October - November 2023 by Discorder Magazine

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October-November || 2023

“THAT toothsome mag FROM CiTR 101.9 FM”

Vol.40 No.05 Issue 432

That TOOTHSOME Magazine from CiTR 101. 9 FM

Oct-Nov 2023// Vol.40 // No.5 // Issue #432 cover featuring DEVOURS by SOPHIE GALLLOWAY

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Ad space for upcoming issues can be booked by emailing advertising@citr.ca.

EDITOR'S NOTE I think we can all agree that life is simply not interesting.

But that very dissatisfaction is what generates the romance of things. Or, at least, that’s how it’s supposed to work. Wanting is about not having. Lack is the force which frames yearning. Disco is a reaction to loneliness, YOLO is an active assault of art on life (that’s right.) The revenge you take on the uninteresting is your little treat, and your little treat alone — but what I like to say is that I’m interested in the Big Emotions of it all. Big Emotions are what I feel when I hear a song so beautiful I could put my teeth into it. Big Emotions are reading a passage and writing, “Are you fucking KIDDING me?!” in the margins because Big Emotions are the opposite of academic rigor. It’s like using the word horny in a sentence sincerely, like really just damp-hearted, loverboy levels of sincerity. Our political economy literally incentivizes the morbidly uninteresting — you gotta replicate the dominant structure to assimilate. “Under authoritarian and supremacist regimes,” wrote Lauren Berlant in 2019, “one is supposed to earn the right to exist rather than to be respected and cultivated because they exist.” For alt-right edgelords, nothing warrants Big Emotions, because everything should stay uninteresting, unchanged, assimilable. All they know of desire is the want to circulate misery. It’s no surprise, then, when historically marginalized populations are deemed inconvenient to the privileged few who made them so. I think it’s actually intellectually lazy not to consider Big Emotions as an act of resistance. Solidarity, for instance, can be super sexy. And so, in the face of all this, we turned to voyeurism and music and art. In the October/November issue we decided to get deep in conversation with artists Vot, Jake Kimble and Devours; like finding that person at the party who is down to just hang out in the kitchen and chat. Similarly, in Moments of Riot Worth Preserving writer Willow takes us through a recollection of memories from the Bullet Farm — collecting stories of their own and from others. Last, Discorder welcomes the Star Canyon Digest, as perhaps the most affecting bit of Big Emotions these pages could hope to conjure. Ur the best, ur the best. Happy fall. A melody so heavy it drags the sun out of the sky, ~T

BIG IMPORTANT FEELINGS 04 ·ART ROCK SUMMER

Over and over and over and over

06 · JAKE KIMBLE

Photography as a site of ritual

09 ·VOT

Not a Dystopian future

12 ·DEVOURS

THE COLLECTOR'S EDITION

19 · MOMENTS OF RIOT WORTH PRESERVING

Memories of the Bullet Farm

22 ·FAMILIAR FACES the and only

17 ·THE STAR CANYON DIGEST from the desk of Phineas Winnebago

SMALLER BUT NO LESS IMPORTANT FEELINGS 17 · OCTOBER CALENDAR artwork by EMILIE PACO

18 · NOVEMBER CALENDAR artwork by DANI LAROSE

26 · UNDER REVIEW just 3 this time

29 · CiTR's PROGRAMMING GRID 30 · CiTR's PROGRAMMING GUIDE

Rates available upon request.

CONTRIBUTE To learn how to get involved with Discorder contact

outreachcoordinator@citr.ca.

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D O N A T E 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: citr.ca/donate.

31 · CHARTSCHARTSCHARTS (Sept 2023)

©Discorder 2021 - 2023 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 hən̓q̓ əmin̓əm̓ 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.

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.

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: Cole Bzowy, Janée Auger, Cahn Nguyen, Kiana Mortensen, Chloe Clur, Angus Nordlund, Marie Erikson, Sophie Galloway, Scotia Yee Barry, Orrin Pavone, Sora Andrews, Hannah Martin, Nikola Yee, Lisa Mayerhöefer, Dr. Phineas Winnebago, Willow // Proofreaders: a goblin in the attic of your life.

HD TROPICAL WALLPAPER or some contributor bios of

OCT/NOV 2023

Kiana Mortenson is the radio show host

based in Berlin. Find more of her work @

for Crowd Flip on CiTR 101.9 FM and

sunlight_onmy_belly

enjoys remixing Middle Eastern music and

SCOTIA YEE BARRY

is an aspiring illustrator/digital painter who is learning and gaining

birdwatching.

MARIE ERIKSON

Marie Erikson is a philosophy student

experience to begin a career in Concept

who likes writing about art. She enjoys

Art for Animation. Her previous work

music, dance, and telling people about

for a Production company opened her

her cat in her free time.

eyes to the possibilities that exist development, and she hopes to use her

COLE BZOWY

Cole Bzowy: Heavy topical from one

innate creativity and artistic skills to

wing to another, don’t bother trying to

bring both her and her future clients'

decipher much. Cole known more as Bzowy,

visions to life. Her goal is to create

reads and writes with no recollection of

art that tells a story, conveys person-

what happened afterwards. Much of his

ality, and invokes meaning and emotion

time is given to questioning things; is

in its viewers.

that pretentious? One day, his writing

ANGUS NORDLUND

was described as the “pointed remarks of a maniac” not to say that he is a

Poems, opinions, and short stories that

maniac, he might be, but rather that the

can never seem to get finished. Angus is

interconnected, self referencing style

a passionate writer from the small city

speaks to the heavy mental processing

of Renton looking for any creative oppor-

of an erratic brain. But a bit clearer.

tunity to scratch a constant creative

Post-post-post-irony is the new comedy,

itch. Curious as to what that means?

taking trouble with common quirks dressed

Check out @beefy_writer on Instagram.

up as unique commodities.

R. HESTER

I don't think we're in Kansas anymore.

SOPHIE GALLOWAY

Sophie Galloway (she/her) is a writer and photographer living on the unceded

LISA MAYERHÖFER

territory of the Musqueam, Squamish, and Tsleil-Waututh peoples. She hosts a radio show, Friday Night Fever, which

Originally from Munich, Germany, Lisa

runs every Friday from 6:00-7:30 pm on

Mayerhöfer (she/they) found out she isn't

CiTR 101.9 FM and player.citr.ca. Follow

psychic after all when moving continents

her on Instagram @photosbysophie and @

right before a global pandemic. Once

fridaynightfeverradio

upon a time a cultural worker and tour manager, she now gratefully takes a lot of walks on unceded territories to seek out streets with a view. Her other main interests lie in finding solidarity, subversion, and beauty amidst the end stages of capitalism as well as having lots of coffee on the front steps. @kati_peril

WILLOW

Willow is a writer, drummer, designer and dance enthusiast. If you see them out dancing somewhere in the PNW you will say “woah they have really nice moves”. They enjoy writing stories about the niche communities they stumble upon and are very appreciative of Discorder magazine for sharing their words and validating their delusions. Willow is also commonly known as Zachary Hoy.

It's easy to get on this list. Contact

editor@citr.ca or artcoordinator@citr.ca

N T R

on the creative side of show and film

. C O U T E

is a Canadian illustrator and designer

KIANA MORTENSEN

I B

HANNAH MARTIN

ART ROCK SUMMER THINGS YOU DIDN’T HEAR

Discorder Magazine

Oct-Nov, 2023

words by Cole Bzowy // illustrations by r. Hester `

How often do you listen to your favourite song? Twice? three times a day? If you are really into the song it could be the only one you listen to all day. In comparison, how much do you know about that song, and what does it mean to you? “On the last day of the summer-spanning concert and exhibition, Art Ro ck Summer, these relationships to music echo throughout the art. Curated by KAY HIGGINS and KC WEI, and shown at the Libby Leshgold Gallery from June 16 to August 12, Art Rock Summer brought together musicians from the Vancouver area to showcase their creativity and connect them with the overarching ideas of music and its influence on culture.

O G D AY A F T E R N O O N played in the final installment of Art Rock Summer, and consists of Mason Rezazadeh and Jesse Fernandez, who set out to perform an endurance jam of the 1969 Stooges’ hit “I Wanna Be Your Dog” — hence the name. Equipped with an old Nortel Compentara Lineman’s phone, a Fender Jazzmaster, and matching shirts to boot, Rezazadeh and Fernandez played the beloved proto-punk song on repeat for 3 hours, spanning the whole length of the exhibit. The physical art in the gallery chronicles many aspects of the expressiveness and malleability of music both within and outside of Vancouver. The show highlighted how music has been, and continues to be, used to express ideas, detailing some of the many wild musical movements of the ‘70s and ‘80s. In contrast to the dominance of the stage, positioned against a wall in the center of the room, the artworks in Art Rock Summer are displayed on tables with clear cases over top of them. The material in the gallery ranges from albums of the ‘70s Vancouver post-punk outfit U-J3RKS to early 2000s CiTR mixtape lists and even essays which explored the intersections of the written word and music. Sitting at a bench waiting for the gallery to open, I remember looking up at an Emily Carr TV, which was displaying ads for other events. An ad, that was also on repeat, read “ARE YOU BORED AF?” likening

it to another ridiculous attempt at youth-targeted advertising. Luckily, the ad only caught my attention for a second, as it was replaced by the ear-piercing feedback shrieks of a heavily distorted guitar slowly turning over into “I Wanna Be Your Dog." The notes echoed as loud harmonics floated above them, in deep contrast to the surroundings.

tepping into the gallery was a terribly confusing experience. In contrast to the white box that is the Libby Leshgold Gallery, the music and art made the awful coldness of the room welcoming. In the center of the room, directly in front of the stage where Dog Day Afternoon performed, sat a basket filled with tomatoes, open for any of the lookers-on to fling at the artists. In perfect punkish self-deprecation, the tomatoes were provided by Rezazadeh. The show felt like a loud meditation, as the repetitive work of Dog Day Afternoon caused a trance-like focus — assumedly for both the audience and performer. By all standards, sitting and listening to just over three hours of blistering proto-punk is not great for the ears, consequently explaining the loud, in loud meditation. However, what I lost in the future of my eardrum usability was made up by the intoxicating mystery of the music. Once the music began, as most concerts go, the only information available to analyze was the lyrics, leaving the

“Art Rock Summer”

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... IN THE CENTER OF THE ROOM, D I R E C T LY I N FRONT OF THE S TA G E W H E R E D O G D A Y AFTERNOON PERFORMED, S AT A B A S K E T F I L L E D W I T H T O M AT O E S . . . rest to intuition and sifting through the gallery to make connections. So, sitting for 3 hours gives you some time to think on Iggy Pop’s sparse lyrics. The song “I Wanna Be Your Dog” itself details a person wanting to be close to their partner, to be loyal and obedient. Whether or not Mr. Pop’s intention was to be ironic or not, the two performers shed some light on their opinion of the song in a conversation following the show. They suggested there was a connection to desire, and the struggles people have reconciling their egos within relationships. Additionally, the duo expressed that the original conception of the act came from their experiences jamming as art students in university. They stated “I Wanna Be Your Dog” as one of the songs that was easy for other musicians to join in on. Ultimately,

these jams were important to them, just as they are to many musicians, for the creative freedom and the musical conversation that it can be. No matter what the opinion of the author, performer or listener, the diverse meanings that come from music — especially that which takes artistic chances in the name of progress, owing homage to the groundbreaking works of people like Iggy Pop or Lou Reed — shows just how much music is a tool for change, and a form of expression. Musicians like U-J3RKS and Dog Day Afternoon carry the long tradition of the powers of music and continue to encourage us to think of things differently, to sit for three hours trying to dissect the same piece of music, coming up with endless possibilities as to what it means, only to settle on

what resonates most for themselves. By allowing the gallery-goer to piece together their own interpretations, as I have come to understand, is what made this show so impactful. Sometimes, a song or an album has more to say than expected, and if you take the time to listen again, you might join in on the conversation.

“Art Rock Summer”

🤡

Discorder Magazine

JAKE KIMBLE words by Lisa MayerhÖfer filigree by Hannah Martin photos by Nikola Yee

Jake, thank you for talking to me on this beautiful day. Let’s start with a quote about you I really liked; “I come from funny bones.” I have always been this very silly type of person and I get that from my grandmothers on both sides. I am Chipewyan and Ukrainian on my mother's side and Irish Ukrainian on my father's, so mixed settler and Indigenous ancestry. There is a series of photographs I took with my grandmother; I shove a banana cream pie in her face and she shoves one in mine. The last image is just us chuckling together. I shoot the shit with my grandmother all the time. Humor is so integral to Indigenous people, our culture and survival, it’s a way of healing and connecting. I’ve been thinking a lot about Westernized pedagogy and what we learn in a classroom in comparison to Indigenous continuance. I use humor and laughter so much not only in everyday life but in my art practice and career. It‘s ancestral. It‘s in my DNA and in my bones and it's very much carried through throughout my practice. I noticed that — it's often dark humor, but there is always something to laugh about. What do you think this humoristic element introduces to your art especially when the topic is dark? Humor is so unbelievably underrated, well maybe not so much in the artworld, there are a lot of humorous artworks, but I feel humor and being funny is oftentimes taken less seriously and yeah, duh, I get that that’s the point but I always say I take being unserious very seriously. Humor is such a great way to call people in and let the air out of the balloon in any type of situation. It disarms people in the best possible way. It’s such a great way to talk about very dark subjects because it also shows that healing is not a monolithic experience, and I also just love to laugh. Where did you grow up? I'm from a small town in the Northwest Territories, 3000 people. I never grew up with art galleries or these massive art institutions. That was always a very foreign world to me and I always felt like I didn't belong there because of who I am and where I come from. For me, what I like to call my first art galleries were those news stands at the cashier that had gossip magazines which my grandmother used to call rags. I remember looking at all the big bold print, and how ridiculous it was and how it always made me chuckle. Art spaces, museums, and galleries etc. are very white Western concepts. I could imagine being an Indigenous artist can mean fitting your art into a format that might feel quite colonial or like once again having foreign rules imposed on you. I feel like you try to incorporate other traditions like oral traditions in your art praxis? You very much do have to play the game a little bit to get recognition being in these white cubes or galleries. I have always tried to have a little bit of an edge — maybe that sounds too

“Jake Kimble”

Oct-Nov, 2023

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pretentious — but just to do something that allows me to still feel in control. I don't necessarily like framing my work because, again, it is another kind of cube, this thing that kind of contains stuff. In a recent show at the Burrard Arts Foundation, I made all the mounts myself. I knew I could do it and how I wanted it to operate, and yes, it was very clunky and hodge-podge macgyvered, but to me it was equally as important to the work to have this sense of control. And this goes back to the other question: using humor going into spaces that have long held these traditions of being very solemn, stoic, classist, and posh. I have the word 'unclench' in my artist statement — which will always make me giggle — because again, I love disrupting. I found the introduction to your show at the BAF very illuminating in that regard, it read; “Jake Kimble uses self-portraiture and archival imagery as an autoethnographic tool — as process: processing as practice, processing as material, and processing as self.” There is so much in that sentence, but I wanted to concentrate on the word 'autoethnographic' because that topic comes up in a lot of Indigenous artist’s work; this colonial tradition of the camera, but also the colonial tradition of ethnography in itself. That text was written by my dear friend, the Métis icon, Maria-Margaretta! We were just talking and the subject of ethnography came up, and the studying of one's being, to make sense of that and what that means. Self portraiture has always been incredibly important to me because I have found you cannot divorce certain colonial aspects from photography. There is a reason it's called taking a photograph not giving a photograph. Susan Sontag writes very eloquently about how there is an inherent violent nature of photography. To shoot a photograph… To shoot a photograph! There is all this charged imagery, but also connotations within the medium itself, and for me I have used it as a tool to understand myself. And that's also why I have never really gotten into commercial photography: I can't divorce myself from how personal it can be. Tell me more about it being a tool, please. At the end of my second year of art school I found a really great therapist, shout-out to Amy. I started to really look inside: “Why am I the way I am?” And I asked myself, “How can this translate visually?” That's when I decided — if I'm gonna do something, it might as well be me. Because I know me best, and I also find that sharing one's story in a truthful and honest, frank way, with a little wit and cheekiness, often allows other people to think about what makes them tick. Whenever I see someone living their life so unabashedly themselves I'm like, fuck yeah. That's a person I'm looking up to, and it's because they understand themselves. It's a never ending journey of understanding oneself but that's why I've chosen the term autoethnography to describe my praxis.

“Jake Kimble”

Discorder Magazine

Is it also, again, a question of taking back control? Totally. I remember I had to write an essay on Edward S. Curtis. He was a white photographer in the United States and he got this huge grant to go around and document a lot of Indigenous peoples across North America. You can argue the photos themselves are beautiful and they're representational — in the fact that they represent a person. Edward S. Curtis would very much stylize these photographs. He would [use] stuff from one tribe for another tribe, and so while the photographs are truthful in the sense that photographs are real, the narrative of those photos aren't, and therefore going back to the colonial violent nature of photography. Reading about this history and then moving into developing my own self portraiture, yes, so much of it was indeed about regaining control, retelling my story, having complete autonomy of what the photograph is gonna look like, who is in the photograph, the post processing of the photograph, how it's gonna be printed, how it's gonna be shown […] having that autonomy is incredibly important to me and that is why I'm very hesitant to take other people's photographs. Your story is not mine to tell. In most of your works the body, your body, plays a central role. There are things that happen to your body, you're drenched in honey, covered in snow or dirt… This last piece at the BAF “My Guardian Angel Is Tired” was incredibly important to me. It was the biggest piece I'd ever done. It's [also] the most vulnerable I've ever been, especially as I was naked and because that [series], talks so much about things that I don't really want to talk about. Each substance was obviously representative of something: You‘ve got the sugar on the feet which represents addiction to drugs, addiction to people, addiction to food and also a weird method of preservation and fermentation. Then you've got the dirt on my goodies: burying sexuality, burying sexual trauma, being dirty and how that operates. Then snow on my chest, freezing my central nervous system, freezing me out from myself. What it means to be cool. Moving on to honey — drowning yourself, in alcohol, in sweetness, in another form of preservation, suffocation. And then the bubbles which reach out for something ephemeral, something light. Regardless of how dark it gets in your work it often feels at least a little celebratory at the same time. Something an acting teacher once told me which has stuck with me is: “There is always happiness when you're being authentic, when you're expressing yourself from a true and honest place.” So even if you're talking about these things which are very difficult to speak about, if you're doing it from a real, honest, connected place, and you're truthfully telling your story, there will always be a little bit of joy in that. There will always be a little bit of celebration in it because you're honoring yourself, you're honoring your body, spirit, and mind. The ‘Grow Up’ series — especially the picture of you as a little cowboy with the words “I was told peace was mine to keep” written on it seems to have been a work that a lot of people responded to? That piece has kind of been the favorite child. It has been the one that resonated the most with people. It was actually on a wall in Toronto. Which was fucking amazing. And it takes it out of the museum and into real life? It was actually the first piece I've done for this whole series. I was going to therapy and unpacking a lot of my trauma from my childhood. I grew up in a very chaotic home. My parents split when I was three so I very much had to assume an adult level of responsibility very early on in my childhood. Whether that was taking care of my three younger siblings or taking care of my parents. Keeping the boat steady is the best way to describe it. They always say peace is a gift, and I was thinking about that phrase in relation to my experience of growing up. There's so many layers to that photograph especially being an Indigenous person in cowboy attire, assuming this somewhat authoritative role and again playing both adult and child. Another description that I liked a lot was: “The body as a site of ritual. Photography as a site of ritual.” It ties a lot of what we talked about together, having autonomy, controlling the narrative, doing it on my own. What I've discovered over the past years or rather my entire life is investing in oneself, discovering oneself, is a kind of ritual, it's my own personal ceremony. Because it's where I get to connect with myself, it's where I get to spend time with myself. I get to learn about myself. And this is what it all boils down to.

“Jake Kimble”

Oct-Nov, 2023

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VOT words by Kiana Mortensen illustrations by Janee Auger photos courtesy of Cahn Nguyen

Speaking with Vot felt like going through a whirlwind of authentic passion — passion about the future, robots and human isolation. By the end of the conversation, one feels like they’ve connected all the dots necessary to understand the undercover lore which shows up in her self-titled album, ‘Vot’. The album explores an extremely wide variety of sounds, genres and emotions with an attention to diction and lyrics. Not only does she have an angelic and operatic voice, but her artistic vision goes hand in hand with her talent — in the way, for example, autotune is utilized to imply Vot is singing from the perspective of a robot. The ability to worldbuild shows up clearly throughout the album, and also more literally in the song “Seoul Suburban,” which features voice notes from fans all over the world, mixed in with sounds of their city. This album has the ability to shape the world around you if you let it. Vot will hold your hand and show you what the world looks like in the year 4044.There is both beauty and pain that shows up in the way humans operate, but there is still hope; the one emotion that consistently arose during our conversation, and within the album itself, was hope. Among the necessary explorations, nuanced pessimism and fear, hope is an important component of making art related to the future. Vot is sprinkled with hope, and those sprinkles grow when you understand the intricate vision that she brought to life with this album.

“VOT”

Discorder Magazine

K: If you could describe Vot in one sentence, what would it be?

like an Android quite literally

these glasses that transcribe

and I have always had a really

text, and it just blew my mind.

hard time with that feeling. But

This is what AI is to me —

V: Emotional-electronic-opera-

I felt like I could write from

what AI can be. A tool to help

micro-budget-IMAX-ethereal-

the perspective of a half-An-

humans. Art imitates life.

sci-fi.

droid, I was equipped to do that with the feelings that I had

What are some themes that this emotional-electronic-opera-microbudget-IMAX-ethereal-sci-fi music conveys?

Oct-Nov, 2023

in my body and brain. Mostly, I couldn't find any music that I could relate to because all of it was about relationships

Do you remember where you were when you wrote the album? Do you think where you were influenced the topics and things you talk about in your album?

with humans, and these deep V: It's all about what makes

human feelings. I felt really

V: I traveled to make the album,

a human being a human being at

alone, so I wrote an album about

and it hugely influenced it. I

the core of it. It's also about

isolation. A kind of techno-

had wanted to travel for a bit

technology and futurism — and

logical mental isolation. [The

and then write, because I felt

children, who are the future,and

second reason is that] I just

I didn't feel smart enough — I

love, which is, I guess, also

think that positive AI art is

didn't know what I didn't know

children. So I mean, it just

essential right now because AI

yet. It started in Kelowna,

all ties back into each other.

will eventually look back upon

where I was dealing with major

It's about the humaneness of

the art that we made of them.

isolation. I think leaving your

sentient beings and what makes

I think it's an artist's job to

hometown always bring up these

you conscious.

reflect the times, and I wanted

huge, crazy, teenager feelings.

to make an album about AI that

I went to Paris for a bit, fell

wasn't doom and gloom. I wanted

in love for the first time, and

to showcase AI as something that

that sparked a kind of hope,

V: Yeah, so Kai Hagen and I

you could empathize with and

which is needed to make music

met when we were young, he

not push away. I understand the

about love because I'm really

produced the whole album. Kai

concern, but I also feel that AI

a cynic. Later I went to Seoul

is so talented, when we met I

is us. I don't feel ego about

and tutored children there. If

was like, “let's make an album

AI. I feel that they're little

I wasn't making music, I'd be

together. Can you do this with

babies and their tools are

a kindergarten teacher. Seoul

me?” He probably regretted

important.

is [also] isolating in it’s own

it because I am the craziest

way. It's just busy — like in a

collaborator, we made like

movie where the main character

30 mixes of each song. It was

is still and everything around

three years of editing. So much

them is always moving. It was

editing.

Throughout Vot listeners can draw upon their own interiority; their mistakes or doubts, but in almost each song you bring it back to AI, which I think is very powerful. It’s also a fresh and authentic way of doing so because you have direction. Can you talk about the role AI plays in your album? V: There's a multitude of reasons why I chose AI. It was for personal reasons and non-personal reasons. The personal reasons are that I was in a place where I felt really

Thank you for showing another perspective about isolation and AI. In “Not A Dystopian Future,” it goes, “We understand that artificial intelligence without morals / Isn’t very intelligent at all.”

good to go and connect with my grandparents and like, wash rice with them. It grounds you, and

dissociated — I swore if you

it inspired a lot of the sounds.

opened me up, there would be

V: 100%,that's why there's so

circuit boards inside me. Not in

much good that I can see from

a poetic sense or anything, I

AI, at least from an accessi-

just didn't feel human. I felt

bility standpoint. There are

Can you talk a bit about the process of production? How do you arrange the vocals in Vot?

“VOT”

Editing back and forth via computer only, when one of you is sort of “ahead” of the other’s timezone is a very fitting process for the themes the album presents. Do you have a song you're most proud of? I feel like that's unfair to ask, but, I guess like

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in terms of writing, is there a song that stood out to you?

lot of autotune, and then slowly shed it by the end of 14 songs.. “Human Error,”

has no autotune,

V: Lyrically, I think “Human

and like, really little pitch

Error.” Just because there are

correcting — it's off a lot, in

[many ways] to interpret it.

order to keep that humaneness.

It took the longest to write.

In “End-to-End Encryption” I

When I was in high school,

wanted heavy autotune to sound

all the white people I was

like the visual of a robot hand

friends with were all dating

and human hand almost touching,

really racist guys and then

being so close, but there’s

telling me that they loved me,

something in between. [Similar

and there was something really

to the sound of] like Daft

eerie about that. I had to

Punk, where you have such a

sit in that feeling for a long

strong melody or a vocal that is

time. It really deeply hurt,

trapped by a wall of autotuning

but it's a feeling that a lot

— it sounds like it’s physically

of black girls can relate to.

trying to get out.

I had to ask myself, “How do I write about that? Without

Where did you learn to sing?

being super obvious, or not obvious [enough]”. After 2020,

I knew the song had to be about

watched Snow White; I just

[It started] when I first

whiteness ,and nothing more or

didn't understand how a human

less. Then one day, I'm reading

could make those sounds and sing

about AI, and I came up with

that way. I turned to my mom

another word — human error. I

and I was like, I want to sing

wanted to structure it in a way

like that. So when I got sent

where you could connect it to

to voice lessons, I didn’t stop

whiteness. With that, I think we need to really think deeply

to this song,” as he turns up

and do Vot so much better than

and critically about everything

the radio it's “Can't Tell Me

I ever could. And I'm totally

we're doing, and it's really

Nothing” by Kanye West. And he's

okay with that. But I think this

exhausting, but I think that's

singing all the words, and I've

music is super sick. I think

the role of being a responsible

never seen do that. He's not

that it hasn't been done before.

human being right now.

really good with words, but he

That's why I wrote it.

knew every word. I was like, wow,

The metaphors in that song are so detailed. Do you have a favourite line?

look at this black man singing “you can't tell me nothing,” and all this braggadocious stuff. And my dad, also a black man,

was so

V: I think the best line in

empowered. I cried, even though I

the album is, “You have always

was really little and I was like,

been errored / You have always

‘I don't know what this is, but I

cared for the pretty.”

know it’s

It's

really important that

really short but impactful and

Kanye exists and my dad exists

I think that that also ties into

at the same time and for me to

whiteness, and how much we love

see this.’ I think that I've been

pretty things. That lyric was

trying to make something with

“beautiful” for a while but no,

that feeling for forever.

I don't hate beauty at all, I

is like a Korean punk. And she

love beauty. I'm so vain. I'm

would play a lot of punk music

an artist. I hate pretty. I

[growing up] but she also really

think “Human Error” dissects

loves classical music. So I got

and questions “how did we get

that from her, and then rap, hip

to a point where influencers are

hop and R&B from my dad.

allowed to exist?” Or, “How did

until I could sing like a Disney

we get to a point where [...]

princess.

people run to comfort and do so much harm?” Yeah, I wanted to intelligently address that. I think I'm going to keep writing the same version of that song forever.

My mom

Do you have memories of being introduced to things, or music that your family or people around listened to that you subconsciously carried with you?

Our two hour long conversation felt as if only the surface was scratched with the amount of information and wisdom she could share. It is apparent in both our conversation and in the intentionality with which she writes her music. The way her face lit up while answering each question about her art translated passion and attention to detail, but it is further emphasized in Vot’s performances. Like how in live performances she explains to live audiences her intentions — why she uses heavy auto tune, or sings in a very operatic way. This interview was such an honor, and is only one way to scratch the surface of the piece of art that is the album titled ‘Vot.’

📺

K: Your voice and writing go so incredibly together. When did you know you needed to become a singer? V:

I like making art for other

people — but “need” is a very complicated word for me. I don't

Can you discuss the intentionality of your use of autotune? V: The idea was to start with a

V: The first memory I have of

like taking up unnecessary

music making an impact

is of my

space. I'm really detailed about

dad and I in the car — he just

that. I think one day a random

turned to me and went, “listen

16 year old might come along

“VOT”

Discorder Magazine

Oct-Nov, 2023

DEVOURS words and photos by Sophie Galloway / photoshoot assistance from Orrin Pavone and Sora Andrews // illustration by Scotia Yee Barry

“He may not have salt and pepper in his house, but he can definitely put on a show” a spectator captioned their Instagram story of Devours, shrouded by the light of a glittering disco ball. The crowd at the Granville Island Fringe Festival pub was a mixed bag: bears in leather, bros in knitted polos, a parent with a kid clinging to their leg like a monkey. We jumped around as he weaved amongst us, mic in hand, singing songs about queer heartbreak. A random assortment of voices in the crowd sung along. Curious about the salt and pepper comment, I later found out the Instagram poster was Devours’ neighbour. “This is a song about being a gay man in Vancouver, and the next song is about being a homosexual male in Vancouver” he announced to a spatter of laughs. It was the day before his 39th birthday, and Jeff Cancade was ready to give it his all.

ut to my interview with Jeff on a muggy summer evening at Jonathan Rogers Park in Mount Pleasant, a formerly industrial area, now Vancouver’s rapidly gentrifying tech hub. The all-too-familiar PNW wildfire smoke peppered the sky, and the air was so hot that breathing felt like suffocation. We sat on opposite ends of my beach towel and awkwardly dissected the questions I’d scribbled down in my notebook. Despite Jeff being an absolute sweetheart, I had jitters. Over the years, I’ve become something of a Devours superfan, quietly woo-ing along from the sidelines of shows and following their every move on Instagram. After spinning Devours’ entire catalogue back to front ad infinitum, it feels as if I hold an uncomfortably close view into Jeff’s brain: Devours’ lyrics are so vulnerable and raw to the point where deep listening can feel close to voyeurism. Devours occupies a vibrant, queer niche in Vancouver’s music scene, a place which has historically been dominated by indie rock bands. Self-described as

“DEVOURS”

“mutant DIY homo-pop,” Devours’ “gaylien” persona takes on various forms depending on the album du jour, each with their own makeup look and outfit. The tracks inhabit the same universe as PC Music, but stake their claim in a differing, neighbouring galaxy, which features separate ecosystems, and is governed by a new set of rules. Here, we’re ready to acknowledge the hard parts of being queer, alongside the weird, uncomfortable minutiae of everyday life. Their songs gut hyperpop from the inside out, and are at once energetic, clever, heartbreaking, and hilariously self-effacing. I’d be remiss to not mention Escape from Planet Devours’ “Feckless Abandon,” which features my favourite opening line of all time: “Pleased to meet you, hand me a noose / I’m bald, gay, fat and depressed, how the fuck are you?”

eff’s path to artistry has always felt natural, but has never been straightforward. After releasing music under various pseudonyms

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for several years, they described being disheartened by seeing cycles of younger, fresher artists being carried away by waves of interest, only to be deposited downstream a few years later. These ever-changing riptides of Vancouver’s independent music scene can make it increasingly difficult to put down roots, resulting in an atmosphere that feels, at times, superficial and transitory. Despite the hardships, Jeff describes how there was never an active choice to be an artist - this was simply always going to be part of their journey. “I just wish that I had a passion for accounting or something like that,” they joked, “My mental health would be so much better! But yeah, I just can't stop making. It keeps me sane and happy to be creating art.” Devours is a fully independent, DIY project that Jeff balances alongside jobs as a caregiver and contract work as a music editor — no easy feat when matched with Vancouver’s soaring rent and the cost of living crisis. The silver lining is that Jeff is entirely in control of their output and has nobody to answer to except themselves. The result is a beautifully unique, self-propelled project that exists in a dichotomy: Devours’ otherworldly “gaylien” persona is undeniably and incredibly real. Having complete control over your artistic output can be liberating in many ways, but it’s a heavy weight to carry on your own. “I put so much of myself into it that I feel like I've been sacrificing my love life and my career and my mental health … And it feels like an extra full-time job. Like, a lot of it is just me

sitting on my floor with tape and scissors, packaging vinyl and going to Shoppers Drug Mart and mailing it. So yeah, a lot of grunt work. I literally just do everything, and it's great, but also kind of exhausting.” The all-consuming nature of DIY means that music-making becomes one of many priorities, alongside self-promotion, organizing releases, and running social media accounts. Enter The Golden Age of Wrestling – Jeff’s anonymous, ambient side project, whose persona hides beneath a golden, glittering wrap of fabric. This new project was a necessary release from the constant hum of the DIY machine, after recently being signed to INTRASET, 604 records’ new sister label for electronic and ambient music. Jeff will maintain plenty of creative control and looks forward to this new frontier while Devours continues to take centre stage. Devours’ introspective lyrics feel like a familiar call to the outsiders who just want to be heard. “My first three albums were sort of self-defining. They were very inward albums, of just trying to figure out who I was as a gay man and as an artist.” In these records, Jeff allows his anxieties and struggles to be laid bare, and each album fits together to form a larger portrait: “a trilogy, in a way about youth ending and trying to make one last hurrah”. A previous stint in Montreal had left Jeff feeling jaded: “I spent a lot of my twenties trying really hard to get somewhere in music, and not getting anywhere. Devours showed up in Vancouver with a whole lot of baggage and angst – like it’s already too late, as there’s so much pressure on young

“DEVOURS”

Discorder Magazine

musicians to get it right the first time, make it big when you’re 23, because then you get too old. That’s what we grow up hearing, but it's not true [...] This new album is more about pressing reset on the project and trying to find direction now — like okay, cool, I didn't make it as a huge musician. Now what do I do?” Jeff ’s most recent release, 2023’s Homecoming Queen, marks a sudden handbrake turn in Devours’ cosmic trajectory. His gaylien persona comes crashing “back to Urth” turning outward to take stock of the world around them. In contrast to their previous releases, which feel laser-focused on the context of immediate, intimate experiences, Homecoming Queen opens a dialogue on their life as a queer person in Vancouver. Jeff began writing as the COVID-19 pandemic emerged, and political commentary runs deep through the album. “I was thinking a lot about performative online politics, and how corporatized pride has become … and how I think that people have sort of forgotten about the history of it a little bit.” The penultimate track, “Jacuzzi My Stonewall,” takes aim at the commercialization of queer identities, with some cheeky local references: “I guess we’re mainstream now, let’s move out to the ‘burbs / Time for body shots, three bears laid out on a table at White Spot / Corporate is the new punk, let’s have a rave at Shoppers Drug Mart after hours / It pays to be gay”. This self-reflexive, critical voice of dissent is an essential theme in Devours’ work. They are all too familiar with how today’s expensive, ticketed, corporate-sponsored events do little to welcome

those outside of the mainstream, recalling a moment when he was scheduled to perform at a previous years’ pride event at a beer garden on Vancouver’s Sunset Beach. Upon arriving at the venue, Jeff ended up having to convince security that they were, in fact, the artist scheduled to perform. The reception at the show was lacklustre at best: the audience was scattered and disengaged, and Jeff was left with a sour taste in their mouth. We wondered whether this could be due to present-day queer culture’s desire for escapism, and the celebration of artists such as Britney Spears and Cher, who aren’t actually gay themselves. “It was so disappointing, right? Because so much of Devours has been just me trying to write about my community. And it's been so fascinating to see how many straight people have been supportive, and how many of my fellow gays just don't care. But I sing about body image, body dysmorphia, and gender dysphoria, and gay relationships, and bottoming … and I'm like, how do I bridge the gap?”

uring this year’s Vancouver pride celebrations in August, Jeff spearheaded the creation of a DIY pride show at Green Auto, an independent arts space on Pandora Street in East Van. The event’s purpose was to celebrate queerness outside of the hyper-capitalist embellishments of today’s pride celebrations and featured several emerging queer artists. The show was a personal triumph for Jeff, and left them with a strong sense of hope: “That was like a proud moment for me — of taking pride into my own hands and being like, well Jeff, if you're not happy

with something, like take initiative and make a change.” Of course, there’s still plenty of work to be done for queer liberation in Canadian society, which often feels stuck in a weird, halfway place, where superficial political affirmations attempt to cover up deep, structural inequalities, experienced most severely by those whose identities are compounded within the intersections of race, sex, gender, age and disability. Queerness is beautiful, difficult and isolating, and we owe it to ourselves to find happiness and community wherever we can. Devours’ music provides a space for this to unfold, through their painstaking honesty of the realities of their life, while also holding space for humour and joy. My friends Sora Andrews, Orrin Pavone and I found ourselves in Jeff’s apartment

“DEVOURS”

Oct-Nov, 2023

on a boiling hot summer’s day, rigging our photoshoot with a handful of props and alarmingly little planning. I spread my camera gear out on a fluffy wolf throw on Jeff’s bed and we got to work, wondering whether Jeff would fit into Sora’s pleaser heels, or should we get a photo of Jeff being stepped on instead? The door to Jeff’s bathroom was painted like an old-school telephone box like you’d see in England: a holdover from the previous tenant that he didn’t have the heart to paint over. Both on-stage and off, Jeff has the most effervescent energy, where you can’t help but feel happy just to be there with him. I couldn’t verify the neighbor’s claims of whether or not he had salt and pepper in his kitchen — I was having too much fun. Throughout the course of the photoshoot and writing this article, I’ve realized that by trying to prod and poke at Jeff’s artistry, to attempt to capture it fully in words and photos, is an almost impossible challenge. It exists within the extensive Devours lore and inside jokes, the jarring lyrics and exploding, atmospheric progressions, and the deep and sometimes uncomfortable truths which his work embodies. All I can say is that I’m grateful for his outspoken and authentic voice for all of us who don’t fit in, and for saying the quiet part out loud, even when it’s difficult. I truly believe that Vancouver is better off for it.

· The Scalawag @ Red Gate

· Curves / Lunchtime Band / Pale North @ Red Gate

· FRESH MEAT v2 @ Red Gate

· Haleluya Hailu @ Red Gate

· Feeling Figures / Tough Age / Pudding / Roswit @ Green Auto

· Jack Shipley / Sara Carbone / Julia Groening @ Red Gate

SUNDAY

· Botﬂy / Teeth To Your Throat / Drive Your Plow Over The Bones Of The Dead @ Black Lab

· Spectra / Charles Mansion / Spvce / Seeing Grey @ Red Gate

· Elijah Woods / Shamlo / Jade LeMac @ Red Gate

MONDAY

· Stop Making Sense 40th Anniversary Remaster Screening @ The Rio

· IDk / Lute / Luna Ellle @ the Rickshaw

· Polyphia / DOMi / DJ Beck @ The Vogue

· JORDANA / Dev Lemons @ Fox Cabaret

TUESDAY

· Baby Molly / Not Sisters / The Sylvia Platters / Non La @ Lana Lou's

· Kari Faux / Ivy Sole @ Fortune

· Lila Grey @ Red Gate

· Down The Lees / Petaluna / Bloom Aﬀect @ Red Gate

· Phuture Memoriez / Freak Dream / Self Care / The Broken Islands @ Red Gate

· The Brahmankind / Rat Silo / Wack / La Chinga @ Red Gate

THURSDAY

CTOBER O2023

· Bloodshrine / Waingro / Chunk / Franklin @ Green Auto

· Ora Cogan / Kristin Witko @ WISE Hall

· Thantifaxath / Sunless / Wormwitch / Scalding @ Astoria

· The Vicious Cycles @ Green Auto

· Youth Lagoon / Urika's Bedroom @ Fox Cabaret

· Jacob Audrey Taves / Zen Escalator / John Oliver @ Red Gate

· Bell Witch / Spirit Poession / Grave Infestation @ The Rickshaw

WEDNESDAY

EMILIE PACO

· The Mants / Sugarwash @ Lana Lou's

· Covers From The Crypt @ Red Gate

· Die Job @ Red Gate · Ford Pier / Mi'ens @ The Lido · Johnny Goth @ Fortune

· Muskrat Meadows / Ak-747s / War For Your Money @ Green Auto

· Burning The House Down Party and Stop Making Sense 40th Anniversary Remaster Screening @ The Rio

· Tim The Mute Garage Sale @ Red Gate

· Lunchtime Band @ Red Gate

SATURDAY

ART PROJECT BY

· Spoopy Music 4 Girlz @ Red Gate

· Geese / YHWH Nailgun @ WISE Hall

· Kitty Prozac / Kylie V / Pale North @ Red Gate

· Gadﬂy / Guile / Lord Wrought / Dirge @ Green Auto

· ATD / Bearhorse / Wait//less / Bosses @ Red Gate

F R I D A Y

SUNDAY

MONDAY

· Samantha Riott @ Red Gate

QUALIFIERS NIGHT #3

QUALIFIERS NIGHT #2

QUALIFIERS NIGHT #1

TUESDAY

EMBER 2NO0V23 05

· Chronic Fatigue / Media Slaves / Natalak @ Red Gate

12 · Comedy and Bands @ Red Gate

19 ·EASTSIDE CULTURE CRAWL · Nap until You're Dead @ Red Gate · Old Man Canyon / Taletta / Cam Blake @ Hollywood Theatre

26 · Dog Gone @ Red Gate

QUALIFIERS NIGHT #4

WEDNESDAY 02

THURSDAY

F R I D A Y

SATURDAY

· Avanni @ Red Gate

· Wiarda @ Red Gate

· Faye Webster @ The Vogue

· Tough Age / Tommy Tone / Chrisariﬀic @ Red Gate

· Genesis Owusu @ Red Gate

· Speedy Ortiz / Space Month / Jo Passed @ Cobalt

·EASTSIDE CULTURE CRAWL

17 ·EASTSIDE CULTURE CRAWL

MINT RECORDS CHRISTMAS PARTY!

· Ape War @ Red Gate

· Paul Is Dead @ Red Gate

· Kind of Cool Records: You Big Idiot / Die Job / Still Spirits @ Red gate

23 · Banquet Lights / Heatdome / Vanessa Borowicz @ Red Gate

ART PROJECT BY

· Stories End / Spectra / Numb Dame / Chalcedony @ Red Gate

· Spookvember Spectacular @ Red Gate

· House of the Future @ Red Gate

· Future Heights / Sleepy Gonzales / Sixth Grade Football / Girlsnails @ Red Gate

DANI LAROSE

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MOMENTS O F R I OT WORTH PRESERVING WORDS BY WILLOW

pinning. A mangle of arms and legs, my body swirls to the radically quick pace of heavy punk rock music. Dizzy. In glimpses I see smiles on the faces of my friends around me. They appear blurry against the thrashing whirl of the crowded music venue. Bodies collide in the riptide of the mosh pit, and again my mind flutters away to a distant place. Heat. The single fan in this small, dark, crowded place does nothing to keep me cool. Body drenched with moisture, my heart beats recklessly to the rhythm of militant musical expression. Joy. Even through the feverish heat I feel the warmth of friendship in this shared space. Through the tidal waves of chaotic movement, I am at peace. My mind returns to full clarity and I see my friends around me dancing at the Bullet Farm, one last time. Kiro. Dark makeup, face piercings and gothic attire. A complete representation of the Bullet Farm personality. With vigor, he pulls me into the mindless sweep of bodies. Squished between the physical forms of my friends, I am disoriented again. Any stress outside of this moment is now distant. Lucas. A face with a smile I can’t help but return. With a toothy grin, he gives me a shove, sending me stumbling into the stage. Hacked Apart is playing. They cast spells upon us all; filling the room with angst and anger — all rooted in a profound love for each other. An honest release of emotion. Dance. Everything makes sense here. No emotion gets the best of me. Real freedom in a strict and confusing world. Kick. Punch. Jump. I follow the two step moves I have learned from coming to these shows for well over a year. Janelle. Colorful tattoo-covered arms up against her face; she shoves me from behind, denying my body any moment of rest. I continue this dance. Now with an intoxicated rhythm. High off the natural release of music and movement, stumbling through the limb-tornado. Eric. One of my greatest friends. The friendliest of souls with the shortest of tempers. The moshpit opens up and I see it is just us, surrounded by the chaos of our dear friends. We both are smiling. I give him a polite shove, and he turns to elbow me in the jaw. The rush gives me the energy to continue this drunken parade of love and music and dance, through the rest of the final Bullet Farm show. Following most Bullet Farm shows, my mind is a clean slate. All emotion has been released. I solemnly embrace the cool Vancouver air to breathe clear deep breaths. I usually feel calm, but after the final Bullet Farm show, I did not. Leaving the venue for the last time, walking through the barbed wire fence, through the alley and onto East Hastings, I was emotional. I was overwhelmed, and on the verge of having a breakdown. This was the last time we would be able to enjoy this space. Struck by the tyranny of Vancouver to replace DIY culture with an expensive, boring, gentrified vision. I was grateful I got to experience the Bullet Farm. I met most of my friends there, and had found my place within this city. I felt like I had belonged somewhere, but at that moment I felt lost again. I always knew that at some point in my life I would sit around with my friends and reflect on our stories from the venue. What I never expected was these conversations to come so soon. Each of these four friends provided a story, impression or description of the Bullet Farm. Rather than representing the Bullet Farm as a whole, these stories are a collection of the unique experiences of these individuals. Beyond the stories shared here, there are many more lost in the details. Important moments often happen in an instant; in a brief smile among the rage of the moshpit, or sharing a smoke in the shallow peace of the alleyway. We were all there together, and every instant, every movement and moment felt valuable in this time of our life. It brings me sadness to admit to myself the Bullet Farm era is behind us, however, when reading these stories, rather than focusing on what is lost, we must bring attention to what was important about this place, and how this emotion can be preserved.

KIRO “Ya, I remember the Bullet Farm staff was really, really sweet. There were few times when someone freaky got in and the staff was very much on top of it. You could tell them like, “hey this person came up to me and did this or this” and they will be on that shit like immediately. Especially because there were a few dudes working there that were like 6 foot five dudes, like big guys, it definitely felt really nice to have those people be so protective. You could just go and have a good time and get drunk and not have to worry about someone hurting you. I remember I was in the pit and someone threw me forward right as this dude was windmilling, and I just got a big ol' bop on the back of the head. I went down, and I remember not knowing what happened. Someone dragged me into the back room and sat me on an amp. They gave me a cup of water until I came to my senses. I sat there for a little longer until one of the staff came up to me. She didn’t say anything, she just held up a lolly pop. I just felt like a little kid, sitting on the amp kicking my feet sucking on a lolly pop. They are really sweet people.” “The moshpit for me has always been a very physical expression of myself enjoying music. Metal especially is very much an angry genre, and I always felt that I could get my anger out in the pit but not actually hurt anybody. I always felt very free in the pit. Especially being a very small person that's born female, I also felt really safe there. Also, there were always little shenanigans that would happen. Something I would see kind of often is a big guy picking up a really small guy and just swinging him around in a circle. I remember one time there was this girl that brought a gigantic squishmello into the pit and was just hitting people with it, [...] eventually the thing ripped open in half and stuffing went everywhere and she wore the skin of the squishmellow like a hood. That was something I will always remember — just so silly, just like fun. Some people think there are rules to how you can be, like how you can dress or the way that you act in the pit, but at Bullet Farm I have watched people bring pillows into the mosh pit [...] and that’s the thing. It’s just silly. It’s ridiculous. Does it have to be serious? Does it have to be anything?”

“moments of riot worth preserving”

Discorder Magazine

Oct-Nov, 2023

LUCAS “The first time I went I don’t really remember, but the second time I went to the Bullet Farm I saw Hollow Point. They introduced me to the idea of what a mosh was. Oh, I remember this so vividly. I remember walking into the Bullet Farm, neon and purple and pink lights reflecting off my face, hearing Hollow Point going insane. I looked towards the stage to see this mass of people and such an excess of emotion — a liberation from what they were supposed to do. I saw people jumping on top of each other, I saw people throwing elbows and spinning and dancing in a way I had never seen before and it was intoxicating, it was enthralling at a very core human level. I was just happy to be part of a community where people could express emotions in so many different ways. One of those ways being almost controlled violence. The concept of the mosh pit is so incredibly interesting to me, and that curiosity was birthed at the Bullet Farm. It was the first time I had ever moshed. I got a nosebleed at that show and it was so awesome, I felt so fucking cool. That nosebleed was so liberating, I don’t know why.” The main reason we all loved the Bullet Farm so much was that it was the first venue for a lot of us. It was our introduction to the punk community here in Vancouver. It is where I made most of the connections across what my friendship circle is now. I met you there, I met my ex there, I met half the people I am really close friends with at the Bullet Farm. It was a breeding ground for creativity, and where people could come and not be the fake figures they have to be every day. No one wore a mask; everyone was genuine and themselves because there was no reason not to be. It was the first time I wore makeup in a public space, it was the first time I was introduced to how gender norms can be challenged, how societal norms can be crushed and smashed apart. It was the place I began to understand that not everything was right within my city, that people were being oppressed and places were being gentrified in ways I’d never considered. It’s what led me to being part of the community. Now I volunteer at the Black Lab, now I volunteer at the collective that used to be the Bullet Farm. It lets me understand and facilitate growth in a way I never could have expected.”

JANELLE “It was a pretty easy place to talk to people. Everyone wants to talk about the show, they want to talk about the music. There's always a huge crowd outside and tons of people chatting. If you want to start a conversation you could just walk up to someone and ask them for a cigarette, and be like, “awe hey man thanks, how are you enjoying the show?” or like, “where are you from?” That was all it took. Sometimes people would approach you too, because everyone there likes a lot of the same things — so if you were wearing something recognizable, people would be like, “hey that's really cool.” I don't usually feel that comfortable at shows. I think metal and punk shows are the easiest ones to make friends at, which I don't think people would expect at all — but these are some of the nicest people. I think because hardcore is a [small] subculture in the first place, people are pretty much out of the binary in terms of music. I think people recognize this is not something most people enjoy, and here you're surrounded by people who have the same mindset as you.”

“moments of riot worth preserving”

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ERIC “There was a point when I was going to the Bullet Farm as much as I possibly could, having the best time. During this time I was living in a Kitisilano frat house with a bunch of UBC Students. Me and a few too many hooligans lived pretty disgustingly. Every weekend they would invite me out to a bar, or some random UBC ski and board event, but I had to see my people. I would go to these Bullet Farm shows. I would always come back all bruised up, telling them how awesome it was. They were like, “I don’t see the appeal of getting the shit kicked out of you for two and half hours every weekend.” I was like nah, it’s great, you just gotta come see. Morgan and Steven, two really close friends of mine, finally gave in and came with me. They didn’t particularly like hardcore, and were more into EDM. I was a little nervous about how they might react, and if they would understand the joy of it all. They were mostly excited by the fact they could bring their own booze. During the first band they just watched me dance and got to know some people in the mob. The crowd was the most accepting, and [my friends] never felt like, maybe, they were posers or something for being there — everyone was so loving. They met Kiro and a bunch of other people. The next band came on which was Hacked Apart and the two guys just started going hard. Steven was standing in the middle, just bouncing people off of him like a roadblock. He got that look in his eyes that looked like he could kill someone. Morgan with his backpack on had a huge smile on his face and was just bouncing around. I remember leaving the show with them and they told me they got it. They understood why I went there and were happy they got to experience it all with me.”

The Bullet Farm was, for some, an escape from the toxic emotions that eat at them in everyday life. Although there are many different relationships to the venue, the stories selected for this love letter are those that resonated most deeply with me. It was a place where my friends and I could come together and enjoy music and dance with likeminded people. Moshing allows emotions of anger to be expressed in a safe and friendly environment. The Bullet Farm was not only greatly important to those who enjoyed the space, but was also greatly important in maintaining a sense of identity for Vancouver at large. In this dark, sweaty building friendships were made, music was played and life felt a little bit more fantastical. Thank you to the great bands and staff who created a space balancing emotional vulnerability and fun. These were the best of times. Support your local music venues, before it's too late.

☠

“moments of riot worth preserving”

Discorder Magazine

Oct-Nov, 2023

Familiar Faces in a Familiar Space words by Marie Erikson photos courtesy of The Art Shop

he exhibition Familiar Faces, hosted by The Art Shop at City Centre Artist Lodge, showed portraits from emerging artists. Mediums included diverse forms of painting, photography, and sculpture. Both the exhibition’s theme and The Art Shop’s broader goals spoke to a blending of familiar and unfamiliar and an increase in art’s accessibility. The exhibition space itself mixes the familiar and unfamiliar, subverting the expectation of a gallery space by creating a space that people unfamiliar with the art world may find more friendly. Although I am rarely intimidated by art galleries, I felt extra comfortable entering The Art Shop. Part of this feeling can be attributed to the architecture of the room’s small size, shorter ceilings, and colourfully muraled exterior. Yet, The Art Shop also claims accessibility of art as part of its mission, which it interprets as making visitors feel more comfortable with art and gallery spaces as opposed to accommodations such as wheelchair access and a scent-free environment, which are not offered. Visitors are greeted with artsy but approachable music and encouraged by the curators to ask questions about the art. The artists contributed to this feeling of familiarity within the exhibition in unique ways, including ceramicist Logan Kenler, who exhibited two glazed stoneware works. Both boy with runny nose and boy with scar take the form of a head-shaped plant pot with a leafy plant growing where the hair would sit. Each work portrays a round face and gentle features. These works create a sense of familiarity through their recognizable features — not necessarily those of a boy we know, but from a gentle, playful, archetype that we have likely encountered in our lives. The works create an additional familiar feeling through form. A garden pot is an object many have in their homes, and the use of this object to portray a face of someone we do not know brings them closer to us via a connection to our most familiar space. Another pair of portraits in this exhibition offers familiarity in an unconventional way. An Ode to Hercules by painter

“Familiar Faces”

Mads portrays an elderly woman on an urban, almost grungy street. The figure carries a dachshund at her side and a wallet in her mouth, glancing at the viewer but facing toward a flurry of coloured patches at the right of the painting. Despite the lack of realism in these pieces of colour, the painting depicts a scene that otherwise may easily be experienced in real life. The accompanying portrait by Mads, Where or When, has similar qualities. Though the background is rather abstract, with solid muted purple and splashes of colour, the central older woman feels modern and familiar; as if she were seen on Main Street outside the gallery. The abstract nature of the background may even contribute to the painting’s familiarity, as the colours and texture resemble the murals from the surrounding Mount Pleasant streets. Other works in the exhibition present faces in an approachably unfamiliar realm. Cole Bazin’s Me and shit on the grass presents a pink, grey, brown, and green landscape of human body parts, grass, and abstract shapes. The muted, soft colours convey a mood of ease with incoming trouble, and the title provides the context of an everyday, familiar situation. Instead of trying to encompass a large concept in a few simple shapes, the work succeeds in using abstract art to pleasantly convey a mundane but nonetheless troublesome situation. Two works by Risa Witten also walk this line between familiar and unfamiliar. Staring Back at You and Kind Eyes depict a heavily simplified, almost doodled face with raised features. The solid red or aqua, respectively, across the canvas contribute to the simplicity of the works’ style. Although we may have seen this sort of depiction of a face in a child’s drawing or at the edges of a notebook, there is something eerily inhuman that the greater size and texture contribute to these works. The smiling faces feel friendly, but the only thing that can be sensed behind their eyes is the back of their canvases. As intriguing as these works may be, what is most pivotal to the impact of Familiar Faces and The Art Shop is whether it

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can successfully create greater interest and comfort with contemporary art in people unfamiliar with it (and less likely to be writing reviews.) Peering in from the windows, it appears to be a traditional quiet, white-walled gallery space, and while some art is more affordable, the higher price tags could make some feel unwelcome. However, The Art Shop shows signs of finding a balance that may make progress toward an important but complicated mission. By bringing people into a space dedicated to art where they are encouraged to ask and learn more, they may more actively engage with it — perhaps even more than other initiatives, such as than public art. Even if information is displayed alongside works of public art, passersby may not stop their busy commutes to explore and learn from these works. The Art Shop’s dedicated space for art may lessen the problem of engagement amongst those who visit. It has the potential to provide a benefit for those unfamiliar with galleries who want to learn more about art, but also for the familiar who want to experience a new interpretation.

“Familiar Faces”

the ONE... the ONLY...

MUSIC Haley Blais Wisecrack

Grimm

ARTS & CRAFTS

Your Head is a House

SEPTEMBER 2023

(HAUNTED CASTLE)

AUGUST 18, 2023

ow far would you go to recreate the feeling of childhood? For Haley Blais (she/they), the answer is far, as they consider pulling out their own front tooth just to access the feeling of loose baby teeth. This impulse is in many ways the soul of Wisecrack, the sophomore album from the Vancouver-based musician. The album opens with something of a mislead. The first line is a declaration: “I’d kill to be a sensitive person,” Blais sings. Yet as the album goes on, it becomes clear there is a deep sensitivity throughout. Instead, this is something closer to the idea of sensitivity as being quick to react, best described in the line “When I die I know I won't freak out / until I'm in the casket.” Wisecrack is a nostalgia-driven album, a reaction to things long past, and the way they continue to inform the present. The connection between the past and the present are most clear in the interplay between “Coolest Fucking Bitch in Town” and “Matchmaker.” Blais navigates the divorce of their parents, blaming herself in some ways, but also recognizing “I'm not the only one who’s split in half.” What follows in the form of “Matchmaker” is an inward look at her own relationship, and specifically navigating an interfaith one. Blais turns to the internet, finding reasons why the relationship shouldn’t work, singing “and I read somewhere on the internet / that if we have kids then they won't exist / and then I’m the bitch who ruined your family line.” The line is sung with something of a knowing self-deprecation, but the worry is still there nonetheless. Looking at their relationship, after considering her parents divorce, comes a certain anxiety, even if it is beyond the relationship itself. Moments in the album read like poetry, with lyrics that evoke universal feelings in their deep specificity. Blais imagines putting her face into wet concrete, leaving bits of their own skin in it to dry. These extremes are able to hold such tender emotion, and aren’t limited to the lyrics. A standout of Wisecrack comes in the form of the contrasts at play musically in “The Cabin.” Starting with a slight sound of water splashing, the highs and lows of the song come in waves, with quiet reflections and instrumental bursts, evocative of rising panic. Wisecrack marks a slight departure from the kind of vocals that made Blais’ past work so distinct, yet does so in a way that doesn’t feel unnatural or surprising, but rather a natural move in the lineage of their work. Blais presents listeners with an album full of clarity, both lyrically and sonically. With that, brings space for moments of humour that feel so distinctly Blais. Just as the title suggests, the album holds space for playful one-liners, often within these deep meditations on family, the past, and the future. — CHLOE CLUR

t’s been a rough day. Filled with painfully average eyebags, mediocre coffee, and the sound of cars and construction cluttering the corners of your head. The taste of cold mint toothpaste lingers as you climb into bed and clasp headphones to your ears. The track you expect to hear, depressing and somber, doesn’t play. Instead, joyous words fill your ears; “Tomorrow will be your day / Everything you’re waiting for will go your way.” Suddenly, you shoot upright and see an old TV at the foot of your bed with a face staring back at you from the turbulent screen. Yes, staring back at you. Or at least, a human with a house for a head is; its eyes a pair of curtained windows. Before you can babble or inquire, they point you outside, where a car awaits you. First stop: “Paris, Texas.” Driving through the icy desert landscape, you occasionally stop alongside the road to strum your guitar and taste the snowflakes. While on the road, the radio pulses with beats pulled straight from a video game, their gentle melodies of beeps and boops coaxing your worries. However, some sounds may force you to confront the “Primordial Goo” plugged up in your heart. Memories of past happiness and those you used to love sprout up from beneath the snow, while roadside signs remind you that there is still tomorrow. Your bizarre road trip brings you to the mountains. Amidst the snow-capped peaks, you find a beautiful palace and decide to explore for a bit, until you realize you are “Walking Around in an Ice Castle That is Melting.” Scrambling down the slippery staircases, you can do nothing but let the water wash over you. You can still hear the music on the car radio. It radiates urgency and picks up the pace as you are carried down the mountainside and into a freezing lake. The waves gently carry you to shore among the “Cities of Washington.” You manage to stand and take refuge “in a shopping mall / Outside of Tacoma / Seeking shelter from snowfall.” As you watch the snowflakes flutter to the ground, it dawns on you what an adventure you’ve experienced; that it was derived simply through stepping outside to embark on a trip which yesterday seemed impossible. What’s next? Visit the Museum of Glass. Take a stroll along Point Ruston. The world is an oyster sold at Pike Place Market. You now realize your head is a house. “Your Head is a House That You Live in Your Whole Life.” So? Go use it. Make the most of what tomorrow has to offer. — ANGUS NORDLUND

Under Review Oct-Nov 2023

FOOD Modus Coffee 112 W Broadway I arrived at Modus on an early Sunday afternoon right in the midst of a small rush. The café’s space is anchored by salmon-pink walls and speckled with a few plants, an occasional utilitarian bin of coffee beans, and a shelf of merch and coffee accoutrements for sale. Beneath the sounds of coffee-making and conversation at several small tables was lingering, quiet alternative rock. I soon arrived at the counter where the barista recommended the ‘hiro’ Nicaraguan espresso for milk drinks. I soon received my oat cappuccino and an enthusiastic “course!” after thanking the barista. Unlike some cafés which reduce cappuccinos to baby lattes, Modus emphasized the foam. The drink was served in a glass akin to a small, stemless champagne flute, highlighting the layers. Beneath the first sip of frothed milk, the espresso was given space to shine. In this preparation, the espresso tasted somewhat traditional but with hints of acidity, culminating in darker fruit flavours that could satisfy a variety of tastes. A short while after the cappuccino, I also received the chili avo toast I had ordered. This avocado toast was generously covered in crushed chili flakes and chili oil with sauerkraut, microgreens, and pepper sprinkled on top. The presentation was beautiful with small garnishes across the plate and practical for the accompanying knife that could actually cut the bread’s crust. Despite the broad mixture of ingredients, the chili oil was the dominant taste. It was enjoyable as someone who does not mind spicy food, yet it did reduce the avocado to its creamy texture and turn even the sauerkraut into a background flavour. The dish did, however, offer a fun and elevated take on avocado toast. I later decided to order a pour-over and opted for the Colombian ‘opus’ based on the barista’s description as a more adventurous choice. The taste resembled orange zest, though it smelled more savoury. These flavours’ presence in coffee created a feeling of a friendly hug outside in a park, suiting the transition from summer to fall. While it may not have been the most adventurous pour-over I have had, it was one I will remember for a long while. Over the course of a couple hours, Modus was a space to relax and take a break from the stress of the world without abandoning civilization entirely. The space was populated without being too loud, creating the perfect environment for a chat, catching up on some longform articles, or simply sipping coffee. While too vibrant for reading a dense philosophical text (I tried) Modus’ environment was not overwhelming and instead left me feeling calmer. As I cleared my dishes and headed for the door, the barista that helped me choose the pour-over asked me if it fulfilled all my dreams. That one coffee did not grant me affordable housing or the chance to see all my friends every day, but I still felt happier because of it. — MARIE ERIKSON

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Discorder Magazine

Oct-Nov, 2023

FROM THE DESK OF PHINEAS WINNEBAGO...

ARIES

Strive for less and grow like shade. None are spared from this breaking of this world, so what is to be gained from delay? Break now and cast your many shadows. Light is common, but you are not.

TAURUS

If a child asks, we’ve come to steal horses. Love matters, but it is not the only thing. This is what you’ve been trying to say, but the words would not form. Please rest; the doors have been opened as wide as is needed.

PISCES

None of your heroes think alike, but they share your fear. They too have kicked up much dust and lost sight of the road. Let your dust settle to reveal new ghosts and remember: gathered wood is for burning.

LIBRA

Yes, some trees are lonely in the forest. No, we cannot subsist on second chances. Fold into these disappointments and wait for me there. Good news need not be so rare.

SCORPIO

GEMINI

This year’s had three autumns (thus far!) and there are crows on the roof. Put another way: all things start hard except love. Sit with that in the dark for a good long while before you decide what comes next and light a candle as you leave.

CANCER

All rivers are new but spilt water is forever lost. Nevermind. The future lumbers forth without us.

You may go as slow as is needed, but do not stop, for you came to wander. How many herbs grow in the forest and will you carry their water? You won’t, but don’t despair; the moon pulls dew from the grass in sympathy.

SAGITTARIUS

The baby knows what it needs and when it is needed. So does your cat. Neither care why. Return to ignorance and enjoy unbounded confidence once more.

CAPRICORN

LEO

Sigh into the darkness once more! It is OK to stop and lie down, for we are all ruled by unseen forces. Retire. Wait for blossoms. Grass will bend as the wind blows, but you don’t have to.

The water in your glass once reflected neon light. Were you there to see it? Tear open your world and abandon your search, for soon, faces will turn toward you, and when they do, burn! BURN! And let them remember you for your burning!

VIRGO

Did you know that flowers grow faster with music? They do, and yet we hurt the ones we love. This is because round surfaces do not end. Accept your fated geometry and you will be free.

AQUARIUS

You cannot force a melon from the vine, but fragrance lingers on your hands long after gifted flowers wilt. Stop. Write that down and let yourself forget until we meet again.

ABOUT THE AUTHOR: PHINEAS WINNEBAGO 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 COLLEGE 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 STARCANYONDIGEST@CITR.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. PHINEAS WINNEBAGO AND DO NOT REFLECT THE VIEWS OR OPINIONS OF CITR 101.9 FM OR DISCORDER MAGAZINE.

the Star Canyon Digest reprisal from the cosmos

CiTR 101.9FM PROGRAM GUIDE

"Discorder recommends listening to CiTR every day." - Discorder.



MONDAY

TUESDAY

6 AM CITR GHOST MIX

WEDNESDAY

THURSDAY

FRIDAY

CITR GHOST MIX

PACIFIC PICKIN’ FROM HERE FORWARD

7 AM

CITR GHOST MIX

8 AM QUEER FM

9 AM

SUBURBAN JUNGLE

BREAKFAST WITH THE BROWNS

SATURDAY

SUNDAY



CITR GHOST MIX

6 AM

CRACKDOWN

7 AM

FUTURE ECOLOGIES

8 AM

CLASSICAL CHAOS

9 AM

RADIO ART OVERNIGHT CANADALAND CITR GHOST MIX

VIEWPOINTS

OUTDOOR PURSUITS QUEER FM

RUSSIAN TIM SHOW THE SATURDAY EDGE

10 AM LOVE NOTES

11 AM

CiTR GHOST MIX

12 PM

AGAINST THE CURRENT

1 PM

CITR GHOST MIX

BREAKING BARRIERS

UBC MEDICINE LEARNING NETWORK PRESENTS

TRAINING TIME WITH JEFF

CITR GHOST MIX

THE SHAKESPEARE SHOW

DUNCAN’S DONUTS

SAXOPHONE A L'APRES MIDI

LA BONNE HEURE W. VALIE

HAIL! DISCORDIA! (EVERY 3RD THURS)

BACK TO THE GARDEN

SCHMOEDIO

3 PM

LETHAL REFRESH

6 PM

UNCEDED AIRWAVES CITR GHOST MIX SPINNING FONK SPIT IN YOUR EAR

GOB STOPPER

7 PM EXPLODING HEAD MOVIES

LEENIN' WITH JEFF

NANCY'S PANTRY

CITR GHOST MIX

WORD GOBLINS

TEACHABLE MOMENTS

TRAINING TIME

ANIMAL BRAIN RADIO

ARTS REPORT

EURO NEURO

DOGEARED

AFRICA'S LIT

DO YOU FEEL HOW I FEEL?

8 PM

KAFOU MUZIK

THAT SONG FROM THAT MOVIE

SAMSQUANCTH'S HIDEAWAY THE MEDICINE SHOW

CROWD FLIP

CRIMES & TREASONS

9 PM

10 PM

BAMULADES

THE JAZZ SHOW

OFF THE BEAT AND PATH SAXAPHONE LA NUIT

11 PM

12 PM

CITR GHOST MIX

THE ROCKERS SHOW

FAN CLUB

HARMONIC HOOLIGANS

2 PM

BEPI CRESPAN PRESENTS... AND NARDWUAR

3 PM CHARTSO-MANIA

DEAD SUCCULENT HAUNT

ALL ACCESS PASS CITR GHOST MIX

AZZUCAR MORENA

2010 RADIO

9TH FLOOR PEASANTS

NARDWUAR PRESENTS

PACIFIC NOISE WEIRD

FRIDAY NIGHT FEVER

CANADA POST ROCK

LIVE FROM THUNDERBIRD RADIO HELL

SOCA STORM

COPY/PASTE

I COME FROM THE MOUNTAIN

CODE BLUE

LA FIESTA

4 PM

MANTRA

THE ARMAN AND AKHIL SHOW

VIVAPORÚ

TOO DREAMY

6 PM

PLANET FHLOSTON

CITR GHOST MIX

7 PM

TECHNO PROGRESSIVO

8 PM

ATTIC JAMS

9 PM

CITR GHOST MIX

MUZIK BOX

CITR GHOST MIX

SYNAPTIC SANDWICH

10 PM

SLIMEWIRE

AFTN SOCCER SHOW

J CHILLIN

11 PM

RANDOPHONIC

12 AM

1 AM

1 PM

POWER CHORD

THE MIXSOUP

4 PM

11 AM

CHOPPED 'N' SCREWED

PARTS UNKNOWN

2 PM

SHOOKSHOOKTA

CITR GHOST MIX

DAVE RADIO PRESENTS THE ECLECTIC LUNCH MUSE'ISH

10 AM

12 AM

CITR GHOST MIX

RADIO ART OVERNIGHT

CITR GHOST MIX

2 AM

ONE HOUR HAPPY HAPPY FUN-TIME MUSICK

1 AM

THE ABSOLUTE VALUE OF INSOMNIA

2 AM

LATE NIGHT

DO YOU WANT TO PITCH YOUR OWN SHOW TO CiTR? EMAIL THE PROGRAMMING MANAGER AT PROGRAMMING@CiTR.CA TO LEARN HOW

<-hey, this kind of cell means this show is hosted by students They are also highlighted in this colour on the guide, you can't miss it.

MONDAY BREAKFAST WITH THE BROWNS 8AM-11AM, ECLECTIC Your favourite Brownsters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights • breakfastwiththebrowns@hotmail.com

• AGAINST THE CURRENT 12PM-1PM, TALK/LEANING News from Vancouver and Lower Mainland. Brought to you by the News Collective at CiTR 101.9 FM

• programming@citr.ca PARTS UNKNOWN 1PM-3PM, ROCK/POP/INDIE Host Chrissariffic takes you on an indie pop journey not unlike a marshmallow sandwich: soft and sweet and best enjoyed when poked with a stick and held close to a fire.

• programming@citr.ca LETHAL REFRESH 3PM-4PM, CLUB / DANCE On lethal refresh, we scour the net for the hottest new tracks and send them straight to you. we are the angel (or the devil) on your shoulder, whispering every new release, club banger, and underground gem you need. log on for lethal refresh mondays 3-4 for tracks that are lethal as freak, refreshed each week.

• programming@citr.ca • UNCEDED AIRWAVES 4PM-5PM, INDIGENOUS STORIES Hosted by the Indigenous Collective, Unceded Airwaves unveils the hidden pages of Indigenous history and contemporary existence.

• programming@citr.ca • SPINNING FONK 5:30PM-6PM, MUSIC / DA BEST Spinning Fonk… the best radio station in the world.

• programming@citr.ca SPIT IN YOUR EAR ALTERNATING MONDAYS 6PM, ROCK / POP / INDIE Presented by the Music Collective of CiTR.

• programming@citr.ca • GOBSTOPPER ALTERNATING MONDAYS 6PM, NO TALK / ONLY ROCK So good you stop talking.

• programming@citr.ca EXPLODING HEAD MOVIES 7PM-8PM, EXPERIMENTAL Join Gak as he explores music from the movies, tunes from television, along with atmospheric pieces, cutting edge new tracks, and strange goodies for soundtracks to be. All in the name of ironclad whimsy.

• programming@citr.ca THE JAZZ SHOW 9PM-12AM, JAZZ On air since 1984, jazz musician Gavin Walker takes listeners from the past to the future of jazz.

• programming@citr.ca

TUESDAY PACIFIC PICKIN’ 6AM-8AM, ROOTS/FOLK/BLUES Bluegrass, old-time music and its derivatives with Arthur and the lovely Andrea Berman.

• pacificpickin@yahoo.com LOVE NOTES ALTERNATING TUES 10AM-12PM, POP/ECLECTIC Love Notes is a biweekly show hosted by Naomi and Peka. Each week, a new guest selects a great love of their life—a romantic partner, a sibling, a best friend, a parent—and together, we create an episode showcasing the music of… them.

• programming@citr.ca • SAXOPHONE A L'APRES MIDI 1PM-2PM, SAXOPHONE, OF COURSE saxophone in the afternoon

• programming@citr.ca LEENIN' WITH JEFF 2PM-3PM, MOVIES / POP CULTURE / CRITICISM LEEnin with JEFF is a weekly podcast that discusses, movies, poetry, movie or play scripts and fun facts! I Feel free to contact me if you would like to join me on my show:)

• programming@citr.ca TEACHABLE MOMENTS TUES 4PM-5PM, TALK/POP a show with music about being uncool

• programming@citr.ca ANIMAL BRAIN RADIO ALTERNATING TUES 4PM-5PM, PUNK/ROCK Broadcasting the best of

Goth, Punk, Alternative, and New Wave Music! Keeping the 80s alive with fresh finds and timeless classics. Best listened to with old, broken speakers.

• programming@citr.ca • DOGEARED ALTERNATING TUES 6PM, SPOKEN WORD / BOOKS Dogeared is a book club that meets biweekly though the airwaves of CiTR 101.9 FM. Every two weeks we will read a new book and discuss it with y'all, our loyal bookclub members • dogearedbookclubradio@gmail.com

• EURO NEURO ALTERNATING TUES 6PM, DISCUSSION / FANDOM Euro Neuro is a show about the Eurovision Song Contest, which is an international songwriting competition. • programming@citr.ca

AFRICA'S LIT ALTERNATING TUES 7PM-8PM, TALK / MUSIC Africa’s Lit; more than just books, it’s an hour of music, interviews and analyses brought together to highlight the best of African Literature.

• programming@citr.ca DO YOU FEEL HOW I FEEL? ALTERNATING TUES 7PM-8PM, TECHNO / FUNK / HOUSE An extremely funky radio show with a focus on house and techno music.

• programming@citr.ca CRIMES & TREASONS 8PM-10PM, HIP HOP 2 hours of new uncensored music. Every Tuesday Night at 8pm-10pm PST. With Jamal $teeles, Yvng Malik & Relly Rel$

• dj@crimesandtreasons.com • crimesandtreasons.com OFF THE BEAT AND PATH 10PM-11PM, TALK / MUSIC Host Issa Arrian, introduces you to his various interest through his unique lens. From news, pop culture, to sports. Issa will surely have an interesting take, that is undeniable.

• programming@citr.ca • PLANET FHLOSTON ALTERNATING TUES 11PM-12AM, IMPROVISED MUSIC A late night exploration into the depths of the unknown...

• programming@citr.ca • SAXAPHONE LA NUIT ALTERNATING TUES 11PM-12AM, JAZZ / SAX A continuation of Saxophone a l’apres midi, at night.

• programming@citr.ca

WEDNESDAY FROM HERE FORWARD ALTERNATING WED 7AM-8AM, NEWS/SPOKEN WORD From Here Forward shares stories and ideas about amazing things UBC and its alumni are doing around the world. It covers people and places, truths, science, art and accomplishments with the view that sharing better inspires better.

• programming@citr.ca SUBURBAN JUNGLE 8AM-10AM, ECLECTIC Live from the Jungle Room, join radio host Jack Velvet for music, sound bytes, information and insanity.

• dj@jackvelvet.net UBC MEDICINE LEARNING NETWORK PRESENTS 11AM-12AM, HEALTH / TALK UBCMLN Presents showcases the best of the UBC Medicine Learning Network family of podcasts, home to a variety of UBC Medicine voices, subjects, and stories that empower lifelong learning, foster excellence in education, and promote educational innovation.

• programming@citr.ca THE SHAKESPEARE SHOW 12PM-1PM, ECLECTIC Dan Shakespeare is here with music for your ears. Kick back with gems from the past, present, and future. Genre need not apply.

• programming@citr.ca| • LA BONNE HEURE WITH VALIE 1PM-2PM A new show on the air?! From mellow and indie, to more experimental, join ‘La Bonne Heure’ for a little bit of it all – both in English and en Français! With some interviews on the horizon and many good times too... soyez sûr de nous rejoindre!

• programming@citr.ca • NANCY'S PANTRY 2PM-3PM, ECLECTIC / MUSIC Eclectic selections from Nancy's pantry!

• programming@citr.ca WORD GOBLINS WED 3PM-4PM, POP CULTURE / CRITICISM / TALK A show about buzz words in pop culture and on the internet that takes a glimpse into how language is absurd and ever-evolving through the decades with your friendly (but hostile) neighbourhood goblins

• spokenword@citr.ca TRAINING TIME WED 3PM-4PM, GET ON THE AIR! A weekly training session for the radio-curious!

• programming@citr.ca • ARTS REPORT 5PM-6PM, TALK/ ARTS & CULTURE The Arts Report on CiTR brings you the latest and upcoming in local arts in Vancouver from a volunteer run team that likes to get weird! Based primarily in Vancouver, BC, your show hosts (Ashley and Jake) are on the airwaves.

• arts@citr.ca KAFU MUZIK ALTERNATING WED 6PM-7PM, FRANCOPHONE / MUSIC Discover the music of the Francophone World – from Canada to Vietnam. At Kafou Muzik languages, rhythms, and genres of five continents intersect. Listen to Afrobeat, Kompa, Nu-Disco, Punk, Rock, Rumba, V-Pop, and much more. Meet our guests who share their playlists and recommendations. Produced in collaboration with UBC’s Centre de la Francophonie.

• programming@citr.ca THE MEDICINE SHOW ALTERNATING WED 7PM-9PM, ECLECTIC/PERFORMANCE Broadcasting Healing Energy with LIVE Music and laughter! A multi-media variety show, featuring LIVE music, industry guests and hopefully some insight.

• programming@citr.ca THAT SONG FROM THAT MOVIE ALTERNATING WED 6PM-6:30PM, MUSIC / MOVIES Film experts Movie Maverick Mike and Logan the Extra, discuss the impact of specific songs on specific movies - or the other way round - across the pop culture spectrum.

• programming@citr.ca SAMSQUANTCH’S HIDEAWAY ALTERNATING WED 6:30PM-8PM, ROCK/POP/INDIE If you’re into 90’s nostalgia, Anita B’s the DJ you for. Don’t miss her spins, every Wednesday.

• programming@citr.ca • CROWD FLIP ALTERNATING WEDNESDAYS 8PM, TALK / MUSIC Crowd Flip is both a talk and music show that began by exploring musicology theory through a critical lens of gender theory and history. By listening to critiques and conversations with historical info and current experiences, we can better understand how gender minorities navigate the music industry and how music industries have shaped to be what they are today!

• programming@citr.ca BAMULADES 9PM-10PM, HIP HOP/ R&B/ SOUL n/a

• programming@citr.ca • SLIMEWIRE 10PM-11PM, BUMPS / WEIRD Join bee each week as she unpacks freaky finds and underground sounds to rule your nighttime world.

• programming@citr.ca AFTN SOCCER SHOW 11PM-1PM, SPORTS / COMMENTARY The AFTN Soccer Show (aka “There’s Still Time”) is a weekly soccer discussion show centered around Vancouver Whitecaps, MLS, and the world of football.

• programming@citr.ca

THURSDAY CANADALAND 7AM-8AM, NEWS / TALK CANADALAND isa news site and podcast network funder by its audience. Their primary focus is on Canadian media, news, current affairs, and politics. • programming@citr.ca • OUTDOOR PURSUITS ALTERNATING THURS 8AM-9AM, NATURE SOUNDS Jade Quinn-McDonald explores the outdoors with guests from many walks of life.

• programming@citr.ca RUSSIAN TIM SHOW 9AM-10AM, PUNK

Hello hello hello! I interview bands and play new, international, and local punk rock music. Broadcasted by Russian Tim in Broken English. Great Success!

• rocketfromrussia.tumblr.com • rocketfromrussiacitr@gmail.com • @tima_tzar Facebook: RocketFromRussia • BREAKING BARRIERS 10AM-11AM, ECLECTIC Thematic episodes playing music from throughout the 20th century across al styles, genres, and borders.

• programming@citr.ca • TRAINING TIME WITH JEFF 11AM-12PM, GET ON THE AIR! a weekly training session for the radio-curious!

• programming@citr.ca DUNCAN’S DONUTS 12PM-1PM, ROCK/POP/INDIE Sweet treats from the pop underground. Hosted by Duncan, sponsored by donuts.

• duncansdonuts.wordpress.com • HAIL! DISCORDIA! 1PM-2PM, ROCK/POP/INDIE Hail! Discordia! is the (loose) translation of Discorder Magazine where co-hosts Zoie McClymont and Isabelle Whittall take articles and turn them into sound pieces. But it’s much more than that. Local artists are invited to perform and speak about their work, while Izzy and Zoie do readings and weave in music for the ultimate sound feast.

• editor@citr.ca • FAN CLUB ALTERNATING THU 2PM-3PM, POP CULTURE / MOVIES / TALK Aisia and Daniel discuss film, television, and pop culture at large, in relation to industry, financial, and social changes.

• programming@citr.ca • HARMONIC HOOLIGANS ALTERNATING THU 2PM-3PM, MUSIC / EAR SOUNDS Just three guys trying to show you some new tunes for your ears.

• programming@citr.ca THE MIXSOUP ALTERNATING THU 3PM-4PM, MUSIC / THE BEST The Mixsoup, a healthy broth for your ear bones.

• programming@citr.ca • DEAD SUCCULENT HAUNT 5PM-6PM, ROCK/POP/INDIE A plant- and nature-based alternative music show for everyone from the experts to the over-waterers.

• programming@citr.ca ALL ACCESS PASS 6PM-7PM, SPOKEN WORD brought to you by the CiTR 101.9 FM Accessibility Collective.

• programming@citr.ca AZZUCAR MORENA ALTERNATING THU 7PM-8PM, MUSIC / TALK Latin culture, migrant experiences, artist support and music.

• programming@citr.ca • 2010 RADIO ALTERNATING THUR 8PM-9PM, INDIE / ROCK / CLASSICS Good & interesting independent music from the past, present and future. Hand selected by Charlie D.

• programming@citr.ca 9TH FLOOR PEASANTS ALTERNATING THUR 8PM-9PM, INDIE / BLUE COLLAR / CLASSICS 9th-Floor Peasants is a show for anyone looking to escape the slog of a weekly work routine. Each week, we’ll explore music that complement whatever our lives are serving us. So please tune in, we’ve combed through the internet to find you some tunes that will acknowledge your hustle and prepare you for a crazy Friday & restful weekend.

• programming@citr.ca SUBGENRIFICATION ALTERNATING THURSDAYS 8PM, SUB-GENRES / DISCUSSION subGenrification™ is a podcast/radio show that dives into specific sub-genres of music. Each episode, hosts Char & Ani pick a sub-genre and discuss the history, scene, politics and origins of said sub-genre as well as describe how it came to exist and showcase a short playlist of our favourite songs from the genre.

• programming@citr.ca LIVE FROM THUNDERBIRD RADIO HELL 9PM-11PM, ROCK/POP/INDIE Thunderbird Radio Hell features live band(s) every week performing in the comfort of the CiTR lounge. Most are from Vancouver, but sometimes bands from across the country and around the world are nice

enough to drop by to say hi.

• programming@citr.ca COPY/PASTE 11PM-12AM, ROCK/POP/INDIE Thunderbird Radio Hell features live band(s) every week performing in the comfort of the CiTR lounge. Most are from Vancouver, but sometimes bands from across the country and around the world are nice enough to drop by to say hi.

• programming@citr.ca ONE HOUR HAPPY HAPPY FUN-TIME MUSICK 12AM-1AM, ROCK/POP/INDIE one hour of happy happy fun-time musick is a show like no other, one so bold as to play bad music and express strong opinions about said music. a show where one **** ***** shills albums that the deep-state doesn't want you to know about. a show that showcases tunes that you SHOULD care about and sometimes the music that inspired it.

• programming@citr.ca

FRIDAY VIEWPOINTS 7AM-8AM, SPOKEN WORD Viewpoints is a news magazine produced by the Community Radio Fund of Canada providing an overview of what’s happening across Canada, thanks to some 20 radio reporters posted across the country and working for the Local Journalism Initiative (LJI). hosted by Boris Chassagne.

• programming@citr.ca QUEER FM 8AM-10AM, TALK/POLITICS In case you missed them on Tuesday, tune in to Queer FM's rebraodcast on Friday morning!.

• queerfmvancouver@gmail.com • BACK TO THE GARDEN 10AM-11PM, MUSIC / PERFORMANCES Back to the Garden is a live music review show hosted by Sam and Molly. It profiles a different artist bi-weekly, playing a curated mix of their greatest hits and deepest cuts. Featuring live performance reviews and interviews with artists on tour, the show places an emphasis on showcasing Canadian artists, artists of colour, and the queer community

• programming@citr.ca • SCHMOEDIO ALTERNATING FRI 11AM-12PM, TALK / COMEDY a show for schmoes. a comedy show devoted to celebrating people's embarrassing moments, aka schmoements, because at the end of the day they happen to everyone.

• programming@citr.ca DAVE RADIO PRESENTS THE ECLECTIC LUNCH 12PM-1PM, TALK/ECLECTIC Join us every Friday at noon as we play our favourite sounds for the enjoyment of all who reside in Thunderbird Radio Land.

• daveradiopodcast@gmail.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) into new improvised tunes.

• programming@citr.ca • CHOPPED'N'SCREWED ALTERNATING FRI 1PM-2PM, MUSIC / SAMPLING 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 radio today.

• programming@citr.ca BEPI CRESPAN PRESENTS... & NARDWUAR 2PM-3:30PM, EXPERIMENTAL / DIFFICULT MUSIC CITR’s 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something

• Twitter: @bepicrespan NARDWUAR PRESENTS 3:30PM-5PM, MUSIC/INTERVIEWS Join Nardwuar, the Human Serviette for an hour and a half of Manhattan Clam Chowder flavoured entertainment. Doot doola doot doo… doot doo! • nardwuar.com/rad/contact/

PACIFIC NOISE WEIRD 5PM-6PM, ECCLECTIC

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 behind the weirdest noise of the PNW, and where it all comes from.

• programming@citr.ca • FRIDAY NIGHT FEVER 6PM - 7:30PM, DISCO/R&B Friday Night Fever – an exploration into the disco nation B-) Every alternating Friday, join Sophie and Max on a journey of disco, funk, and RnB.

• programming@citr.ca CANADA POST ROCK 7:30PM-9PM, ROCK/POP/INDIE Formerly on CKXU, Canada Post Rock remains committed to the best in post-rock, drone, ambient, experimental, noise and basically anything your host Pbone can put the word “post” in front of. Stay up, tune in, zone out.

• programming@citr.ca • Twitter: @pbone SOCA STORM 9PM-11PM, SOCA / DANCE I DJ #SOCACONDUCTOR endeavour to keep you, dancing in your seat, on the table, in the car with with an abundance electric hot weekly releases. We’ll keep you connected to the extremely active and overwhelming music scene with music curated and delivered in weekly live music mix fashion for your listening pleasure.

• programming@citr.ca I COME FROM THE MOUNTAIN 11PM-12AM, NIGHTMARE SOUNDS The show that doesn't happen on a physical mountain, but it does happen in the mountains of your mind.

• artcoordinator@citr.ca

SATURDAY THE SATURDAY EDGE 8AM-12PM, ROOTS/BLUES/FOLK Now in its 31st year on CiTR, The Saturday Edge is my personal guide to world & roots music, with African, Latin and European music in the first half, followed by Celtic, Blues, Songwriters, Cajun and whatever else fits!

• steveedge3@mac.com POWERCHORD 1PM-3PM, LOUD/METAL Vancouver’s longest running metal show. If you’re into music that’s on the heavier/darker side of the spectrum, then you’ll like it. Sonic assault provided by Coleman, Serena, Chris, Bridget and Andy!

• programming@citr.ca CODE BLUE 3PM-5PM, ROOTS/FOLK/BLUES Code Blue plays the blues all the blues, all the time. Brought to you by PAUL NORTON (1st and 3rd Saturdays) and ANDY BONFIELD (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.

• codeblue@paulnorton.ca MANTRA ALTERNATING SAT 5PM-6PM, ELECTRONIC/MANTRA/NU-GAIA Mantra showcases the many faces of sacred sound – traditional, contemporary and futuristic. The show features an eclectic array of electronic and acoustic beats, music, chants and poetry from the diverse peoples and places of planet earth.

• mantraradioshow@gmail.com • THE ARMAN AND AKHIL SHOW ALTERNATING SAT 5PM-6PM ,TALK/ INTERVIEW The Arman and Akhil show brings you interviews with local activists, politicians and policy experts from Vancouver and the Lower Mainland. We go beyond current affairs to understand what motivates people in their lives and careers.

• programming@citr.ca MUZIK BOX ALTERNATING SAT 8PM, ELECTRONIC / RAVE Muzik Box features a selection of early house, classic techno, acid house, and classic hardcore rave anthems. • programming@citr.ca SYNAPTIC SANDWICH 9PM-11PM, ELECTRONIC/RETRO/ TECHNO Every show is full of electro bleeps, retrowave, computer generated, synthetically manipulated aural rhythms. If you like everything from electro / techno / trance /

8bit music / and retro ’80s this is the show for you!

• programming@citr.ca RANDOPHONIC 11PM-1AM, EXPERIMENTAL Randophonic has no concept of genre, style, political boundaries or even spacetime 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.

• programming@citr.ca

SUNDAY

THE ABSOLUTE VALUE OF INSOMNIA 2AM-3AM, EXPERIMENTAL/ GENERATIVE

4 solid hours of fresh generative music c/o the Absolute Value of Noise and its world famous Generator. Ideal for enhancing your dreams or, if sleep is not on your agenda, your reveries.

• programming@citr.ca FUTURE ECOLOGIES 8AM-9AM, AMBIENT / SOFT COMMENTARY Future Ecologies is a monthly podcast made for audiophiles and nature lovers alike. Unpacking complex eco-social paradigms, set to original music & immersive soundscapes, and woven together by interviews with expert knowledge holders — Every episode is an invitation to see your world in a new light.

• programming@citr.ca CRACKDOWN 8AM-9AM, LOCAL / POLITICS Crackdown was born out of the idea that journalism need not be "objective" nor produced by people distant from tje topics and communities they are covering. The most powerful journalism comes from a point of view.

• programming@citr.ca CLASSICAL CHAOS 9AM-10AM, CLASSICAL / CHAOS From the Ancient World to the 21st century, join host Marguerite in exploring and celebrating classical music from around the world.

• programming@citr.ca SHOOKSHOOKTA 10AM-12PM, INTERNATIONAL/ AMHARIC/ ETHIOPIAN 2 hour Ethiopian program on Sundays. Targeting Ethiopian people and aiming to encouraging education and personal development in Canada.

• programming@citr.ca THE ROCKER’S SHOW 12PM-3PM, REGGAE All reggae, all the time. Playing the best in roots rock reggae, Dub, Ska, Dancehall with news views & interviews.

• programming@citr.ca LA FIESTA 3PM-5PM, INTERNATIONAL/LATIN AMERICAN Let’s get your party started with “La Fiesta”! Tune in every second Sunday from 3-5 PM with your host DJ MIXXX. Listen to internationally acclaimed Radio Latina Caliente that makes your body move and your heart beat.

• programming@citr.ca VIVAPORŰ 5PM-6PM, SPOKEN WORD A radio show hosted by DJ D-Rod (México) and DJ Bruja (Bolivia/Colombia), two pretend adults dealing with college life and post-college unemployment life (pray for us, gracias).

• programming@citr.ca TOO DREAMY 6PM-7PM, SHOEGAZE/LO-FI Gregg Araki’s fever dream // Tune in for shoegazing, synths, and lo-fi sweetness <3

• programming@citr.ca TECHNO PROGRESSIVO 8PM-9PM, ELECTRONIC/ DEEP HOUSE A mix of the latest house music, tech-house, prog-house and techno + DJ / Producer interviews and guest mixes.

• programming@citr.ca • ATTIC JAMS 9PM-10PM, ECLECTIC Join Sara Rodriguez in her metaphorical Attic. Dive into an eclectic musical treasure trove while tuning into interviews with guest DJs, producers, and artists. We'll be dustin off some oldies and embracing the newest tracks. No matter what your jam is, you can find it here.

• programming@citr.ca J CHILLIN 10PM-12AM, ELECTRONIC/RAP yes radio noise big success rdadio happy time 101.9 but i aint a rapperrrrrrrr j chillin has the most refined pallet no other radio station should still be broadcasting we da best doing the most for the hood community #gang surrey whattup east van whattup • programming@citr.ca

Artist

Album

Label

BAMBII*

INFINITY CLUB

Innovative Leisure

K!MMORTAL*+

Shoebox

Self-Released

FELP*

HELP

Bonsound

McKinley Dixon

Beloved! Paradise! Jazz!?

City Slang

Pack Rat*+

Bite My Tongue

Hosehead

Various Artists

Enby Party compilation vol. 4

ENBY PARTY

Rec Centre*

Maxed Out!

Self-Released

Grimm*+

Your Head is a House

Haunted Castle

Yu Su*+

I Want an Earth

Pinchy & Friends

Dizzy*

Dizzy

Royal Mountain

warm*+

death ron

Early Onset

BADJOY*+

BADJOY

Self-Released

bernice*

Cruisin'

Telephone Explosion

Dorotheo

Nada Escrito

HALF SHELL

Jessy Lanza*

Love Hallucination

Hyperdub

Ana Lía*

Cíclica

Flor De Cayena

Imogen Moon*+

When They Start Rebelling

Cellar Live

DACEY*+

Just a Taste

Imperial

Yaris Paris*+

Maximize Comfort

Self-Released

RRUCCULLA

Zeru Fre�.

Lapsus

Jemma & The Good Thing*

Get It Together

Self-Released

JISEI*+

LIPSTICK LACERATORS

Self-Released

a.s.o.

Low Lying

Tim Olive*+

Smelt

Bent Window

Wolf Eyes

Splitter*

CZN

We Are Time*+

Nat*+

Monocorpse

Manifestation

Freedom Club

Devon Parkin*+

Sit With Dirt

Self-Released

slowly becoming*

before the world ends

long story

Primp*+

JESTER

Self-Released

YOCTO*

Zepta Supernova

Duprince

Lunice*

OPEN

LUCKYME

Failing*+

A GAPING WHOLE

Self-Released

Elaine Malone

Pyrrhic

Faction/ Pizza Pizza

Nora Kelly Band*

Rodeo Clown

Mint

Beshken

Pressure Bump

Self-Released

Ora Cogan*+

Formless

Prism Tongue

Bile Sister*

Living on the Edge

We Are Time

Darlingside

Everything Is Alive

More Doug

Cherry & the Cherubs*+

Date Nite

Self-Released

Cluttered*

Two Tracks Before The Breakdown

Self-Released

Dey Rose*+

Evelyn

Lilystars

LeMaster*+

martyrology

Self-Released

KCAR*+

Up Top

Self-Released

hackedepicciotto

Keepsakes

Mute

Gatekeeper*+

From Western Shores

Cruz Del Sur

Smoulder

Violent Creed Of Vengeance

Cruz del Sur

Dreams In Splattered Lines What Do You Want To Hear SSS We Are Time Mixtape Vol. 1 Psychopathes�ue Mixtape Volume I

Disciples Self-Released The Trilogy Tapes We Are Time Westerly

it's easier to get a degree than get on this list...

CiTR’s charts reflect what’s been played most on air over the last month. Artists with asterisks (*) are Canadian, artists with hashtags (#) indicate FemCon, and those marked plus (+) are local. To submit music for air-play on CiTR 101.9FM, please send a physical copy addressed to Aisia Witteveen Music Director at CiTR 101.9FM, LL500 6133 University Blvd., Vancouver BC, V6T1Z1. Though we prioritize physical copies, feel free to email download codes to music@citr.ca. You can follow up with the Music Director 1-2 weeks after submitting.

Sept 2023