape weeks into oar move to Vancouver, feeling small and pondering what holds. ♦ Hana I to J took this picture of my friends, Kai and Jade, while they stood in the crowd and watched a band play at a hous e party in February. My favourite thing about house parties is searching for pockets of human connection. I think there's something special about meeting someone at a party, getting to know them, cleaning vomit out of their hair, and parting ways at the end of the night. Participating in this ritual of camaraderie despite knowingyoumight never see them again. Revelling in the fleeting moments for the sake of experiencing them. Weaving my way through the crowded ho use withmy point-and-shoot film camera, I find myself immersed in various shared experiences of friends as they unfold in real time. Each grouping ofpartygoers sharing intimate moments, and each offering a portal into a distinct consciousness, a unique set of memories and inside jokes. There's something of an unspoken collective agreement to participate in the revelry—the front door of the house as a portal into a plane where responsibilities are delayed and pushed aside for the following day. I try to capture these moments on film, immortalizing them onto the plastic negative stored in my camera before they are lost to their impermanency and our impaired memories. The party always comes to an end, but these pure moments of authenticity and human connection endure, •Julia Zhu DISCORDER/ RAWFILES 5.0 PORTALS Portals have been on my mind lately. I work at a bar that jus t recently ins tailed a portal-like structure that houses an infinity mirror, creating the illusion that the mirror is a long, dark tunnel into the void. I have heard the bar s landlord make jokes that he should be charging more for the new real estate the portal creates in the already cavernous room. I have observed people talce self.es in front of it, smiling infrontofthe infinite passageway. It begs to be wafted through, even though that is physically impossible. But not all portals are illusions, and evenfewerofthem are architectural. Time, in some definitions, is aportal through space. Blade holes are portals into other dimensions and galaxies. Birthand deathare the portals that book our time on earth. Words, s tories, and memories are portals into the pas t or alternate realities. In my recent memory, the onset of the COVID-ig Pandemic felt Wee aportal into a darker and more difficult timeftne, and the door closed behind us, unable to return to the "normaV'we allhave by now redefined. So, with this edition, we invite photographers to explore these important thresholds, and what it means to pass through them. When I thinlc of portals, I thinlc of the class ic books and movies I grew up with. Alice in Wonderland was a core memory for me and I remember falling down the rabbit hole withher while watching the Tim Burton vers ion in 2010. It felt like a reflection of life, as Alice was forced into a new stage, and had to come face to face with the realities of being a woman in the set time period. I did a shoot recently that was heavily inspired by this fdm, using a plexiglass frame to create the "portal" between the subject and the camera. She is touching the glass as if she's stuck, trapped behind this transparent sheet, yet nothing is stopping her from putting the glass down. When I look at this photo, it reflects the portals of life, the restrictions and obstacles we are cons is tentlyput through to get to the other s ide. L'dce Alice, we are not always comfortable with these changes, but whether it's aphysicalholeyoufalldown, or an almost invisible sheet of glass, these symbols represent the choices and paths we travel to leam valuable life lessons. * India Morgan zz portals The Vancouyer/o™tha, ateays captU m"s °i cf}<Jomia, I often find myself it 35"'«rt?/« trail « 6fa a portal £2» rt?Mt^ rrod^atoJ, tfi ^^iytKemostessentia0 0ysofnt2e very wove, ancient j ^ W ^"^^^Vs, through the ^f^tre^s I wander into anothZ Wrld, a portal 0f floral tranquility. I own fought, a ^ mri / » truly aspectplace, andVve 4m to raitout,to «ot l0 a/ter r as this immaculate beauty • Morris Haye« 1 took this picture duringatrip. With ea<b childhood, where time stands still. ♦ Liz ™e?aUU* to imagine magic breal ^y^M^i^l but the birdcage y- zfem nit till the fern died. In the itolA it feels timeless, future past and present together. . R<nee pj| ** ^seoNiotrKrawfUea 33 1 Discover ttagaane April-Way 2Q?l Teeth words by Maria una Schultz. illustration by Brian Lee &j? Dallas Hunt The searching poems in Dallas Hunt's new collection, Teetb i are preoccupied with imagined worlds — worlds in which everything has gone a little (a lot) better. In these realities, death will mean the beginning instead of the end, Indigenous poetry won't be about j "how / difficult something is because colonialism has made it so," and destruction will mean something good. In the meantime Hunt's poems consider celebrity wrestlers and poisoned liver % and revel in the pain of having something to lose; all while attempting to practice their dream worlds into futurities. Dallas Hunt is Cree, a member of "Wapsewsipi (Swan River First Nation) in Treaty Eight territory in northern Alberta, and a professor of English literature and Indigenous studies at the University of British Columbia. He first started writing poetry while immersed in criticism and theory during his PhD, and released his first collection, Creeland^ in 2021. The thoroughness and rigor of an academic is evident in Hunt's work, but nothing is obscured by pretense and no feeling is withheld. These poems know what they want to say, and navigate fearlessly toward their truths. By way of lean, biting verse, Testb pulls apart structures of oppression j and licks the bones clean. Testb is divided into sections by the even, separate appearances of three animals: a squirrel, a gopher, and a bear. In the book's first poem, a Cree person laughs when his non-Cree friend asks him, over the body of a dead squirrel, if he would like to "provide / an offering to / this deepsleeping/relative." In "formiscanik- wacas," the speaker details what happens when you accidentally piss on gophers in the forest at night (but "not because it's funny".) In "kaskitewmaskwa," the speaker's fa then, who is working on a resource extraction site, is chased up a pole by a bear — the pole's function here to "pillage/1 and "destroy the hunting / grounds that the black / bear needs for nourishment." Varying from quotidian to bizarre and frightening in their materializations, the animals in Testb remind us of the possibilities that rustle in peripheries. However immutable the colonized world pretends to be, there are always ways for these peripheral worlds to puncture and disrupt our reality. In "kaskitew maskwa," the father's life changes after his encounter with nature. He becomes anxious and withdrawn: "as though each person has a bear in them waiting to come out, desperate and aching and, maybe they do" These animals are the vestiges of a world that wasn't imaginary at all, but "who witnessed a world / crumble around them" and now live modified lives in this new one. Hunt's work is acutely aware of land and the natural world: the way settlers have treated it, the ways Indigenous peoples have been torn from it, and the things that now exist in its place. One poem observes, "as an urban ndn, / furniture means a world, a life / without pity." The treatment of things as placeholders, or inadequate replacements, is a familiar theme throughout the book; "we would make better if we knew how to make better so instead we make do." The poems itch with the feeling that things aren't right — a discomfort intensified by the idea that there is a parallel, yet inaccessible, reality in which things could be right. Hunt reminds us that what was made ("etch-a-sketch a / world") can always be unmade ("and shake it to smithereens! "J. Teetb is filled with fang-like poems that stick tight to the margin, leaving stretches of blank space that emphasize the sparseness of Hunt's style. But occasionally, a sinuous free verse poem fills the page from edge to edge, leaving no room for misinterpretation. These poems cut straight to the point. "[I]'m tired of indian poems" begins one such poem: "just imagine/ if you were outside the bounds of legibility, especially by literary communities, where you didn't have to write about trauma and moose meat and berries" Hunt imagines an environment for Indigenous voices free from fetishization, tokenism and predatory opportunists; issues that are notoriously prevalent in the fields of art and academia, especially in the current moment. The use of the Cr ee 1 angu age in Hunt's p o etry i s one w ay of resisting the "bounds of legibility," in that it doesn't endeavour to make itself understood by non-Cree audiences. This way forward is exciting — let the art of the oppressed not be for everyone, not concern itself with universality or leading its audiences towards interpretations, and let it be championed by grants and programs and funds anyway. Referencing the settler photographer who romanticized Indigenous people as his subjects, Hunt makes his feelings about the exploitative white gaze clear: "iwish a waning sun would implode that a riptide would pull at us, gleefully and that edward curtis would die in the photo of his static lens," Teetb'% absorption with death is hard to ignore. "While often alive with moments of rage or joy, it seems that the poems always return to remembering ourimpermanence. " Lif e i s a bull et th at fin ally get s th ere. / h o w do you outrun a bullet in open space," Hunt wonders. Humanly, he writes about this inevitability with conflicting and varying feelings: sometimes sure of their relationship ("i would nestle death") and other times hopelessly attuned to "the tiny pleas / our hearts make / to stay alive." You might expect this awareness to lead to a frenzied sense of anxiety, but the poems take their time, whether they like it or not. "[Y]ou spend your time sitting on life jacket bins on ferries and letting your /liver kill you," Hunt observes, as a friend might gently, but painfully, point out. These poems hurtle towards mortality, sometimes in surrender, but sometimes with ^ee. Either way, "what a great gift death makes for new worlds" * 24 TEETH BY DALLAS HUNT rSOS y&fll-JiqA srikepefl is£at02& j^ftJ|ot all contemporary exhibi- I ■ aVtions include esotericism, %% 1 exploration of teenage ^^jMJ girlhood, or a multi- %0*^^* scene narrative. A recent exhibition of Deborah Edmeades' work at Afternoon Projects demonstrated all three. In a single work. The exhibition Debt's (Teenage) Tbeosopbical Enlightenment centres six pastel pink acrylic panels in 18th century-inspired shapes. Each of these six panels, ordered by binder tabs, depict a monochrome pastel scene. The ensemble reflects a feminine mixture of child and adult found in teenage years, from the cheer of delightful colours drawing attention in a characteristically bare gallery space to the use of tulle for creating the work's anchor to the ground. From a distance, Debt's (Teenage) Tbeosopbical Enlightenment, (2023) appears as merely a pleasing mix between "girly" colours and the online " academia" trend. But the first panel in the sequence, "Liberty, fraternity, Equality" displays not the French nationalism that its title suggests, but rather a depiction of the self exceptionalism that is common among teenagers, paired with ancient symbols. Illustrated between two Roman-inspired Corinthian columns and the words "pater" and "mater," a clearly teen age girl holds a bouquet of grain and stands on a checkerboard balcony in the spotlight of an eye shining above. The panel visualizes a teenage daydream of being special and in a different environment. "When this common experience of yearning for acceptance is unfulfilled, Edmeades' teenage girl seems to find it in feeling chosen by the divine. This teenage girl begins an adventure on the next panel, "Enlightenment Freethinkers: blasphemers, pantheists and neopagans." Riding a pegasus made of three phalluses, she takes off over a field of grain, possibly that from which her bouquet came. The religious themes fQTeenajje) 3£nlt(^tenment a review tooufi* by Klflircy Ketfiaaon prjotod coucte*i) of Sftcmoon ^cojecte continue with the story; the scene is surrounded by a doodle-style image of each western zodiac symbol. These details are further developed in the following panel, "Wisdom of the East," which relies less on story to instead demonstrate elements of many religions. The panel centres around the teenage girl, who is now surrounded by lions and holding rods and rings, reflecting ancient Mesopotamian goddess art such as the relief "The Queen of the Night." The contemporary central image is titled "The Patrons and the Senate of England" ^V ".' '"¥#- p§ 'V Jjt . . ;»f »"■;;- >*/* (' 1 ''l r* ,: - /" 11 \ »■ t fit 1 c V" - ^V^- r~ ..._,. v* '- ' • - V . * * ... .' * *". ' - - Qv *i' -;.- ■*?--'" r"V( ' ■ 0 •- - ■ ■ in Latin. The mixture of ancient and geographically broad influence continues below, where Egyptian pyramids and a sphinx are placed beside a rough sketch of Stonehenge. Our heroine then confronts a powder- wigged Enlightenment era male figure in "Animal Magnetism" who sends beams from his hands to her head and chest. They are surrounded by nature, and the teenage girl is working at a desk with a circular diagram reading "world spirit." In the following panel, "The Hermetic Revival of the 19th Century," she holds a torch to a free standing mirror printed with the word "tetragrammaton," which describes the four letter spelling for the Jewish god. An object with a Star of David sits on a table next to her, and a disco ball hangs over the scene. At the corners, an angel and devil interact with the girl, while a model of planets sits at the base of the page. The story concludes with "Radical Spirits," and a "good bye" on the back of the preceding page. On this panel, the teenage girl is held by her wrists to a tufted chair with lengths of fabric connecting to two tall bodies draped in fabric outside the central frame. A mixture of letters resembling those on the previous panel's mirror lay scattered at the bottom, surrounded by two low circular tables with long, protruding triangles pointing at the teenage girl. Jh^^ espite the intricate details and I ^3k iconographic references, the M^P \ story of "Debi's (Teenage) 1 %^%1 Tb eosop b ica I Enligb tenm en t" \—mw leaves much room for interpretation. One reading sees the teenage girl discovering the esoteric in "Liberty, Fraternity, Equality," in the environment of her father and mother — or "pater" and "mater," and setting off to explore this new spiritual world. Her journey would end when confronted with the powder-wigged man of "Animal Magnetism" and being forced into a different religon via the chair in "Radical Spirits." I nonetheless find a history of an ancient goddess that the teenage girl sees herself in more compelling. In this telling, the teenage girl imagines herself as the goddess — living her story from pre-human creation, reverence in ancient culture, questioning through the Enlightenment, revival in the shadow of another god in the 19th century, and a chained existence in the modem world. Such a story would also reflect a common teenage grandiosity and anguish. As a former teenage girl myself, I remember feeling alone on a path from joyous childhood to what seemed to be a death of the spirit in adulthood. I felt trapped in a situation that I thought only applied to me. "While I now tend to forget how forlorn and exceptional I felt, Edmeades' work reminds me of my teenage self's longing and scheming to escape society as it was. Debi's (Teenage) Tbeosopbical Enlightenment honours the struggle of teenage years that even recent teenagers like myself often ignore. Even the outward-facing friendly tone and pastels are respected. But, with this exploration of childhood in a cheery wrapping some may call "frivolous," Edmeades also returns to the old tradition of making art that is undoubtedly religious. Of course, using religion, or even Theosophy, as inspiration for visual art is nothing new, Debi's (Teenage) Tbeosopbical Enlightenment is unusual in contemporary art for its obvious religious associations. It is perhaps as clearly connected to religion as a Medieval portrait of Jesus. Yet, for its use of religious and ancient symbols, it evades notions of domination that ancient gods or even Roman column capitals have historically been used to convey. These symbols instead aid in legitimizing the experience of teenage girls in a world where what is feminine or childlike is belittled but iconographies of power from millenia ago are admired. It's unusual for a contemporary artwork to lay out a scene by scene story. It's even rarer for one to highlight two uncommon, seemingly opposed themes through details that will leave lingering curiosities even after writing a review of it. &■ Discorder magazine ftpriL-fflay 2021 I HBBir. %s> Z*"&??. G"0^^^ WORDS BY OCEANIA CHEE // ILLUSTRATIONS BY R. HESTER R.edgate and/or Liquidation "World (I still don't know the difference between the two) are still setting up when I arrive, ten minutes before the event begins and sweating from the walk from the bus stop. I feel a little bad for arriving early, but I get stamped — a linocut of a watermelon slice — and head into the empty venue. The last time I was here, I had volunteered to be an extra in a scene of a friend-of-a-friend*s short film. I remember the bustle of a thousand moving parts, and I was just one of them. It*s strange to be on the flipside of it now, being back to watch short films with just as much complex, deliberate work behind them. I help set up some chairs, and then I grab a drink — a deliciously Here's something I didn't know until I looked it up: "Palestine" (Falasteen) is derived from "Philistine." The Philistines were the biblical predecessors to the people we know today as Palestinians, and in the English language, a philistine is a person who is "hostile to culture" and uncivilized in their tastes. This is the kind of sleight-of-hand dehumanization that, if you have paid any sort of attention to how the English-speaking world has treated Palestinians, is both disappointing in its prevalence yet shocking in its cruelty, and so commonplace as to be conveniently blameless. Of course, the reality is that Palestinians have claim to a culture and an artistic tradition that is far older and richer than most in the "West can even begin to imagine, one that persists today even after over 76 years of brutal occupation. After all, said opening speaker Sobhi al-Zx>baidi (filmmaker and co-owner of the incredible East Van food joint Xamam,) "There are currently more working filmmakers in the "West Bank than there are in the entire city of Los Angeles." Mot because of any notable economic input, but as the extension of some deeper, more primal need for Palestinian filmmakers to tell Palestinian stories. In the 9 short films curated by local activist Natali Karajeh, we are welcomed to the 'in-between* that is the Palestinian filmic imagination. Nowhere was this more evident than in the opening film, Ahmad Saleh's House — a fable-like claymation story depicting a family having their home slowly taken over by the guests they first welcomed in. Xhe connections to reality are contex- tually evident, but Hows^'s dreamlike tone belies its politics, instead welcoming its audience into the liminal space between myth and reality, disappearance and appearance, permanence and temporality. After House was Saleh's Ayny^ another occupation rendered in painstaking claymation. Saleh's dreamscapes of devastation invite the audience to question what our minds might otherwise reject outright in a protective flinch. "We become children, raptly listening to parables of something between sorrow and joy. "E>o not believe what you see," the mother in Ayny says to her two sons, "Xhe tree is not a tree. Xhe sky is not free." | of an aging Palestinian father living in exile. Time I and space crumble in on themselves; the Palestinian | memory so ruptured by trauma and displacement that [ the boundaries of international borders, of linear time, [ are rendered useless. Mohammad Bakri*s performance [ as a grieving, ailing man, dislocated from his home and his family is palpable; again it is through fiction that we access unimaginable pain. Children, and the violence they have no reprieve from, are ever-present. All but one film, The Cup Reader, are haunted by the implicit knowledge that Palestinian children are not spared from the harm that we try to protect every other child from. In the audience, I was placed in the unthinkable, terrible position of having to brace for brutality when I saw a child. Dina Nasser's One tAinute is almost entirely pitch-black. "We are left only with the cries of an infant, and the nearing sounds of bombs in the distance. One tAinute takes place in the suffocating blackout of the 2014 Shujaiya Ivfassacre in Gaza; the heaviest bombardment of a seven-week long conflict that had murdered over 490 children. Farah Nabulsi*s Today They Took tAy Son was a similar reminder that this is art rooted in violent realities; that what these children face are not the exception but the rule. Since October 7th of last year, over 10,000 Gazan children have been killed. Everyday, the death toll • climbs higher and higher. In our first longer offering, Saeed Xaji Farouky*s Cities are Familiar^ we are placed in the collapsing mind mmmmmmmmmmmmmZ^M At intermission, the lights go up, and I think this might be the quietest R.ed Gate/LiquidationWorld has ever been at an event as packed as this. I follow my friend, Omar, away from our seats and I get another drink. Xhe mark of any good movie is how it wills you into its trance; but now that Fm not sitting silently in the dark, Fm reminded of just how many people there are. I hang back and watch the crowds forming around the tables in the foyer. It*s difficult to not be affected. At times, I am selfishly envious of people who can read about the ongoing genocide and then continue to function like nothing is wrong. 1*1X1 keenly aware that my tenuous link to Palestine is nothing compared to what Palestinians, Arabs, and Ivfuslims are going through. Even then the pain is, at times, excruciating. Omar and I make lame jokes about the graffiti in the bathroom, but we are mostly quiet. I keep my envy to myself. He introduces me to Alia, a representative from Artists for Palestine Canada and a Ivfasters student studying Information Science at UBC. She's a strategic thinker, she tells us, and she's currently trying to get her faculty to stop working with Israeli universities. "When I express my own frustration about the somnolent beast that is the Faculty of Political Science, she offers to chat with me later about what kind of action I can take. Fm reminded that this event isn't just a film screening, but a chance to be in collective solidarity. On Google and Apple Ivlaps, searching up "Palestine" will lead you to Israel, with dashed lines demarcating the "West Bank and the Gaza Strip. A subtle course correction. In Your Father "Was 3orth 100 Years Old^ and So "Was the "Makba^ the ghost of a Palestinian exile wanders through Google Ivlaps* Street View. Xhe city of Haifa, "Israel's San Francisco," according to 'Xourist Israel,1 has its name automatically translated into official Hebrew, and not the Arabic from which it originated. "Where this city once housed 60,000 Palestinians, now j only 3,000 remain after decades of ethnic cleansing. -- Xhis occupation creates unhappy ghosts that walk ! ceaselessly down "Liberation Street," erased from our j records and unmoored in digital space. Razan AlSalah j based this experimental piece on the experiences of her | exiled grandmother, who never returned home. Erasure is a multidirectional process. Xhe current bombardment of the Gaza Strip has led to the loss of schools, universities, museums, mosques, physical repositories of culture and history. Non-exiled Palestinians (a dwindling minority) are corralled into tiny pieces of land where their movements are policed extensively. In The Present^ going into the "West Bank to buy a fridge is a violent and degrading affair of cages and segregated roads. Xhis is how Palestine disappears; through the slow destruction of its land and the tightening of its boundaries. The Cup Reader directly opposes a future of attrition by building up a world that is refreshingly complicated and vibrant. Xhe only comedy in this selection, we are brought into the tittering joyousness of womanhood I as "Warde, the titular cup reader, presents each of her j clients with their futures. In interviews, writer-director ] Suha Araj is explicit about wanting "for once ... to ] keep the occupation out of sight," a sisyphean task j when shooting in Palestine. Its shadow is just barely, = unavoidably, detectable in The Cup Reader^ but instead of its repressive omnipresence, Araj leaves us with a distinct portrait of communal survival. Xhere's something kind of beautiful about a film set to me. Actual filmmakers might find that kind of corny, because as far as I can tell, being on set is a constant j source of frustration. I think Fm just in awe of the | collaborative spirit in the act of filmmaking, the delib- • erate care and coordination of every single decision. I : see something of survival in it. In every film you watch, I even the ones small enough to need the help of volunteer ! amateurs like myself, every single moment has been | painstakingly storyboarded, blocked, lit, tested, shot, j and reshot. Ivlonths of work condensed into a single ] glowing moment. Ahmad Saleh described this alchemic j process beautifully: "I love the things that make you see | the amount of patience behind making it.: . flj Xhe last film is yet another one of Saleh's fables, \ "Night* It imagines the night as a pale-faced entity which j whispers happy memories to lull us into sleep, despite j the best efforts of a mother looking for her daughter, i missing in the rubble. I wish I could say more about = it, but its unspeakable beauty has to be experienced : firsthand. It's a perfect, haunting sendoff, with an i ending that is somewhere between merciful and cruel. | | On the way out I stop by Ivlassy Books* table, looking j through their expansive collection of books on Palestine. I flip open a compilation of Ivlahmoud E>arwish*s poetry: "If it weren't for the mirage, you wouldn't have been steadfast." "Steadfast," in Palestinian Arabic, translates to sumudi referring not only to the virtue of resilience, but to a political imperative based in the shared ability to resist and survive occupation. I take it as a tool — not as a passive descriptor of something far off from me, but a remedy against the nihilism of apathy. "What Films For Gaza showed me was the dynamic ways we can show collective solidarity for Palestine, through film, through literature, through laughter and chatter and togetherness. I|»p ZG rums toe gaza PIT KED GfiTE / LIQUIDATION WOELD hSCS y&fll-JiqA srikepefl is£at02& A I h at exactly d efine s a Ves sel ? /A // "vliile you could refer to J^r J^F the Oxford or Cambridge dictionary and riffle through their wilted pages attempting to discern which of the plethora of definitions is most accurate, a trip to Gallery Cachet's most recent exhibit, A Canoe is an Island, may offer the most multiplicitous answer. A collaborative exhibition between five central artists: Lydia Brown, Simon Grefield, davi de jesus do nascimento, Valerie d. "Walker, and Speplol Tanya Zilinski; Cachet's A Canoe is an Island orients the notion of "Vesselhood" as a central tenet for the lived experience and relationship between bodies of col our and bodies of water in an anti-colonial worldview. However, the investigation of the "Vessel" is no new endeavour, but a prominent subject in the most avant- garde artistic and literary communities. During one of the 'Meetings on Art' at the 2022 Venice Biennale, writer, professor, and Black Humanities scholar Christina Sharpe delivered a keynote address titled ""What Could a Vessel Be?" Sharpe's invitation to deliver this talk — alongside an impressive panel comprised of Rinaldo "Walcott, Canisia Lubrin, and "Wu Tsang ("Walcott was cited as an influence on Gatchet's exhibition) — was bom from Sharpe's vast academic background: Black Diaspora Literature and Theory, Black Visual Cultures, and Black Feminist and Queer Studies. Inter sectional companionship is certainly of top consideration in much of her work. Sharpe's discussion of the Vessel began with an analysis of Ursula K. Le Guin's The Carrier Bag Theory of Fiction and Leonora Carrington's The M3k of Dreams (by which the title and theme of the 2022 Biennale was inspired.) She recounts that in Le Guin and Carrington's work, "the vessel appears as shape, container, bag body, ship, and as narrative networks, capable of transporting us across time and space." I had the privilege of hearing Sharpe present an updated version of ""What Could a Vessel Be?" during her visit to UBC's Green College in the fall. Presenting a work shopped version of her inventory essay before it is slated for a bo ok-length "What Else Could a Vessel be?" words by Samuel Albert photos by SarahBeltagy illustration by Brielle LeSage publication in 2025, Sharpe's synthesis of the historical, literary, soniq and artistic representations of the Vessel has stuck with me ever since. It is no coincidence that Sharpe's essay was commissioned in the first place in response to the curatorial masterpiece of the 2022 Venice Biennale — an iconic iteration of the festival I also happened to have attended in May, 2022 — and that this theme of the Vessel has been taken up by a local curator as well. "Whil e the b a si s for th e essay wa s ground ed in two works of literature (Carrington and Le Guin), the investigation of the Vessel lends itself most to physical interpretation; the Venice Biennale curator Cecil a Alemani said herself that the title was taken from Carrington's surreal masterpiece because "the Surrealist artist describes a magical world where life is con st antly r e-en vi si oned through the pri sm of the imagination. It is a world where everyone can change, be transformed, become something or someone else." The artworks of the Biennale reflected this central ethos, often dismantling, scrambling, and metamorphosing themes of subjectivity, nature, and humanity with evocative creativity. Sharpe's essay clearly resonated with these same themes making the interrogation of the Vessel the ideal companion for a visual arts festival. "While Vessel scholarship is rapidly developing, nowhere in the city of "Vancouver" at least, does the par atactic definition Sharpe offered in Venice feel more visceral, yet digestible, than at Gallery Gachet. At Gachet, the five artists' works, phenomenally curat ed by the friendly gallery director Olumoroti Soji-George, evoked many of the same questions Sharpe asked in her essay. Sharpe asserts: "The skin of wood is a Vessel. Companionship is a Vessel." The massive Untitled overturned "War Canoe of Lydia Brown, which paradoxically dominated and seamlessly blended with the exhibit, emblemized both of Sharpe's statements through its smooth, skin-like exterior, and relationship to the rest of the exhibition. The work of Brazilian artist davi de jesus do nascimento falls into perfect companionship with Brown's canoe; nascimento's inclusions featured a performance art video depicting the artist and their father building a canoe together, with photographs of their bodies and the canoe- making process plastered around the gallery. Nascimento's work ingeniously blends together the boundaries between the canoe and the human form, between one Vessel and another. If "the skin of wood is a vessel" as well as "companionship," I can think of no better representation than nascimento's video of construction and kinship, fusing both the skin o fth eir r aci aliz ed bo dy with th e w o o d of the canoe. "While the natural rhythm of Gallery Gachet orders you to view nascimento's video and images before Brown's canoe, this direction feels revelatory. On my visit, I thought Brown's canoe was the product of nascimento's video — a culmination of the exhibit. It was not until gallery curator Soji-George impishly clarified that Untitled was the work of a separate artist, that the disparate yet interconnected narrative each artist brought to A Canoe is an Island felt most arresting. The companionship between artists is one possible epistemological Vessel that a journey through the exhibit can evoke. Sharpe poses another important consideration in her essay, asking, "Is identity a Vessel or a pitfall?" The limitations of identity can often subject the notion of the Vessel to scrutiny: who belongs, who rejects, and who will be excluded from the Vessel are all of salient concern once multiple parties enter a dialogue of Vesselhood simultaneously. Gachet interrogates this conundrum carefully, privileging an ethics of care as the throughline of the exhibit without homogenizing the array of cross-cultural Vessels represented. "Walker's striking tapestries exemplify this, evoking fluidity with their billowing shades of blue. The j ourney of consuming A Canoe is an Island is an odyssey itself; the seamless blurring of artistic demarcations (notable by the lack of artist identifiers next to any of the works) allows a universal identity, a conversation, about the nature of the Vessel to emerge without sacrificing the unique style or subjectivity of any of the five artists represented. If you are confused by which artist created what, you can obviously refer to Soji-George or the printer pamphlet, but sitting with the work, examining what identity it carries, will often reveal distinction. The final question Sharpe echoed back in October was whether "solidarity is a Vessel," or a concept destined to sink. "While the answer seems simple, that solidarity, like companionship, would certainly be a Vessel, perhaps the most life-preserving one there is, the question of solidarity's Vesselhood is pertinent to dissect. Companionship celebrates differences, whereas solidarity implies unity and assimilation. Does the Vessel still float if all colonized bodies are stripped of their individual identities in favour of solidarity? Or does it sink, crushed by the weight of such amalgamation, leaving those historically adrift yet again in the wake? I believe both narratives can coalesce and evolve. Brown's Untitled Canoe, the final and largest of the artworks at Gachet, was notably overturned. Suddenly foreign-looking, perhaps flipped over by the weight of such responsibility, the canoe's very utility as a Vessel appears uncertain and at risk. Yet, as the title of the exhibit suggests, a canoe is an island — solid ground. Perhaps the pressure of the Vessel, the weight it carries for so many colonized bodies, can be alleviated by reimagining exactly what a Vessel is, theoretically and literally. If a canoe can be flipped over to become an island, perhaps the Vessel can as well. Perhaps companionship, identity, and solidarity can all stretch their arms around each other and coexist harmoniously if, as Christina Sharpe and the artists of Gachet suggest, we just reimagine what else a Vessel could be. Bitter Meto •-*.,*•» „ rW*Cft ixui*<),*! Mw^jeon ****** y£ T-.]*l-UawU». »M3> JW1 i1 JHI'JI boy node r: 64-8QUEENSmiLING OCTOBER 6, 2023 (SELF-RELEASED) 648QUEENSWAILING. Like 648 Kingswav? The DIY venue? DIY perfectly explains the fun album, 648QUEEN5WAIUNG, by boymoder. The album covers dark themes with personal lyrics and rhythmic sounds. Because 500 words is not enough to review each song, I'll highlight a couple favourites, The first track on the albumis "damselflies." Before Listening to it I had to look up what damselflies are (and entomologists) because I'm maybe not the sharpest tool in the shed. I had to think about the Lyrics to really get the feeling of the song —this is something I had to do for most of the songs on the album, Their Lyrics are complex and relatable, giving the song a personal feeling to an otherwise bouncy song. The whirry, yet raw, vocals give the Lyrics an even more original feeL Next, "siren song." I picture myself doing a Little jig on the dancefloor (obviously at 648 Kingsway.) The lyrics are profound, showing me a mirror of me and my ex (yikes!) and us "drowning on dry Land." Maybe it's time to open the notes app and start writing. Anyway! "sad (a light)" has a hopeless and distant feeling — as if that what once was will never come back. Notes app, save me! Now, "emasculate conception" might be my favourite on the album. Hard to decide. It has a skramz vibe with a strong opening. Or maybe it's not skramz. I don't know everything about genres, there are too many! "misconstrued" — this one was probably the song I thought about most after listening to it. I want to know more about the story told in the lyrics. I read this as the transgendered experience of trying to fit in, showing interest in barrettes, and being labeled creepy by the people one is trying to fit in with. This is not just a personal experience, the Lyrics point to transphobi a nation-wide (and worldwide), making these Lyrics probably the most profound of the album. I found dark and personal themes to be the main topics explored in 648QUEEN5WAIUNG, but 'misconstrued' stood out as more of a political statement, a justification of identity, and an interesting perspective from all the transphobic dialogue spread on the news. Lastly, 'lit Lullaby' is a sad yet heartwarming song with more hopeful (finally) feelings to the lyrics! Overall, I found this album easy and accessible to listen to, with a track for everyone to like and head-bang to. While the songs do sound similar and can be hard to distinguish between, I don't think that's bad. It's a cohesive sound with lyrics that act as a highlight to each track. I don't believe in giving albums a rating because music cannot be qualified, so I suggest you listen to it yourself if you're Looking for something DIY, fun, and Vancouver-based! Tell me what you think of it, too. — CAMERON ROBINSON floka Only In and o£ Itsel£ MAY 19, 2023 (URBNET RECORDS) Moka Only's 2023 album, in and Ofitseif, explores the artist's Loose train of thought across tracks that weaveinfun production and a variety of instruments, which flow through relaxed and melodic beats. Moka is an acclaimed Vancouver-based artist who has released over 50 albums, not including the numerous projects he has worked on with other artists, most notably his role in the band Swollen Members. Moka's music is primarily classified as hip hop, yet he has a talent for exploring and incorporating various genres, including jazz and soul—and this album is no exception. 28 in and Of itseif is a playful album, it bounces between more dramatic and assertive songs, including "Drainpipe" and "Oh Thousands," to more laid back tracks, such as "Restart" and "Just for the Night." A personal favourite of mine is the track "Don't U Kno." There are moments of echo, background vocals, smooth beats, glitches in production, and Lyrics that seem to be speaking directly to the listener — yet all these parts are balanced in a way which never makes the track seem cluttered or overwhelming. "Don't U Kno" is especially potent following the previous track, "Double RL" which acts as a palate cleanser that leaves the listener eager for the next track. "Double RL" i s a purely ambient song and foreshadows to the instrumental version of this album Moka released a few months after the original. It is clear that Moka has a talent for, and experience in, writing albums, and in ofitse\f\s a cohesive piece — each song smoothly transitioning into the next. While the melding between songs creates an enjoyable experience, it leaves something to be desired for the intrigue of the listener. The rapping is consistent, and the production is well done, but it did Little to hold my attention — especially after the first 25 minutes. This was particularly noticeable in the stretch of songs from "Naturally" to "Need to Know," these songs felt like repeats of earlier moments on the album, offering few new ideas or enticing moments. It is important to note that this album is entirely written, performed, and produced by Moka Only. While this isimpressive as a completely solo endeavour, the lack of collaboration contributes to the sense that this album is a first draft, a ramble. Moka lacks a perspective outside of himself to edit or push the sound at moments. The editing of a few songs would increase the effectiveness of the album, rather than have the unique and playful elements feel overdone. in and Of itseif\s an album that showcases the talent of Moka Only, which has supported his long and illustrious career. While it is not a groundbreaking record, it is a solid and enjoyable Listen, that fits well among his many other pieces of work.—SOFIA wind Beatings ate in the body Beatings are in the body MAY 26, 2023 (SELF-RELEASED) Very few artists are audacious enough to begin a story with a luLLaby. But Beatings Are in the Body are. It is because the precociously experimental trio's self-titled debut is not just about letting go, but also about conjuring up the space to feel, and to recall things that seem to sit at the bottom of a waking mind. Vocalist Erika Angell, pianist Roisfn Adams and cellist Peggy Lee tug at something innate in their album, weaving poetry in motion with classical and electronic vehicles. lnmanyways,theworkrunsa cycle. It beginsin "Blurry," recalling those childhood watercolor memories. "This is what I am, I say, this is where I come from," Angell accepts, a place tied down with its love and pain. A voice asks, "do you like it here or is it painful?" juxtaposed against the drawing cessation of "coming out for laughter, coming out for kisses" that fades out along with the piece. This is where the mind naturally goes when it has the moment to do so, where feelings, laughter, and the kisses of a mother always seem to stay at the forefront of this recall. "Triploop" seems to stand out. The anthropomorphic synth fixes a broken system that anxiously transfers into the first half of "Like a Deepness / Let Go," where the vocal's syntax is just out of reach and the echoing of "like a deepness" is the only string of words that can be made out. Eventually, this voice begins to grapple with how to let go amidst a mind marred with excess thought which begs to be given away. Adam's piano mediates Angell's voice in and out of cessation. Mn*ft Iteitieiu apttl'BlDVj 2024 Where the juxtaposing flurries and grunts of Lee's cello stand out in "Cottage Rounds," and clashes of confused metal and dainty vocal percussion sound like a dentist searching a mouth in "Rhiza," "Rainbow" opens us to the possibility of Liberating oneself from the mind's confines. Leading up to an atmospheric crescendo. "Unfetter" and "5.5 Prayer/Tree" pair naturally together. In the former, fleeting controlled breathing beckons to a wind. The stretch of a cello and keys threatens to stir the meditator out of their slumber, but they breathe on. Then comes "the feeling of feeling after not feeling" in "Her Hands" where the whining strings are expressive of a stream of consciousness. It's in "Mermaid," the voice again declares, "this is what I am, I say, this is where I come from," but this iteration now carries new meaning — something strangely parsed, but that holds more truth. In "Dog Moon," the voice holds on to that lost sentiment. Autonomic and automatic, oddly transcending yet innocently minimal, one sits on the cessation of the Last note of "I Don't Want What She Has" without being able to identify when exactly they began to understand this guiding voice. What Beatings in the Boa\> achieves is the demonstration that music can answer some of the biggest questions of existence with just the beat of a keyboard, the dynamism of a cello, and the raw voice of an open soul. And this story is not tied down by an even meter, because neither is the mind. Like I said, it's a cycle.And a digressintothe shadows.— FIONA sjaus C. Diab Inerro FEB 16, 2024 (TONAL UNION) C. Diab's imerro is infused with a hypnotic and contemplative essence of desire — one which expands infinitely into the imagination of the listener. According to C. Diab, the inspiration behind the title imerro comes from an ancient and potentially lost Greek word meaning, "desire for, I desire you." I hear this desire most clearly in the songs "Lunar Barge," "Crypsis," and "The Excuse of Fiction." Wordlessly, through a mixture of guitar, piano, synth and more, C. Diab conjures up an inexplicable yearning that connects humanity and nature. C. Diab, who is from Port Hardy, Vancouver Island, reportedly takes inspiration from British Columbia's natural landscape, and as someone who is also from B.C., I hear the beauty and mood of the temperate rainforest explicitly throughout his soundscapes. "Quatsino Sound" is a beautiful area of inlets in the northwest of Vancouver Island, as well as the name of the fourth track in imerro. The atmospheric quality of this song encapsulates the feeling of the West Coast, specifically the coastal landscape. The first song, "Ourselves At Least," sets the tone of imerro. Diab combines a strong guitar-bowed melody with a steady, metronome-like beat reminiscent of a steady march or heartbeat. "Lunar Barge," the second and, in my opinion, one of the most potent songs on the record, continues with intense and hypnotic bowing on the guitar. Moving forward, "The Excuse of Fiction" changes the album's tone. The guitar, as well as the way that this song slowly builds itself up, reminds me of the dreaminess of The Durutti Column. The album continues with the song "Crypsis," which starts clear and melodic and, through synthesized glitches, transformsinto a different song altogether. The next song on the album, "Erratum" shifts the tone of the album again, including a powerful, piercing saxophone sound to begin and then transition into a gentler melody with piano and guitar. 'Tiny Umbrellas" may be my favourite song on the album. The intricately played twangy banjo adds new complexity to the sounds of J/tk/70, which I absolutely adore. The final song, "Surge Savard," completes the sound of the album with a Loud combination of synthesizer, guitar and saxophone; it's a great conclusion. Overall, imerro is a beautiful album with a lot of depth and complexity. Would I recommend this album for a feel-good, easy-Listening roller-skate around Stanley Park? Nope, but if you are Looking for an ambient album to make you feel something, then this collection of contemplative songs is perfect for you. —Tessa mcdermid Lego Indiana Jones Hope All yell FEBRUARY 6, 2024 (DISCOVERY EUROPE LLC) Maybe the best place to start with describing Dublin/Vancouver-based Lego Indiana Jones debut album, Hop? All Wfell, is with the playlists on their Spotify page. Vocalist and pianist. Pierce Comerford, lists Radiohead, Black Country, New Road and Weird AL Yankovic as references, while drummer, Tom dePaor, includes an interesting combo of Aphex Twin and Modest Mouse amongst others. It's clear these lists weren't made for the sake of it when you listen to the album. You could probably label the album, generally, as 'rock' or 'indie', but the group is able to blend so many sounds which fall under those banners, while maintaining a sense of cohesiveness and distinct personality, that it would honestly be a disservice. 'Thank You, Elijah Wood," for example, starts off understated with a rnidwest-emofeel, and suddenly pivots into a hardcore, punky banger. As "Elijah Wood" suggests, the lyrics on the record are as diverse as its sound, and often quite tongue-in-cheek. "People Like You", a 7 minute epic exploring a simultaneous desire and distaste for someone, provides quite the stark contrast against "Infinite Jim," which imagines Jim Halperfrom The Office's sanity unraveling as he is forced to Live his entire Life again even/ time someone watches the show. This mixture of sincerity and individuality keeps the album fresh and interesting throughout. Lego Indiana Jones — probably obviously, given the name — don't take themselves too seriously, and a real sense of personality shi nes through thoughout the album. As mentioned, 'People Like You' explores a complicated, seemingly romantic relationship, something some might consider a bit cliche on an indie rock album. But Comerford's complex, almost absurdist lyrics ensure that it is anything but, whilst still communicating a clear message through his choice of language. It's also abundantly clear the three are very talented musicians. dePaor explodes into an insanely intricate extended drum break on "Mr Worry" which almost sounds like a math rock track — there's certainly an element of his aforementioned inspiration, Aphex Twin, present. There's also a really interesting ^interpretation of my bloody valentine's "When You Sleep," translating the classic shoegaze track into a piano-led anthem — a favourite of mine off the album. If I had one criticism about Hope All Wfell, I'd say that sometimes the more irreverent moments detract from the album's sincerity. The Less serious moments on the album do keep it interesting, but sometimes it feels like the band are afraid to take themselves seriously, which is a shame because their musical talent is obvious throughout. On "Cloudy w/ a chance of meatballs" the band are able to communicate something genuinely sombre through the instrumentation; though the seemingly nonsensical lyrics about their 'friend' with 'rubberised feet'watching the titular film are quite distracting. But, hey, maybe that's the point. Nonetheless, if you're into rock/indie/anything that might fall under that genre (or interesting music in general) you should give Hop? All Wfell a go. The trio are extremely talented musicians and maintain a witty, happy-go-lucky vibe throughout. It's a real treat. Bravo— leo mcgurk Leave Yourself Alone Leave Yoixrsell Alone (2023) (SELF-RELEASED) Leave Yourself Alone's self-titled debut contains a variety of indie and rock sounds paired with illustrative lyrics that I want to hear over and over. The band uses shifting instrumentals to back uptheir compelling subject matter, which ranges from feeling stuckin Life, to finding support in other people, to Leaving yourself alone. &S0S golH-Jiaijfi 29 The band has multiple vocalists which presents a contrast between the album's light, collective sound (all vocalists at once), and the vibe that they're speaking directly to the Listener (when there's just one voice present). This duality happens right off the bat in "Goodness Gracious," which switches from heavy, intense Layers that engulf you, to quieted moments that feel personal and pointed—stressing Lines Like "Love isn't a miracle or a Lack/ Sometimes it gets so bad/You peel back and start again/From the moment you Let them in." "Catch Somebody" shows meLLower parts of their range, but still emphasizes the intense electricity oftheir music. The chorus cuts through the song Like a Laser beam, stinging tones Layering up to create an explosion. The lines "Some of us catch the boat /While the rest just catch somebody" bring the message together; simple, but unique and welldone. My one gripe with this album is that the songs could be shorter. They show different styles in tracks Like, "I am afraid I won't do anything" and "Leave Yourself Alone," delving into more classic rock and distant. Low sounds. It's cool, but it feels Like they're packing too much in Lyrically and sonically, and it's working against them. Nearly all of the songs suffer from getting in too early and drawing out to the point where the impact is watered down. This band definitely has the ability to create a complex musical journey in their songs, but right now, it feels somewhat unfocused. There were two main highlights for me; "Hope in a Bottle" which has a silvery, sometimes acoustic sound, that is contrasted with the sentiment of Life passing by and feeling stuck where you are. The chorus is simple — but it's one to yeLL—and the verses are littered with Lyrical gems: "So what's stopping a simple undertaking/ When I'm Lacking I fiddle and I'm flaky/Yeah, it's abnormal, it's insane /You go ahead as I trouble with my Lace." On another high note, I'd goto a concert to see "Race Car Driver" Live. I could feeL the atmosphere of singing this song in a crowd; the simple Lyrics and imagery hit, set to tune that makes it kind of ethereal. Overall, Leave Yourseif Aione is a debut with a lot of promise. I'd Like to see them Lean into their Lyricism and condense their sound to give every beat the weight it deserves without competing with other musical elements. They have some truly terrific moments and I think they can hit the nail on its head in the future, making them a group to Look out for. — ELITA MENEZES flulch Still Sweatir) DULY 20, 2023 (SELF-RELEASED) Mulch is reaching for the indiscernible. The Vancouver trio, consisting of Cam Borthwick, Devon Parkin, and vocalist Patrick Kinch, make lirninalindie-rockthatisnot congruent with any one period, sound, or niche. Their debut album, Still Sweat*?, is the kind of document that could only come from devoted students of indie mainstays deep in the record bin. Hear the Slanted & Enchanted maximalism of their guitars, the waLL-of-sound chaos now synonymous with bands Like Wednesday and Feeble Little Horse. At its best. Still Sweatin is the efforts of three highly proficient musicians ready to commit to the fuller sounds oftheir contemporaries, grit and all. The band proves an encyclopedic knowledge of generational rock institutions as the record develops; their structures are varied, cadence can change on a dime — nothing is safe from reinvention. It makes for an exciting Listen, often evoking the complex yet melodic styLings of indie stalwarts Like Snail Mail, with pedals that hew closer to power-pop revivalists Hotline TNT or Always. The album's title track rests atop a melancholic fuzz not unlike TNTs recent record, Cartwheel, the delivery of each Line a bored drawl. These songs feel meticulous and Laboured, but never over-rehearsed, as if the band was challenged to splice the DNAof multiple tracks into a three-minute fireball. Opener 'Thunder in the Garden" morphs from moody guitar arpeggios and spaced-out reverb into a rock-out tailor made for the neighbours basement, finally settling on a shoe-gazey roil as Kinch's voice edges on glossolalia. This treatment of vocal-turn ed-in discernible fuzz is at once an understanding of genre and a somewhat obvious concealment of the band's often unremarkable Lyricism. If Still Sweat*? has a fault, it is in the unfortunate unaccomplished nature of its diction within an otherwise great suite of music. "Nothing is real up here/Looking up to what's real," goes a Line from standout "Swallow Your Tongue." While peers like newcomers Wednesday fill their meticulous songs with narrative arcs, recurring antagonists, and set dressing. Mulch opt for a decidedly shapeless Lyrical universe. The writing is never offensive, but the utilitarian approach to the Lyrics throughout the record is frustrating; a placeholder for something 30 to be added at a Later date. This will go unnoticed by casual Listeners and ignored entirely by fans of this strain of noisy alt-rock, who turn to Lyrics the same way indie-folk listeners emphasize four-piece arrangements. The band strikes a Less jarring balance when Lyrics recede not only into static, but nonverbal entirely. It works to make "Withered in Water," whose refrain is a recitation of "La-La-La's," all the more gratifying. In its final moments, the song descends into a repeating invocation: "what is this?" as if the answer is in the statement itself. It becomes clear across Still Sweat iris runtime that Mulch is a band fully-Leveled up; audacious and unpretentious, and ready to dispel naysayers with time-honoured, head-banging hedonism. In full embrace of their influences. Mulch's restless music feels in search of big ideas, and even better sounds. Still Sweatin mostly delivers. — ZACHARY ANDRADE Non La Like Be£ore MARCH 29, 202*1 (niNi) In the next room over, someone is talking about Love. You close your eyes and listen to their muffled words through the wall that separates you; whispering. Laughing and yelling, about the painful and humiliating things that make being in Love so beautiful. They're as joyous as they are mournful, and as you Listen to them telling their story, you hear reflections of your own. This is the experience of Listening to Non La's sophomore album, Like Before. The album is at different times minimaList and maximalist, intimate and distant, nostalgic and new, while always remaining raw and emotionally honest. With its gritty alt-pop sound and aching, often uncertain vocals, listening to this album for the first time felt like I was intruding on a conversation between partners— personal and beautifully uncomfortable. Non La is the project of multi-instrumentalist artist DJ On, who played every instrument on the album, adding to the intimacy of the music. The sound of Like Before hearkens back to 90s and 2000s indie and alternative rock, with guitar lines and audio mixing that call to mind Weezer or the Strokes, but On injects a unique vulnerability into this familiar sound with his heavily controlled recording process and his lyrics which explore themes of queer acceptance, non-monogamy, insecurity, and heartbreak. Like Before is as tongue-in-cheek as it is resonant, peppered throughout with humor and innuendo. The music video for the song "Hurtful" depicts On receiving a chopped-off hand as a gift from an obsessed fan — a "strange Li'lguy" in white makeup and a purple wig — exemplifying the contrast between gravity and fun that characterizes this album. On invites us in with "Dark Room," a soft, unpolished song just over a minute long about the experience of meeting his partner at a bathhouse, and alerts us that his experiences (and ours) will be shining through the album's twelve tracks. From there it's a journey of feverish upsand downs, from the thrumming instrumental of "Hold Me Down," to the plaintive and Lullaby-Like "Forget," to the anxious repetition of "Running Out." I Loved the title track, "Like Before," with its textural, crashing sound and Lyrics full of sexual wordplay, about the joys and insecurities that come with non-monogamy. The melodic, dreamlike "Into the Water" was another standout for me, with mournful verses building to a full and Lyrical chorus. When I first Listened to this album I was surprised by my own reaction to it. I felt swept up in this Love story, and the universalities and specificities of relationships that On captures so well. I often found myself feeling that familiar ache that echoes throughout so many of these songs, a real testament to the raw emotion of the music. With Like Before, Non La proves to be afresh and much-needed voice in music, giving voice to queer joy as well as pain. Like Before does what I think good art should do: invites you in and asks you to stay for a Little while— Annabel smith 1 Eiii*ee Iteitieiu apttl'BlDVj 2024 r The Golden Age 0£ Wrestling Scorpion Deathlock DAN 19, 2024 (INIRASET) The greatest hurdle for any artist is Learning to innovate. Being stuck in your ways is a trap that many creative* find themselves in, be it an author writing the same types of novels, a director producing the same movies, or a musician rehashing their old records. But after Listening to Scorpion Deathlock on repeat, I can safely say that The Golden Age of Wrestling has succeeded in writing a perfect follow up, displaying equal parts enthusiasm and tact on his third LP Masterminded by queer-pop artist Jeff Cancade, Scorpion Deathlock comes hot off the heels of a killer hot streak in 2022's Crossface Oiicken Wing and 2023's Homecoming Queen under his Devours moniker, the Vancouver-based Giambient mastermind has returned with a new full-length effort to keep the run alive. Complete with familiar and all-new sounds alike, Scorpion Deathlock is another step forward in his already-impressive catalogue, taking the Listener on a 10-trackjourney complete with twists and turns like any great pro-wrest ling match should. The record opens with "Blood for Shakespeare" and Lead single "Ferrari Rocher," which not only showcases a naming sense that many would kill for, but the video game OST influences from the previous records. The latter even takes a dip into the realm of house music, with its steady rhythms and body-roll inducing melodies, juxtaposed with TGAoW's brilliant ability to create a sense of space and scale in his work. The outro even pays healthy homage to guitar heroism, with a chiptune lead line that is bound to provide any face with a healthy dose of stank. It's a fresh sound that treads a lot of genre lines, but sounds all the better for it. By far one of my favourite moments on the record. But things only heat up from here, with the haunting ballad-esque "Paperhouse,"which feels like feeding an introspective Drake song through dark matter, producing an eerie and sombre vibe that brings a splash of emotion that's difficult to come by in the ambient space. This is juxtaposed by "Earthworm Gym," which is what I take to be a reference to the classic game protagonist, actually makes for a great workout song with its groovy 808 pattern and layered synth melodies that takes the energy back up to speed. This level of prowess is perhaps shown best on another single, "The Chauffeur."Buildingfrom a sparse keyboard line, the track gradually builds and layers upon itself, creating a full-sounding ambient soundscape that doesn't overstay its welcome — instead keeping the listener hooked on new idea after new idea. The record closes on "Labradorite," featuring fellow Vancouver artist Future Star, whose heavenly vocals mesh perfectly with Cancade's layered production, treating the listener to equal parts thick walls of sound and catchy pop hooks. The closer's satisfying swells and progressions are a showing of savvy that displays a level of poise that only comes with experience. Because with the release of Scorpion Deathlock, Jeff Cancade delivers and cements the breadth of his artistry with undeniable style and glamour. Through splitting his work between Devours and this, his catalog continues to grow and up the ante. One can only imagine where he'll take his sound next, and I for one, am allf or it. —Oliver cheu ng m iMxmm I mwm. I ftCancec fcats / 3?ummgf IMoutf) THE VOGUE THEATRE | MARCH 20, 2024 GWAR once again invaded Vancouver this March, and what an adventure it was. Prior to this show, I'd never Listened to a full GWAR track, Let alone an entire record front-to-back, but I'd been well aware of the reputation which precedes them for quite some time. Upon Learning they were coming to The Vogue, I wasted no time snagging myself a ticket. What better way to cut my teeth than by diving headfirst into the deep end of the bLood-and-demon-jizz filled swimming pool at one of their infamous Live shows. After the crowd of Bohabs were sufficiently warmed up by Fuming Mouth and Cancer Bats, GWAR walked out to Black Sabbath's "War Pigs," accompanied by a frenzied audience choir, foaming at the mouth in anticipation of the guaranteed chaos to come. I enjoyed the opening track from a distance, admiring the stagecraft at work. But, as soon as the first spurts of blood showered over the audience, my friends and I slammed our drinks and marched our way into the warzone, never to cross paths again until the end of the night. The floor was crushingly packed with bodies locked shoulder-to-shoulder like a sea of human cattle, all vying for a place in the splash zone of the next display of on-stage gore. I've never fallen so much in a single mosh pit in my life. I've also never launched as many people on top of the crowd as that night either. I counted 15 bruises on my legs alone the next day, and I could barely lift my arms above my head for the next three. No ideology was safe from GWAR's satirical stage show. The only clear political allegiance of the band was a firm pro-Palestine stance, as illustrated by one member of the band degloving Benjamin Netanyahu's head on stage like a Scooby-Doo villain in retaliation for his crimes against the Palestinian people. I watched a topless woman throw elbows in the pit with a smile. A ten-year-old child somehow made it to the front of the pit on his dad's shoulders to receive a blood rocket blast from the stump neck of a recently decapitated Joe Biden. Blothar was brought to climax by the fervent fellatio of a dinosaur hand puppet, ejaculating a rope of blood directly at my open eyes and mouth. I'm still excavating the blood from my ear canal with Q-tips over a week later (just another reason to remember your earplugs, folks.) After the band's grand finale, during which they systematically dismembered a giant blue-blooded bug-eyed monster piece by piece, they returned to the stage for a three-song encore of "Sick of You," "Fishfuck," and "Fuck This Place." This high-energy epilogue to the set garnered a raucous si ngalong from the audience, wherein the band made sure not to let a single audience member go home unsoaked. By the end of the night, my entire body was saturated in blood, not a single dry inch to be seen. It took me over 20 minutes and Grounds of shampooing before the water finally ran clear in the shower. This was a show I will remember for the rest of my life. I will undoubtedly be buying a ticket the next time GWAR comes around, and I suggest you do the same.— MATT SCHMIDT &SOS golH-Jiaijfi 3* ftscorcUr (itegaane ApdL-fitey 202M ££22^ You finally understand that every last and little thing has consequence. As the multitudes diverge, pause to contemplate the separate wills that compete from within. Trust that all knowledge is imperfect. "tmm<® We are meant to share our joy and sorrow, so get out your heavy words. That is one way to speak less while saying more. The signal is already buried; avoid adding to the glut of unsophisticated noi se -t rading. H^S^S Let go of fake heat. You are surrounded by lights that burn needlessly in empty rooms, but you will not find answers amidst their glow. Sadly, this world demands our loneliness for a time, and in some cases, forever. ;V£^*^ There is no debt ceiling, not anymore, but one can still cross fingers for a slow and well-managed decline. There will be life after the state. Falling trees always make sound. PI It is late and only the fools are still dancing. Stop wasting moonlight and join them! You do not need a plan for passing time in paradise. You will sail far beyond any distance from which one could hope to row back, bearing witness to pure absence. This — because your heart desired. You will discover there is no mystery; only a great and vast nothing that renders void the sum of all choosings. wmsm Some systems — think: operating/immune/legal — are made stronger by their assailants. What other fortunes are made through iterative disorder? Will any measures ever meaningfully counter the foul influence of greed and foolishness upon this world? At some point you made a choice that bent all of history toward this one lonely tower. One day, you will comprehend the terrible cost of all this beauty and have to decide which parts of yourself not to carry forth. Most questions are a matter of when, not if. The same goes for redemption. Taken together, those probabilities provide loose-fitting principia for organizing the human spirit. You just need to learn the maths. When did you become so governable? If all roads reach death, for what other life are you preparing? Find your rage anew! Bathe once more in the seamless amber current! m&&&&$& I still believe that you are the answer to my prayers, but some things take time. I am always rushing toward your futures to brush the sugar from your cheek. In times good and bad, my thoughts are of you. Of the many worlds for choosing in this scattered, crushing vacuum, calamity led you to this wet and mudded field. There is too much to unremember; that is the truest human cost to which we are all indebted. Wait for the precious truce and reclaim the embers of your grief. 32 AB3UT THE ADTHOSi phineas vowhe&ago ph.d.. m.d. . is the author of more than 14 BOOKS. PRIMARILY NONFICTION IN THE AREAS OF HEALTH AND WELLNESS. AMAZONIAN BOTANY. CRIMINAL JUSTICE. AND MUSIC CRITICISM. SHORTLY AFTER COMPLETING HIS DOCTORATE OF MEDICINE AT THE BAYLOR OOLLEGE OF MEDICINE IN 1972. DR. WINNEBAGO BEGAN HIS CAREER AS THE HEALTH AND SCIENCES CORRESPONDENT FOR THE POUGHKEEPSIE JOURNAL. HOWEVER. HE IS BEST KNOWN FOR SINCERELY. PW. HIS INTERNATIONALLY SYNDICATED SUNDAY COLUMN THAT DEALT WITH A RANGE OF SUBJECTS INCLUDING EMERGING NATUROPATHIC PRACTICES. PSYCHOLOGY. PERSONAL DEVELOPMENT AND SEASONAL RECIPES. RUNNING UNINTERRUPTED FROM 1981-1987. THE COLUMN AND DR. WINNEBAGO ARE WIDELY REGARDED AS THE PIONEERING FORCES IN THE FIELD OF ABECEDARIAN HEALING. WHICH GAINED POPULARITY THROUGHOUT THE 1980S UNTIL DR. WINNEBAGO'S ABRUPT DEPARTURE FROM PUBLIC LIFE IN THE FALL OF 1987. THE STAR CANYON DIGEST APPEARS COURTESY OF CORREIO BRAZILIENSE. DR. WINNEBAGO CAN BE CONTACTED VIA ELECTRONIC MAIL AT SriaCANlONlJlQ^XSCXrS.CA. ALL CORRESPONDENCE WILL BE RELAYED-TO BUT NOT READ-BY DR. WINNEBAGO. PLEASE ALLOW 8-12 WEEKS FOR RESPONSE. THE VIEWS AND OPINIONS EXPRESSED ON THE STAR CANYON DIGEST ARE THOSE OF DR. 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EMAIL THE PROGRAMMING MANAGER AT PROGRAMMING@CiTR.CATO LEARN HOW Monday WORDS AND CULTURE 7AM-8AM, TALK / LANGUAGE Words and Culture weaves language and knowledge keepers together with music by Indigenous artists. The team ere a ting this original content is made up exclusively of Indigenous producers, hosts and guests. Words and Culture is funded by SiriusXM Canada through the ity Radio Eund of Canada. • PROSRAMMINSaCITR.CA BREAKFAST WITH THE BROWNS 8AM-liAM, ECLECTIC Your favourite Brownsters. JamesandPeter.offerasavoury blendofthefamiliarandexotic in a blend of aural delights LETHAL REFRESH 3PM-4PM, CLUB / DANCE On lethal refresh, we scour the net for the hottest new tracksand send them s tra ight to you. Log on for lethal refresh mondays 3-4 for tracks that are lethal as freak, refreshed each week. • PROSRAMMINSaCITR.CA PARTS UNKNOWN 1PM-3PM, ROCK/POP/INDIB Host Chrissariffic takes you unlike amarshmallow sandwich: soft and sweet and best enjoyed when poked with a stick and held close to a fire. • PROSRAMMINSaCITR.CA UNCEDED AIRWAVES .(PM-sPM, INDIGENOUS STORIES Hosted by the Indigenous Collective. Unceded Airwaves unveils the hidden pages of Indigenous history and con- temp o ra ry exi ste nee . • PROSRAMMINSaCITR.CA MUSIC'S ON THE MENU SPM-6PM, MUSIC /MUSIC Alex and Hughgive theiropinions on new music releases of albums and singles, as well as discuss thei r thought s on to pics inthe music industry, such as what gives artists stayingpower and what ideal album length is. • PROSRAMMINSaCITR.CA SPIT IN YOUR EAR ALTERNATING MONDAYS 6PM, ROCK / POP/INDIE • PROSRAMMINSaCITR.CA GOBSTOPPER ALTERNATING MONDAYS 6PM, NO TALK /ONLYROCK So good you stop talking. • PROSRAMMINSaCITR.CA EXPLODING HEAD MOVIES 7PM-8PM, EXPERIMENTAL Join Gak as he explores music from the movies, tunes from for soundtracks to be. All in the name of ironclad whimsy. • PROSRAMMINSaCITR.CA THEJAZZ SHOW 9PM-liAM,JAZZ l Walker takes liste the past to the fu • PROSRAMMINSaCITR.CA Tuesday PACIFIC PIC KIN* SAM-8AM, ROOTS/FOLK/BLUBS Bluegrass. old-time music and its derivatives with Arthur and the lovely Andrea Berman. • PACIFICPICKINaYAH00.COM LOVE NOTES Love Notes is a biweekly show hosted by Naomi and Peka. Each great love of their life-a romantic partner, a sibling. together, we create an episode showcasing the music of... them. • PROSRAMMINSaCITR.CA UBC MEDICINE LEARNING NETWORK PRESENTS UBCMLN Presents showcases the b e st of theUBCMe dicine Lea mi ng Network family of podcasts. home to a variety of UBC Medicine voices, subjects, and stories that empower lifelong learning, foster excellence educational innovation. • PROSRAMMINSaCITR.CA NANCY'S PANTRY ALTERNATING TUBS 12AM-iPM, ECLECTIC/MUSIC Eclectic selections from Nancy's pantry! • PROSRAMMINSaCITR.CA SAXOPHONEA L'APRES MIDI iPM-zPM, SAXOPHONE, OF COURSE saxophone in the afternoon • PROSRAMMINSaCITR.CA LEENIN'WITH JEFF poetry, movie or play scripts and fun facts! I Eeel free to contact me if you would like to join me on my show:) PROSRAMMINSaCITR.CA TAKE JUAN and future film buffs. Hosted by Juan Pablo Saa • PROSRAMMINSaCITR.CA TEACHABLE MOMENTS TUBS 4PM-SPM, TALK/POP JESS'S LIT PROSRAMMINSaCITR.CA PROSRAMMINSaCITR.CA ANIMAL BRAIN RADIO Broadcasting the best of Goth. Punk. Alternative. andNewWave Music! Keeping the 80s alive with fresh finds and timeless cla st li ith old. broken speakers. • PROSRAMMINSaCITR.CA DOGEARED ALTERNATING TUBS 6PM, SPOKEN WORD /BOOKS Dogeared is a book club that meets biweekly though the airwaves of CiTR 101.9 EM. Every two weeks we will read a new book and discuss it with y'all, our loyal bookclub members EUR0NEUR0 ALTERNATING TUBS 6PM, DISCUSSION /FANDOM Euro Neuro is a show about the Eurovision Song Contest, which ompa - PR0GRAMMING3CITR.CA AFRICA'S LIT ALTERNATING TUBS 7PM-8PM, TALK /MUSIC Africa's Lit: more than just books, it's an hour of music, inte rviews andanalysesb rought together to highlight the best of African Literature. • PROSRAMMINSaCITR.CA DO YOU FEEL HOW I FEEL? ALTERNATING TUBS 7PM-8PM, TECHNO / FUNK/HOUSE An extremely funky radio show with a focus on house and techno music. • PROSRAMMINSaCITR.CA CRIMES & TREASONS 8PM-M>PM,HtPH0P 2 hours of new uncensored music. Eve ry Tue sd ay Night a t Spm-10pm PST.With Jamal Steeles. Yvng Malik £ Rally Rel$ OFF THE BEAT AND PATH 10PM-11PM, TALK/ MUSIC HostlssaArrian.introducesyou to hi s va rio us inte re st thro ugh hi s uniq ue 1 ens . E rom alt ill PROSRAMMINSaCITR.CA PLANETFHL0ST0N • PROSRAMMINSaCITR.CA SAXAPHONELANUIT ALTERNATING TUBS llPM-lzAM, JAZZ /SAX A continuation of Saxophone a • PROSRAMMINSaCITR.CA YOUNG MUTT AND FRIENDS' RING SHOP AND MENTAL HEALTH SHRINE 12PM-1 AM, RINGS /MENTAL HEALTH your guess is as good as ours. • PROSRAMMINSaCITR.CA Wednesday DEMOCRACYNOW 6AM-7AM, NEWS/SPOKEN WORD journalists Amy Goodman and Juan Gonzalez. Our reporting headlines and in-depth interviews with people on the front lines of the world's most Now! . you'11 hear a divers ity of voicesspeakingforthemselves, p rovi dinga uni que and sometime s lobal PROSRAMMINSaCITR.CA SUBURBANJUNGLE 8AM-10AM, ECLECTIC Live from the Jungle Room, join radio host Jack Velvet for music, sound bytes, information and insanity. • DJ8JACKVELVET.NET AGAINST THE CURRENT 10AM-UAM, NEWS/ANALYSIS News from Vancouver and Lower Mainland. Brought to you by the News Collective at CiTR 101.9 EM. ■ SPOKENWORDaCITR.CA BELKIN GALLERY AND POLYGON GALLERY PRESENT: RADIO ART BY DANI GAL llAM-lzAM, EXPERIMENTAL / CONCEPT Through his in-depth research attention to avast, distributed archive of sound documents and their role in the workings of ideology and the production of cultural memory. These transmissions invite us - as embodiedlisteners-to consider the relationship of political ■ PROSRAMMINSaCITR.CA THE SHAKESPEARE SHOW IzPM-lPM, ECLECTIC Dan Shakespeare is here with music for your ears. Kick back with gems from the past, present, and future. Genre need not apply. • PROSRAMMINSaCITR.CA LA BONNE HEURE WITHVALIE A new show on the air?! Erom mellow and indie, to more Heure' for a'little bit of it all - both in English and en Erancais! With some interviews on the horizon and many good times too.. . soyez sur de nous ■ PROSRAMMINSaCITR.CA LE REETUAL ALTERNATING WED 1PM-3PM, MAGIC/ RITES/ SACRIFICE ■ PROSRAMMINSaCITR.CA I COME FROM THE MOUNTAIN ALTERNATING WED 3PM-3PM, POP SPELL S / WATER /TOIL the show that doesn't happen does happen in the mountains of your mind. • ARTCOORDINATORaCITR.CA THE REVOLUTION WILL NOT BE BROADCAST ALTERNATING WED 3PM-4PM, REVELRY / JUSTICE/FREEDOM TBD. • PROSRAMMINSaCITR.CA TRAINING TIME WED 3PM-4PM, GET 0NTHB AIR! PROSRAMMINSaCITR.CA ARTS REPORT The Arts Report, run by CiTR's Arts Collective volunteers, focuses on arts and culture happenings in so-called 'Van- :' (and beyond!). With a ioft ;. li elect songs and playful ban- ar. the Arts Report connects ity that CiTR is part of. • ARTSaCITR.CA NEBUL0N0NE ALTERNATING WBDSPM-6PM, SPACE/ ALIENS/PROBABLY the re can only be one. • PROSRAMMINSaCITR.CA KAFU MUZIK ALTERNATING WED 6PM-7PM, FRANCOPHONE/MUSIC Discover the music of the Eranco phone World - from Canada to Vietnam. At Kafou Muzik languages, rhythms, and genres of five continents intersect. Produced in collaboration with UBC'sCentredelaErancophonie. • PROSRAMMINSaCITR.CA THE MEDICINE SHOW Broadcasting Healing Energy with LIVE Music and laughter! A multi-media variety show, featuring LIVE music, industry guests and hopefully some ■ PROSRAMMINSaCITR.CA THATSONG FROM THAT MOVIE ALTERNATING WED 6PM-6:soPM, MUSIC /MOVIES Eilmexpe rtsMovi eMave rickMi ke and Logan the Extra, discuss the impact of specific songs ific other way round - ■ PROSRAMMINSaCITR.CA SAMSQUANTCH'S HIDEAWAY ALTERNATING WED 6!30PM-8PM, ROCK/ POP/INDIB If you're into 90's nostalgia. Anita B' s the DJ you for. Don't • PROSRAMMINSaCITR.CA SLIMEWIRE lOPM-liPM, BUMPS / WEIRD freaky finds and underground rid. PROSRAMMINSaCITR.CA AFTN SOCCER SHOW liPM-iPM, SPORTS /COMMENTARY The AETN Soccer Show (aka '•There ' sStill Time") isaweekly soccerdiscussionshowcentered around Vancouver Whitecaps. MLS. and the world of football. ■ PROSRAMMINSaCITR.CA Thursday CANADALAND 7AM-8AM,NEWS /TALK CANADALAND isa news site and podcast network funder by its audience. Their primary focus PROSRAMMINSaCITR.CA IN SEARCH OF LOST VENUES ALTERNATING THURS 8AM-9AM, NOSTALGIA/ADVENTURE In Search of Lost Venues visits music venues from Vancouver' s past. In each episode, host Kristina Rothstein in is con- local musician, discussing an ex-venue while walking through the surroundingneighbourhood. Topics include memorable shows played and seen, and how these spaces shaped the local music culture and community. Loca- Sugar Refinery. The Blinding Light!. Ms T's Cabaret, the Cruel Elephant, the Starfish Room, the Retinal Circus, the Smilin' Buddha Cabaret, the ToastColle cti ve and many mo re . • PROSRAMMINSaCITR.CA OUTDOOR PURSUITS ALTERNATING THURS 8AM-9AM, NATURE SOUNDS/HOWLING Jade Quinn-McDonald explores the outdoors with guests from many walks of life. • PROSRAMMINSaCITR.CA RUSSIAN TIM SHOW 9 AM-in AM, PUNK Hello hello hello! I bandsandplay new, int al. and local punk ro id by Ru okenEr sh. Great St ■ R0CKETFR0MRUSSIA.TUMBLR.COM/ R0CKETFR0MRUSSIACITRaSMAIL.COM/ aTIMA_TZAR/ FACEB00K: R0CKETFR0MRUSSIA BREAKING BARRIERS 10AM-11AM, ECLECTIC Thematic episodes playing music from throughout the 20th century across al styles, genres, and borders. • PROSRAMMINSaCITR.CA DUNCAN'S D0NUTS 12PM-1PM, ROCK/POP/INDIB Sweet treats from the pop underground. Hosted by Duncan, fuelled by donuts. ■ DUNCANSD0NUTS.W0RDPRESS.COM HAIL! DISCORDIA! IPM-zPM, ROCK/POP/INDIB Hail! Discordia! is the (loose) translation of Discorder Magazine where co-hosts Zoie McClymontandIsabelleWhittall take articles and turn them into more than that. Local artists speak about their work, while Izzy and Zoie do readings and weave in music for the ultimate ■ EDIT0R8CITR.CA TRAINING TIME W/ CIARA PROSRAMMINSaCITR.CA HARMONIC HOOLIGANS Just thr show you PROSRAMMINSaCITR.CA FAMILIAR STRANGERS ALTERNATING THURS 3PM-4PM, WHO/ OH, ITS YOU • PROSRAMMINSaCITR.CA MIX0TR0PH ALTERNATING THURS 4PM-sPM, MUSIC/ HISTORY/TRIVIA fertilize you world sounds and history and usele have something fo ryone.. . PROSRAMMINSaCITR.CA THE REEL WHIRLED ALTERNATING THU 4PM-SPM, MOVIE / CRITICISM/TALK "The official show of the UBC Eilm Society. "The Reel Whirled" is a show made by and for film buffs! Hosted by Lily Growe, this show will provide you with your weekly dose of PROSRAMMINSaCITR.CA DEAD SUCCULENT HAUNT SPM-6PM, ROCK/POP/INDIB alternative music show for everyone from the experts to the over-waterers. • PROSRAMMINSaCITR.CA ALL ACCESS PASS 6PM-7PM, SPOKEN WORD brought to you by the CiTR 101. 9 EM Accessibility Collective. • PROSRAMMINSaCITR.CA AZZUCAR M0RENA ALTERNATING THU7PM-8PM, MUSIC /TALK Latin culture, migrant experi- • PROSRAMMINSaCITR.CA BAMULADES 2010 RADIO MONTHLYTHUR8PM-9PM, INDIE/ROCK /CLASSICS Good & interesting independent music from the past, present and future. Hand selected by Charlie D. • PROSRAMMINSaCITR.CA CROWD FLIP MONTHLY THUR 8PM-9PMJ.NDIB/ ROCK /QUEER Crowd Elip is both a talk and music show that began by exploring musicology theory through a critical lens of gender theory and history. • PROSRAMMINSaCITR.CA LIVE FROM THUNDERBIRD RADIO HELL 9PM-11PM, ROCK/POP/INDIB Thunderbird Radio Hell features live band(s) every week performing in the comfort of the CiTR lounge. Most are bands from across the country and around the world are nice enough to drop by to say hi. • PROSRAMMINSaCITR.CA COPY/PASTE 11PM-12AM, ROCK/POP/INDIB Thunderbird Radio Hell features live band(s) every week performing in the comfort of the CiTR lounge. Most are bands from across the country and around the world are nice enough to drop by to say hi. • PROSRAMMINSaCITR.CA ONE HOUR HAPPY HAPPY FUN-TIME MUSICK 12AM-1AM, ROCK/POP/INDIB onehourofhappyhappyfun- time musick is a show like no other, one so bold as to play bad music and express strong opinions one shills albums that the deep-state doesn't want you to know about. • PROSRAMMINSaCITR.CA Friday VIEWPOINTS 7AM-8AM, SPOKEN WORD Viewpoints is a news magazine produced by the Community Radio Eund of Canada providing an overview of what's happening across Canada, thanks to some 20 the country and working for the Local Journalism Initiative (LJI). hosted by Boris Chassagne. • PROSRAMMINSaCITR.CA QUEER FM 8AM-10AM, TALK/POLITICS Tuesday, tune in to Queer EM's rebraodcastonEridaymorning!. ■ SUEERFMVANC0UVERaSMAIL.COM BACK TO THE GARDEN Back to the Garden is a live Sam and Molly. It profiles a different artist bi-weekly, playing a curated mix of their gre ate st hit s a nd deepest cuts. ■ PROSRAMMINSaCITR.CA PROSRAMMINSaCITR.CA SCHM0EDI0 a show for schmoes. a comedy show devoted to celebrating people's emb arrassing moments, aka schmoements. because at the end of the day they happen to everyone. ■ PROSRAMMINSaCITR.CA DISC0LLIE ALTERNATING FRI llAM-lzPM, CRATE DIGGING/MUSIC Every Discollie episode takes you th roughthemany na rra tive s, ■ PROSRAMMINSaCITR.CA DAVE RADIO PRESENTS THE ECLECTIC LUNCH 12PM-1PM, TALK/ECLECTIC Join us every Eriday at noon as we pi ay ou r f avo uri te so und s f o r the enjoyment of all who reside in Thunderbird Radio Land. • DAVERADI0P0DCAST8SMAIL.COM MUSE-ISH ALTERNATING FRIDAYS 1PM-2PM, EXPERIMENTAL/IMPROV Using found sounds, new music, and an eclectic vinyl library join me. chronfused. as I mish mash everything that inspires me (and anything you send in) • PROSRAMMINSaCITR.CA CHOPPED'N'SCREWED Chopped & Screwed is the show for all things sampling. Each week we cover a new artist and talk about their discography and best samples with the goal to highlight the music that has influenced what's on the • PROSRAMMINSaCITR.CA BEPI CRESPAN PRESENTS... 8 NARDWUAR CiTR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Eield Recordings. Noise. Sound Art. Or something ■ TWITTER: 3BEPICRESPAN NARDWUAR PRESENTS 3;3oPM-sPM, MUSIC/INTERVIEWS Join Nardwuar. the Humar f c C hr.ij half of Manhattan Clam Chowder flavoured entertainment. Doot doola doot doo... doot doo! • NARDWUAR.COM/RAD/C0NTACT/ PACIFIC NOISE WEIRD SPM-6PM, BCCLECTIC Pacific Noise Weird delves into the nitty gritty of the latest grunge, indie, garage, hip-hop. and metal coming out of the Pacific Northwest. With an eye towards the production process. PNW looks to show you just who is be hind the weirdest noise of the PNW. and where it all PROSRAMMINSaCITR.CA FRIDAY NIGHT FEVER 6PM-7:30PM, DISCO/RSB Eriday Night Eever - an explo- rationintothedisconationB-) Every alternating Eriday, join Sophie and Max on a journey of disco, funk, and RnB. • PROSRAMMINSaCITR.CA CANADA POST ROCK 7I30PM-9PM, ROCK/POP/INDIB Eormerly on CKXU. Canada Post Rock remains committed to the best in post-rock. drone, ambient, experimental, noise and basically anything your host Pbone can put the word "post" in front of. Stay up. • PROSRAMMINSaCITR.CA ■ TWITTER: 3PB0NE S0CA STORM 9PM-11PM, S0CA /DANCE I DJ #S0CAC0NDUCT0R endeavour to keep you. dancing in your seat, on the table, in the car with with an abundance electric hot wee kly releases. We'11 keep you connected to the extremely active and overwhelming ith delivered in weekly lii mix fashion for your li ed and PROSRAMMINSaCITR.CA MOON BATH Late at night and time is stretching thin. Moonlight over the shoreline. This show explores late night music - the sounds of empty streets, false peaks, andhopef oundindespair. • PROGRAMMINGaCITR.CA Saturday THE SATURDAY EDGE 8AM-12PM, ROOTS/BLUBS/FOLK Now in its 31st year on CiTR. The Saturday Edge is my personal with African. Latin and European mu sic in the first half. followed by Celtic. Blues. Songwriters. Cajun and whatever else fits! ■ STEVEEDSE33MAC.COM UNCE DE D AIRWAVE S (REBR0ADCAST) 12PM-1PM, INDIGENOUS STORIES Hosted by the Indigenous Collective. Unceded Airwaves unveils the hidden pages of Indigenous history and con- temp o ra ry exi ste nee . • PROSRAMMINSaCITR.CA P0WERCH0RD 1PM-3PM, LOUD/METAL Va Ion metal show. If you' re into music that's on the heavier/ darker side of the spectrum, then you'll like it. Sonic assault provided by Coleman. Serena.Chris.Bridgetand Andy! • PROSRAMMINSaCITR.CA CODE BLUE 3PM-SPM, ROOTS/FOLK/BLUBS Code Blue plays the blues - all the blues . all the time. Brought to you by PAUL NORTON (1st and 3 rd Saturd ays)andANDY BONEIE LD (2nd and 4th Saturdays). They are your knowledgeable hosts, bringing you the latest and the greatest, from the classics to the newest and bluest notes. CODEBLUEaPAULNORTON.CA MANTRA ALTERNATING SATsPM-6PM,BLBCTR0N- IC/MANTRA/NU- GAIA any fac sound - trad empor ■ MANTRARADI0SH0WaSMAIL.COM ases the n and - trai r and fut THE ARMAN AND AKHIL SHOW The Arman and Akhil show b rings you interviews with local activists, politicians and policy Lower Mainland. We go beyond what motivates people in their lives and careers. • PROSRAMMINSaCITR.CA MUZIK BOX ALTERNATING SAT 8PM, BLBCTRONIC/RAVB MUZIK 80X FEATURES A SELECTION OF EARLY HOUSE, CLASSICTECHNO.ACID HOUSE, AND CLASSIC HAR DC0 RE RAVE ANT H E M S. • PROSRAMMINSaCITR.CA SYNAPTIC SANDWICH 9PM-11PM, BLBCTRONIC/RBTRO/TBCHNO Every show is full of electro bleeps. retrowave. computer generated, synthetically manipulated aural rhythms. If you like everything from electro / techno '80s this is the show for you! • PROSRAMMINSaCITR.CA RAND 0 PHONIC liPM-lAM, EXPERIMENTAL Randophonic has no concept of genre, style, political boundaries or even space-time relevance. Lately we've fixed our focus on a series. The Solid Time of Change. 661 Greatest Records of the Prog. Rock Era - 1965-79. We're not afraid of noise. Sunday THE ABSOLUTE VALUE OF INSOMNIA 2AM-3AM, EXPERIMENTAL/ GENERATIVE 4solidhoursoffreshgenerative music c/o the Absolute Value of Noise and its world famous Generator. Ideal for enhancing • PROSRAMMINSaCITR.CA FUTURE ECOLOGIES Euture Ecologies is a monthly po dcastmade foraudiophilesand nature lovers alike. Unpacking complex eco-social paradigms. mersive soundscapes. and woven together by interviews with expertknowledgeholders—Every episode is an invitation to see your world in a new light. • PROSRAMMINSaCITR.CA CLASSICAL CHAOS 9AM-10AM, CLASSICAL / CHAOS Erom the Ancient World to the 21st century, join host Marguerite in exploring and from around the world. • PROSRAMMINSaCITR.CA SH00KSH00KTA 2 hour Ethiopian program on Sundays. Targeting Ethiopian aging education and personal development in Canada. • PROSRAMMINSaCITR.CA THE ROCKER'S SHOW laPM-3PM,RBGGAB All reggae, all the time. Playing the best in roots rock reggae. Dub. Ska. Dancehall ith PROSRAMMINSaCITR.CA RADIO LATINA MIXXX Let's get your party started with "La Eiesta"! Tune in every second Sunday from 3-5 PM with your host DJ MIXXX. Listen to inte rnationallyacclaimed Radio Latina Caliente that makes your body move and your heart beat. • PROSRAMMINSaCITR.CA VIVAP0RU A radio show dedicated to nourishing your soul Latinx style. Hosted by DJ D-Rod and DJ Bruja • PROSRAMMINSaCITR.CA TOO DREAMY 6PM-7PM, SH0BGAZE/L0-FI Gregg Araki's fever dream // • PROSRAMMINSaCITR.CA TECHNO PROGRESSIV0 8PM-9PM, ELECTRONIC/ DEEP HOUSE A mix of the latest house music, tech-house, prog-house and techno + DJ / Producer • PROSRAMMINSaCITR.CA ATTIC JAMS M0NLTHY HAPPENINGS 9PM-10PM, BCLBCTIC/CONVBRSATIONS Join Sara Rodriguez in her metaphorical Attic. Dive into an with guest DJs. producers, and artists. We'll be dustin off some oldies and embracing the newest tracks. No matter what your j am i s. you can find it he re. • PROSRAMMINSaCITR.CA J CHILLIN 10PM-12 AM, BLBCTRONIC/RAP yes radio noise big success rdadio happy tine 101.9 but i aint a rapperrrrrrrr j chillin has the most refined pallet no other radio station should still the most for the hood community #gang surrey what tup east van whattup - PR0GRAMMING3CITR.CA Island °f Lost Toys CITR GHOST MIX ANYTHING/EVERYTHING Late night, the on air studio is empty. Spirits move from our playlist to your ear holes. We hope they're kind, but we make 1 VEP"* Reprimand SELF-RELE8SED 2 Apollo GflDSts"* Amethyst WU'VE CBSXCED 3 PACKS" Melt the Money FIRE TJJtK 4 Mark H>erthey** Lessons Long Learned SEtF-RELE»SE0 5 BrTTER/ZWAfiHED" Sit ter Illusions BflHDWIOTM 6 Astrid Sonne Great Doubt ESMQ 7 Avery Sloane** Tired of This Setting Sun 0E80 FOX 8 C. Diab"* Imerro TO Wit OWflK 9 Cherry Blu"* You Keep Me Midicinaf DIGITAL CCHPfiNV 10 Breeze* Sour Grapes «fi«D DMWK DR6CIJU 11 Chain Whf p"* Call Of The Knife HE0H TASTE 12 Allison Sunk* Realm SELF-RE LEASED 13 Danielle Bo lit at" Pieces FREEDCH TO SPEND 14 Ian VUellman The NightThe Stars Fell SM ItTrERHSTIOHfit 15 bit depth" herdbound SEtF-RELE»SED 16 BLACK HELIUM Urn RIOT 8ESS0N 17 AC-893 SUPEftCALIDEEPSTATE (QHIERS 18 A ley Nfcol Been A Long Year \Jol. 1&2 SELF-RELESSfO 19 Helena Delanri" Goodnight Summertand caiui tmw 20 Tim The Mute"* M ight Neo er Uapp en KWCFISftER BUJE2 21 Bom bin o Sahel PSRTI3SK 22 Glennny"* Now \tou Know NORDIC TRltX 23 SLOODKHIHE** BLOODPNINE SEtF-RELE»SED 24 Coco Keep** Try SELF-RELESSfO 25 Die ed very 2one Quantum Web RUNG IHTt. 26 girls nails"* califom iahich ball SELF-RELESSfO 27 Guitar Casting Spelts On Turtlehead ilPSRED FLES«/ VJUA'S t-BR 28 Gulfer* Third Wind TOPSSELF 2? Deli Girls Deli Girls SELF-RELE8SED 30 Benny Sings \toung Nearts STOKES THROB 31 Mamarudegyal MTHC"* ABREACTION** RUDECfiNC 32 Roach Me Git irk** anti-perks SELF-RELE8SE0 33 Girls 9G 1396 H8TERNID80E 34 Bill Can** Mud Bath SELF-RELESSfO 35 UwU dust bath UwU alt stari (UWU002) UWI DUST BSTH 36 Coma World Coma Wong BVRD OUT 37 EstoyBien Apoyo Emocionat csssrs 38 Julie Arsenault" Noth ing Swe e ter SON C8NCI0NE8 39 MAVBEL" Gloom IDEE FIXE 40 Ben Fro st Scope Neglect MITE ARTISTS 41 SoyJoy"* door frame SELF-RELE8SED 42 Marku s Floats" Fourth Album C0MSTEtt8TI0N 43 Fast Fashion"* by the view SELF-RELE8SED 44 nic hard Begin" Laorador REVERSE SLICNHENT 45 cranberry virgin"* from the floor BVRD'S NEST STUDIOS 46 A.TrDzzo" Bigcat SEtF-RELESSEO 47 Dermabrasion" Pain Behaviour «8ND DRflt-iK 0RSCUL8 48 Hannah Frances Ke eper of th e Sh eph erd RtQNSTION 49 Inn Echo Hemispheres SELF-RELE8SED 50 Ancient Teeth" NumaniHer DEBT OFFENSIVE 1800 watts of neurotic bliss from UBC UPCOMING SHOWS IN VANCOUVER! 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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
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