BeatRoute Magazine Alberta print e-edition - November 2016
BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics.
BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics.
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NOVEMBER <strong>2016</strong><br />
Margaret Cho • Taboo Sex Show • CUFF • Giraf • NOFX • Pup • Keys ‘N Krates • Orchid • Lady Gaga
FIXED<br />
Editor’s Note/Pulse 4<br />
Bedroom Eyes 7<br />
Places Please 10<br />
Vidiot 23<br />
Edmonton Extra 35<br />
Book Of Bridge 36<br />
Letters From Winnipeg 37<br />
Let’s Get Jucy! 41<br />
This Month in Metal 51<br />
FEATURES<br />
Femme Wave 24-26<br />
CITY 9-14<br />
Margaret Cho, Instersite Art Festival,<br />
Montreal Modernism, Sex Taboo Show<br />
FILM 17-21<br />
Calgary Underground Film Festival, GIRAF,<br />
Calgary European Film Festival, Marda Loop<br />
Justive Film Festival, CJSW Music Docs<br />
TABLE OF CONTENTS<br />
MUSIC<br />
rockpile 28-37<br />
NOFX, Pup, All Hands On Jane, The<br />
Sweets, Fred Penner, Hello Moth,<br />
Rosalind, Dragonette, Elephant Stone<br />
jucy 39-41<br />
<strong>Alberta</strong> Electronic Music Conference, Keys<br />
N Krates, Beach Season<br />
roots 43-46<br />
Barney Bentall, Andrew Collins Trio,<br />
100 Mile House, Orit Shimoni, Danielle<br />
French, James Vincent McMorrow<br />
shrapnel 49-51<br />
Traer, Orchid, Steve Grimmett/s Grim<br />
Reaper<br />
REVIEWS<br />
cds 52-56<br />
Lady Gaga and much, much more ...<br />
live 57<br />
BEATROUTE<br />
Publisher/Editor-in-Chief<br />
Brad Simm<br />
Marketing Manager<br />
Glenn Alderson<br />
Advertising Manager<br />
Ron Goldberger<br />
Production Coordinator<br />
Hayley Muir<br />
Content Coordinator<br />
Masha Scheele<br />
Managing Editor/Web Producer<br />
Shane Flug<br />
Music Editor<br />
Colin Gallant<br />
Section Editors<br />
City :: Brad Simm<br />
Film :: Jonathan Lawrence<br />
Calgary Beat :: Willow Grier<br />
Edmonton Extra :: Levi Manchak<br />
Book of (Leth)Bridge :: Courtney Faulkner<br />
SaskTell :: The Riz<br />
Letters From Winnipeg :: Julijana Capone<br />
Jucy :: Paul Rodgers<br />
Roots :: Liam Prost<br />
Shrapnel :: Sarah Kitteringham<br />
Reviews :: Jamie McNamara<br />
This Month’s Contributing Writers<br />
Christine Leonard • Arielle Lessard • Sarah Mac • Amber McLinden • Kennedy Enns •<br />
Michaela Ritchie • Michael Grondin • Sasha Semenoff • Sara Elizabeth Taylor • Breanna<br />
Whipple • Brittany Rudyck • Morgan Cairns • Jamie Goyman • Keegan Rholeau •<br />
Matthew Coyte • Claire Miglionico • Jay King • Max Foley • Paul McAleer • Robyn Welsh<br />
• Nikki Celis • Mike Dunn • Alec Warkentin • Tyler Stewart • Shane Sellar • A.L. Devlin •<br />
Lisa Marklinger • Shayla Friesen • Cole Parker • Danielle Wensley • Dan Savage<br />
This Month’s Contributing Photographers & Illustrators<br />
Amber McLinden • Matthew Cookson • Kenneth Locke • Naomi Brierley • Erin Prout<br />
• Michael Kuby • Trevor Sieben • Jen Squires • David Guenther • Vanessa Eagle Bear •<br />
badbloodclub<br />
Front Cover<br />
Kelsey Reckling<br />
NOFX - page 28<br />
Advertising<br />
Tel: 403.451.7628 • e-mail: sales@beatroute.ca<br />
Distribution<br />
We distribute our publication in Calgary, Edmonton, Banff, Canmore, and Lethbridge.<br />
SARGE Distribution in Edmonton – Shane Bennett (780) 953-8423<br />
E-Edition<br />
Yumpu.com/<strong>BeatRoute</strong><br />
Connect with <strong>BeatRoute</strong>.ca<br />
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<strong>BeatRoute</strong> <strong>Magazine</strong><br />
e-mail: editor@beatroute.ca • website: www.beatroute.ca<br />
Copyright © BEATROUTE <strong>Magazine</strong> <strong>2016</strong>. All rights reserved. Reproduction of the contents is prohibited.<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 3
pulse<br />
BROKEN CITY RE-MASTERED<br />
GOOD LIFE COMMUNITY BIKE SHOP<br />
OBTAINS LIVE MUSIC LICENSE<br />
Mission’s Good Life Community Bike Shop<br />
is ready to celebrate a hard-won milestone<br />
this month. After some barebones, DIY<br />
shows last year, bylaw officers shut down a<br />
performance held at the shop, leaving the<br />
future of GLCBS as a performance space.<br />
The not-for-profit were discouraged at the<br />
time, but have prevailed in the not-so-easy<br />
task of obtaining the proper licensing. They’ll<br />
be doing their first legit show with Blü Shorts,<br />
Aiwass and Torture Team on <strong>November</strong> 11th.<br />
As always, a safer space policy is in effect: no<br />
booze, no drugs, no harassment of any kind,<br />
and all ages are welcome to attend.<br />
BMO NATIONAL ART AWARDS WINNER<br />
University of <strong>Alberta</strong> graduate, Nathan<br />
Levasseur, is this year’s winner of BMO<br />
Financial Group’s 14th annual 1st Art!<br />
Invitational Student Art Competition, which<br />
honours visual arts excellence in postsecondary<br />
institutions across the country.<br />
His submission, Everyone Changes, is<br />
a digital drawing <strong>print</strong>ed on satin gloss<br />
photo paper. It “combines contemporary<br />
product design aesthetics and language,<br />
through which the piece looks, to re-frame<br />
our relationship to vulnerability, production,<br />
and capitalism.” This is the second year<br />
in the row that the competition’s national<br />
winner has resided in <strong>Alberta</strong>.<br />
DEICHA CARTER • ALAN LINDSAY • CAMILE BETTS<br />
A new chapter of Broken City begins. Alan Lindsay, one of Broken City’s owners who<br />
joined the crew in 2011, brings a lighthearted experienced approach to running the joint.<br />
“Out of all the bars in Calgary, Broken City just stood out as a place that respected artists<br />
and patrons. After seeing some of my favourite shows here I decided I had to get involved<br />
in some way. I took a job as a door man and worked my way up.” When Alan started out<br />
it was almost exclusively bands and over the last 5-plus years they’ve expanded their<br />
programming to include a quiz night, local favourites like R4$, Unity Sound & Natural<br />
Selection. “We love it all really, and have noticed a major cross pollination of communities<br />
blending together for shows throughout the week.”<br />
Broken City was Camile Betts’ home before she knew it, she was very stoked to join the<br />
brigade in 2010. As an established installation artist working with Burnt Toast Studio for<br />
8-plus years, Studio Cartel (Big Kitty Crew) and Come Correct, she’s been a catalyst for<br />
connecting different art formats within the scene. “I love the feeling that it’s a little dark &<br />
divey, the culture is raw where real people can be comfortable to be themselves.” Most of<br />
the Broken City gang are artists in the community outside of the venue. “This place allows<br />
us to come to work everyday and still follow our dreams of creating stuff.”<br />
ON NOT LOSING MY FATHER’S ASHES IN THE FLOOD<br />
Calgary Book Prize winner Richard Harrison returns with his first book in 11 years.<br />
The launch of On Not Losing My Father’s Ashes in the Flood takes place on <strong>November</strong><br />
14th at Shelf Life Books with Harrison in attendance to conduct a reading. Using<br />
“elements of memoir, elegy, lyrical essay and personal correspondence,” Harrison<br />
explores memories of his father set around the <strong>Alberta</strong> floods of 2013.<br />
Deicha Carter joined forces in 2015, “I love the DIY spirit that this place embodies.” As<br />
she takes the booking reins, her vision includes programming that appeals to everyone.<br />
Inclusive is her word of choice, “every person that wants to check out a show can find a<br />
night. There’s such a broad range of growing artists that perform in every genre & we want<br />
to give all of them a platform.” This includes a revamp of their booking approach so watch<br />
for upcoming changes, some new <strong>November</strong> happenings include: 1’s & 2’s Days and new<br />
DJ night hosted by Bass Turtle Productions, The GWS Sunday Musical Buffet (new jam),<br />
Friday Night Dance Parties (rotating special guest DJ’s/crews). “I’m so excited that this lil’<br />
family wants to invest in & give me such a great opportunity!”<br />
4 | NOVEMBER <strong>2016</strong> • BEATROUTE
PINBALL WIZARDS & BLACKLIGHT DESTROYERS<br />
THE ART OF SAN FRANCISCO POP ART GURU DIRTY DONNY GILLIES... book launch at the Palomino Nov 4th & 5th.<br />
King Tuff<br />
Uncle Acid and the Deadbeats<br />
Into The Cosmic<br />
Into The Cosmic – Blacklight<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 7
CITY<br />
MARGARET CHO<br />
one woman revolution<br />
Ms. Cho: actress, comedian, author, singer, activist.<br />
Considering that she’s one of the most versatile<br />
and prolific performers working in the<br />
entertainment industry today, compiling a<br />
list of the things Margaret Cho isn’t doing right now<br />
would probably take less time than recounting the<br />
plethora of ventures and causes that she’s currently<br />
involved with. A Grammy and Emmy Award-winning<br />
actress, comedian, author, singer, and activist; her<br />
resume of accomplishments is as impressive as it is<br />
honestly come by. Margaret Cho’s road to success has<br />
never been clear, or straight (for that matter), but her<br />
determination to find her voice and make it heard has<br />
paved the way for countless artists to come.<br />
“I don’t’ really make a plan. I kinda like to sort of see<br />
what’s going to happen,” says Cho from her home in<br />
the rolling no-cell-phone-reception-hell-mouth hills<br />
of California. “I’m always so busy anyways. I don’t have<br />
the luxury of thinking ahead, I just sort of let everything<br />
kind of happen as it will. I will continue expand<br />
in my field, I’ll do all sorts of different acting projects,<br />
as well as a lot of different televisions projects. I would<br />
love to have a talk show, that’s kind of my big dream.<br />
That would sort of encapsulate all of the worlds I’m<br />
in. Whether it’s music, or journalism, which I’m very<br />
interested in, or comedy. That’s something I would<br />
love to do.”<br />
A return to sitcom would not be entirely inconceivable<br />
for the 47 year-old who has made her own<br />
unique mark on the genre on a number of fronts. Her<br />
Korean-American family loosely inspired the groundbreaking<br />
1994 sitcom, All-American Girl, in which Cho<br />
portrayed Margaret Kim a rebellious teenager who<br />
flaunted her tattered-denim and modern moxie much<br />
to her traditional parent’s chagrin. The short-lived<br />
show continues to be referenced as one that set the<br />
stage for those all-too-rare sit-coms that have dared to<br />
enter into the forbidden realm of immigrant and nonwhite<br />
households. Looking back, Cho could not have<br />
anticipated the exponential effect those first tentative<br />
steps would have on the rest of Hollywood.<br />
“No, not at all. I had hoped that it would and I wish<br />
it could have continued, but it’s great that people<br />
remember it,” says Cho of All-American Girl. “And also,<br />
Photo: PixieVisionProductions<br />
I think now with shows like Fresh Off the Boat, Master<br />
of None and Doctor Ken we can see how our show<br />
had a great impact on the people who would grow up<br />
to make these shows. And I’m very proud of the legacy<br />
of it.<br />
“And now, I’ve got to step into the role of the elder<br />
statesmen. Which I love too and now I realize that this<br />
is necessary. To know that you’ve broken ground for all<br />
of these people, and Asian comics in particular like Ali<br />
Wong, and Bobby Lee or Ken Jeong, making way for a<br />
new archetype. That is the elder statesmen. I love that<br />
role and I’ve very happy to play it.”<br />
Fourteen years after the conclusion of her pioneering<br />
series, Cho would return to the small screen at<br />
the head of her own reality-sitcom on VH1, The Cho<br />
Show. The “semi-scripted” program focused on Cho’s<br />
lifestyle, and relationships with her family and a retinue<br />
of celebrity pals such as Sandra Bernhard, Michelle<br />
Rodriguez and, perhaps most memorably, Joan Rivers.<br />
Cho would go on to become a co-host of E!’s Fashion<br />
Police in <strong>2016</strong>, applying her eye for style and acerbic wit<br />
to that television panel just as Rivers’ had prior to her<br />
death in September of 2014.<br />
“I love the sitcom format it’s one that I grew up<br />
with one that I spent a lot of time on,” Cho confirms.<br />
“To me, it’s a really great old fashioned way to tell a<br />
story. There are a lot of single-cam shows these days,<br />
but I do love a multi-cam show. I just do anything<br />
that makes me laugh, that makes me think, and that<br />
makes me feel like I want to be a part of it. You know,<br />
something like Fashion Police is great, because I love<br />
clothes. I make clothes. I love the art of it and all of it is<br />
very pleasing to me. Also that fact that it’s the legacy<br />
of the Rivers’ family, the family that I am a part of. Joan<br />
Rivers was like my mom, she was great. So, it would<br />
have been something she wanted, for me to be a part<br />
of that show.”<br />
Sadly, Cho had just lost another of her showbiz<br />
parents with the death of Robin Williams in August<br />
of 2014. Cho was often scheduled to appear after<br />
Williams during her early years of performing in<br />
comedy clubs. A strategic move that she’s pretty sure<br />
he’d arranged just to make her work that much harder,<br />
and thus get that much better at. With the help of<br />
friends, Cho organized the Be Robin charity campaign<br />
to provide outreach to San Francisco’s homeless<br />
population. A cause that was extremely important to<br />
the late comedian.<br />
“Yeah, it’s fun being involved in all this charity work<br />
like the #BeRobin project. It was a way for all of us<br />
to come together and honour our dead dad. Robin<br />
Williams was like our dad. It’s horrible, you know. So<br />
getting together and have a place where we can just<br />
get crazy is something that Robin would have loved.<br />
And raising money for people in need, it’s really exactly<br />
something that he would do. And something that<br />
was great fun to do in order to deal with our grief and<br />
incredible sadness about it, and have a blast!”<br />
Touching hearts and minds with her penchant<br />
for delivering social scrutiny with a jolt of humanist<br />
humour, Cho has steadily moved beyond self-parody<br />
into the realm of self-actualization. The reality of<br />
having finite resources to distribute between many<br />
avenues of creativity has codified how Cho prioritizes<br />
her endeavours. Building off of the momentum of<br />
her Off-Broadway acts “I’m the One I Want” and “The<br />
Sensuous Woman”, she most recently recorded her<br />
stand-up special “psyCHO” and is currently touring a<br />
comedy show of that name. Accustomed to her role<br />
as the brave face of the generic Asian-American, Cho<br />
strives to bring grace and fortitude to her ever-expanding<br />
role as model citizen and comedic orphan.<br />
by Christine Leonard<br />
“One of the things that I really love about my profession<br />
is that I feel like I make comedy very safe for people<br />
who do identify as an outsiders. Whether you’re<br />
gay, or any ethic minority, or a feminist. Comedy clubs<br />
were never safe for women, even now. It’s pretty rough<br />
sometimes. Especially with a lot of comedy about rape<br />
that’s not really anti-rape. There’s a lot of misogyny in<br />
comedy that I feel is not addressed. So I like to work<br />
with that. I think ultimately it’s about being funny and<br />
then finding some kind of levity in the pathos. You<br />
want to really address very deep subjects, but also it’s<br />
got to be filling, and ridiculous, and really side-splitting.<br />
I don’t wanna get just bogged down with messages<br />
and ideas. I want things to be funny always, but I want<br />
to find my way through it. In end, it all boils down to a<br />
microphone and a spotlight.<br />
“I identify myself as a stand-up artist outside of everything<br />
else I do. I’ll always return to stand-up comedy.<br />
It’s something that is a constant in my life. It’s something<br />
that I do every day. I’d just feel weird if I didn’t’<br />
do it every day. It’s just who I am. You just have to love<br />
what you’re doing. I think you have to fall in love with<br />
it every day and try to connect with it every day. Being<br />
an artist is not any different from being a human being.<br />
Art is as important as breath, or movement, or water,<br />
or anything. It’s just vital to practice it.”<br />
Margaret Cho brings her psyCHO comedy tour to the<br />
Jack Singer on Saturday, Nov. 19.<br />
CITY<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 9
INTERSITE FESTIVAL<br />
intimate art experiences in unexpected spaces<br />
The last time you saw an art exhibit was<br />
likely in a museum or gallery – to which<br />
the very act of viewing art has become so<br />
inextricably linked. There is public art, but often<br />
it is easily recognizable, taking the form of large<br />
murals or sculptures in busy squares, drawing the<br />
ire of all-too-vocal taxpayers; meanwhile paintings<br />
hang on white walls in air-conditioned corridors<br />
and performances are viewed in dark rooms filled<br />
with rows of seats. Everything in its right place, or<br />
so it would seem. But these common conceptions<br />
of when and where it is appropriate to experience<br />
art is exactly what festivals like Intersite are trying<br />
to subvert.<br />
Intersite Visual Arts Festival is being held for its<br />
third year this <strong>November</strong> in Calgary, but the term<br />
festival itself might be a bit misleading. There is<br />
no dedicated, central location for the variety of<br />
works on offer. Instead, the artworks will appear at<br />
locations throughout the city including the Bow<br />
Building, the Central Memorial Library, and other<br />
seemingly random locations.<br />
“We believe that contemporary art practices<br />
are really diverse and broad, and a lot of that work<br />
really fits well in a gallery context but some of it<br />
isn’t ever really meant to live there, and so this<br />
festival is an opportunity for those works to live<br />
and be presented and to also be acknowledged for<br />
what they are,” says Ashely Bedet, programming<br />
coordinator at The New Gallery and Intersite<br />
committee member.<br />
Some of these works are performances and<br />
Intersite offers artists and viewers a way to engage outside the gallery context.<br />
interventions in which the artist is central, but<br />
others take the form of objects left inserted in<br />
the public realm, sometimes hidden in plain sight.<br />
Many of the works are less loud and overt than<br />
what is commonly accepted as public art, certainly<br />
less permanent, and are more dynamic than what<br />
often appears in galleries. Despite the wide-ranging<br />
nature of the work, all of the pieces have in common<br />
the fact that they offer unexpected encounters<br />
for unsuspecting viewers: you, the public.<br />
You might seek some of these works out<br />
intentionally, but you are just as likely to stumble<br />
upon them serendipitously as you make your way<br />
through the day. According to Bedet, that’s the<br />
beauty of the festival.<br />
“One of the most beautiful things is when<br />
people come across the work and are actually in<br />
dialogue or conversation with the artist. There’s<br />
something very genuine and lovely about that<br />
exchange that I think is something unique to<br />
Intersite that it can offer as a festival because it’s<br />
not a huge cross-city ordeal, it’s very one-on-one.<br />
You might come across it or you might not, but it’s<br />
something to look out for because even just the<br />
act of looking predicates that maybe you’ll find<br />
some art somewhere.”<br />
PLACES PLEASE<br />
You don’t always have to create a brand<br />
new story to be innovative. Sometimes,<br />
you can take a story we’ve heard before<br />
-- whether it’s a childhood fairytale, a real-life<br />
court case, or a play that debuted years ago --<br />
and give it a fresh new spin. Here are a few ways<br />
that Calgary’s theatre companies are doing just<br />
that in the next month.<br />
The Monkey Trial<br />
Theatre Junction and tg STAN<br />
Theatre Junction GRAND, Nov. 2-5<br />
In 1925, the infamous Scopes Monkey Trial<br />
-- centered on a substitute high school teacher<br />
who violated The Butler Act by teaching evolution<br />
to his students -- pitted fundamentalism<br />
against modernism, religion against science,<br />
dogma against intellectual freedom. Come<br />
experience the Canadian premiere of this play,<br />
created by Belgian theatre company tg STAN<br />
and based on the transcripts of the astonishing<br />
proceedings.<br />
The Kings of the Kilburn High Road<br />
Liffey Players Drama Society<br />
The Shed Theatre at the Pumphouse Theatres, Nov. 4-12<br />
Six young Irish men came to London in the<br />
early 1970s, leaving home for a life of hard<br />
work and harder drinking. They all intended<br />
to return home to Ireland after they made a<br />
little money, but twenty-something years later,<br />
they all find themselves still in London. Five<br />
by Sasha Semenoff<br />
For artist Maggie Flynn, who will be presenting<br />
In Circulation, which takes place on various<br />
Calgary Transit buses, Intersite is an opportunity<br />
to offer experimental work outside of a gallery<br />
context.<br />
“I do projects, often, that don’t have a clear relationship<br />
to the gallery. And so thinking about the<br />
ways that I want to get support for those projects<br />
or bring those projects into dialogue with the arts<br />
community is not always clear. But Intersite is such<br />
a lovely space where that’s already understood and<br />
that’s what they’re seeking. So it was such an easy<br />
fit when they reached out to me.”<br />
Flynn will be delivering cut-and-pasted news<br />
stories from independent media sources to transit<br />
commuters, exploring the various power dynamics<br />
in play that control who sees what and how in an<br />
age of social media newsfeeds dictated by algorithmic<br />
suggestion.<br />
Calgary artist Angela Fermor’s A Map of Hollow<br />
Spaces is markedly different from Flynn’s work in<br />
that it does not feature her direct presence; instead,<br />
Fermor will be leaving empty, hollowed-out<br />
books throughout the Central Memorial Library in<br />
an exploration of space, both outward and public,<br />
as well as inner and private. Such contrast between<br />
works is indicative of the wide range of experiences<br />
facilitated by the festival.<br />
Intersite Visual Arts Festivals runs from <strong>November</strong><br />
2 – 5 at various locations in Calgary. See website for<br />
details.<br />
of the friends gather in the side room of a pub<br />
in memory of one of the group who has died.<br />
Over one afternoon and evening at the pub,<br />
they drink to their fallen friend, the only one to<br />
make it home to Ireland -- albeit, in a coffin.<br />
Slipper: A Distinctly Calgarian Cinderella<br />
Story<br />
<strong>Alberta</strong> Theatre Projects<br />
Martha Cohen Theatre, Nov. 22 – Dec. 31<br />
With the help of a time machine, Edward<br />
travels from the olden days to modern times to<br />
meet Cinderella. But will her crazy step-mom<br />
and selfish sisters ruin their fairytale dream?<br />
Come boo the villains and cheer on the heroes<br />
in this light-hearted, music-filled, absolutely<br />
Calgarian show making its world premiere on<br />
the stage of the Martha Cohen Theatre this<br />
month.<br />
Six Characters in Search of an Author<br />
U of C School of Creative and Performing Arts<br />
Reeve Theatre, Dec. 2-4, 6-10<br />
An acting company is in rehearsals when they<br />
are interrupted by the arrival of six strangers.<br />
These characters break the theatre’s sacred<br />
fourth wall, each pleading for the chance to tell<br />
their stories. Fans of the absurd will not want<br />
to miss the contemporary interpretation of this<br />
metatheatrical play that first made its debut in<br />
Italy in 1921.<br />
• Sara Elizabeth Taylor<br />
10 | NOVEMBER <strong>2016</strong> • BEATROUTE CITY
BEAVER HALL GROUP<br />
1920s modernism in Montreal; full of colour and profoundly female<br />
Following the First World War, a profound change swept across Montreal. Once<br />
the post-war recession subsided by1921 and the industrial pace hit its stride,<br />
Montreal not only became a leading manufacturing centre but it was also the<br />
country’s busiest port with head offices for both national railways and Canada’s two<br />
largest banks. While the good times in the United States were under siege during<br />
Prohibition, Montreal’s nightlife was thriving with cabarets and brothels well-stocked<br />
helping the excesses to flow freely in some sectors of the city. Theatre and art galleries<br />
took prominence in other areas as the Jazz Age descended bringing a whole new<br />
sight, sound and texture to urban living.<br />
It was in this new dawn, break from tradition that A. Y. Jackson, from the<br />
Group of Seven, helped to establish Montreal’s Beaver Hall Group — a collection<br />
of artists who would embrace a distinctly different approach to their work. Their<br />
first exhibition took place in January 1921, where Jackson proclaimed during his<br />
opening speech that “Schools and ‘isms’ do not trouble us,” rather, he emphasized,<br />
“individual expression is our chief concern.”<br />
Part of that individualism was the inclusion of women into the group, a radical<br />
departure from the practice of preceding artist collectives. Of the 24 members<br />
known to have been associated with Beaver Hall Group,10 female artists played a<br />
central role in the exploration of modernistic painting.<br />
Jacques Des Rochers is one of the curators of the Beaver Hall Group exhibition,<br />
now showing until the end of January at the Glenbow museum. Des Rochers says<br />
by B. Simm<br />
that one of the defining features of the group’s art are the loud, vibrant colours, for<br />
the time, that were a large part of the Jazz Age expression.<br />
“By 1922 the term jazz was used a metaphor by conservative critics to describe<br />
the use of explosive colours which they thought were unrealistic or just to say<br />
it was bad.” Des Rochers adds that, “They painted things in a way which did not<br />
normally appear. It was modern because they had another view of the world.”<br />
A big departure spearheaded by the group was that they shifted from rural, naturalistic<br />
settings, that the Group of Seven was famous for, to urban landscapes and<br />
environments that ranged from bustling street scenes and the flurry of activity in the<br />
harbour to quiet back lanes with snow covered churches. They set out to document<br />
the modern city Montreal was becoming and they were very much a part of.<br />
But what the group is most often recognized and praised for is their focus on<br />
the human presence and the wealth of portraits they produced. The female form<br />
often depicted in a causal rather than a contrived state or pose which speaks<br />
volumes of who that person might have been. Des Rochers notes that critics were<br />
surprised when nude portraits deviated from being distinctly sexual. “They didn’t<br />
possess deeper sensual qualities. There wasn’t the erotic, that was expected with a<br />
nude painting. They were different, quite unexpected.”<br />
1920s Modernism in Montreal: The Beaver Hall Group is at the Glenbow Museum<br />
from October 22, <strong>2016</strong> to January 29, 2017.<br />
Prudence Heward, At the Theatre, 1928. The Montreal Museum of Fine Arts, purchase, Horsley and Annie Townsend Bequest. Photo MMFA, Christine Guest<br />
CITY<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 11
DESENSITIZING SEX<br />
fresh psychology straight from the sugar shack<br />
I<br />
heard Karl Sandberg long before I ever saw him, a perfectly pitched string of notes from some obscure,<br />
off-Broadway musical drawing me into the theatre where he was helping set up stage. I had been on assignment<br />
writing a preview for the show for the Calgary Journal. He sounded like something straight out of a<br />
Disney movie, and, as I soon saw for myself, he had the snappy suit and meticulously stylized hair to match. He<br />
strolled around the stage with that sort of Stepford-level pleasantry common of guys that pay their taxes early<br />
and help your grandma from the vehicle when the sidewalks are slippery. The kind of guy that, when you hear the<br />
confident click of his would-be bowling-alley shoes, reminds you of ‘50s music and the flavour vanilla.<br />
He seemed pleasant enough, sure — but almost boringly so.<br />
To say the least, he was far from the sort of person I ever imagined turning my entire sexual worldview on its ass<br />
and giving it a flogging.<br />
“No, I’m not kidding you,” his distinctly jovial half-drawl insisted a few rows back as he conversed with crewmates.<br />
“I have, right now, in my backpack, a Spider-Man dildo.”<br />
…I may have spoke too soon.<br />
As it turns out, Karl, 22, happens to be just as knowledgeable (if not more so) about sex toys as he is about harmonizing<br />
chords and blocking out a scene. That’s because, much to my story-mongering delight, Karl is not just an<br />
ex-arts major slash theatre enthusiast. Karl sells dicks for a living.<br />
“Actually, dildos probably make up the lowest percentage of the products I actually sell,” he persists. But dildo<br />
salesman has such a nice ring to it, even if it does carry with it a certain door-to-door quality. The title stands in<br />
almost comical contrast to the man you would meet at the front counter of the Little Shop of Pleasures’ (LSOP)<br />
two Calgary locations, were you to venture by. You have to understand, he simply doesn’t look the type.<br />
Of course, to say there’s a “type” for this sort of work is highly reductive — even borderline offensive — but you<br />
knew what I meant, didn’t you? And isn’t that exactly the point? The duality infuriated my imagination like an itch<br />
I couldn’t scratch. He looked more like he should be selling made-to-order suit jackets and billion-dollar watches<br />
than gallon drums of lube and themed masturbation sleeves. And yet…<br />
story and photos by MIchaela Ritchie<br />
INTERVIEW WITH THE DILDO SALESMAN<br />
I said as much as I stepped into the Macleod Trail location of the sex toy chain, my first ever foray into such tumultuous<br />
and tantalizing territory. It wasn’t meant as a snub, but more as a way to diffuse my palpable anxiety at<br />
being suddenly surrounded by such a volume of as yet unidentifiable fuckable objects. The top 40 hits strategically<br />
filling the shop’s white noise, while hilariously ironic, were simply not enough to anchor me back in my own reality.<br />
“I get that a lot,” Karl chuckles. After a year of employment there, he was used to customers remarking on his<br />
spiffy appearance upon their entry into what my super-celibate mind could only describe at the time as a kind of<br />
Disneyland for grown-ups. “My first thought is always, ‘Well, who else are you going to buy a dildo from? Would<br />
you prefer if I came in here in my ripped jeans and a T-shirt? ‘Cause I can do that if you like.’” His adamant professionalism<br />
was startling, to say the least, in as much as it unsettled me more than the nearby display of Fleshlights<br />
did. The comments on his appearance are second only in frequency to Karl’s personal favourite: “‘I bet you get a lot<br />
of strange people in here, huh?’”<br />
“Of course it’s not a question, it’s an assumption, but it’s posed as one because whoever’s asking it is looking for<br />
validation,” Karl explains. “And the more I hear it, the more I realize that the people who come to our shop are all<br />
people who consider themselves to be very normal, but also very isolated.”<br />
The elder of the LSOP stores is a bit of a fucking rabbit hole — in every sense of the phrase. It is home to not<br />
just whips, chains, and harnesses of all makes and models, but a rainbow wall of more than 100 kinds of lube (silicone,<br />
water-based, flavoured, you name it), a bright and colourfully illuminated glass case full of weapons of mass<br />
seduction (all of which are made entirely of surgical steel), and a half a dozen seemingly endless racks of lingerie<br />
(spanning 10 different sizes, including one for the curviest ladies fondly labeled “queen size”), all overlooked by<br />
a flamboyantly decorated butt-plug mascot about the size of a grown man’s torso standing watch at the front<br />
counter. So I could forgive the folk whose off-kilter reactions to the place have given Sandberg and his coworkers<br />
many a vivid tale to recount over the years. Hell, my own eyes became saucers the moment I stepped in the door.<br />
How did Bill Hader put it on SNL? “Mark me down as scared and horny.”<br />
Karl lives for it — that moment of unhinging. It’s the thing that breaks up workdays of otherwise stark retail<br />
monotony. In a business where customers are reluctant to even leave their name at the shop to sign up for the<br />
points reward system, their discomfort is a rare rift in the armour that Karl can reach them through.<br />
“My favourite part of any interaction is when somebody tells me their name — even if it’s a fake one. It makes<br />
me feel like the most trustworthy person in the city,” he says.<br />
Unfortunately, the awkward exchanges Karl so often enjoys with his customers don’t always conclude in anyone’s<br />
idea of a happy ending. Sometimes discomfort simply breeds insensitivity, people’s inability to feel comfortable<br />
with their own sexuality not only hindering their own pleasure, but also shaming others.<br />
“I have people come in and ask me all the time, ‘Wow, what kind of loser owns that?’” Karl says of the<br />
types of people LSOP staff call ‘point-and-laughers.’ “And my only thought is, ‘Remember where you are. It<br />
doesn’t make you cool to come in here, to this safe space, and point and laugh at things. If anything, it just<br />
shows your ignorance.’”<br />
But such ignorance is common, says Karl, given our society’s historic mental linkage between a certain comfort<br />
with our own sexuality and an unspeakably horrific moral standing. Though Fifty Shades certainly got many a<br />
soccer mom’s blood boiling again, and despite the fact that Calgary has the highest percentage of sex stores per<br />
capita across North America (as Macleod Trail will tell you, we are a happy, horny city), our mainstream culture<br />
continues to marginalize kink — even in the face of findings presented in The Journal of Sexual Medicine, which<br />
approximate that one in six people have a sexual fetish and, furthermore, over 50% of both men and women<br />
fantasize both about being sexually dominated and dominating somebody else.<br />
“Turns out, if you’re not tying up your wife, if you’re still doing it missionary style, you’re actually the kinky one,”<br />
Christina Nelson all but cackles. “And yet…”<br />
And yet, indeed.<br />
Chris and Don, owners of the Little Shop of Pleasures... “Sex makes the world a better place.”<br />
MIXING BUSINESS WITH PLEASURES<br />
It was almost to spite the negative stereotypes and the shame they reinforced in her that Chris Nelson started<br />
working at the Little Shop of Pleasures back in 1996. Having always possessed an intense curiosity regarding her<br />
sexuality, despite the stern teachings of deeply religious relatives, Chris first started working for the previous shop<br />
owners in an attempt to satisfy her sexploratory appetites with an employee discount. She hired Don Wilheim,<br />
whom she had just begun dating at the time, simply as reliable backup in case one of her coworkers went MIA<br />
before a shift. As a musician, Don says he took the part-time position solely for the tax benefit it gave him.<br />
However, what first started as strictly business soon evolved into a labour of love for the couple, who<br />
observed through working at the shop a real lack of quality products and sex education resources in the community<br />
for the types of customers they interacted with (which, both surprisingly and not, are most frequently<br />
mid-30s power suit women on their lunch break looking for a way to kill some stress after work). The previous<br />
owners, says Chris, knew little about the psychology and practice of kink or BDSM, much less how to relay such<br />
information to buyers.<br />
“We got vampire gloves in one day,” Nelson remembers of her time managing the store under the previous<br />
ownership, “which is a leather glove with little tacks poking through for gentle spanking. I came into work that day<br />
to find my boss with a hammer, pounding all the tacks down! I said ‘What are you doing?’ and he said ‘Oh, this is<br />
terrible craftsmanship, this is going to hurt somebody!’ But that’s what it was supposed to do!<br />
“So when I heard they were selling the store [back in 2000], I think I knew what I wanted to do,” she says,<br />
flashing a gentle glance over to her partner. “They needed us.” The pair looked to each other as they surely had a<br />
thousand times throughout the last 20 years, and giggled — some inside joke shared between them that I was not<br />
privy to, but that betrayed them in the moment more as the lovesick teenagers-at-heart they were, instead of the<br />
orchestrators of a small-scale sex revolution.<br />
“I was already leery about who would be taking over, right?” she shrugs, “I wanted the new owners to have<br />
respect for what we do here.”<br />
“We take this stuff very seriously,” continues Don, the severity of his tone more evocative of a funeral parlor<br />
than a discussion on the down and dirty. “We’re not selling carburetors here — this is people’s sexuality we’re<br />
talking about! This is people’s intimacy. We’ve got to know our stuff.”<br />
It has been that commitment to professionalism, in everything from expertise to style of dress (and the staff<br />
regularly compete to see who can best succeed in both, Don and Karl inform, stealing glances at each other’s<br />
necktie du jour) that has motivated the Little Shop’s inner proceedings ever since the pair took over.<br />
Sixteen years later, the sex toy industry has undergone a similar evolution. What once was a space dominated<br />
by sleazy visual pornography centered solely on heterosexual male pleasure has since become one where risque<br />
products are packaged in discreet, sleek boxes reminiscent of the Apple brand; where trans-identifying folks can<br />
obtain appearance-altering tools with the utmost safety. A place where even a 91-year-old woman can buy a pair<br />
of sexy stockings with her 75-year-old daughter (“We know what kind of store this is, young lady!” Chris recalls the<br />
women snickering as they hunted down their spoils) — entirely free of judgment.<br />
22 12 | NOVEMBER JANUARY 2015 <strong>2016</strong> • • BEATROUTE ROOTS CITY
MISTRESS MISINFORMATION<br />
But of course, the new level of pseudo-acceptance our society has seemingly<br />
gained for sexy-time has raised a whole host of new concerns along<br />
with it, like a surprise post-coital boner nobody was really expecting, and<br />
thus, everybody involved just tries to ignore until the problem solves itself.<br />
Certainly, the advent of the Internet opened the door for individuals —<br />
equal parts curious, excited, uneducated and embarrassed — to embark<br />
on their own sexscapades without having to seek advice about such alien<br />
concepts as genitalia from any actual living, breathing humans beforehand.<br />
But while the discretion and vast (see also: often confusing and/or contradictory)<br />
wealth of information offered up by that digital void can be most<br />
useful for veterans to the game, Chris and Don are concerned it poses a<br />
significant risk to virginal voyagers.<br />
“The Internet is a fabulous resource, and an occasionally terrible teacher,”<br />
Chris says. “My problem is that, because it’s become almost the only<br />
resource people have out there these days for sex education that doesn’t<br />
aim to embarrass, today’s teenagers are accessing porn and information<br />
online and don’t understand that the porn star they’re watching has had<br />
a fluffer for anal sex. She has someone to help her work into being able to<br />
have sex for an hour.<br />
“Meanwhile, you get these young boys who say ‘I’ve seen this girl online<br />
and she does it,’ so he ploughs into the girl he’s with and he hurts her. And<br />
these girls watch stuff on the Internet and think ‘This is what’s expected of<br />
me?’ and are rightly terrified by it.<br />
“So I fear that this generation’s idea of relationships and intimacy will be<br />
skewed, because the online only gives them a little part of the story.”<br />
But according to Calgary sex therapist Cheryl McMeeken, whom I later<br />
consulted following my discussions with the sexy sales team, the harsh<br />
stereotypes we put on sexuality and more adventurous sexual acts, which<br />
are largely to blame for the secrecy with which we continue to discuss<br />
them IRL, are not necessarily something to be feared. Rather, our closeted<br />
behaviour persists because the subject matter is deeply personal.<br />
“These are personal items and our personal sex lives we’re talking<br />
about,” McMeeken explains, “so we’re not going to necessarily want to ever<br />
tell our neighbours what we’re getting into.<br />
“That said, since we’re seeing more of sex — it’s becoming more present<br />
in media and elsewhere — I think we’re getting desensitized to the idea<br />
of sex. And to be clear, it’s desensitizing in a good way, not a negative way.<br />
In the past, I believe we’ve been over-sensitized to it. But now it’s almost<br />
as if we’ve realized, ‘Well everyone has one, so why not?’ Even my mother<br />
has a vibrator, and good for her!” It is McMeeken’s belief that our society<br />
is, regardless of our relative snail’s pace, on the right track to cultivating a<br />
healthier understanding of our bodies and intimacy.<br />
“You have to think back to the fact that we were settled by people that<br />
left Europe expressly because they wanted to express their religious values<br />
and Europe was becoming too liberal for them,” she reassures. “So really, in<br />
North America, considering the foundation we have, we’ve come a long<br />
way. We’ve just got to keep going in a forward direction if we’re ever going<br />
to catch up from that hangover.”<br />
ALL HANDS ON DECK<br />
But just keepin’ on keepin’ on isn’t quite cutting it for Chris and Don.<br />
While the LSOP team doesn’t disagree that folks deserve their share of<br />
sexual privacy (Chris and Don certainly know how embarrassing it can<br />
be to get the slow-clap from a neighbourhood construction crew after a<br />
day of not-so-quiet “product testing” at home), the pair maintains that,<br />
when speaking broadly about sex in our communities, the hush over the<br />
crowd that we have so far encouraged needs to be disrupted with the<br />
loudest of bangs.<br />
Cameryn Moore, the Montréal-based playwright, actor, and self-professed<br />
sex activist behind Calgary’s incoming monthly Smut Slam events,<br />
agrees.<br />
“Events like Smut Slam are a sign that taboos are decreasing in some<br />
ways. But at the same time, there remains a very strong backlash to<br />
sexual openness, and sexuality generally being discussed,” she says. “We<br />
owe it to ourselves and to each other to be honest about our experiences.<br />
That’s the only way we’re going to get more comfortable talking<br />
about it.”<br />
Caring and concerned cool grandma that she is, for Chris, this more<br />
assertive motion begins with a reexamination of modern parenting,<br />
saying that parents need to wake up and smell the sensually-lit candles<br />
when it comes to giving their kids “the talk.”<br />
“They need to understand that their children are interested in having<br />
a conversation about sex — even just about relationships. I’ve talked to<br />
lots of moms and got that conversation started, because they don’t want<br />
their daughters to know about pleasure.<br />
“I say, ‘Here’s the truth. Your daughter, the moment that she’s got<br />
breasts and her period, is a sexual creature, whether you accept it or not.’<br />
That kid will eventually become boy crazy or girl crazy, and the moment<br />
somebody touches them, without the right information, they’re going<br />
to think this sexual stimulation is ‘I love you.’ As soon as our kids can<br />
learn to own their pleasure machines, then they can have a healthier<br />
perspective on relationships.”<br />
But the sex-ed doesn’t end there at the Little Shop. Rather, the store<br />
facilitates a whole new kind of learning for its customers, not just<br />
through their monthly BDSM workshops, but also by building an environment<br />
wherein people feel they can divulge their darkest, dirtiest, and<br />
dumbest in the pursuit of a better sex life.<br />
“There are some discussions you absolutely have to have face to face<br />
— some things which deserve inflection,” Karl says when asked about<br />
the benefits of talking to a sexpert in store about your bedroom woes,<br />
as opposed to just throwing your money at the nearest computer and<br />
hoping for the best. “Nothing will send you to the hospital faster than<br />
trying to makeshift with things that might look correct. That’s where we<br />
come in.”<br />
So sure, you could go buy your vibrators and condoms at the nearest<br />
Walmart with your milk and eggs, but you might just be missing out on<br />
some valuable information by choosing the novelty route and, at the<br />
very least, some of the greatest dick jokes you’ve ever had your conversational<br />
ice broken with.<br />
“We love — no, seriously — we really love this stuff! We live, eat and<br />
breathe this stuff. So when you come talk to us, you’re not coming to<br />
someone who read the label on the toy box and is now trying to educate<br />
you. You’re talking to a participant, someone who has studied this —<br />
probably last night!” says Don with a wink.<br />
LITTLE SHOP OF TABOOS<br />
“A lot of people, when they come in here, they’re shy, they’re worried<br />
about people seeing them, they’ve got their own judgments about<br />
themselves, they’re kind of hunched over,” Don demonstrates. “And I<br />
always tell those people, ‘You know what, treasure that feeling you’re<br />
feeling right now. How many other things in your life make you feel so<br />
embarrassed, so nervous? That makes you this excited? That’s because<br />
it’s important to you! That’s why it makes you feel this way!’<br />
“So treasure that feeling and the taboo nature of it — it’s human nature.<br />
The second you tell somebody they can’t look behind that curtain,<br />
they immediately want to. It’s the forbidden fruit, and they know in their<br />
gut that it’s going to be good.”<br />
Here’s the truth...<br />
Your daughter, the moment that<br />
she’s got breasts and her period,<br />
is a sexual creature, whether you<br />
accept it or not. That kid will<br />
eventually become boy crazy or girl<br />
crazy, and the moment somebody<br />
touches them, without the right<br />
information, they’re going to think<br />
this sexual stimulation is “I love<br />
you.” As soon as our kids can learn<br />
to own their pleasure machines,<br />
then they can have a healthier<br />
perspective on relationships.<br />
“Nobody needs anything from our store. You do not need a Lamborghini to drive to work; a Ford Fiesta will work just fine.<br />
You don’t need a Lamborghini, but fuck, it sure is fun to drive!’”<br />
“We’re just here to reassure people that whatever you want to do, it’s<br />
actually fine, as long as it’s between consenting adults, and nobody gets<br />
seriously injured. Sex is okay, and it’s important, and it’s good for you,”<br />
Don stresses, practically speaking in all caps, accenting every point with<br />
an elaborate flourish of his hands.<br />
“The health benefits from orgasms three times a week are shocking!<br />
If some drug maker made the same claims about a pill they had, they<br />
would be making millions selling that thing! Sex is the glue that holds<br />
relationships together. It’s the cement that goes over the cracks that<br />
form from day-to-day life.”<br />
Yet despite the innate normalcy of liking, wanting, craving, and<br />
exploring sex, Chris and Don say carnal knowledge remains taboo<br />
primarily, not because of any sort of mass regulation on the thing, but<br />
because we limit ourselves from exploring experiences that we lack the<br />
comfort and maturity to process in a healthy way.<br />
“I often see people coming in with the idea that, ‘I don’t need anything<br />
from this store,’” says Don identifying customers’ most prevalent<br />
misconception, that using sex toys somehow diminishes their own<br />
adequacy to give pleasure. “People think they should know everything<br />
about [sex] already, and if they do then what could they possibly need?<br />
And I say ‘Well, no you don’t. Nobody needs anything from our store.<br />
You do not need a Lamborghini to drive to work; a Ford Fiesta will work<br />
just fine. You don’t need a Lamborghini, but fuck, it sure is fun to drive!’”<br />
ROOTS CITY BEATROUTE •• NOVEMBER JANUARY 2015 <strong>2016</strong> | 23 13
While the Little Shop of Pleasures team embraces<br />
openness and positivity, Chris acknowledges there<br />
will likely always be some level of taboo when it<br />
comes to talking freely about sex, “because the taboo<br />
is your judgment of it, not mine.” Karl echoes these<br />
sentiments, fully cognizant of his own good fortune<br />
in being able to discuss his job sans filter with most<br />
of his family and friends. But even with the support<br />
he has garnered from many of them, in the presence<br />
of more conservative company, Karl feels it is wiser to<br />
keep the status quo, clandestinely referring to himself<br />
as “a retail associate” for the benefit of some enthusiastically<br />
religious relatives.<br />
“It isn’t that I ever feel ashamed to work here,” he<br />
clarifies, “but admitting that you like sex can almost<br />
feel like coming out, in a way.” It is for this reason that<br />
Karl appreciates a certain level of taboo, for giving his<br />
customers the opportunity to act boldly in exploring<br />
a facet of themselves that can be a pretty unsettling<br />
can of worms to pop open.<br />
“It takes guts to come into your own,” he continues.<br />
“When people come here, they are often sharing<br />
their most intimate, guarded secrets with me so I can<br />
help them, and that is not a fact that is lost on me.”<br />
Don’t be fooled, the team confesses, sometimes<br />
working in a kinkster’s paradise has its pitfalls. Hearing<br />
about nothing but people’s “cocks” and “cunts”<br />
all day can be rather like “sandpaper to my ears,” says<br />
Karl of the foul language shoppers sometimes think<br />
it’s perfectly fine use (spoiler alert: it is not fine). And,<br />
this store like any other is subject to the soul-sucking<br />
wrath of inventory day (hanging up over 600 pairs<br />
of panties in an afternoon can be exhausting). In<br />
perhaps the most teeth-grindingly cringe-worthy of<br />
encounters, Karl even had one unfortunate customer<br />
come into the shop one day to get their toy serviced,<br />
only for Karl to realize that the man currently had<br />
the anal plug in question fully inserted as Karl was<br />
testing the remote’s new batteries. But it’s all made<br />
worthwhile, he ascertains, for those few diamonds in<br />
the rough that crop up from time to time.<br />
“Recently, I had a woman come in asking me for<br />
the quietest, most inconspicuous vibrator we carried,”<br />
he recalls. “Turns out she was from Liberia, and<br />
was taking the toy back to a friend of hers who had<br />
just been widowed. Poor woman hadn’t had a decent<br />
orgasm in months.” Sex toys are strictly prohibited by<br />
law in the region the women were from, but Karl believes<br />
that, by introducing them to one particular air<br />
pulsator that looks more like a facial massager than a<br />
masturbation machine, he may have just been able to<br />
help bring some joy back into someone’s life at a time<br />
when they are overwhelmed with grief.<br />
Indeed, above the inherent humour, the discomfort,<br />
the connection, and even just the sheer pleasure,<br />
the one thing that keeps this crowd going is the<br />
thought that their expertise can help someone find<br />
happiness again from within their own bodies.<br />
“My primary objective, whenever I see someone<br />
who is clearly struggling with themselves — confused<br />
about their sexuality or the kinks they might<br />
have, or wondering about just even the mechanics<br />
of their own bodies, I’m wondering how I can help<br />
you feel more normal. I want people to understand<br />
that they aren’t the only kinky bastards out there!”<br />
Karl says.<br />
“Sex makes the world a better place,” Chris<br />
asserts, her eyes fixed firmly on Don, who nodded,<br />
“and so are we.” I couldn’t help but agree with<br />
them — regular reproduction is kind of what<br />
sustains the human race, am I right? I settled back<br />
into the vaguely torture-dungeon-reminiscent<br />
armchair, as close as I imagined I would get to being<br />
calm about the whole encounter, for the time<br />
being. After all, there’s no denying sex is a strange<br />
and mysterious subject (even if only because we<br />
make it so), and maybe it always will be. But at<br />
least in as much as feeling and respecting that, we<br />
can all relate.<br />
“One orgasm at a time?” I offer. Feeling confident, I<br />
wanted to try my hand at their euphemisms.<br />
“Every now and then, two orgasms at a time,” Karl<br />
is the first to respond with a grin of approval. They<br />
had finally broken me.<br />
“A whole string—!” Don chimes in.<br />
“A whole freight train of orgasms!” Chris cheers.<br />
“Orgasms for everybody!”<br />
As the days grow colder and we all find ourselves<br />
stuck inside, in greater need of ways to keep warm,<br />
the LSOP team will be making their rounds to<br />
Karl, your friendly dildo salesman: “Remember where<br />
you are. It doesn’t make you cool to come in here,<br />
to this safe space, and point and laugh at things. If<br />
anything, it just shows your ignorance.”<br />
convention floors all across Southern <strong>Alberta</strong>. If you<br />
or someone you know are looking to expand their<br />
sexual horizons this winter — maybe even do a bit<br />
of bold Christmas shopping — look no further than<br />
the Calgary Taboo Show (<strong>November</strong> 10-13), the Edmonton<br />
Taboo Show (<strong>November</strong> 17-20), or even the<br />
Little Shop’s own sex education workshops (which<br />
in the past have included topics like the illusions of<br />
power in BDSM, scheduling sex like your taxes, and<br />
using toys with a partner because “you can’t tickle<br />
yourself!”), hosted in-store at the end of each month.<br />
For more information, visit the Little Shop of Pleasures<br />
on Facebook, tweet @shopofpleasures, or go to<br />
littleshopofpleasures.com.<br />
14 | NOVEMBER <strong>2016</strong> • BEATROUTE CITY<br />
24 | JANUARY 2015 • BEATROUTE ROOTS
FILM<br />
ACCIDENTAL COURTESY<br />
‘how can you hate me when you don’t know me?’<br />
Documentary highlights one man’s “lost art” of friendly conversion.<br />
The original title of Accidental Courtesy:<br />
Daryl Davis, Race & America was Courtesy<br />
Accidental, which is a musical term. It made<br />
sense given that the star of the documentary,<br />
Daryl Davis, is a notable R&B and blues musician,<br />
having played all over the world with legendary<br />
musicians such as Chuck Berry and Little Richard.<br />
However, as director Matt Ornstein explains,<br />
during one of the test screenings someone wrote<br />
THE HAPPY FILM<br />
life, documentary and the pursuit of happiness<br />
In bold letters warns the audience at the beginning<br />
of the documentary: This film will not make<br />
you happy.<br />
It’s a good thing that the filmmakers, Stefan<br />
Sagmeister and Ben Nabors, placed the cautionary<br />
caption there in case anyone got the wrong idea. If<br />
you were unfamiliar with The Happy Film’s premise,<br />
you might think it was about relaxing on the couch<br />
with Netflix and a beer; yet in fact, it’s a serious<br />
insight into the science behind happiness and one<br />
man’s quest to find it. Along the way, he’ll attempt<br />
the answer the question: Is there a formula one can<br />
take to find happiness?<br />
It may sound like a social experiment, but the<br />
origins of The Happy Film come from genuine questions<br />
asked by the film’s main subject and co-director<br />
Stefan Sagmeister. “It is the true story of a graphic designer<br />
who thinks he can design himself to be better,”<br />
said Ben Nabors, co-director of the film.<br />
Throughout the film, Sagmeister will run a series<br />
of experiments on himself to change his brain,<br />
including a total nine-month trial with meditation,<br />
cognitive behavioural therapy and medication.<br />
What he found, though, was that it’s not always so<br />
simple. What begins with a tone of levity, Nabors<br />
explains, becomes more serious throughout the<br />
documentary’s running time.<br />
“It is [a social experiment] too, but it is certainly<br />
the true story of what happens to a guy who turns<br />
himself into a lab rat for happiness,” said Nabors.<br />
Sagmeister’s drive for happiness may confuse<br />
FILM<br />
Accidental Courtesy instead and audiences were<br />
seemingly more receptive to it. And since Daryl<br />
Davis has become most famous for his extracurricular<br />
work in befriending members of the Ku Klux<br />
Klan, you could say the new title makes sense too;<br />
as in, that has to be an accident, right?<br />
“How can you hate me when you don’t<br />
know me?” Davis asks his supposed adversaries<br />
throughout the film. It’s a good question, and one<br />
Pursuing happiness isn’t all smiles.<br />
some, as he is initially very successful as a graphic<br />
designer, having designed record covers for The<br />
Rolling Stones, Jay-Z and Aerosmith, to name a few.<br />
Furthermore, he seems quite content. As Nabors<br />
explains, however, “He just became very interested<br />
in this question, if we can train our bodies. If we can<br />
exercise to be healthier, why can’t we similarly train<br />
our minds?”<br />
that must work, as Davis has been successfully<br />
befriending, and often converting, members of<br />
the KKK and other identified racists for “20 to 25<br />
years,” Ornstein says.<br />
That said, “He doesn’t go in trying to make a hard<br />
sell,” Ornstein adds. He doesn’t try to convert anyone,<br />
or tell them to get out of that life. “He has lunch<br />
with them, he’s friends with them. He starts there.”<br />
Davis’s old-school methods of personal, face-to-face<br />
interactions in the impersonal age of social media are<br />
the likely reasons for his success.<br />
Ornstein’s reasons for wanting to document<br />
Davis’s life and capture it on film are pretty self-explanatory.<br />
How many others have attempted such a<br />
bold idea?<br />
“I read a newspaper article about Daryl and was<br />
pretty interested, just because we come at this<br />
issue [of racism] from the same angle over and<br />
over again. And here is someone doing something<br />
different and I wanted to know why he did it. I had<br />
so many questions.”<br />
Perhaps Davis’s modus operandi was born out of<br />
naiveté; it seems like it’d be easier to slay a dragon<br />
than convert a Grand Dragon. Yet, he kept asking<br />
that question: “How can you hate me when you don’t<br />
know me?” Asking the question seemed to work, as<br />
many of the Klan members had never met a black<br />
person, or bothered to speak with one. And sometimes<br />
that’s all it took to make them think otherwise.<br />
Speaking of terrible names, Dragons and Grand<br />
“As a graphic designer who finds improvements<br />
to things, it makes sense that he would pose that<br />
question,” he adds.<br />
In the film, Sagmeister states that making a movie<br />
about happiness is like making a film about life. “It’s<br />
too big and too complicated,” Nabors adds, finishing<br />
the thought. “So we focused on area where we felt we<br />
had some expertise which was his happiness.”<br />
by Jonathan Lawrence<br />
Wizards? C’mon, KKK. That’s pretty lame.<br />
Spending his early years abroad, the young Davis<br />
didn’t physically experience racism until he came<br />
home when he was older. “His initial goal [was] him<br />
trying to understand racism,” Ornstein explains.<br />
“Suddenly he wants to know why people dislike him<br />
because of his skin, which led him down a road he<br />
never thought he’d be on.<br />
In his travels across the United States over the<br />
years, he’s collected robes and other artifacts from<br />
friends who have left the Klan, slowly building a<br />
collection in hopes of eventually opening a museum<br />
of Klan memorabilia, so to speak.<br />
Ornstein said his goal with the film was “trying to<br />
explore [Daryl’s] psychology.” He continues: “[Daryl]<br />
tries to spend time with people and that’s a lost art…I<br />
saw a tangible effect he’s had.”<br />
When asked what it was like to make such a<br />
bold documentary about relevant issues, Ornstein<br />
responds that “it’s been an inspiring process for me.”<br />
“But I was definitely uncomfortable sometimes,”<br />
he laughs.<br />
Accidental Courtesy received the <strong>2016</strong> SXSW<br />
Special Jury award for Portrait Documentary and the<br />
<strong>2016</strong> Nashville Public Television Human Spirit Award.<br />
It will be available on Netflix in the spring.<br />
Accidental Courtesy screens during this year’s CUFF<br />
Docs festival at the Globe Cinema, which is happening<br />
Nov. 17-20.<br />
by Jonathan Lawrence<br />
Although the documentary’s subject matter<br />
focuses on Sagmeister’s life and problems, Nabors<br />
assures that there is something for everyone to take<br />
away. “There is a lot of relevance and a lot of answers<br />
observing his successes and failures throughout the<br />
film. You [might] learn what to do, what not to do,<br />
and hopefully apply it to your own life. That was<br />
always our goal.”<br />
Self-financed and six years in the making, The<br />
Happy Film is an ambitious project; one that Nabors<br />
sounds proud of, and is happy with its critical response<br />
so far, pardon the pun.<br />
“Six years in the making was never the plan,”<br />
Nabors laughs. That said, it seems the extra time gave<br />
the filmmakers room to develop their theory and to<br />
see where it went, including all the highs and lows<br />
that can happen in someone’s life during that time.<br />
“Documentaries are interesting; you can choose<br />
when you end your story. If we had stopped the<br />
story on a high moment, Stefan’s journey would<br />
have been very positive. If we stopped it on a low<br />
moment, Stefan’s journey would have been wasted.<br />
We gave ourselves the time and space to properly<br />
contextualize it.”<br />
So, remember that The Happy Film will not<br />
make you happy, but knowing that you didn’t have<br />
to go through Sagmeister’s experiment just might.<br />
The Happy Film screens during this year’s CUFF Docs<br />
festival at the Globe Cinema, which is happening<br />
Nov. 17-20.<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 17
GIRAF12 FESTIVAL GUIDE<br />
Nova Seed<br />
OPENING GALA<br />
Nova Seed<br />
<strong>2016</strong>, Canada, dir. Nick Diliberto<br />
Thursday, Nov. 24, 7pm, Globe Cinema<br />
Drawing inspiration from ’80s cartoons like Masters of the Universe and<br />
Thundercats (but with much more impressive animation) , Nova Seed is<br />
a visually stunning, action-packed feature made all the more impressive<br />
by the fact that animator Nick DiLiberto created all of the images by<br />
hand. Over the course of four years, DiLiberto drew each of the sci-fi<br />
adventure’s 60,000 frames by hand, with pencil and paper, before digitally<br />
colouring and sequencing them.<br />
The resulting film is a testament to DiLiberto’s creativity, and his tolerance<br />
for pain—by the end of the process, his hands were covered in<br />
bandages and two layers of gloves just to be able to draw. The finished<br />
film speaks for itself, though, and its handmade world of mad scientists<br />
and genetically augmented warriors is a perfect way to kick off this<br />
year’s festival.<br />
Louise en hiver<br />
(Louse By The Shore)<br />
<strong>2016</strong>, France/Canada, dir. Jean-François Laguionie<br />
Friday, Nov. 25, 7pm,<br />
Globe Cinema<br />
Animation isn’t only about fantastic worlds and impossible adventures.<br />
It can also be much more human. Directed by 50-year animation veteran<br />
Jean-François Laguionie, this pastel-tinged feature tells the story of<br />
an elderly woman who misses the last train out of her small seaside<br />
town, and realizes she will have to survive the winter alone. While<br />
foraging for food and shelter, she has the chance to reflect on the life<br />
she’s lived and the memories she’s let slip away.<br />
A beautiful twist on a desert island story, Louise en hiver is a thoughtful<br />
and endearing examination of how we come to terms with the lives<br />
we’ve lived. was recently awarded the Grand Prize for Best Animated<br />
Feature at the Ottawa International Animation Festival, North<br />
America’s largest animation festival.<br />
Louise en hiver<br />
Birdboy<br />
(Psiconauts)<br />
2015, Spain/France, dir. Alberto Vasquez and<br />
Pedro Rivero<br />
Friday, Nov. 25, 11pm, Globe Cinema<br />
The feature-length debut from Goya Award-winning directors Alberto<br />
Vasquez and Pedro Rivero, Birdboy is a dark, twisted and visually stunning<br />
fantasy based on Vasquez’s graphic novel.<br />
Described by Variety magazine as “fascinating in its oddball complexity,”<br />
the film is a compelling and adult story set in a world of talking<br />
animals. Themes of depression, addiction and environmental disaster<br />
mix with beautifully rendered fantasy elements, sinister creatures and<br />
bleak humour into an utterly original animated feature—a coming-ofage<br />
story set in a uniquely twisted post-apocalyptic world.<br />
Indie Animation Mixtape<br />
Side A: Friday, Nov. 25, 9pm, Globe Cinema<br />
Side B: Saturday, Nov. 26, 9pm, Globe Cinema<br />
The films in the Indie Animation Mixtape represent Quickdraw’s favourite<br />
creations from around the globe. Chosen from over 1,200 submissions<br />
and cherry-picked from the worlds leading animation festivals, these<br />
shorts range from heartwarming to experimental, hand-drawn and<br />
computer generated, but the one thing they all share is a commitment<br />
to animation as art.<br />
Birdboy (Psiconautas)<br />
Bozzetto Non Troppo<br />
<strong>2016</strong>, Italy, dir. Marco Bonfanti<br />
Saturday, Nov. 26, 5pm, Globe Cinema<br />
Directed by Marco Bonfanti and debuted at the <strong>2016</strong> Venice Film<br />
Festival in September <strong>2016</strong>, Bozzetto Non Troppo is a colourful and<br />
poetic portrait of one of animation’s living legends. Almost entirely<br />
narrated in Bozzetto’s own words, this documentary takes viewers into<br />
the director’s home and studio, where they will meet his friends, family<br />
and favourite pets, and walk away inspired by the infectious passion<br />
for the medium of animation—and GIRAF’s audience gets to see the<br />
documentary’s North American premiere.<br />
Allegro Non Troppo<br />
Late Night Shorts Pack<br />
Saturday, Nov. 28, 11pm, Globe Cinema<br />
Some shorts aren’t meant to be seen in the light of day. The Late Night<br />
Shorts Pack collects the more odd, offbeat, and downright bizarre animated<br />
efforts of the last year, perfect for audiences craving something<br />
they’ve never seen before. From psychedelic journeys to unconventional<br />
mating habits, these are the films that keep you staring at the screen<br />
in disbelief.<br />
VISITING ARTIST SHOWCASE<br />
Amy Lockheart<br />
Sunday, Nov. 27, 6pm, Emmedia Screening Room<br />
As much as we GIRAF loves showing off films, the real highlight of<br />
the festival for us is bringing in one of our favourite animators to host<br />
a workshop and artist talk, and show off their art to a local audience.<br />
This year, we’re excited to invite Amy Lockheart, an internationally<br />
recognized animator, filmmaker and artist. Her work has been published<br />
in Drawn & Quarterly and screened at festivals from Ann Arbor<br />
to Hiroshima, but more important than that, it is unique, hand-made,<br />
and everything that GIRAF looks for in an animator.<br />
CLOSING PACK<br />
Newgrounds: Everything by Everyone<br />
Sunday, Nov. 27, Emmedia Screening Room<br />
This year’s festival wraps up with a package celebrating the influential,<br />
absurd animation website Newgrounds. Founded by Tom Fulp in 1995,<br />
Newgrounds was the first website that allowed anyone and everyone<br />
to upload animation content, and was generating viral videos before<br />
the existence of YouTube. These user-created videos, made simply for<br />
the sake of creativity and expression, also helped to define a style of<br />
absurd, fast-paced, chaotic and offbeat animation that has profoundly<br />
influenced a whole generation of animators.<br />
GIRAF takes place at the Globe Cinema and Quickdraw Animation Society<br />
studios. For screening info and tickets, please visit http://giraffest.ca<br />
Newgrounds: Everything, By Everyone<br />
Allegro Non Troppo 40th Anniversary<br />
1976, Italy, dir. Bruno Bozzetto<br />
Saturday, Nov. 28, 7pm, Globe Cinema<br />
Italian director Bruno Bozzetto’s 1976 Oscar-nominated masterpiece,<br />
is this year’s retrospective screening. Both a loving tribute and satirical<br />
response to Disney’s Fantasia, Allegro is a similar blend of hand-drawn<br />
animation and classical music, albeit with a more cynical edge than<br />
Disney ever allowed. Largely out of <strong>print</strong>, this will be a rare chance to see<br />
the film on the big screen to celebrate its 40th anniversary.<br />
22 | JANUARY 2015 • BEATROUTE ROOTS<br />
18 | NOVEMBER <strong>2016</strong> • BEATROUTE FILM
AMY LOCKHART<br />
GIRAF’s featured artist<br />
Amy Lockhart is a filmmaker, animator and artist. Her animations<br />
have screened at festivals nationally and internationally, including<br />
the Ann Arbor Film Festival and International Animation Festival in<br />
Hiroshima, Japan. Lockhart has received fellowship at the National<br />
Film Board of Canada and support from the Canada Council for<br />
the Arts. She has completed residencies at Calgary’s Quickdraw<br />
Animation Society, Struts Gallery, and The School of the Art Institute<br />
of Chicago. Drawn & Quarterly published Dirty Dishes, a book of her<br />
paintings, sculptures and drawings in 2009. She currently works and<br />
lives in Chicago.<br />
DANCER<br />
bad boy of ballet film release<br />
THE SCREENING<br />
Paper cut-outs, Amiga art, absurd characters, surreal tangents—Amy<br />
Lockheart’s animation is both impressively diverse and immediately<br />
recognizable. She’ll be joining us for a screening and artist talk,<br />
presenting some of her favourites and providing an insight into her<br />
creative process.<br />
THE WORKSHOP<br />
This small, hands-on workshop will provide a rare opportunity to<br />
learn directly from one of our favourite animators working today.<br />
With a focus on paper cut-out animation, this workshop will walk<br />
you through Amy’s animation process, explaining the tools and techniques<br />
she uses to bring her films to life. This is a hands-on workshop.<br />
Some experience with animation fundamentals is recommended.<br />
THE INSTALLATION<br />
Head to the basement of the Globe Cinema any time during the<br />
GIRAF animation festival for a multimedia art installation from this<br />
year’s visiting artist.<br />
When you get to number one the only way is down, or so the saying<br />
goes. At age 19, a gifted young man named Sergei Polunin became the<br />
youngest principal in the history of the Royal Ballet. Honing his craft<br />
since early childhood, by age 22 he had already conquered every goal<br />
a professional dancer possibly can. Dancer chronicles the surprisingly<br />
sacrificial journey made by Polunin, whose boyhood dream was to be<br />
adored and remembered. Calgary release date is set for <strong>November</strong> 18.<br />
• Breanna Whipple<br />
FILM<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 19
CALGARY EUROPEAN FILM FESTIVAL<br />
bringing the best of the other side of the Atlantic for five years by Jonathan Lawrence<br />
Watching a foreign film generally involves a<br />
degree of multitasking that gets even the<br />
best of us. “I have to watch - and read? At<br />
the same time?” you ask incredulously.<br />
The most rewarding experiences often aren’t the<br />
easiest though, and the Calgary European Film Festival<br />
is returning for its fifth year to prove that stories rich in<br />
character, setting, and culture are worth paying attention<br />
to, and worth letting that poor bag of popcorn last<br />
longer than the opening credits.<br />
The Calgary European Film Festival, or CEFF, which<br />
runs from <strong>November</strong> 7-13 this year, is an opportunity<br />
for Western audiences to see European-made films that<br />
would otherwise likely not see an overseas release. That<br />
said, each production has received at least one international<br />
award or other accolade from such notable<br />
festivals as the Venice International Film Festival and<br />
Cannes. This year’s line-up includes films from Albania,<br />
Austria, Bulgaria, Croatia, France, Germany, Hungary,<br />
Italy, Moldova, Poland, Romania, Serbia, Slovakia, Spain,<br />
Switzerland, and Czech Republic – more countries than<br />
ever before.<br />
It is also running for a full week this year, up from a<br />
four-day run in 2015.<br />
Much like the other film festivals in Calgary such as<br />
the Calgary Underground Film Festival and the International<br />
Film Festival, the European Film Festival is seeing<br />
rising attendance rates each year. We caught up with<br />
Beatrix Downton, the board president for the European<br />
Cultural Society of Calgary (organizer of CEFF) and<br />
the representative of the German community for the<br />
festival to discuss it in further detail.<br />
“The image of Calgary as a backwater provincial<br />
town is definitely long gone,” says Downton. “Calgary is<br />
quite cosmopolitan, people are hungry for stories from<br />
other cultures - our movies allow us to travel the world<br />
without shelling out big bucks for airfare.”<br />
Take a globetrot this month at the Globe.<br />
Looking at the line-up of films this year, one can<br />
easily see some recurring themes of complicated relationships,<br />
outcasts in society, and other serious subject<br />
matter. In response, Downton writes: “I love the way<br />
European movies place the human experience at the<br />
centre of the story. There might be less action…than in<br />
many Hollywood productions [but] instead we get to<br />
see stories that feel true to life, relatable to the viewer’s<br />
own experience.”<br />
Despite the dramatic nature of most of the films,<br />
Downton assures that there is still a good dosage of<br />
comedy and levity in the festival’s line-up. “[It’s] a great<br />
way to address serious questions and make them approachable.”<br />
She adds that she is most looking forward<br />
to the quirky Life is a Trumpet from Croatia, and the<br />
Austrian crime movie Life Eternal, which “brings some<br />
unconventional dark humour to the screen.”<br />
Even if you think foreign films aren’t your cup of<br />
tea, Downton believes that if you like independent<br />
cinema, you’ll love European film. The eclectic<br />
culture of Europe embraces everything people love<br />
about independent cinema, where anything and<br />
everything is possible. Because of this, Downton says,<br />
“There is room for many different stories, movies that<br />
are fun, serious, exciting, sad, thought-provoking ...<br />
and always entertaining.”<br />
The opening night on <strong>November</strong> 7th will kick off<br />
with Sieranevada (Romania, <strong>2016</strong>), directed by Cristi<br />
Puiu, who received the ICS Cannes Award for Best<br />
Screenplay.<br />
So this <strong>November</strong>, do yourself a favour and put<br />
down Netflix for a bit, put on your reading glasses and<br />
go experience some culture. Don’t worry, Luke Cage will<br />
still be there when you get back. Probably.<br />
Watch something from the other side of the world this<br />
<strong>November</strong> at CEFF Nov. 7-13 at the Globe Cinema.<br />
MARDA LOOP JUSTICE FILM FEST<br />
free festival tackles the issues in an even bigger way by Claire Miglionico<br />
From eating bugs to drones, the fertility industry to political prisoners,<br />
Justice fest runs the gamut of contemporary issues.<br />
The first time I attended the Marda<br />
Loop Film Festival was at Mount Royal<br />
University –then Mount Royal College<br />
– circa. 2007. I had watched a documentary on<br />
domestically abused women wrongly convicted<br />
for the murder of their abusive husbands. I had<br />
never seen a film rooted in social justice in such<br />
a powerful and enraging way.<br />
A decade later, the festival is still running<br />
strong, with a lineup that spans over five days<br />
rather than three, and four locations rather<br />
than two.<br />
“Now we have the John Dutton Theatre at<br />
the Calgary Public Library, EMMEDIA, River<br />
Park Church and the Globe Cinema as venues,”<br />
says Caitlin Logan, the festival’s program chair<br />
over the phone.<br />
The best part? The festival has been free since<br />
day one and aims to continue to be free, thanks<br />
to their many community sponsors.<br />
Logan had been an attendee of the festival<br />
for about five years before she decided to<br />
become a volunteer.<br />
“I’ve always been a huge advocate of becoming<br />
more aware of what’s going on in the<br />
world. I had a friend who was involved in the<br />
festival who introduced me to it. It seemed like<br />
a perfect fit,” she says.<br />
Logan is part of the panel of volunteers who<br />
review the thousands of films that get submitted<br />
to the festival each year. She says they are at<br />
the time of year when filmmakers start submitting<br />
films to the festival. The festival is open to<br />
anyone who wants to submit.<br />
The festival also looks to film festivals in Europe<br />
and renowned festivals like Hot Docs for<br />
inspiration on films that could pique Calgarians’<br />
interests.<br />
This year, already a handful of films are on my<br />
“must-watch” list.<br />
A Syrian Love Story sticks out. It’s a human<br />
rights film that follows Amer and Raghda over<br />
the span of five years as they fight for political<br />
freedom under the tyrannical Assad dictatorship.<br />
Amer and Raghda first meet in a Syrian<br />
prison cell 15 years ago where they fall in love.<br />
Upon their release, they get married and start<br />
a family only to be torn apart again as Raghda<br />
becomes once again a political prisoner.<br />
Future Baby takes a look at the fertility industry<br />
and how it has become the future of human<br />
reproduction. Egg donors, surrogate mothers…<br />
the options are endless for parents out there.<br />
How far are we willing to go and what could be<br />
some of the long-term impacts of using these<br />
modified modes of reproduction?<br />
National Bird is number one on my list and a<br />
favourite of Logan’s. “It takes a look at the other<br />
side of the military drone offences and looks at<br />
the people who have to pilot drones and carry<br />
out these missions using the drone, and the<br />
psychological damage that they suffer while<br />
doing this, “ says Logan.<br />
The Apology tackles the topic of “comfort<br />
women” who were forced into military sexual<br />
slavery by the Imperial Japanese Army during<br />
World War II. It follows three, now grandmothers,<br />
former comfort women, seeking<br />
justice from the Japanese government.<br />
Bugs will sure be the talk of the town. Insects<br />
as food has become a hot topic and fits hand<br />
in hand with the UN Sustainable Development<br />
Goal #2 to end hunger, achieve food security,<br />
improve nutrition and promote sustainable<br />
agriculture. Follow the filmmakers as they farm,<br />
cook and taste bugs from around the world. If<br />
you’re game, sample bugs for yourself after the<br />
screening courtesy of Entomo Farms.<br />
The Marda Loop Justice Film Festival runs <strong>November</strong><br />
15th to 20th and touches upon human<br />
rights, social justice, environment and development<br />
issues. The full schedule is available<br />
at justicefilmfestival.ca.<br />
20 | NOVEMBER <strong>2016</strong> • BEATROUTE FILM
FIVE FILMS TO SEE THIS MONTH<br />
festivals galore and the December instalment of Doc Soup<br />
With the dreary winter weather starting to set in, what better way to<br />
spend your weekend than in a warm theatre watching world class<br />
film? This month, Calgary will be host to four film festivals, plus the<br />
second instalment of Doc Soup’s season. Each different in theme, but equal in<br />
merit. Here are just a few options for the coming month.<br />
by Morgan Cairns<br />
Calgary European Film Festival: Eva Nová (2015) and The Last Bus (2011)<br />
Selected as Slovakia’s entry for Best Foreign Language Film at this years Academy<br />
Awards, Eva Nová promises to be a standout. Eva, a former actress and recovering<br />
alcoholic, tries desperately to reconnect with her son after abandoning him as a<br />
child while battling with her sobriety. Director Marko Škop’s fiction feature debut,<br />
this intimate drama is probably best served by Emília Vášáryová’s stunning performance<br />
as Eva.<br />
Preceding Eva Nová is the Slovakian short The Last Bus. Bringing Wes Anderson<br />
levels of quirkiness, this stop-motion animation follows a group of forest animals<br />
who, upon the arrival of hunting season, board a bus to flee to safety.<br />
Screening at the Globe Cinema, Saturday <strong>November</strong> 12th, at 8 p.m.<br />
Marda Loop Justice Film Festival: Raped (2015)<br />
At 18 years old, director Linda Steinhoff was raped by someone she knew. In an<br />
effort to come to terms, and better understand how the system both helps, and<br />
hurts, victims of sexual assault, Steinhoff has created her first documentary feature.<br />
Including interviews with a convicted rapist, a victim, a lawyer and a psychiatrist,<br />
this documentary might make for uneasy viewing, but it only furthers the point of<br />
the film; that in order to do something about sexual assault, we first must learn to<br />
talk about it.<br />
Screening at River Park Auditorium, Saturday <strong>November</strong> 19th, at 2:45 p.m.<br />
CUFF Docs: Kate Plays Christine (<strong>2016</strong>)<br />
Part documentary, part psychological thriller, Kate Plays Christine follows actress<br />
Kate Lyn Sheil as she prepares to play the role of Christine Chubbuck, a Florida<br />
newscaster who committed suicide on live television in 1974. Christine, the film<br />
at the centre of this documentary, takes place in the days leading up to Christine<br />
Chubbuck’s on-air suicide, and focuses on her struggles with depression. Given<br />
the intense subject matter, Kate must immerse herself in the life and torment of<br />
Chubbuck in order to give justice to the role. Sheil’s performance has earned rave<br />
reviews, so if you plan on seeing Christine when it comes to theatres, Kate Plays<br />
Christine will serve as excellent context for the film, and give you a deeper look into<br />
both Chubbuck, and the actress tasked with playing her.<br />
Screening at the Globe Cinema, Friday <strong>November</strong> 18th, at 6 p.m.<br />
GIRAF Animation Festival: Allegro Non Troppo (1976)<br />
Coined a sort of Fantasia for adults, Bruno Bozzetto’s 1976 classic will be presented<br />
as GIRAF’s <strong>2016</strong> retrospective screening. With a mix of live action and surrealist<br />
animation, paired with a classical music score, the seven sequences range from<br />
comedy to tragedy, and everything in between. With the slew of documentary<br />
features screening this month, this throwback film will be a pleasant shake-up in<br />
your film schedule.<br />
Prior to that, GIRAF has secured the North American premiere about Allegro<br />
Non Troppo’s creator Bruno Bozzetto, fittingly titled: Bozzetto Non Troppo.<br />
Screening at the Globe Cinema, Saturday <strong>November</strong> 26th, at 5 p.m. (Bozzetto Non Troppo) and 7<br />
p.m. (Allegro Non Troppo)<br />
Doc Soup (December screening): Mr. Gaga (2015)<br />
One of the world’s most acclaimed contemporary choreographers, Ohad Naharin<br />
takes centre stage in this Israeli documentary. Eight years in the making, Mr. Gaga is<br />
a true testament to the human body, in both its abilities and its limits. What makes<br />
this film a must-see is not only its powerful subject, but the opportunity to view<br />
performances from some of the most talented dancers in the world, making Mr.<br />
Gaga a visual delight on many levels.<br />
Screening at Cineplex Eau Claire, Wednesday December 7th, at 7 p.m.<br />
CJSW MUSIC DOCS<br />
video project aims for diversity both in front of and behind the lens<br />
Aleem Khan will perform unheard material at a screening of CJSW’s music docs.<br />
If you’re a regular <strong>BeatRoute</strong> reader, it’s likely you’re familiar with Calgary<br />
acts Feel Alright, Empty Heads and Aleem Khan. The aim of a new batch<br />
of music documentaries directed by Guillaume Carlier for CJSW is to reach<br />
those who have not.<br />
“We wanted it to be visible for people who don’t know Calgary’s music<br />
at all,” says Carlier, adding he thinks of it as “a look behind the curtain” and<br />
an “inclusive” endeavour. Carlier is the first director in what the station<br />
intends to be an ongoing series, with a new set of eyes behind the lens at<br />
each turn.<br />
Carlier curated the musicians (with assistance from CJSW’s Whitney Ota) in<br />
an effort to represent musical diversity, also noting he believes the three to be<br />
FILM<br />
by Colin Gallant<br />
among the best bands in the city.<br />
The docs all have two components: live performances (including new, previously<br />
unrecorded exclusives) at the station’s studio, hand-tailored by Ota to the band’s<br />
specifications, and not-so-standard interviews also developed in collaboration<br />
with the artists. Without giving too much away, none of the three interviews or<br />
performances are alike.<br />
Some of the filmic techniques employed will be recognizable to those who’ve<br />
seen Carlier’s video for Aleem Khan’s song “Marzipan” or the original short Moses<br />
he released last year; semi-improvised filming and disrupted chronology are some<br />
of his staples. Carlier isn’t resting on the tried and true, however. He adventurously<br />
dabbled with around seven different cameras, including a cell phone and GoPro.<br />
Khan and Carlier’s working relationship will continue at the <strong>November</strong> 26th<br />
screening of the docs, with Khan performing unreleased music for the first time in<br />
front of an audience. The event will be a licensed one taking place at The Plaza.<br />
Those unable to attend can look forward to streaming the docs on CJSW’s new<br />
platform for video: cjsw.com/video (release date TBA as of writing time).<br />
Ota says, “Here, Guillaume Carlier’s video documentaries will be showcased<br />
alongside some of our other video content such as the newly revealed ‘CJSW 360’<br />
series which will allow users to pan around the room, viewing what they like, and<br />
the ‘Sing, Talk, Play’ series done by Ramin Eshraghi-Yazdi.” Continuing, “We’re hoping<br />
to provide our listeners with a new way of experiencing our live sessions and<br />
Guillaume’s films will provide a unique glimpse into backstage life with the bands<br />
and showcase what CJSW is capable of in the studios.”<br />
CJSW’s music docs by Guillaume Carlier will feature Empty Heads, Feel Alright and<br />
Aleem Khan and premiere on <strong>November</strong> 26th at The Plaza. Soon, they’ll also be<br />
available at cjsw.com/video.<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 21
THE VIDIOT<br />
rewind to the future<br />
by Shane Sellar<br />
Ghostbusters<br />
The Legend of Tarzan<br />
Mike and Dave Need Wedding Dates<br />
The Purge: Election Year<br />
X-Men: Apocalypse<br />
FILM<br />
Ghostbusters<br />
Female Ghostbusters are better because you get to<br />
pay them 40 per cent less than their male counterparts.<br />
Unfortunately, the gender wage gap doesn’t<br />
benefit the entrepreneurs in this comedy.<br />
When a book Dr. Gilbert (Kristen Wiig) cowrote<br />
on ghosts with her estranged colleague<br />
Dr. Yates (Melissa McCarthy) is re<strong>print</strong>ed, its<br />
supernatural contents threaten her bid for college<br />
tenure.<br />
To stop the publication, however, she must join<br />
Yates’ ghost hunting team (Kate McKinnon, Leslie<br />
Jones), who are currently engaged in a conflict<br />
with a deranged genius (Neil Casey) intent on<br />
opening a portal to another dimension.<br />
While the all-female cast brings a fresh perspective<br />
to the mythos, this re-working of the original<br />
is too haunted by its predecessor to be its own<br />
movie. Not to mention its ghastly script, flat jokes<br />
and lackluster special effects.<br />
Moreover, ghosts from the 1800s would be<br />
aghast to see these Ghostbusters in public unaccompanied<br />
by their husbands.<br />
The Legend of Tarzan<br />
The upside to being raised by apes is you keep your<br />
human friends lice free.<br />
Mind you, the simian-reared aristocrat in this<br />
action-adventure abhors his heritage.<br />
Lord Greystoke (Alexander Skarsgård), née<br />
Tarzan, must return to the jungle that he was<br />
marooned in as an infant to prevent its enslavement<br />
at the hands of the Belgium King who has<br />
deployed an evil envoy (Christoph Waltz) to reap<br />
it riches.<br />
Accompanied by his wife Jane (Margot Robbie)<br />
and an American businessman (Samuel L. Jackson),<br />
the ape-man soon learns he was really lured<br />
back by a vengeful chieftain (Djimon Hounsou).<br />
Despite some questionable special effects and<br />
a few bad one-liners, Legend is the most comprehensive<br />
and visually thrilling interpretation of<br />
Edgar Rice Burroughs’ character yet. Moreover, it<br />
finally adds a self-reliant Jane to the mainly misogynistic<br />
mythos.<br />
Fortunately, when your in-laws are apes you<br />
don’t have to set your bathroom standards so<br />
high.<br />
Lights Out<br />
Sleeping with the lights on is stupid. I mean, who<br />
wants to watch the monster-under-the-bed eat their<br />
legs?<br />
Luckily, the restless spirit in this horror movie<br />
vanishes in illumination.<br />
With her younger brother (Gabriel Bateman)<br />
suffering from insomnia, and her bipolar mother<br />
(Maria Bello) talking to her imaginary friend, estranged<br />
daughter Rebecca (Teresa Palmer) returns<br />
to the fold to assist.<br />
She quickly discovers that her brother and<br />
mother’s problems stem from a shadowy figure<br />
that stalks the household under the cover of darkness,<br />
yet evaporates when the lights are switched<br />
on.<br />
A clever creature feature that prays on our<br />
inherent fear of the dark, this low-budget thriller<br />
doesn’t skimp on the scares. Moreover, it uses resourcefulness<br />
to execute the melancholy narrative<br />
about mental health. The only bone of contention<br />
is with its clichéd creature design.<br />
Ironically, when making love to a monster most<br />
prefer to keep the lights off.<br />
Mike and Dave Need Wedding Dates<br />
Bringing a date to a wedding is important because it<br />
keeps the groom from hitting on you.<br />
Awkwardly, the groom in this comedy is their<br />
soon-to-be brother-in-law.<br />
To avoid any embarrassment at the hands of<br />
their loser sons, Mike (Adam DeVine) and Dave’s<br />
(Zac Efron) parents order them to bring dates to<br />
their sister’s Hawaiian nuptials.<br />
Placing an expense-paid offer online lands<br />
the boys national attention and two party girls<br />
(Aubrey Plaza, Anna Kendrick) posing as a teacher<br />
and a stockbroker.<br />
During their prize-winning vacation, however,<br />
the bad girls drop their goody-two-shoes guises<br />
and give the irresponsible brothers a run for their<br />
money.<br />
A raunchy yet run-of-the-mill rom-com about<br />
unscrupulous characters saving the day in an<br />
unconventional way, Mike and Dave delivers a few<br />
decent laughs thanks to its male leads, but ends<br />
up just aping other wedding movies.<br />
Moreover, a Hawaiian wedding is a great way to<br />
bankrupt all your closest friends.<br />
The Purge: Election Year<br />
If you really want the right to kill whomever you<br />
want with no consequences, become a cop in the<br />
United States.<br />
Ironically, all law enforcement gets the night off<br />
in this action-horror movie.<br />
With the run for the White House in full swing,<br />
purge opponent and presidential hopeful Senator<br />
Roan (Elizabeth Mitchell) vows to stay out home<br />
during this year’s public culling to prove that she is<br />
for the people.<br />
The New Founding Fathers’ candidate (Kyle Secor),<br />
however, plans to use the night’s lawlessness<br />
to eliminate her. Now, Roan and her bodyguard<br />
(Frank Grillo) must stay one-step ahead.<br />
More politically motivated than purge related,<br />
this second sequel in the anarchic series may be<br />
timely but its lampoon of modern-day Republicans<br />
is too on the nose and less interesting than<br />
the mindless destruction happening outside.<br />
Sadly, younger voters are more likely to stay<br />
home on Election Day than on Purge Day.<br />
Swiss Army Man<br />
The worst thing about being a Swiss Army Man is<br />
TSA confiscates you before every flight.<br />
Luckily, the multi-purpose corpse in this dark<br />
comedy has its own means of propulsion.<br />
When a flatulent cadaver, Manny (Daniel<br />
Radcliffe), washes up on the shores of Hank’s (Paul<br />
Dano) deserted island, he rides the gassy stiff back<br />
to civilization.<br />
Lost in the thickets, Hank uses Manny’s erection<br />
to navigate. En route, he teaches the carcass about<br />
love using Sarah (Mary Elizabeth Winstead) as an<br />
example. Now, Manny wants to find Sarah so he<br />
can confess his love for her.<br />
A divisive film if ever there was one, Swiss Army<br />
Man attempts to dissect deep psychological issues<br />
using dead dick and fart jokes to do it. The only<br />
problem is that none of it is humorous, quirky or<br />
otherwise.<br />
Incidentally, when a cadaver washes up on your<br />
deserted island, their 10 favourite albums belong<br />
to you. <br />
X-Men: Apocalypse<br />
The worst part about being a mutant teenager is<br />
your nocturnal emissions melt the bed.<br />
Ocular emissions are also a pubescent problem<br />
in this action/fantasy.<br />
The world’s first mutant Apocalypse (Oscar<br />
Isaac) awakens in the Eighties and hastily ensembles<br />
an army of mutants (Michael Fassbender,<br />
Olivia Munn, Alexandra Shipp, Ben Hardy) to help<br />
him enslave the multitudes.<br />
With Professor X’s (James McAvoy) mind<br />
breached, it’s up to a batch of new recruits (Tye<br />
Sheridan, Sophie Turner, Kodi Smit-McPhee, Lana<br />
Condor) led by Mystique (Jennifer Lawrence) to<br />
impede the ancient evil before it can use Xavier’s<br />
telepathy to subjugate both human and mutant<br />
kind.<br />
With a poorly designed villain perpetrating a<br />
predictable bid for world domination, this latest<br />
installment in the tepid franchise suffers from too<br />
many X-Men with too little character development<br />
between them. Meanwhile, the overblown<br />
action scenes feel contrived.<br />
Besides, according to the Bible, Jesus was the<br />
first mutant.<br />
He’s a Kindred Spiritualist. He’s the…<br />
Vidiot<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 23
FEMME WAVE<br />
FEMME WAVE <strong>2016</strong><br />
cresting again in second year<br />
Disclosure: Femme Wave feminist arts festival co-founder<br />
Hayley Muir is <strong>BeatRoute</strong> <strong>print</strong> production staff.<br />
words and photo by Amber McLinden<br />
Femme Wave is going into its sophomore<br />
year, and co-founders Hayley Muir and Kaely<br />
Cormack are taking it all in stride for this year’s<br />
festival.<br />
Femme Wave’s mission is to “create an integrated,<br />
encouraging arts scene with opportunities for women<br />
and non-binary artists.” The festival incorporates music,<br />
comedy, film, and visual arts to create this space.<br />
The organization has a growing audience, and<br />
they’ve expanded from the grassroots organization<br />
they were last year. With a board, a large committee,<br />
and a little more organization, this year’s festival<br />
proves to be even better than the last. The growth is a<br />
great thing for attendees, as the lineup gets bigger and<br />
more diverse. Music headliners Peach Kelli Pop and<br />
catl. are two examples.<br />
“We have much more reach than we did this time<br />
last year,” Muir says. “There’s a lot more people who<br />
are aware of Femme Wave, and the overwhelming<br />
majority of those folks are really excited about it.”<br />
It’s clear that Femme Wave is making its mark on<br />
the Calgary arts community, but there’s still a long<br />
way to go. It seems that in the past few months, there<br />
hasn’t exactly been a change in the number of women<br />
being booked to play shows in the music scene, Muir<br />
speculates. Despite this, some artists that played<br />
Femme Wave last year seemed to have definitely<br />
gained some traction in the music community.<br />
The programming this year includes workshops<br />
where people can come and have the opportunity to<br />
play with various musical instruments. “We’re hoping<br />
to kind of foster more people that would want to play<br />
music that maybe haven’t yet, for whatever reason,”<br />
Cormack says. “We’re trying to get into that role,<br />
where it’s not just showcasing these existing artists but<br />
we also want to foster people that want to do it and<br />
get them doing it more too.”<br />
Of course, negative feedback has emerged, but Cormack<br />
and Muir don’t talk about specific examples. Instead,<br />
they see any pushback as a positive. This is only<br />
their second year running, and the feedback is the<br />
perfect example of why something like Femme Wave<br />
needs to exist. It also shows how far their reach really<br />
is, and how many people they can affect positively.<br />
“There’s been some kind of dark pushback against<br />
us this year and I think that’s been a really hard thing<br />
to overcome and to just refocus and think, ‘We do<br />
a festival. That’s what we do,’ and as long as we do<br />
that really well then everything else can kind of just<br />
happen around it,” Muir says.<br />
Both founders of Femme Wave also play in their<br />
own band, The Shiverettes, and agree that breaking<br />
into the music scene as a woman is definitely still a<br />
challenge. The combination of a tightly knit arts scene,<br />
low representation at shows, and sexism towards<br />
women who do play make being in a band as a woman<br />
look less than appealing. The festival is looking to<br />
change that.<br />
“I always like hearing about people’s daughters,”<br />
Cormack half-jokes. “Every time someone is like, ‘I<br />
have a daughter, and this is awesome, because she’s<br />
going to grow up to be in a band’ or whatever, I really<br />
like hearing stuff like that.”<br />
Even though the goal is to focus on empowering<br />
women, Femme Wave is truly for everyone, Muir<br />
stresses. They hope all attendees can come away<br />
learning a lesson, but it isn’t mandatory. Attending<br />
Femme Wave means you can see a few acts you might<br />
never have seen before, which is truly the point.<br />
“If you want to keep seeing the things that you’ve<br />
already seen, then keep going to the same shows<br />
you’re going to,” Cormack says. “But if you want to<br />
see something a little bit different and maybe learn<br />
something and see something a little off the beaten<br />
path that’s interesting and unique and new, then that’s<br />
what this is for.”<br />
Femme Wave takes place at multiple venues in Calgary<br />
this <strong>November</strong> 17th to 20th.<br />
All are welcome to “see something a little bit different” at Femme Wave.<br />
24 | NOVEMBER <strong>2016</strong> • BEATROUTE
FEMME WAVE<br />
PEACH KELLI POP<br />
In Defense of Cute:<br />
the uniting force of power pop<br />
by Arielle Lessard<br />
The dreamy power pop ladies from Peach<br />
Kelli Pop (PKP) are getting ready to join<br />
Femme Wave for their first time in Calgary.<br />
At the core of PKP is Allie Hanlon, who delved<br />
into Ottawa’s DIY scene with her twin sister and<br />
learned drums at age 15, recently relocated to<br />
L.A. where she’s signed to Burger Records. While<br />
Ottawa “helped [her] gain the confidence and<br />
experience” she needed to start playing in bands,<br />
she’s happy to be using her fresh start to explore<br />
some creative freedom and make new relationships<br />
– like those with bandmates Gina and Sophie<br />
Negrini and Mindee Jorgensen.<br />
For those that are unfamiliar with Peach Kelli Pop’s<br />
magic, PKP loves Japan and Japan loves them. PKP<br />
puts out albums proficiently while keeping within a<br />
central visual theme of bright colors, pins, illustration,<br />
romantic neon, and smiles all around – things that<br />
might be considered Kawaii, or “cute” for English<br />
speakers. Though the definition can be expanded<br />
with a quick Wikipedia search, with original meanings<br />
that include “one’s face is aglow,” “dazzling” or even<br />
“able to be loved” and “lovable.”<br />
Hanlon addresses issues of dismissing “cute” too<br />
quickly, saying “people will [sometimes] listen to your<br />
music for five seconds and decide lots of different<br />
things about you and your music, which is frustrating.<br />
We have high pitched vocals and it sounds really<br />
feminine, but [at the same time] I’m 29, I’ve been<br />
touring and playing in bands for over a decade, I’m<br />
proud of our live show and how technically proficient<br />
we are at playing. I think when people see us live, they<br />
think this is a group of people that have paid their<br />
dues. Hopefully by seeing us [and] really listening<br />
to the music, people can see that there’s more than<br />
what they perceive to be cute.”<br />
The real misgiving may be categorizing cute, poppy<br />
energy as easy to pull off or somehow dismissible,<br />
when in fact being “lovable,” engaged, fueled-up and<br />
rosy can be infinitely hard to sustain. Peach Kelli Pop<br />
is the perfect embodiment of those fiercer qualities,<br />
and demonstrates vividly that cool, imaginative,<br />
thoughtful women often travel in groups and support<br />
one another creatively. In this way, and in direct<br />
alignment with Femme Wave’s mission, there is a rich<br />
collective togetherness that can grow out of these<br />
platforms. Hanlon notes that the best parts about<br />
being in a creative field are “getting to work with other<br />
people, playing live and going on tour with your<br />
friends and [ultimately] seeing people appreciate the<br />
work that you’ve shared.”<br />
When asked about her current projects, Hanlon<br />
dives in with excitement, and notes that she’s taking<br />
her time to work on the fourth Peach Kelli Pop<br />
album, having released three since 2010, they’ve been<br />
on a feel-good roll. Freshly back from a trip to Tokyo,<br />
Hanlon played six shows and stayed for 12 days, “so<br />
it was kind of like a vacation tour” where the girls<br />
“played shows and explored and hung out, so it was<br />
really magical.” They’ll also be going to Hawaii for the<br />
first time in February to play for a group of kids that<br />
fundraised through Failed Orbit Records to fly bands<br />
over, with Hanlon fully appreciating how “cool [it is<br />
for] people that really love music to [find ways to]<br />
have different bands that they normally wouldn’t get<br />
to see.”<br />
She also found time to do some work for the<br />
Cartoon Network with Victor Courtright, who approached<br />
her to do thematic music for Get ‘Em Tommy.<br />
Courtright himself is a high-octane illustrator and<br />
animator whose previous work has crafted a cartoon<br />
character called, quite literally, Officer Baby Teeth.<br />
“I was really excited about it and he showed me the<br />
different clips, the tone of his show, and I worked on<br />
it with a friend and fellow artist Natalie James.”<br />
Hanlon makes time for PKP by working a day<br />
job in the art world at a small business alongside<br />
illustrator Tuesday Bassen, who comes from a “similar<br />
background of punk music and an alternative scene.”<br />
Hanlon, who’s “open to so many different things,”<br />
raves about the girls she works with and the positive<br />
work atmosphere, “it’s really meaningful work with<br />
fun people! Things are constantly growing and changing,<br />
and [my] day to day is very fluid.”<br />
Peach Kelli Pop delves happily into issues like<br />
power, money, self-empowerment, beauty standards,<br />
broken hearts, and princess castles without ever<br />
losing an eternal sense of fun and their power pop<br />
roots. Hanlon says, “I always write from my heart and<br />
what I’m experiencing so there’s definitely a variety of<br />
topics that come out. So I think that if I’m feeling frustrated<br />
about something, it will come out and it may<br />
end up being something other girls can relate to.” Boy,<br />
can we ever. Lyrics like “she’s held together with glue,<br />
she’ll never disagree with you” from Plastic Love make<br />
for danceable feel-good songs with a soul.<br />
PKP’s latest collaboration with SHEVIL, a collective<br />
of female filmmakers in L.A., to produce a music<br />
video for their most recent Halloween Mask LP<br />
messes with beauty standards, and highlights the<br />
dazzling, bright monsters that make up PKP. Using<br />
smoky, kaleidoscope composite footage of all the<br />
band members’ faces, as well as monster masks and<br />
projected cartoon faces. Hanlon notes that they<br />
chose to work together after “the girls that run [SHE-<br />
VIL] stood out… because they had a clear idea of the<br />
music video they wanted to produce and they even<br />
had a budget written out… I was really impressed by<br />
how organized they were and especially how great<br />
their ideas were.”<br />
In a similar vein as Femme Wave, “they also run<br />
a monthly night for female-centric music, female<br />
performers, stand-up comics and bands… that’s<br />
something that I always try and kick my friends to,<br />
because it’s so fun.”<br />
For other artists, and budding musicians, Hanlon<br />
recommends “focus[ing] on having fun, because it’s<br />
harder to create when you’re focused on things that<br />
can stress you out, whether you’re getting certain<br />
opportunities that you’re hoping for, or what other<br />
bands are doing. So just focus about what makes<br />
you happy about making music, and enjoy the entire<br />
process.” Fans worldwide are evidently pleased that<br />
Hanlon is happy with the entire process and always<br />
manages to produce marvellously art that’s as cute<br />
as it is potent. On a wishful note, Hanlon’s dream<br />
collaborators include, without missing a beat:<br />
“Joey Ramone!<br />
Joan Jett!<br />
Kim Deal!”<br />
One would hope that Peach Kelli Pop won’t do<br />
away with any of their charm or cuteness anytime<br />
soon.<br />
Peach Kelli Pop perform at Dickens on Friday, <strong>November</strong><br />
18th.<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 25
FEMME WAVE<br />
CATL.<br />
Toronto duo puts traditional rockin’ roles out to pasture<br />
A<br />
big city duo with an eye for the wide-open<br />
countryside, catl is a breed apart when it<br />
comes to your typical stomp and holler<br />
outfits. Recently returned from a run of U.S. tour<br />
dates that saw them shaking the BBQ shacks and<br />
juke joints en route to the Deep Blues Festival in<br />
Mississippi, this punk raucous couple’s take on<br />
musical hybridization offers a vigourous alternative<br />
to bovine domesticity.<br />
“I think we play pretty straight-up rock and roll,<br />
but we can get kinda lumped into more sometimes<br />
punk rock, rockabilly, or the blues, or any number of<br />
things,” says catl’s drummer/vocalist Sarah Kirkpatrick<br />
of the band’s chameleon charms. “When it comes<br />
down to it, it’s just such a simplistic musical style, just<br />
drums and guitar, so people take what they want<br />
from it. Ultimately, what we’re trying to do is have a<br />
good time, and we want our audience to have a good<br />
time and feel the energy of what we’re doing.”<br />
As the other half of catl’s no bull equation,<br />
singer/guitarist Jamie Fleming pens tunes about<br />
frustration and betrayal, but also about letting<br />
your hair down and drumming up some unbridled<br />
joy. Previously a two-piece and then a trio,<br />
moving catl forward as a romantically-connected<br />
duo was a bold move that came after some<br />
considerable rumination. The decision to hand<br />
the drumsticks to Kirkpatrick marked the outfit’s<br />
rebirth and, having found their running legs, they<br />
haven’t looked back since.<br />
“Learning to play the drums was a big growth arc,”<br />
says Kirkpatrick. “I originally played the keyboards in<br />
this band when I joined in 2009. Jamie and I made a<br />
conscious choice, esthetically and energetically, we<br />
both wanted to stand up at the front of the stage and<br />
make this kind of presence with the two of us. Now<br />
I just play a floor tom and a snare. It’s really strippeddown.<br />
So, the challenge becomes how many things<br />
can you do with just two drums?”<br />
Embracing the opportunity to refurbish their<br />
gritty cowpunk repertoire, the inventive pair has<br />
prepared some specialty catl cuts for the <strong>2016</strong><br />
instalment of Femme Wave: Calgary’s Feminist Music<br />
& Arts Festival.<br />
“Since we were last in Calgary, we released our<br />
last album, This Shakin’ House, which features a<br />
song we wrote about our last experience in Calgary<br />
when we were invited to play Sled Island, but only<br />
got to do one of our shows because of the flood.<br />
We don’t play it live very much at all, so we’ll bring<br />
that song back, especially for Femme Wave. We’re<br />
really excited to be a part of it and flattered to be<br />
one of the headlining bands.”<br />
catl plays Femme Wave on <strong>November</strong> 19th at the #1<br />
Royal Canadian Legion (Downstairs).<br />
catl are fine-tuning their performance specifically for Calgary.<br />
by Christine Leonard<br />
FEMME WAVE NON-MUSICAL PROGRAMMING<br />
pop-up art, celluloid film and barrels of laughs flesh out the festival<br />
Adora Nwofor<br />
How Femme Wave is keeping its Arts festival mandate plural.<br />
26 | NOVEMBER <strong>2016</strong> • BEATROUTE<br />
As Femme Wave’s music programming grows in its<br />
second year, so too does the focus on comedy, film,<br />
visual art and community workshop events.<br />
Curators Sarah Adams (comedy), Dana Buzzee (art) and<br />
Adele Brunnhofer (film) were all tasked with adhering to<br />
Femme Wave’s vision to “program art that is accessible and<br />
showcase the talent of women and non-binary artists in<br />
warm welcoming spaces.”<br />
Starting from there, the three each applied their own<br />
expertise to put together a layered program representative<br />
of a range of experiences.<br />
Adams combined a call for submissions approach with<br />
direct offers to comedians she felt were a natural fit for<br />
the festival. When asked to spotlight a few key names, she<br />
says “Honestly I think the entire show will be a highlight.”<br />
The program is made up of very different comedic acts:<br />
Patricia Cochrane, Brittany Lyseng, Adora Nwofor (back<br />
for a second year) and The Dirrty Show. While they vary<br />
stylistically, there’s one thing these folks all share – their<br />
male dominated industry hasn’t always proved a comfortable<br />
context.<br />
“One of the reasons Femme Wave comedy is so valuable<br />
is that it's one of the few places these comedians can<br />
honestly speak to their experiences. Female-identifying<br />
experiences are just as real and relevant as anyone else's,<br />
and we're trying to give comedians more opportunities to<br />
openly share them,” says Adams.<br />
Buzzee emphasizes the quality of visual arts submissions<br />
to the festival, noting that she’d include them all if it were<br />
possible. As the program stands, part of her programming<br />
methodology comes from honouring the artists’ intent in<br />
the context their work will be presented in. You may be<br />
noticing a theme here.<br />
by Colin Gallant<br />
Art at Femme Wave will occur at three exhibitions<br />
comprising the works of 15 different artists. The Garden,<br />
occurring <strong>November</strong> 15th in an empty storefront at 1314<br />
1st St. SW, is “a thoughtful pop-up exhibition… all ghosts,<br />
shadows, and flora.” This Is What Makes Our Guts So Vibrant<br />
runs <strong>November</strong> 16th to 24th at U-Haul (upstairs at<br />
Truck Contemporary Art) and aims to “[build] a dialogue<br />
about identity by confidently destabilizing the hierarchies<br />
of dominant culture.” Finally, Un_form is a video exhibition<br />
that most fully embodies the element of activism at<br />
Femme Wave. Taking place <strong>November</strong> 16th to 30th at the<br />
Stride Gallery Project Room (downstairs), it will “[unpack]<br />
the performance of femme identities and sexualities [and<br />
critique] common coming-of-age narratives.” Both the<br />
ongoing shows will also have receptions.<br />
Femme Wave’s film component will include a single feature,<br />
the 1984 documentary Black Magic, as well a package<br />
of shorts (titles coming soon) presented in partnership<br />
with the GIRAF animation festival. Black Magic’s screening<br />
will be a special one for purists: it makes a rare appearance<br />
on celluloid thanks in part to the Calgary Society of<br />
Independent Filmmakers. Telling the story of a group of<br />
African-American girls abroad for the first time to compete<br />
in a double dutch championship, Brunnhofer notes<br />
its enduring timeliness and harmony between innocent<br />
excitement and illumination of marginalized perspectives.<br />
Finally, there are a host of all-ages, pay what you can<br />
workshops taking place at the festival. Check our Calgary<br />
Beat column for more info on that.<br />
Femme Wave’s non-musical components take place throughout<br />
the festival, with visual arts getting an early start on<br />
<strong>November</strong> 15th. Head to their website for full details.
ROCKPILE<br />
NOFX<br />
the agony of victory and going to work wasted<br />
by Sarah Mac<br />
New York Times bestselling authors (and enduring punk legends) åNOFX barge across the prairies for the first time in five years.<br />
It’s been five very long years since veteran<br />
punks NOFX have trashed our sweet province<br />
with their overwhelming presence.<br />
Hailing from Los Angeles, California, NOFX<br />
are legends of their own genre. Back in 1983,<br />
Fat Mike (Burkett), lead vocalist and bassist,<br />
along with guitarist Eric Melvin and drummer<br />
Erik Sandin (or Smelly, as he’s lovingly adorned)<br />
banded together to form NOFX. After a few<br />
tours and many failed attempts at a fourth<br />
member and second guitarist, Aaron Abeyta,<br />
or El Hefe as he’s been dubbed, joined the band<br />
in 1991. The four have remained together since<br />
and wreaked havoc in every country and city<br />
allowing them entry.<br />
Throughout their 33-year career, NOFX have<br />
released 13 full-length studio albums, four fulllength<br />
compilation albums, one split full-length<br />
record, two live albums, two DVDs, a plethora of<br />
EPs, singles and 7-inches.<br />
In <strong>2016</strong> NOFX had two major releases; their<br />
first book, The Hepatitis Bathtub and Other<br />
Stories, which debuted back in April, and in<br />
October their 13th full-length album First<br />
Ditch Effort dropped. Both the book and the<br />
album gave fans a glimpse into the band’s<br />
personal life, the history, the antics and the<br />
heartbreak.<br />
Their list of accomplishments is miles long,<br />
but NOFX isn’t slowing down. So we chatted<br />
with Fat Mike to reflect on this past year and<br />
the tour ahead.<br />
“Well you know, First Ditch Effort was the<br />
longest we’ve ever taken between albums, it’s<br />
been four years since our last. We didn’t want<br />
to rush it and I wanted to do an album where I<br />
could just relax and take my time. Since I usually<br />
just write what I’m feeling, the book opened up<br />
a lot of doors for me and made me feel comfortable<br />
talking about my deepest thoughts and<br />
secrets,” he says.<br />
“It turned out the way I wanted it to, though.<br />
There were six songs that didn’t end up going<br />
on First Ditch. They were more ‘fun’ punk rock<br />
songs and the album felt like it was supposed to<br />
be more sad and somber. But the LP version is a<br />
lot different, there’s at least five songs on there<br />
that are different. And check out the lyrics for<br />
‘Generation Z’ on the lyrics sheet cause they’re a<br />
lot darker than what’s recorded.”<br />
Although Mike’s dark depiction is accurate,<br />
NOFX always manages to lighten the mood.<br />
Songs like “Six Years on Dope” and “Sid and<br />
Nancy” are a familiar style known to earlier<br />
NOFX tunes. On the other hand, “I’m So Sorry<br />
Tony (Sly)” will require a tissue box for sure.<br />
“The LP version of ‘Tony Sly’ is much sadder.”<br />
He casually adds.<br />
On a lighter note, their book The Hepatitis<br />
Bathtub became a New York Times bestseller –<br />
not bad for a punk band, right?<br />
“That’s why we did the book tour and signings<br />
every day. You know, you have to sell nine<br />
or ten thousand to make the bestseller list, and<br />
on the book tour we only sold maybe 1,500<br />
books in a week,” he recalls.<br />
“So we were pleasantly surprised that we<br />
did make the list, but we would’ve been really<br />
bummed if we didn’t. We knew it was a good<br />
book, but we didn’t know how well it would<br />
sell,” Mike explains.<br />
“But that’s what is nice about books, it’s like<br />
putting out a good record in the ‘90s, it’s going<br />
to sell for 20 years. You put out a record these<br />
days, you only have a few months and then it<br />
becomes part of Spotify or Pandora. But a book,<br />
even though they’re on the Internet, people still<br />
like to buy them.”<br />
Let’s get to the tour though. For those<br />
keeping tabs on NOFX, you know that Fat Mike<br />
just finished a round of detox; many wonder if<br />
the detoxing will have any effect on the stellar<br />
debauchery NOFX have worked so hard to<br />
perfect. So we asked him and he’d like to clear<br />
things up…<br />
“I had 85 days where I was totally clean, but<br />
now I’m drinking before shows again. I’m just<br />
not taking painkillers anymore. I did a whole<br />
tour in Europe sober, it was fine but it’s just not<br />
as fun. So I decided I would start drinking before<br />
shows and see how it goes. And shows were<br />
more fun again. So I’m gonna stick with that for<br />
a while.” He laughs.<br />
“You see; the thing is I play better when I’m<br />
sober. But I had to ask, what’s more important?<br />
How much fun I have or how well I play?”<br />
We all know the answer to that question…<br />
“Yeah, that’s what I thought too.”<br />
NOFX plays at the Commodore Ballroom in Vancouver<br />
on <strong>November</strong> 4th and 5th, at Union Hall in<br />
Edmonton on <strong>November</strong> 7th and 8th, at MacEwan<br />
Hall in Calgary on <strong>November</strong> 9th and at the Burton<br />
Cummings Theatre in Winnipeg on <strong>November</strong> 11th.<br />
28 | NOVEMBER <strong>2016</strong> • BEATROUTE ROCKPILE
PUP<br />
following anything but familiar patterns<br />
think, for me, the whole band is about that<br />
cathartic release; I have a lot of pent up en-<br />
“I ergy, both positive and negative and I think<br />
writing aggressive, snotty music is a really good<br />
way to release some of that.”<br />
Toronto-based four-piece PUP is that punk/rock/<br />
amazing that these past few years fucking needed,<br />
pure unabashed raw, live energy. The band released<br />
their latest album The Dream Is Over in May, a<br />
volatile and personal record that shows PUP’s growth<br />
from their self-titled debut album. From the first<br />
single “DVP” to the almost-anthemic aggression of<br />
“Familiar Patterns,” the band have found audiences<br />
have easily connect with the music the new record,<br />
and it probably has something to do with the fact<br />
that when writing songs they’re always thinking<br />
about playing them live.<br />
“We recorded both our albums live off the floor,<br />
except for vocals and a couple overdubs; it’s important<br />
to capture that energy by all of us playing together<br />
in the same room rather than tracking drums<br />
and adding bass then guitar. That’s just never really<br />
worked for us,” explains lead vocalist and guitarist Stefan<br />
Babcock. “When you build songs and play them<br />
live, I think it’s important to track them live in the<br />
studio otherwise you lose a lot of energy. It’s always<br />
been the goal of each record to capture the energy<br />
of the live show.” That energy he talks about bears its<br />
teeth when listeners hit play or, better yet, catch the<br />
guys live; they’re that type of group that leaves your<br />
body writhing and buzzed, and you love it. “We’re<br />
The Toronto rockers continue on their near-endless tour.<br />
always on the verge of kind of falling apart as a band<br />
so it’s kind of probably fun for people to witness a<br />
train that is constantly about to be derailed.”<br />
To break it down, what keeps PUP going at full<br />
blast is the genuine respect for their band mates and<br />
the desire to be in a solid band that knows its shit,<br />
keeps their music unrefined and puts it out regardless<br />
of any bullshit. “We’re a highly dysfunctional group of<br />
adults to be honest. I think we’re all just motivated.<br />
It’s a combination of all of us being really motivated<br />
to succeed on our own terms, combined with a<br />
pretty deep respect for each other… It’s important<br />
to fight through all the bullshit and dysfunction and<br />
look at the bigger goal and kind of suck it up when<br />
you need to suck it up and put in the work and effort,<br />
and try not to let the little things get you down.”<br />
Starting their tour on August 27th, and aside from<br />
two days off in October, PUP will be on tour straight<br />
through to mid-December. That’s a little more than<br />
75 days. “It’s a lot of touring, pretty much nonstop.<br />
by Jamie Goyman<br />
Once that’s over I think we’ll take a much-deserved<br />
month-long break and catch up on life, do what<br />
normal people do. We already have plans to go back<br />
to Europe in January and February, take a month off<br />
and then get back to it,” tells Babcock.<br />
The band, who seem to be constantly touring, has<br />
got it down to an almost science when it comes to<br />
keeping sane for the never-ending life of 100-km/h<br />
scenery passing by. “It’s important to try your best to<br />
have your own space because you’re always around<br />
other people. I like to get up pretty early about once<br />
a week and take the van and go on a hike on my<br />
own… Just even tuning out the world, putting on<br />
headphones and listening to music and being in your<br />
own world is a really important part of my day. Being<br />
able to disconnect and go into my own world and<br />
listen to something that nobody else is listening to<br />
around me is pretty rejuvenating.” This is why when<br />
they hit the stage their live show is unforgettable, any<br />
room fills wild with the band’s potency and leaves the<br />
audience dripping and satisfied.<br />
Western Canada is no doubt ready for PUP to<br />
come through with what Babcock describes as “a<br />
loud noisy clusterfuck.” Perfect.<br />
PUP performs at the Cobalt in Vancouver on <strong>November</strong><br />
21st, at Lucky Bar in Victoria on <strong>November</strong> 22nd,<br />
at Commonwealth in Calgary on <strong>November</strong> 24th, at<br />
the Starlite Room in Edmonton on <strong>November</strong> 25th, at<br />
Amigos in Saskatoon on <strong>November</strong> 26th and at the<br />
Good Will Social Club in Winnipeg on <strong>November</strong> 27th.<br />
ROCKPILE<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 29
ALL HANDS ON JANE<br />
set this place on fire by Michael Grondin<br />
THE<br />
In a dim yet colourfully lit basement – with<br />
instruments everywhere, patch cords and stomp<br />
boxes on the floor, obscure yet familiar posters<br />
on the walls, and cans of beer within arm’s reach –<br />
comes a dense wall of fuzzy yet flowery rock and<br />
roll from All Hands on Jane (AHOJ), who never<br />
hold back when it comes to their heavy blend of<br />
whisky-soaked “sleazy Canadiana.”<br />
And it’s all about community for this four-piece from<br />
Calgary, with a sound that brings together dynamic<br />
elements of grunge, blues, garage and psych, influenced<br />
by four unique perspectives.<br />
Now in a cozy living room, AHOJ explain their methods<br />
of musical attack over beers and a couple shots.<br />
“We try to really just make it all about the music,<br />
about the rock and roll, and we just want to collaborate<br />
and share the stage with some badass people,” says<br />
bassist (and the newest addition to the band) Tammy<br />
Amstutz about playing live.<br />
The results of AHOJ’s inclusive approach results<br />
in high-energy, beer-crushing ballads suitable for a<br />
head-banging party with best buds in a dingy bar.<br />
“It started as a way to connect with people, and<br />
it turned into something I never expected. We really<br />
want to participate and help enrich the community<br />
we have going. We need every good artist we’ve got,”<br />
explains guitarist and lead singer Teri Wagner. “The<br />
ability to go out and play is so important to what<br />
makes music feel good. We just want to get out there<br />
and make everyone feel welcome and like they’re<br />
part of something.”<br />
To which keyboard player Kaitlin Gibson adds, “The<br />
people in this city are really good at sharing and supporting<br />
each other, which makes it so worth it.”<br />
Sorry I Set You On Fire is the band’s upcoming EP,<br />
All Hands On Jane’s latest “deliverable” comes in the form of a new EP.<br />
containing six psychedelic tracks inspired by the parties<br />
and people these “weekend warriors” play for.<br />
“If we had to sum everything up, it’s this simple:<br />
we just wanna rock everyone’s faces off and have a<br />
good time,” explains drummer Tess Graham. “That<br />
connection, and feeding off of a crowd’s energy –<br />
there’s no high like it. We’re fucking addicted to it<br />
and it keeps us going.”<br />
Now just over five years old, AHOJ have set their<br />
sights high with a focus on creating an experience while<br />
on stage. In an effort to keep productive, they continue<br />
to set high standards for themselves.<br />
“We have a monthly business meeting. We go over<br />
deliverables for the future. The now is fine. The now<br />
is great. But we don’t want it to be living paycheck<br />
to paycheck or booking show to show. We have long<br />
term goals and we try be as organized as we can,”<br />
explains Amstutz.<br />
“You can’t get a degree in how to be in a band,” adds<br />
Wagner with a laugh. “I’m so grateful we take the time<br />
to organize everything and set goals for ourselves.”<br />
However, when onstage, AHOJ don’t hesitate to get<br />
a bit wild.<br />
“We don’t want to just go up and wing it, even<br />
though that is who we are, but at the same time we<br />
make sure all the elements are in place so we can get up<br />
there, let loose and see what happens,” says Amstutz.<br />
“You know, wing it within reason,” adds Wagner.<br />
“We’re meticulous about the serious stuff. We get there<br />
on time, we practice and make sure everything is set up<br />
before we degrade into the party.”<br />
All Hands On Jane will be releasing their EP on December<br />
2nd at Nite Owl. You can also see them ever sooner in<br />
Vancouver - at SBC Restaurant on <strong>November</strong> 11th.<br />
photo: Matthew Cookson<br />
SWEETS<br />
getting Wild with new EP<br />
The Sweets promise an above-average spectacle for their coming release show.<br />
Calgary locals The Sweets are into “some<br />
weird shit.” On their first recorded<br />
release, Wild, they mix a multitude of<br />
genres to create their own sweetly unique<br />
sound. It’s a combination they describe as<br />
“sludgy blues and enchanting pop-rock” that invites<br />
you to “indulge in your inner moonchild.”<br />
The song the album is named after is “about<br />
going up against the forces of nature. Going into<br />
the wilderness and realizing that nature is stronger<br />
than you.” This frenzied forest motif carries<br />
throughout the entire album, with some songs<br />
featuring sampled sounds like wolf howls to add<br />
to its haunting tone. Similarly, the opening track<br />
“The Beast” follows a dramatic story of fighting<br />
against nature. The heavy bass and drums of the<br />
song build to create a thunderous climax that<br />
characterizes the mythic “Beast” in question.<br />
While one can assume the vast expanses of<br />
mountains and wilderness surrounding Calgary<br />
may have influenced Wild, inside the city itself<br />
Calgary’s music scene has been a huge influence<br />
on The Sweets. “The scene has been super<br />
supportive,” they admit. “Because we do sort of<br />
genre mix it’s been harder to figure out where we<br />
fit in or how we will work in a certain festival.” But<br />
that hasn’t stopped them from playing bills both<br />
locally and across Canada. “It’s a really strong community<br />
and we’re really lucky to be a part of it.”<br />
“Wild is a snapshot of who [the band] is...A<br />
tasting of all our different sounds. There’s a lot<br />
of variety,” The Sweets say of their forthcoming<br />
release. Some songs having a strong psychedelic<br />
influence, some a more folk-rock feel, and then<br />
there’s the odd “banging blues song.” When asked<br />
to explain their varied sound, even the band didn’t<br />
by Kennedy Enns<br />
photo: Erin Prout<br />
have a clear answer. “We don’t let a genre limit<br />
us,” they say, but instead describe themselves as<br />
a “multi-influenced rock group that plays for the<br />
animals in the forest.”<br />
“We go wherever we want with it. If we want a<br />
complicated, poppy bassline then that’s what we’ll<br />
do. That’s why you’ll hear weird shit from us,” they<br />
explain. Some have told the band that their sound<br />
is reminiscent of Cat Power or Feist, or more heavy<br />
psych-rock bands when they play some of their<br />
“harder and fuzzier songs.” The Sweets joke, “they<br />
can liken it to whatever they want really - as long<br />
as they dig it.” They continue, “come out, check<br />
it out and talk to us, and it’ll make much more<br />
sense.”<br />
The Sweets are very excited for fans to check<br />
out their live show. They’ve planned to make<br />
Wild’s release show quite special, with visual art<br />
elements punctuating their performance, and<br />
with an expanded lineup. “At the release, you’ll<br />
hear some of the songs we’ve written well after<br />
the songs on the EP,” they continue.<br />
Since recording, The Sweets have grown from<br />
their usual size to include back-up singers, a keyboardist<br />
and even an organ player. “We’re going<br />
to have eight people on that little, tiny Palomino<br />
stage,” they laugh. They’re also bringing in set design<br />
that incorporates artwork elements from the<br />
EP to further fill the space, but details of that are<br />
being kept secret. “We want to make everything<br />
big and special! It’s not going to be your average<br />
EP release,” they promise.<br />
The Sweets release Wild with The Northern<br />
Coast and The Heirlooms at The Palomino on<br />
<strong>November</strong> 18th.<br />
30 | NOVEMBER <strong>2016</strong> • BEATROUTE ROCKPILE
FRED PENNER<br />
not just nostalgic, still opening doors<br />
A<br />
couple of weeks ago, I had my four-year-old niece spend<br />
the weekend at my house, and it was an absolute joy.<br />
However, I was struck by some of the children’s programming<br />
she happened to like. Is it just the cynicism of growing older<br />
and thinking that the programming for the youth of today pales<br />
in comparison to that of my early ‘90s youth? Or is that these<br />
flashy, seemingly nonsensical shows really don’t compare to stuff<br />
like Raffi, Sharon, Lois and Bram and Fred Penner? <strong>BeatRoute</strong><br />
caught up with 69-year-old three-time JUNO winner Penner and<br />
discussed that and much more.<br />
“Well, there’s an attitude that a child’s attention span is so limited<br />
that they have to make these really quick hits to catch their<br />
attention… So I guess the answer is no, I don’t think really think<br />
there is enough being done to really give that respect and understanding<br />
of the range of expression that children can appreciate.”<br />
Penner speaks in a thoughtful, articulate manner, recalling<br />
countless memories and feelings from his youth and extensive<br />
history in family programming, weaving it brilliantly into his<br />
responses. It is no question that he was an important, almost<br />
archetypal figure of countless young people’s upbringing, and<br />
with his Order of Canada designation and multiple JUNOs, it’s<br />
clear that he’s recognized as an icon of Canadian culture as well.<br />
When asked what some of his own role models from his youth<br />
growing up in Winnipeg before Saturday cartoons took over and<br />
radio still reigned supreme, Penner responded:<br />
“There was a character, who I’m sure you will not recognize,<br />
called The Great Gildersleeve and he had this beautiful voice<br />
and wonderful style of telling. I remember plugging in my little<br />
earphones and listening to this character share his stories and I<br />
remember the power of that, of listening to a voice taking me on<br />
this journey; so perhaps that set a foundation for my appreciation<br />
for the human voice.”<br />
A long time pet peeve of Penner’s has been the condescending<br />
manner in which many producers of children/family programming<br />
address their young audiences.<br />
“So many entertainers who think they’re going to be working<br />
for children feel that they have to change the way that they talk<br />
or the style to, in a sense, dumb down their phrasing for children<br />
because they’re just smaller than us,” states Penner. “And I just<br />
think that it’s actually quite the opposite, I think the more that<br />
you speak to a child with absolute respect for their ability to understand<br />
you, or to understand the energy that they’re giving to<br />
you, the words may not connect necessarily but it’s the strength<br />
of speaking to another human being in a respectful and grown<br />
up way.”<br />
On his program Fred Penner’s Place, which aired on CBC from<br />
1985 to 1997, he had a mantra he practised for times when he felt<br />
overwhelmed or lost in the technical aspect of filming the show.<br />
His director would simply say to him, “one child,” which reminded<br />
Penner to speak into the camera as if he was simply addressing just<br />
one individual child. Another of his mantras is “never underestimate<br />
your ability to make a difference in the life of a child.” He says<br />
these phrases still constantly hold true in his life.<br />
Penner currently has yet another full-length album, set for<br />
release in spring of 2017, coinciding with Canada’s 150th anniversary.<br />
He still tours regularly, and Penner’s Calgary and Edmonton<br />
shows are 18+ events; he describes them as nostalgic, fun, audience<br />
participation, encouraging all the old “Fred-heads” to come<br />
and get engaged, and relish in a living component of their youth.<br />
Fred Penner performs in Edmonton at The Needle on <strong>November</strong> 25th,<br />
and in Airdrie for Fred Penner Christmas with Foot<strong>print</strong>s of Learning<br />
Choir (all-ages early show) and at the Palomino in Calgary alongside<br />
Clinton St. John on <strong>November</strong> 26th .<br />
by Paul Rodgers<br />
Fred Penner is stopping in <strong>Alberta</strong> for some shows tailored to all ages.<br />
ROCKPILE<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 31
HELLO MOTH<br />
ROSALIND<br />
reborn in the next life by Keeghan Rouleau it takes a village to raise a band<br />
Hello Moth, and welcome back to the spotlight<br />
after three years, as he returns with<br />
Slave in a Stone, his second studio album.<br />
Following Infinitely Repeated, Slave in a Stone<br />
takes inspiration from the passing of life, and the<br />
evolution it represents, rather than the crushing<br />
weight of loss. The result is an emotional mix of<br />
electronic music and chilling vocals; “soulless soul”<br />
as the artist likes to call it.<br />
When asked how death inspires him, Hello<br />
Moth (who prefers to be referred to as his artistic<br />
name) references his necklace, an Egyptian ankh, a<br />
symbol of eternal life which clearly speaks volumes<br />
to him.<br />
“The idea of the afterlife, I love all of that stuff,”<br />
says Moth. “The idea of death being representational,<br />
you know, to take a more mystical<br />
approach. Don’t read too much into my reference<br />
of tarot cards here but, if you get the death card in<br />
tarot, it doesn’t mean death, it means change.”<br />
In the three years since his last album, Hello<br />
Moth has done his fair share of change. While still<br />
keeping the charm he had in his first album, Moth<br />
has created a more saturated sounding album in<br />
terms of emotion.<br />
“It’s the idea that the extremes have been<br />
expanded… Creative asymptote, making the<br />
darkness darker and the light lighter,” he describes<br />
of the growth.<br />
Using his trademark synthesizer, Hello Moth<br />
Hello Moth saturates new release with darker dark and lighter light.<br />
plays us a symphony of new and old - more old in<br />
the case of “The Waters of Babylon.” The song was<br />
originally written by Philip Hayes over 200 years<br />
ago, beautifully brought back to life with Moth’s<br />
rendition.<br />
“That song on the album is kind of the revelation<br />
as to one of the themes that I was thinking<br />
of [with] many instances in my lyrics, and I hadn’t<br />
really realized this until I started figuring out the<br />
track-list. But the lyrics will invoke religion and<br />
violence, and some sort of juxtaposition between<br />
the two.”<br />
In the lead-up to the album’s release, Moth<br />
comments, “Duality and contrast are important<br />
in my songs. I want the music to be both light<br />
and dark when you listen, slow when it’s fast and<br />
alive when it dies. I want every sound, shape and<br />
survival to have silence, colour and instinct. That’s<br />
what recording this album has been about for me<br />
– finding a reason for one piece to exist by linking<br />
it with another.”<br />
If you’re a fan of Hello Moth’s work already, or<br />
just someone looking to hear something truly<br />
unique, Slave in a Stone is an intriguing listen<br />
that will leave you pondering the lyrics while the<br />
catchy rhythms play over and over in your head.<br />
Hello Moth releases Slave in a Stone digitally on<br />
<strong>November</strong> 4th. He’ll be announcing a release show<br />
shortly.<br />
photo: Kenneth Locke<br />
“A really healthy local scene is like a healthy human body,” says Rosalind.<br />
Rosalind is a band named after a cat, which<br />
was named after Rosalind Franklin. She<br />
was an influential 20th-century scientist<br />
who never got the recognition she deserved<br />
(the scientist, not the cat. Although the cat was<br />
probably influential in her own right). Thanks<br />
to the supportive Calgary community and help<br />
from local arts hot-spot Market Collective,<br />
Rosalind (the band) are deservedly being recognized<br />
for their own talent and potential.<br />
The seeds of the band were sown at a New<br />
Year 2015 jam and the roots grew fast. What<br />
began as a trio of Jesse Shire on banjo, Amanda<br />
Rishaug on mandolin and Mike Goossen on guitar,<br />
has blossomed into a seven-piece indie folk<br />
orchestra in under two years. Since their inception,<br />
Rosalind has developed a diverse resumé,<br />
performing their warm, homegrown music at<br />
Frog Fest, on the Northern Sessions, Shaw TV’s<br />
SoundScape, and with Market Collective.<br />
The latter connection has afforded them an<br />
opportunity to collaborate with other local artists<br />
and develop some creative capital. Market<br />
Collective turns eight this year, and rather than<br />
hosting an event to celebrate, they decided to<br />
launch eight new community-strengthening<br />
initiatives; one of which was the Market Collective<br />
Musician Sponsorship, which Rosalind was<br />
awarded in October.<br />
“We aimed to celebrate every component<br />
that makes Market Collective events so<br />
special. Our live music stage is a highly unique<br />
experience for Calgarians – in that MC offers<br />
paid gigs and visible promotion to over 100<br />
bands and DJs each year and has remained<br />
one of the most consistent all-ages venues in<br />
the city.”<br />
Market Collective’s music director Brendan<br />
Kane explains, “We love the element of music and<br />
local talent at our events. As a thank you, we held<br />
by Andrea Hunter<br />
photo: Naomi Brierley<br />
a contest for local musicians offering a chance to<br />
work with our production team.”<br />
Rosalind will be making a music video with<br />
Kane, recording a song with the help of Ben<br />
Nixon, and doing a photo shoot with Mike Tan. As<br />
Shire puts it, “They’re using what resources they<br />
have: people, facilities, and using it in such a good<br />
way. We really appreciate the opportunity.”<br />
Ben Longman, cellist for Rosalind, continues,<br />
“That’s something Calgary is very good at… A<br />
really healthy local scene is like a healthy human<br />
body. You get out what you put into it. So by<br />
grabbing all these people together….by cultivating<br />
that kind of crowd and audience, they’re ensuring<br />
they have the ability to be a beacon of awesome<br />
Calgary creativity. That’s something that doesn’t<br />
happen everywhere.”<br />
All of Rosalind’s members recognize the importance<br />
of community in fostering a band’s success.<br />
The band would not be where it is today without<br />
the support of everyone, from house concert<br />
hosts to local television stations dedicated to<br />
promoting the local arts. They are forever grateful<br />
for the opportunities they’ve been afforded. Says<br />
Shire, “It’s a huge leg up for us, and we’re super<br />
grateful. Market Collective is such a recognized<br />
name around the city that having us attached to<br />
them, it really does mean a lot to us.”<br />
And their advice for new artists and bands is to<br />
immerse yourself in the creative community. “Be<br />
involved,” Longman says, “what you’re doing will<br />
fluctuate, but you’ve got to connect to the scene<br />
and make sure you’re listening to what’s happening<br />
around you to improve what you’ve got.”<br />
While we wait to see what magic is created<br />
through the sponsorship, keep an eye out for<br />
live releases of Rosalind on Northern Sessions in<br />
<strong>November</strong>, as well as their feature on SoundScape<br />
later in <strong>2016</strong>.<br />
32 | NOVEMBER <strong>2016</strong> • BEATROUTE ROCKPILE
DRAGONETTE<br />
keeping things interesting and emotionally real for their fourth LP<br />
is the only thing I’ve considered doing, I’ve always<br />
sung. It’s lucky that it worked out,” Martina Sorbara reflects<br />
“[Singing]<br />
on the blast-off career she has shared with Dan Kurtz and<br />
Joel Stouffer as Canadian three-piece electro-pop/indie band Dragonette.<br />
Royal Blues is their fourth LP, and perhaps the biggest departure from<br />
Dragonette’s norm. The beautiful, large pixelated tears adorning Sorbara’s<br />
face on the album cover is no small hint of some emotional themes. In<br />
Sorbara’s words, these “came from life experience. The only way I write is<br />
from what’s happening and what was happening was some pretty hard<br />
times. My emotional self lives inside and the only way it really comes out<br />
is songwriting.”<br />
With the attention-deficit trend of music, the preference of singles<br />
and other channels of releasing music over full length albums within the<br />
electronic world, I asked about Sorbara’s relationship with the mediums<br />
of releasing music, to which she replied, “There is the question of what<br />
is the point of waiting until you have ten songs to release a full-length. I<br />
think Dragonette is a little bit outside of that world. We’ve written such<br />
a range of music on our albums, I think what our fans appreciate about<br />
us is our quirky album tracks and the weird left field shit that comes up<br />
on the album, and that’s important to us. The way we identify who we<br />
are is by that range I don’t think we’d be the same band, or interesting to<br />
ourselves.”<br />
Amidst the personal difficulties facing Dragonette, the phoenix of the<br />
tribulation is Royal Blues. The process changed, but the bouncy beats enjoyed<br />
by electronic and instrumental lovers alike are firmly in place within<br />
the album. “The process of writing [this] record included more songwriting<br />
with others. Collaborating was something I hadn’t done a lot of before.<br />
I spent a lot of time travelling writing with basically strangers. Before it<br />
was more of a home studio writing process with [Kurtz]. The music this<br />
time wasn’t specific for Dragonette, I wanted to see what came out of it.”<br />
Dragonette play the Pyramid Cabaret in Winnipeg on <strong>November</strong> 16th, Louis’<br />
Pub in Saskatoon on <strong>November</strong> 17th, the Starlite Room in Edmonton on<br />
<strong>November</strong> 18th, the Gateway in Calgary on <strong>November</strong> 19th, the Sapphie in<br />
Kelowna on <strong>November</strong> 22nd, the Imperial Theatre in Vancouver on <strong>November</strong><br />
23rd and Sugar Nightclub in Victoria on <strong>November</strong> 24th.<br />
Dragonette remain a bit of an enigma in the fast-paced world of electronic music.<br />
by Erin Jardine<br />
ELEPHANT STONE<br />
liquid light and swirling sitars<br />
ROCKPILE<br />
Rishi Dhir, the inspiration behind Montreal’s<br />
Elephant Stone (ES), is a dedicated follower<br />
of fashion draped in psychedelia. Since<br />
the band’s inception in 2009, Dhir has steadily<br />
travelled down the trippy, tranquil, mystical road<br />
of pop paved by those crazy mop-tops once they<br />
ditched the suit and ties and picked up the sitar.<br />
But it certainly isn’t all a Beatlesque branding of<br />
nostalgia. In addition to the psych connection, there’s<br />
a lot of other stuff ringing inside their songs — The<br />
Kinks, Byrds, surf, disco — lots of styles and instruments<br />
that push pop in different direction. It’s far too<br />
limiting to classify simply them as a “psych” band.<br />
“I love a lot of different styles of music, always<br />
have,” says Dhir revealing his interests. “As a<br />
teenage boy, I had one foot in the grunge-Britpop<br />
scene and the other in the ‘70s disco-ABBA<br />
world. I’m always looking for new music to get<br />
excited about and, subconsciously, the music gets<br />
absorbed into Elephant Stone.”<br />
He adds that as the sound of ES evolves and<br />
expands, along with his song writing, he retains a<br />
“singular voice” that gives the band its identity. “I<br />
make music that I want to hear, whether it be a collection<br />
of Big Star power poppers, Hindustani raga,<br />
dirgey psych-rock, four-on-the-floor disco, no matter<br />
how I package the songs, they will always sound like<br />
Elephant Stone.”<br />
by B. Simm<br />
Always keen to explore new horizons, Dhir say he’s<br />
“intrigued by the possibilities of electronic music.”<br />
Drenching themselves in a kaleidoscope of colour<br />
and sound lends to stage sets that are visually<br />
appealing with an assortment of low-tech props, projections<br />
and liquid light shows. Dihr acknowledges<br />
dressing thing up, but quickly dispels any notion that<br />
it’s gimmicky. “I feel our stage presence and show is<br />
dynamic enough that we do not need to hide behind<br />
fog machines. People want to feel, hear and see the<br />
sitar,” he contends rather joyfully.<br />
Following the quest for greater harmony, internal<br />
Zen and l-o-v-e, ES isn’t just a celebration of ‘60s<br />
psych as an art form. The songs on their latest release<br />
Ship of Fools (Sept. <strong>2016</strong>) question and challenge<br />
the motives of the corrupt and those that mislead.<br />
There’s a subtle protest, a confrontation underneath<br />
the swirling melody.<br />
“Well,” says Dihr, “I am a citizen of the world. I am<br />
not immune or blind to all the injustices that I see.<br />
Elephant Stone is the medium in which I can voice<br />
my opinion and views. In some ways, it’s the ultimate<br />
form of propaganda… preaching peace, love, understanding<br />
to a backbeat.”<br />
Elephant Stone bring their love-in to the Aviary in<br />
Edmonton on Thursday, Nov. 10 and the Palomino in<br />
Calgary on Friday, Nov. 11.<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 33
COMING TO TOWN<br />
DESTROYER<br />
You don’t actually need a<br />
pitch to convince you to go<br />
see Destroyer, do you? Dan<br />
Bejar is one of Canada’s most<br />
important contemporary<br />
songwriters with a back<br />
catalogue of nearly 30 releases<br />
(as Destroyer and as part of<br />
The New Pornographers, Swan<br />
Lake, et al). His dizzying lyrics<br />
circle through grand scale<br />
romance and adventure that<br />
are as at home in a back alley<br />
of the fifth arrondissement as<br />
they are in an immaculate theatre.<br />
Tickets are long sold out<br />
for his solo show at Festival<br />
Hall on <strong>November</strong> 12th: head<br />
to Kijiji post-haste.<br />
CALGARY BEAT<br />
Nicole McDonal of Not Enough Fest Edmonton will lead a workshop on Noise at Femme Wave.<br />
ANIMALS AS LEADERS<br />
Not everyone is into progressive<br />
metal, let alone its spin-off genre<br />
“dejent” (an onomatopoeia for the<br />
distinctive high-gain, distorted,<br />
palm-muted, low-pitch guitar sound,<br />
according to Wikipedia), but Animals<br />
as Leaders certainly aren’t letting that<br />
stop them from making ingeniously<br />
experimental, instrumental music.<br />
They’ll be playing on Friday, <strong>November</strong><br />
18th at the MacEwan Ballroom<br />
in celebration of their brand new<br />
album The Madness of Many, one of<br />
the standout records in this month’s<br />
reviews section.<br />
HANNAH EPPERSON<br />
Think you’ve been-there-donethat<br />
on live-looped violin music?<br />
Meet Hannah Epperson. Using<br />
plucked, bowed and otherwise<br />
manipulate string sounds, a<br />
massive yet intimate voice and<br />
a Lorde-reminiscent clatter of<br />
minimal electronics, Epperson<br />
intersects personal moments with<br />
big melody and conceptualization.<br />
Epperson plays Nite Owl on <strong>November</strong><br />
16th alongside Toronto’s<br />
Omhouse, in support of her debut<br />
album Upsweep.<br />
LOWELL<br />
Inventive vocalist and former Calgarian<br />
Lowell will be stopping back in town on<br />
<strong>November</strong> 19th at The Gateway alongside<br />
Dragonette. Summer’s Pt 1: PARIS<br />
YK EP showed the world a voice that<br />
works as powerfully singing big choruses<br />
as it does as a sound-sculpting instrument.<br />
With help from producer Zale<br />
Epstein (Kendrick Lamar, Schoolboy Q),<br />
Lowell has one of the most interesting<br />
rhythm-driven pop releases on her side.<br />
This one is sure to be a dance party.<br />
• Colin Gallant<br />
The Calgary Beat Column returns just in<br />
time for winter to take hold of us with<br />
its iron grasp. My favourite season of<br />
pumpkins and costumes turns to colder days<br />
with less colour, and it’s kind of the perfect<br />
time to settle down and work on projects or<br />
learn new things, and this month has plenty<br />
in store in that respect.<br />
I’m sure there’s a chance people are a<br />
bit partied out after roughly two weeks of<br />
Halloween bashes, but if you’re still craving<br />
a little extra costumed capering, Le Cirque<br />
de la Nuit is hosting a Dia de Los Muertos<br />
(Day of the Dead) party on <strong>November</strong> 4th<br />
at Marquee. There will be spooky roaming<br />
characters and circus performers galore to<br />
delight all the senses.<br />
If you are looking to spark your creative<br />
flair, head to Paint Nite on Sundays at 7:00<br />
p.m. in Kensington for a little wine-infused<br />
art making! These events are led by artist<br />
Caitlynne Medrek through <strong>November</strong>, follow<br />
a different theme each week, and take place<br />
in the beautifully retro-classic PRLR Lounge.<br />
It’s best to pre-register (paintnite.com) to<br />
reserve a spot.<br />
<strong>November</strong> 10th, Calgary Communities<br />
Against Sexual Abuse bring us a Men in<br />
Feminism discussion and panel at the Women’s<br />
Resource Centre in U of C. This aims to<br />
bring light to the ways masculinity is shaped<br />
through media and how this affects all of us.<br />
It’s definitely a healthy dialogue that needs to<br />
become more commonplace.<br />
On <strong>November</strong> 12th, Major Minor brings us<br />
photo courtesy NEF Edmonton<br />
the first <strong>edition</strong> of Punk Rock Bowling at Paradise<br />
Lanes. This <strong>edition</strong> features Miesha and<br />
the Spanks, Streetlight Saints, River Jacks,<br />
and Class Action and is an all-ages event.<br />
Then, on <strong>November</strong> 16th, Rockin 4 Dollar$<br />
at Broken City brings us a special <strong>edition</strong><br />
night featuring Calgary Bands as Calgary<br />
bands. This could get pretty hilarious, so sign<br />
up now if you are an artist/band who wants<br />
to play as another local act.<br />
Femme Wave fest comes to us on the<br />
17-20th and in addition to great music,<br />
the festival is also presenting a ton of fun,<br />
by-donation workshops on Sunday the 20th.<br />
These workshops include a hip-hop lyricism<br />
session, a sword fighting class, and finger<br />
weaving and astrology workshops. For the<br />
full details, read our cover stories and head<br />
to femmewave.com.<br />
And finally, another important info session<br />
takes place at Emmedia on <strong>November</strong> 24th.<br />
Spirit of Truth Productions has organized<br />
a Fentanyl Awareness and Narcan Training<br />
Session. If you go to shows or are at all<br />
involved in the party scene, this info session<br />
is very important. Unfortunately, fentanyl has<br />
had an insidious impact in a lot of scenes,<br />
and learning about it and how to reduce<br />
harm is essentially the best weapon we have.<br />
Register now to reserve a spot. The session<br />
will teach participants how to use a Narcan<br />
kit to respond to overdoses, and will offer<br />
a ton of helpful info on the subject. Harm<br />
reduction saves lives!<br />
• Willow Grier<br />
34 | NOVEMBER <strong>2016</strong> • BEATROUTE ROCKPILE
EDMONTON EXTRA<br />
THE JAMES T. KIRKS<br />
revving the Iron Horse<br />
The starting line for the James T. Kirks was<br />
inauspicious. The band booked their first<br />
show at the now-long gone Punk ‘n’ Junk<br />
record shop, but they weren’t able to play it. Their<br />
drummer had just been grounded. The road that<br />
travels between that time (199x) and now for the<br />
James T. Kirks is longer than a continental Mexican<br />
road race. Luckily, holding the band together while<br />
hurling forward and staying on track is made<br />
easier when you have the steady hand of a trained<br />
mechanic handling the engine.<br />
Ted Wright, guitarist for the Kirks, runs an<br />
automotive repair shop in Edmonton. He and the<br />
rest of the Kirks crew, brother Rob Wright and<br />
original drummer Silas Grenis, spent their earlier<br />
years rehearsing in a tire shop’s storage garage. The<br />
group is well versed in how to keep all their wheels<br />
spinning in the same direction. After roughly 20<br />
years of shows, a string of other projects, and the<br />
perpetual tease of an unreleased full-length, the<br />
present day James T. Kirks are set to release a new<br />
7” titled Tales of the Iron Horse. Given Wright’s<br />
propensity for hot rod cars and fast guitars, it’s<br />
recklessly clear why the new 7” takes its inspiration<br />
from the story of a legendary race car, El Caballo<br />
de Hierro (Iron Horse in English) and bolts it to the<br />
chassis of the Kirks’ signature surf-punk sound.<br />
Surf rock is a genre better known for single word<br />
shouts rather than lyrical verbosity so the band enlisted<br />
Trevor Sieben to illustrate the narrative tale<br />
of the El Caballo de Hierro in the form of a comic<br />
book that accompanies the record. The tale of El<br />
Caballo de Hierro is the kind of unconventional<br />
underdog story that draws a grin across the face of<br />
anyone with even a hint of outlaw romanticism.<br />
AK Miller was an American mechanic and race<br />
car driver through the first half of the last century<br />
who was happy to drive anything available:<br />
derelict or well-designed. When the Mexican<br />
government created a road race to commemorate<br />
the completion of the border-to-border Panamerican<br />
highway, Miller entered the 2,000-mile<br />
race in an Oldsmobile sedan. The sedan gave way<br />
halfway through leaving Miller’s first attempt<br />
by Levi Manchak<br />
at the race unfinished. Determined to return,<br />
Miller then cobbled together a crew of backyard<br />
mechanics who, with Miller, designed their own<br />
Frankenstein by putting together a hot rod using<br />
parts from all different kinds of cars. Lacking any<br />
substantial sponsorship, the team drove the car<br />
through Mexico to the starting point of the big<br />
race themselves, completing it this time with an<br />
eighth place finish. Upon return the following<br />
year, and after a few more tweaks to El Cabillo<br />
de Hierro/The Iron Horse, the ramshackle racing<br />
team lead by Miller finished fifth in their class –<br />
only behind four Ferraris. Even underdogs have<br />
sharp teeth.<br />
An obvious gear head himself, Wright is no<br />
stranger to the art of building his own Frankenstein.<br />
His guitar rig is a collection of “weird old<br />
amps and weird old guitars” (including a Japanese<br />
copy of a Gibson ES-175d, given to Wright by<br />
<strong>BeatRoute</strong> publisher Brad Simm) that he uses to<br />
steer his fast, flat-picked surf riffs, defining the<br />
sound of Tales of the Iron Horse. While the current<br />
finish line for the band is the release of the 7” and<br />
comic book, the James T. Kirks have never been in<br />
it for the short haul. With 20 years as a band in the<br />
rear view mirror, the race they are built for is a long<br />
distance rally.<br />
Copies of the 7” will be available in independent record<br />
stores in Edmonton and Calgary following their release<br />
shows Nov. 18th at Brixx in Edmonton and Nov. 19th<br />
at the Palomino in Calgary.<br />
DAYDREAMING<br />
no wave group comes alive on first full-length album<br />
In a time when super productivity seems unreasonably<br />
prized, it’s refreshing to see a band do<br />
things in their own time. Edmonton’s Daydreaming<br />
released their first EP, Dazed, before ever having<br />
played a show.<br />
Taking their time in between releases to focus on<br />
school and other projects, they simply did not rush<br />
into any part of the musical process. The no wave<br />
four-piece has done some shows and a small tour but<br />
seem quite relaxed in their attitude toward creating<br />
their art.<br />
ROCKPILE<br />
Almost two-and-a-half years later, they’re now<br />
poised to unleash their first self-titled LP and it<br />
appears they’ve learned a lot along the way. Coming<br />
from several other bands around the Edmonton<br />
scene like Tuques, Weird Year, Feed Dogs, Begrime<br />
Exemious, the band combines several skill sets to<br />
birth the hollowed-out, droning post-punk sound<br />
they’re growing into.<br />
Originally, it was guitarist/vocalist Durell Smith<br />
who began the band inadvertently by showing his<br />
friends a few guitar riffs in his basement. With a<br />
shared love of Sonic Youth and the no wave movement,<br />
combining to form Daydreaming was a refreshing<br />
and fun way of exploring this particular style.<br />
A few line up changes later, they’ve cemented their<br />
formula for their post punk explorations with the<br />
help of bassist/vocalist Alana Taylor, drummer Derek<br />
Orthner and guitarist Matthew Lecky.<br />
Taylor sat down with <strong>BeatRoute</strong> over breakfast to<br />
talk more about their upcoming release and what it’s<br />
really like to be a girl in a band of dudes.<br />
<strong>BeatRoute</strong>: In listening to the new recording,<br />
one of my first thoughts was: Alana must<br />
really like Sonic Youth.<br />
Alana Taylor: [laughs] It’s the only vocal range I can<br />
get away with.<br />
BR: So how does this new recording compare<br />
to the first tape?<br />
AT: It was really the first time Durell and I had sung<br />
in bands and we both weren’t really sure what to do<br />
with the recording. We did it in Durell’s basement<br />
with Derek mixing and mastering it. So the first tape<br />
was pretty amateur. This time we did separate instrument<br />
tracking and I knew a bit more about what<br />
my vocal range would be. This time we challenged<br />
ourselves to come up with better and more complicated<br />
riffs and I challenged myself with my lyric<br />
writing and vocals as well. I don’t think we knew what<br />
kind of sound we were going for yet, so this is a better<br />
example of what we want to sound like.<br />
by Brittany Rudyck<br />
BR: What have you guys been up to since the<br />
first tape, and besides this new recording?<br />
AT: We did a small tour last year and went to Saskatoon,<br />
Regina and Winnipeg. There’re quite vibrant<br />
scenes in those cities. Winnipeg was the only kind of<br />
weird one. They seem to have more of a metal scene<br />
and we’re not quite metal. We played with a metal<br />
band there and I remember distinctly singing into the<br />
microphone and this girl in the background wasn’t<br />
looking so impressed. It reminded me why it’s hard to<br />
be a girl in a metal scene sometimes.<br />
BR: Why is it hard to be a girl in a metal<br />
scene?<br />
AT: It was worse when I was playing in Vitriolage with<br />
Derek and my friend Jaylene. So many dudes would<br />
come up to us and ask if our boyfriends had taught<br />
us how to play or that we’re so good for girls; a lot of<br />
that stuff. It felt like a lot of the time we were being<br />
patronized or tokenized. The scene Daydreaming is<br />
part of now seems more inclusive. We love playing<br />
with Rhythm of Cruelty and other strong female<br />
bands. These people seem to know which kind of<br />
language to use to make the scene more inclusive.<br />
Catch Daydreaming at their tape release show in<br />
Edmonton on <strong>November</strong> 12th at the Panch Haus with<br />
TEETH and Pike.<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 35
BOOK OF BRIDGE<br />
LEEROY STAGGER<br />
reflecting on Peak Performance Project one year later<br />
“I Leeroy Stagger explains. Winning last year’s<br />
always figured that in this business you just<br />
have one shot and I had already blown it,”<br />
Peak Performance Project earned him a $100,953 pay<br />
cheque, and gave him a second chance to revitalize<br />
his musical career. You could hardly blame him if he’d<br />
spent the money foolishly. Instead, one year later,<br />
things look brighter than ever.<br />
“I feel like now my career is having a resurgence<br />
and this time I’m able to deliver the goods,” Stagger<br />
says. In addition to the pressure of his big victory, his<br />
second son was born shortly thereafter. Like an iron<br />
forged in flame, Stagger used these forces to focus on<br />
the next step and built a beautiful new studio on the<br />
back of his house.<br />
“It was really born of this idea of not wanting to be<br />
on the road quite as much and I was going through<br />
a bit of an identity crisis where my career had stalled<br />
out,” Stagger says. “I had a great little studio before,<br />
but when Ewan came along it was obvious we needed<br />
the extra space.”<br />
We snake our way through the kitchen, down the<br />
stairs, through the hall and finally exit the house into<br />
the studio – the two connected by a thin portal.<br />
It’s clear that Stagger has made the most of his little<br />
space, explaining that the studio is actually bigger<br />
than the house.<br />
The past few years had seen Stagger shift more<br />
towards a production and engineering role, and his<br />
Peak Performance win allowed this transition to ramp<br />
up, enabling construction of the new studio this past<br />
spring. Of course, he’s still a performer at heart, and was<br />
in there to record his upcoming album the day after<br />
construction was completed.<br />
“I almost didn’t do it.” Leeroy Stagger talks opportunity and gratitude.<br />
by Tyler Stewart<br />
“We were really crossing our fingers,” Stagger says.<br />
“Two days before the band showed up we were still<br />
wiring the studio, but it all came together.”<br />
A new recording contract with True North<br />
Records will see his upcoming album released next<br />
spring, with Stagger pushing his sound into new<br />
directions. Featuring producer Colin Stewart at<br />
the helm, sonic boundaries were broken, giving the<br />
album a different, though familiar edge. “It sounds<br />
like a Leeroy Stagger album, but not like anything<br />
I’ve released before,” he says.<br />
Now that the Peak Performance Project has been<br />
reshaped into Project Wild, focusing on only country<br />
music after the sponsoring radio station changed formats,<br />
this opportunity is more limited than before.<br />
As artist development opportunities keeps shrinking,<br />
will the next generation of <strong>Alberta</strong> musicians get<br />
the same chance Stagger has? Being a long-term<br />
music industry veteran, he certainly doesn’t take this<br />
second chance for granted.<br />
“It’s really a drop in the bucket in terms of what I’ve<br />
invested in my career over the years, but it just changed<br />
my perspective on things,” Stagger reflects. “It gave me<br />
some validation after 15 years of slugging it out, sleeping<br />
on couches and playing to empty rooms.”<br />
Maybe you can teach an old dog new tricks. In<br />
Stagger’s case, he’s certainly bucked the trend of that<br />
worn-out cliché.<br />
“I almost didn’t do it,” Stagger laughs. “I thought I’d<br />
be the old man in the group.”<br />
Leeroy Stagger is on tour in <strong>Alberta</strong> and BC for pretty<br />
much all of <strong>November</strong>. Head to leeroystagger.com to find<br />
the date nearest you.<br />
photo: David Guenther<br />
FOX EYES<br />
not your traditional drum and dance<br />
Fox Eyes use the love of music to bridge community gaps.<br />
After a six-month hiatus from the scene,<br />
Fox Eyes are back with their fierce, raw<br />
sound, ready to play old favourites<br />
(check out “The Saltiness,” it’s always a request<br />
at shows) along with new songs.<br />
“I’ve been writing like crazy,” says sultry vocalist<br />
and guitarist Amanda Fox. “And I know<br />
Tico has numerous riffs in his head he just<br />
wants to get out there.”<br />
“There’s a few people in the scene who have<br />
been really good to us, they’re playing a show and<br />
they always invite us to come play,” says Fox.<br />
“We’ve met a lot of really nice people,” says Tico<br />
Iron Shirt, lead guitarist for Fox Eyes.<br />
However, it took a little while for Lethbridge to<br />
see past skin colour and recognize Fox Eyes for the<br />
musicians they are.<br />
“It was really strange when we first starting<br />
getting out there, playing open jams,” says Fox.<br />
“People would come up to us and say, ‘Are you<br />
playing Native music?’ Like traditional drumming.<br />
We’d be like, ‘No. We’re going to play some metal.’”<br />
All four members of Fox Eyes are First Nations<br />
people. Fox and Iron Shirt are Blackfoot, from the<br />
Blood Reserve, located 10km west of Lethbridge.<br />
Recently, Fox participated in the public art project<br />
Perceptions: Lethbridge by artist KC Adams, a<br />
powerful photography series intended to open up<br />
conversation about racism.<br />
Adams juxtaposed two pictures of her<br />
models: one where they appear angry or sad,<br />
with a racist slur, and another of them expressing<br />
joy, with their name and a description of<br />
who they really are.<br />
“You had to write what you think people think<br />
of you, what you’ve experienced through racism.<br />
And then you have to write about who you are,”<br />
says Fox. “She would talk to you, she would make<br />
you angry by saying mean things to you. So those<br />
aren’t fake angry faces you see.”<br />
The images were then displayed on public<br />
advertising spaces throughout the city during<br />
September.<br />
“Do I really want to do that, put myself out<br />
by Courtney Faulkner<br />
photo: Vanessa Eagle Bear<br />
there?” says Fox. “It’s almost like a vulnerable<br />
feeling. It’s there, the racism’s there, I’m looked<br />
at anyways, so what’s the difference if my face is<br />
being put up on a billboard?”<br />
It’s no longer socially acceptable to be racist, so<br />
while the act is often not overt, it’s still there, it’s<br />
now just more subtle.<br />
“It hasn’t been totally towards us,” says Iron<br />
Shirt. “But there’s always that feeling, you know?”<br />
“It’s indirect,” says Fox. “It’s a hard thing to<br />
explain.”<br />
“Some people just haven’t known about aboriginal<br />
people in Canada and what happened to<br />
them,” says Iron Shirt. “They don’t know about residential<br />
schools, they don’t know about kids being<br />
taken away... it’s just not common information.”<br />
“It’s a big part of history that effects everyone<br />
here,” says Fox.<br />
“This is Blackfoot land,” says Fox. “Within the<br />
music scene, being a part of Lethbridge is being a<br />
part of the reserve. We’re all a community together.<br />
There should be no separation. We should be<br />
all one community.”<br />
“Racism comes from fear, and how do you deal<br />
with fear? Well you’ve got to break down that fear.<br />
And how do you do that? It’s the unknown that<br />
you’re afraid of,” says artist KC Adams. “[We need]<br />
more opportunities where you have indigenous<br />
and non-indigenous people coming together.”<br />
“It’s for the love of music, right?” says Iron Shirt.<br />
“Overall we just do it for the fun, it’s something we<br />
like to do.”<br />
“It just becomes a part of you,” says Fox. “And<br />
that’s who you are, and you accomplish so much<br />
in it. It feels good to play onstage, it feels good to<br />
perform.”<br />
“I think that’s another connection you make<br />
with people in the music scene,” says Fox. “You<br />
don’t know why you keep doing it – you just do it<br />
‘cause you love it. That’s the same feeling throughout.<br />
And that brings the music scene together.”<br />
Keep up with Fox Eyes on Bandcamp and Facebook<br />
for info about shows and releases.<br />
36 | NOVEMBER <strong>2016</strong> • BEATROUTE ROCKPILE
letters from winnipeg<br />
SWEET ALIBI<br />
from darkness to light<br />
Roots darlings Sweet Alibi.<br />
It’s been a few years since Sweet Alibi’s third album, Walking in the<br />
Dark, was written, but the album’s weight is still felt among its<br />
members.<br />
The record chronicles a dark and tumultuous period in the lives of<br />
lead vocalists Amber Rose and Jess Rae Ayre, including the death of<br />
Rose’s mother to cancer, and Ayre’s journey towards sobriety.<br />
For Rose, it’s still difficult to perform some of the songs on the album,<br />
particularly the heart-wrenching title track dedicated to her mom.<br />
“I kind of just go away to a place,” says Rose. “I try to look at the audience<br />
and picture one of them in a similar situation as my mom. I always<br />
pretend she’s in the crowd and I’m telling her story. That makes it a little<br />
bit easier, but it’s always really hard.”<br />
photo: Jen Squires<br />
As for Ayre’s own struggles with addiction—captured on the<br />
track “Middle Ground”—it’s been a time for healing and self-discovery.<br />
“I quit drinking four years ago, so there’s been constant<br />
learning curves, learning how to live your life without alcohol in<br />
it,” she says.<br />
“I had a few turning points,” Ayre continues. “You know when people<br />
say they had a wake-up call? I feel like I had a few…I think it was<br />
after one of our first tours. We were out after every show, and I was<br />
drinking quite a bit. After we got home, I just kept the party going,<br />
although there was no party around. It was just me. It got very lonely,<br />
and it wasn’t me anymore.”<br />
Despite the album’s heavier content, there’s a bright hopefulness in<br />
by Julijana Capone<br />
tracks, like “Keep Showing You,” or the sultry fan-favourite, “Bodacious,”<br />
about a famous rodeo bull.<br />
Known for their rich multi-part harmonies and pop-infused take on<br />
roots, the Winnipeg group are currently on the road with singer-songwriter<br />
Jadea Kelly, with whom they share a manager.<br />
With the added talents of vocalist Michelle Anderson (also on<br />
banjo and guitar), Sweet Alibi are among a growing list of Winnipeg<br />
groups (hear: Chic Gamine, The Bros. Landreth, The Small<br />
Glories, etc.) whose expert harmonies and timeless soul continue<br />
to draw eyes and ears to the ‘Heart of the Continent,’ and beg<br />
the ongoing question, “What’s up with Winnipeg’s extraordinary<br />
talent pool?”<br />
“We were just talking about this yesterday,” says Rose. “The community<br />
is just so strong. Everyone is so supportive, there are so many venues,<br />
and so many options for a young band to break out into Winnipeg…<br />
and, of course, there’s so many touring musicians, so there’s lots of help<br />
to break out into the touring world.”<br />
Walking in the Dark, produced by Murray Pulver (also the producer<br />
of The Bros. Landreth’s JUNO Award-winning album, Let It Lie) recently<br />
earned the band a Western Canadian Music Award nomination in the<br />
Roots Duo/Group category, and things continue to look up for the trio.<br />
“The band is doing really good,” says Rose. “We’ve been getting a lot<br />
of traction with the new album. People are really supportive. Jessica has<br />
been really healthy; everyone has been really healthy. We really can’t ask<br />
for more.”<br />
Sweet Alibi perform at the West End Cultural Centre on October 30<br />
(Winnipeg), The Bassment on <strong>November</strong> 3 (Saskatoon), Festival Hall on<br />
<strong>November</strong> 4 (Calgary), The Aviary on <strong>November</strong> 5 (Edmonton), Rogue<br />
Folk Club at St. James Hall on <strong>November</strong> 10 (Vancouver) and Upstairs<br />
Lounge on <strong>November</strong> 12 (Victoria). For more information, head to<br />
sweetalibi.com<br />
MOON TAN<br />
headbang the galaxy<br />
by Julijana Capone<br />
Dyer. “We decided for functionality purposes,<br />
we’d discontinue that for the moment.”<br />
The trio have been touring steadily across Canada<br />
over the last few years, recently completing<br />
a tour in support of their new 7-inch, which will<br />
be followed by an official album release party in<br />
Winnipeg in <strong>November</strong>.<br />
“We’re seeing more people coming out to<br />
shows, and the response has been just awesome,<br />
mind-blowing,” says Dyer of the band’s growing<br />
Canadian fan base. “It kind of threw me off a bit<br />
in Ottawa, I was looking at a guy in the audience<br />
and he was singing everything word for word.”<br />
Interestingly, the group initially had cover band<br />
aspirations, but figured originals were the way to<br />
go. Still, the band doesn’t shy away from throwing<br />
a few Rush covers into their live set. “We’ll also<br />
thrown in a Zeppelin cover here and there, or<br />
we recently started doing ‘Cult of Personality’ by<br />
Living Colour,” he says.<br />
“I’m pretty amazed by our fans,” Dyer adds.<br />
“After every show, we always have people coming<br />
up to us saying, ‘Wow! You’re pretty awesome.<br />
You got something really good going here.’ It’s<br />
that stuff that really keeps us going.”<br />
Self-proclaimed purveyors of “intergalactic<br />
space freak rock,” Winnipeg power trio<br />
Moon Tan are a rock band not from this<br />
time, perhaps not even from this universe.<br />
The group, consisting of Adrian Dyer (lead<br />
vocals/bass), Brady Mitchell (guitar), and Nick<br />
Knock (drums), perform in makeup with moon<br />
motifs and stage outfits that channel a plethora<br />
of heavy ‘70s-rock ‘n’ rollers—a pinch of Alice<br />
Cooper theatrics, and some Led Zeppelin hippie-rock<br />
style. Then add in the multi-octave howl<br />
of Rush’s Geddy Lee with a little red-hot funk.<br />
“We all come from different musical backgrounds,”<br />
says Dyer on the road from Montreal.<br />
“When we came together to write songs, we<br />
almost mixed them like a melting pot of influences.”<br />
On their third release and latest 7-inchThe<br />
Faceless Knight, the band flexes their technical<br />
prowess and anti-genre fusion of prog-rock, metal<br />
and funk atop Dyer’s high-pitched wails.<br />
“It’s been a pretty wild ride, because I wasn’t<br />
always a vocalist,” says Dyer. “We were looking for<br />
a singer for a really long time, and I just decided<br />
to teach myself.”<br />
How did he do that? Through the Ken Tamplin<br />
Vocal Academy, an online tutorial. “I just kind<br />
of took that and ran with it and my range just<br />
exploded,” he says. “I think it’s four octaves now.<br />
It takes a lot of breath support, especially when<br />
Winnipeg power trio Moon Tan.<br />
you’re rocking out pretty hard. It’s quite the<br />
workout.”<br />
When it comes to their tunes, their live<br />
shows—and their bellbottoms—it’s clear the guys<br />
go all in. “Our bellbottoms were custom-made by<br />
a tailor and we design our own costumes,” says<br />
Dyer. “It all sprouted off from the desire to deliver<br />
hoto: zyphotographics.com<br />
a top-notch performance…we want to give people<br />
their money’s worth.”<br />
Their aesthetic desires have even, at times,<br />
come with some risks. They’ve since stopped<br />
wearing their signature moon goggles as they became<br />
too much of a hazard on stage. “Because of<br />
a design flaw, they would fog up pretty bad,” says<br />
Moon Tan perform at The Park Theatre on<br />
<strong>November</strong> 23 in Winnipeg. For more information<br />
and to purchase Moon Tan’s new 7-inch, head to<br />
moontan.net.<br />
ROCKPILE<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 37
JUCY<br />
ISIS GRAHAM<br />
from DIY culture to professional industry<br />
For a long time, there has been a feeling<br />
that something big is happening in <strong>Alberta</strong>’s<br />
electronic music scene. Whether it’s<br />
smaller residencies throughout the province,<br />
the massive success of PK Sound, or huge<br />
events put on in Edmonton’s Shaw Conference<br />
Centre and Calgary’s BMO Centre, there’s<br />
always some buzz about <strong>Alberta</strong>’s electronic<br />
movement.<br />
Isis Graham, co-founder of Calgary-based<br />
Substation Recordings, has been seeing this for<br />
a long time. She teamed up with Edmonton’s<br />
Andrew Williams and Lethbridge’s Matt Carter<br />
to introduce the first ever <strong>Alberta</strong> Electronic<br />
Music Conference (AEMCON). Unlike some<br />
of the events put on in <strong>Alberta</strong>, this one is<br />
geared towards not just the music but also the<br />
multi-facets that make up successful individuals<br />
and communities within a music scene. Graham<br />
has been involved in Calgary’s electronic music<br />
scene for over 20 years and, along with her<br />
counterparts, felt it was time to incept a conference<br />
to help progress the growth of <strong>Alberta</strong>’s<br />
electronic music scene as a whole.<br />
“The conference, for us, is more focusing on<br />
the professionalization of our industry,” Graham<br />
explains. She speaks in terms of the production,<br />
networking, and business aspects of the music<br />
industry. Graham hopes that through AEMCON,<br />
she can help elicit some of the foundations<br />
First ever AEMCOM gets nothing but “yes.”<br />
needed to build a thriving music scene.<br />
She added: “In <strong>Alberta</strong>, one of the things we<br />
lack is the professional side of the business. We<br />
don’t have a lot of music lawyers, publishers,<br />
or booking agents. A lot of the <strong>Alberta</strong> scene<br />
is really DIY, which is amazing, but at some<br />
point, once we have enough people seeking out<br />
professional services, it’s going to require some<br />
by Jay King<br />
people to start creating these things.”<br />
With contributors such as PK Sound’s VP of<br />
touring and production Arlen Cormack and<br />
founder/CTO of hardware development company<br />
iConnectivity, the evidence of enthusiast<br />
involvement from various forums is apparent.<br />
“AEMCON is done on a full ‘yes’ platform.<br />
There was nothing that we asked for that<br />
anyone said ‘no’ to. That says a lot to me about<br />
where <strong>Alberta</strong> in general is at,” Graham notes.<br />
With everything from intro to video mapping,<br />
mixing and mastering workshops, a social media<br />
panel, a marketing panel, a record label forum,<br />
to an equipment swap, there is a plethora of<br />
knowledge and outlets available to attendants<br />
seeking a path in the industry. Graham hopes to<br />
provide the stepping-stones for them.<br />
“We’re just hoping to create a catalyst to get<br />
them to take that next step and get them engaged<br />
with each other. The idea is to give them<br />
access points to the people that are interested<br />
in this music. It’ll also just showcase that electronic<br />
music is a valid form of art and it needs<br />
to be recognized as something legitimate…<br />
and that there’s a huge mass of people that are<br />
interested in it.”<br />
AEMCON takes place from <strong>November</strong> 11-13 in<br />
Edmonton visit www.albertaelctronicmusic.com for<br />
full details.<br />
GREAZUS<br />
ready to drop beats and knowledge onto AEMCON attendees<br />
Along with a weekend chock full of priceless info from some of the best in the local market,<br />
there is also going to be a couple of nightcaps for everyone to unwind to. After all, the<br />
real reason why the AEMCON is able to operate is because of the music. <strong>BeatRoute</strong> got a<br />
chance to chat with Vancouver’s Severine Erickson and Patrik Cure (together: Greazus) and find<br />
out some of their initial impressions leading up to the first AEMCON.<br />
“One of our good friends and collaborators/photographers, Michael Benz, got us on board. Also<br />
Dean ‘Phatcat’ Musani helped put together some shows in other cities to celebrate the appearance,”<br />
they explained. The duo will be apart of a panel discussion called “The Past, Present, and<br />
Future of Bass Music.”<br />
When asked what that discussion might entail, Cure says, “This is something we will be working<br />
with John Rolodex. Both of us feel like we are pretty vetted in this area, so we plan on basically<br />
sharing our experiences.”<br />
“Like most things in our life we excel when being spontaneous,” adds Erickson.<br />
This spontaneity is exactly what AEMCON is about. Being that it came together in less than<br />
eight months, quick decision-making that comes from the heart is the underlying factor in much<br />
of the success of these artists.<br />
“Music is something you do for love; it shouldn’t feel like work. That said it does require so<br />
much of your soul to keep the fire burning. We have worked, quite literally, non-stop since forming<br />
Greazus. I believe that has helped us bypass some of the more awkward phases in building a music<br />
career. Phases that we certainly encountered in our solo projects,” Erickson, formerly known as<br />
HxdB, explains.<br />
The two have worked with a myriad of artists like Detroit’s Sinistarr, who currently resides in<br />
Calgary due to its tight-knit community. “In <strong>Alberta</strong> you can see just how rapidly things have been<br />
building musically in recent years. You can sense the huge momentum and you’re starting to see<br />
more and more world class acts coming out of <strong>Alberta</strong>,” says Erickson.<br />
Greazus hopes to share their experience and provide hope to struggling, but motivated, people<br />
trying to make it in the industry. Cure points out, “We are just regular dudes that built this all on<br />
our own… with absolutely no financial backing. If we can do it, anyone can!”<br />
Both Greazus’ appearance at the Past, Present, and Future of Bass Music and performance at 9910 in<br />
Edmonton take place on <strong>November</strong> 12th.<br />
JUCY<br />
by Jay King<br />
Greazus reflect on the climate of their industry and offer encouragement with AEMCON appearances.<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 39
KEYS N KRATES<br />
stopping in for Commonwealth’s 5th Anniversary<br />
Keys N Krates endlessly refine their recipe.<br />
Hey, aspiring laptop DJs: Keys N Krates’ Jr. Flo has some bad<br />
news. “These days it’s not so much about party-rocking<br />
one-man shows; people want a live act, something with<br />
complexity. They want a performance.”<br />
For those of you familiar with Flo and co.’s shows, those words<br />
are hardly surprising or out-of-character. The Canadian live<br />
electronic trio has been around since 2008, pushing a sound that,<br />
while perhaps a bit out-there back then, today finds itself getting<br />
a little bit crowded.<br />
Following in the footsteps of pioneers like Kraftwerk, and<br />
joining the ranks of trailblazers like Tame Impala and Caribou –<br />
while buttressed by a light seasoning of bass music from the likes<br />
of Hudson Mohawke, Rustie, and Machinedrum – Keys N Krates<br />
found their niche in the trap explosion of the early 2010s.<br />
Turntablist Jr. Flo, real name Greg Dawson, joined forces with<br />
drummer Adam Tune and keyboardist David Matisse. After five<br />
years of extensive studio time and two refined, well-produced<br />
EPs, Blackout and Lucid Dreams, they struck gold with their<br />
seminal SOLOW EP. Featuring trap anthems “Treat Me Right’” and<br />
“Dum Dee Dum,” as well as trap time capsule “I Just Can’t Deny,”<br />
by Max Foley<br />
the immense popularity of this latest release spurred what Dawson<br />
describes as “endless touring.” From this author’s personal<br />
experience, having seen KNK on three separate occasions in the<br />
span of a year or so, that’s no word of a lie.<br />
“We’re always working on our production and our live show.<br />
We haven’t really stopped touring to be honest,” Dawson explains<br />
earnestly. “We’re our own entity; we’re trying to hone in on that<br />
‘live act’ feeling that people are looking for.”<br />
Four or five years ago, pitching ‘a live trap show’ to organizers<br />
would get you laughed out of the room. But the talented trio<br />
pulled it off, and the results speak for themselves.<br />
Keys N Krates are a festival fixture, wowing at massive events<br />
like Pemberton and Northern Lights. Their single with English<br />
artist Katy B, “Save Me,” secured them a nomination for this year’s<br />
JUNOs. Their tracks have been remixed by a laundry list of icons:<br />
Machinedrum, Chris Lorenzo, TNGHT, just to name a few.<br />
So, then, where is left for them to go? One might assume<br />
there’s some pressure to continue pushing the envelope. Yet<br />
when posed that very question, Dawson wasn’t fazed in the least.<br />
“We’re just gonna keep refining the live experience. We’ve also<br />
been spending some time in the studio with GANZ and Grandtheft.<br />
[There’s] no telling if those collaborations will see the light<br />
of day, but know that we’re back in the studio working on another<br />
album,” Dawson explains.<br />
“Come see our show!” he adds cheekily. The genuine excitement<br />
in his voice is palpable. And for the uninitiated, now’s your<br />
chance to catch these guys in the flesh.<br />
Keys N Krates perform at the Commodore Ballroom in Vancouver<br />
on <strong>November</strong> 10th, at Union Hall in Edmonton on <strong>November</strong> 12th,<br />
at Commonwealth in Calgary (as part of their five-year anniversary<br />
series) and at Hoodoo Lounge in Banff on <strong>November</strong> 14th.<br />
40 | NOVEMBER <strong>2016</strong> • BEATROUTE JUCY
LET’S GET JUCY!<br />
Back once again with the ill <strong>November</strong>! Hope<br />
you all had a rave-filled Halloween and still<br />
have some life in you for this next month,<br />
because it is looking absolutely rife with stellar<br />
programming. Let’s have a gander shall we?<br />
Substation Records present two of the hottest<br />
names in the new school of house at the Hifi on<br />
<strong>November</strong> 3rd: Billy Kenny and Maximono. Both<br />
of these producers seem to have an endless well of<br />
fire from which to draw tracks from, so don’t miss<br />
this one.<br />
Also on the 3rd, Come Correct are back at<br />
Habitat with Flow, a night of “intelligent drum and<br />
bass” with an all-star cast of locals spinning the best<br />
in liquid D’N’B all night long.<br />
On the 5th at Marquee, none other than Method<br />
Man and Redman are back in town and I think<br />
they hardly need an introduction. Get ‘em!<br />
If you feel like a winter excursion, there’s no<br />
better excuse than Skiitour in Banff at Wild Bill’s on<br />
<strong>November</strong> 9th.<br />
Dubbed (pun intended) the “Los Angeles dubstep<br />
god” by Rolling Stone, SMOG Records label<br />
owner 12th Planet roles through on the 10th. With<br />
Slim and Cain opening things up, you can bet the<br />
sound system at Marquee will be pushed to its<br />
limits.<br />
If house and techno is more your fancy, there are<br />
two great 4x4 shows that night as well: Dirtybird<br />
artist and AEMCON presenter Ardalan does a set<br />
at the Hifi and Dutch DJ Sander Keinenberg shares<br />
his 20 years of experience at the Habitat.<br />
On the 12th, Secondcity (formerly one half of<br />
Taiki Nulight), the U.K.-born, Chicago-raised producer<br />
draws influence from both places and makes<br />
Cygnets paid kids “in cake” filming their latest music video.<br />
JUCY<br />
some really nice house music and plays as part of My<br />
People. This event partners with charitable organization<br />
Music Heals Canada and has Crooka and local<br />
dynamic duo Smalltown DJs firing shit up.<br />
Representing Anjunabeats, DC’s Andrew Bayer<br />
performs at the Marquee on Friday the 18th, likely a<br />
mix of trance, progressive house and techno.<br />
<strong>November</strong> 17th catch rising Canadian hip-hop<br />
star Tory Lanez at Flames Central. Gonna be lit!<br />
On <strong>November</strong> 18th, mosey on over to the Habitat<br />
for a night of throwback dubstep, celebrating<br />
both the golden era of the genre (2006-2010) as<br />
well as promoter/photographer Michael Benz’s<br />
birthday bash.<br />
Young Parisian producer and Drake collaborator<br />
Stwo brings his ethereal mosaic of trap, R&B and<br />
soul to the Hifi on the 19th, with OAKK setting the<br />
party in motion.<br />
Also on the 19th, Stööki Sound return to<br />
Calgary with Hifi and DJ Pump’s Set it Off. Trap, hiphop<br />
and bass in the place.<br />
Fresh after releasing an incredible new album<br />
with such prominent artists as Yasiin Bey and<br />
Tanya Tagaq, A Tribe Called Red and their radically<br />
unique and powerful sound will be gracing the<br />
stage at Flames Central on the 25th. With Smalltown<br />
DJs opening up this is likely to be one of the<br />
most exciting shows of the month.<br />
As always I hope that all you wondrous readers,<br />
ravers, b-boys and bad gyals let your freak flags fly<br />
high on at least a few of these dance floors, and I<br />
shall return in one month’s time with some Christmas-y<br />
listings. Wasn’t I talking about August, like a<br />
couple days ago? What is happening? This is fine…<br />
• Paul Rodgers<br />
BEACH SEASON<br />
life’s a beach: on lessons learned from Libra Year<br />
Beach Season’s new EP is about proving things to themselves.<br />
While the rest of us are resigned to the<br />
impending chill of winter, Sam Avant<br />
and Simon Blitzer are living in an<br />
endless summer.<br />
The boys behind Beach Season have been busy,<br />
balancing extensive studio time with performance<br />
after performance while waiting for their newest<br />
oeuvre to drop. Libra Year is their first EP since they<br />
signed with Universal Music – a vote of confidence<br />
from the music industry they haven’t taken lightly.<br />
“Everyone thinks it’s scarier than it actually is.<br />
Everyone looks at it as like, signing your life away,<br />
but really the people we were working with were<br />
interested in what we were doing.” Avant explains.<br />
“They’re like, ‘We wanna see what you guys can<br />
do, we’re gonna push you and criticize you along<br />
the way, and help you make something that you<br />
can be proud of.’ It’s all about being open-minded.”<br />
Libra Year is about growth. In the words of<br />
Avant, it’s an album about “…making the transition<br />
from being 19 or 20, being a dirtbag teenager, and<br />
actually coming into your own as you become<br />
an adult.” It’s 2014’s Internet Evening with more<br />
polish, more structure, and more passion. “I don’t<br />
think we’ve ever cared more about anything.”<br />
Avant continues. “I didn’t have anything else going<br />
for me.” Blitzer chimes in cheekily.<br />
Avant and Blitzer’s laissez-faire attitude bleeds<br />
into their music. Between their raw vision and<br />
the artistic engineers at Universal, the result is<br />
well-structured and approachable, yet never<br />
boring or formulaic. Influenced by artists ranging<br />
from Passion Pit, Tame Impala, GTA and even<br />
Justin Bieber – of whom Avant is an unashamed<br />
fan – Beach Season is unapologetic in their<br />
genre-straddling style in a way that evokes Epicurean<br />
self-indulgence.<br />
“[Libra Year] was a way for us to prove to<br />
ourselves that we can put a project together,<br />
that we can write decent songs. People really<br />
pushed us to write things well, to write hooks,<br />
to separate verses and choruses, to create<br />
by Max Foley<br />
well-structured and well-balanced songs.” Avant<br />
says. You should hear the result for yourself.<br />
Libra Year acts as a microcosm of modern<br />
radio-friendly pop, minus the grating stereotypes<br />
that permeate the genre. Avant’s vocals take all<br />
the best parts of Zayn, Bieber, and the Weeknd,<br />
buttressed by powerful, purposeful production<br />
reminiscent of Ryan Hemsworth or Cashmere<br />
Cat. The result’s hard not to like. Actually, scratch<br />
that: it’s hard not to love. Tracks like “Tribes” and<br />
“Body Heat” are just the thing for pop-weary ears,<br />
elegantly balancing airy melodies with tightly-refined<br />
low end. It’s a great album to leave on repeat<br />
for hours at a time.<br />
“The whole thing is kinda just like that first taste<br />
of what’s to come next.” Blitzer says. You might be<br />
wondering what that is.<br />
“We want to be recognized throughout the<br />
galaxy.” Avant enunciates through a mouthful of<br />
sandwich. He chuckles and swallows the last bite<br />
before continuing.<br />
“We want to be recognized not as Beach Season<br />
the artists, but as like, oh that guy Sam, and that<br />
guy Simon, they make music. People tend to put<br />
themselves in boxes, which is kinda limiting.”<br />
“We’re just gonna keep moving forward, working<br />
on our live show and our production.”<br />
Billing themselves as “two pretty normal dudes”<br />
with a penchant for noodling around on DAWs,<br />
Blitzer and Avant are wise beyond their years. Their<br />
minimalist, quotable perspective belies the fact<br />
that this is only the beginning.<br />
“[Universal] was asking us ‘What do you guys<br />
want to do?’ and that’s something that not many<br />
artists think about or get asked. It took us a long<br />
time to come up with an answer.” And what<br />
better way for Beach Season to answer than with<br />
a full body of work?<br />
Libra Year is out on Universal Music on <strong>November</strong><br />
9th. Beach Season will be hosting the release party<br />
at the HiFi Club that same night.<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 41
ROOTS<br />
BARNEY BENTALL<br />
a warm hello from aboard the Cariboo Express<br />
by Graham Mackenzie<br />
CANMORE’S<br />
BEST<br />
LIVE MUSIC<br />
SHOWROOM<br />
Bentall says the Cariboo Express will go on until he has to come onstage in a walker.<br />
From a rodeo dance in the Cariboo region<br />
of B.C. came a musical idea that has turned<br />
into a fundraiser tour de force in Western<br />
Canada. From Barney Bentall, a musician that can<br />
milk a wild range cow when he needs to, the man<br />
behind several classic Canadian rock staples like<br />
“Something to Live For,” and “Life Could be Worse,”<br />
comes the Cariboo Express Tour.<br />
Before talking about the latest <strong>edition</strong> of his celebrated<br />
annual tour, <strong>BeatRoute</strong> checked in about what<br />
Bentall has been up to.<br />
Barney Bentall: Once a year I go on a trip<br />
with Adventure Canada, a company that really<br />
pioneered adventure travel, primarily ship travel<br />
through the Canadian North. They have a wonderful<br />
collective of resources: writers, filmmakers,<br />
Inuit culturalists, geologists, musicians, zodiac<br />
drivers, and bear guards. You find an amazing<br />
collection of people usually going on the trip.<br />
It’s been a wish list thing to do this; it’s amazing<br />
to be up there, 17 days from the Western Arctic<br />
through to the coast of Greenland.<br />
<strong>BeatRoute</strong>: You also played at Hardly Strictly<br />
Bluegrass in San Francisco recently with your<br />
other project the High Bar Gang, and this<br />
tour the Cariboo Express has a more country<br />
and western tone as well. Do you find you are<br />
adopting this style more and more and transitioning<br />
away from rock ‘n’ roll?<br />
BB: When I first started in the ‘80s I think we were<br />
very much a rock ‘n’ roll band. I think the further<br />
I go along, I like so many facets of popular and<br />
modern music and old time music, I get something<br />
from all of it. I still love to go out with my band, the<br />
Legendary Hearts. We still plays shows each year,<br />
and those shows are back to that more primal rock<br />
‘n’ roll experience. I delve into bluegrass with this<br />
ROOTS<br />
new hobby band that is actually doing quite well,<br />
the High Bar Gang, and that’s been a real wonderful<br />
journey. The Cariboo Express, yeah, its kinda<br />
country western but when Ridley Bent gets going<br />
on “Suicidewinder,” it rocks out full bore. There’s<br />
a real variety in the night at the Cariboo Express<br />
and that’s what we are going for, its not strictly old<br />
time by any means, its more an old school variety<br />
show, we didn’t know what it would be exactly or<br />
how it would develop but I didn’t want to control<br />
anyone’s material choice. We go from Leeroy Stagger,<br />
who has an old time feel but is very current,<br />
then all of a sudden we switch into a traditional<br />
bluegrass number, we just keep mixing it up and<br />
it always seems to work, right from the first show<br />
ten years ago. We also adopted from the beginning,<br />
after watching those old Grand Ole Opry shows,<br />
these announcements, like, “coming up next is Mel<br />
Tillis brought to you by Gillette, closest shave you<br />
can get.” I thought me and co-host Matt Masters<br />
could write skits and poke fun with these type<br />
announcements and get sponsorships and raise<br />
money for charity.<br />
BR: How does that work? How can someone<br />
sponsor a song for the Cariboo Express show?<br />
BB: Normally, the promoter in each town has<br />
paired with a charity, and the charity goes out and<br />
offers song sponsorships, but you can go through<br />
the Cariboo Express website and contact the publicist<br />
Joelle May for the whole tour and she will help<br />
you contact Heather O’Hara, who is the liaison<br />
with the charities.<br />
BR: Will the Cariboo Express ride on indefinitely?<br />
BB: Yeah, some years I’ve thought maybe it was done<br />
but then you realize that the shows have provided<br />
50,000 meals for the Downtown Eastside in Vancouver<br />
each year. In Cranbrook we support an organization<br />
called Friends of Children that helps families<br />
with sick children fly to bigger centres for care, these<br />
things make a difference so it becomes pretty hard to<br />
stop. Then there’s the other part of it all: the players.<br />
Whether it’s my son Dustin, or the regular cast of<br />
characters - Ridley, or Leeroy or a revolving door of<br />
guests, it’s become a highlight of my year playing with<br />
them. When the music starts, its so much fun and the<br />
hang is spectacular. We’re all really good friends and<br />
it’s multigenerational too and quite interesting so I am<br />
sure we will be continuing until I have to go out on<br />
the stage with a walker.<br />
BR: Where is Barney Bentall going next?<br />
BB: A new album in May. I have never wanted to<br />
be a nostalgia act. I like to keep doing what I do,<br />
it’s been very inspirational hanging around my son<br />
Dustin, and Ridley Bent, and Matt Masters - all<br />
these people have really given me a shot in the arm<br />
as time goes by. We all hang out together, it never<br />
feels ageist, they’re all a bit wild but respectful.<br />
They are everything I love and embrace about<br />
music. It’s been real inspirational to connect with<br />
these guys through my son, and we joke about the<br />
family business with Dustin but he’s really just another<br />
troubadour, another person that decided to<br />
follow that kind of pathway. He’s a great songwriter<br />
and entertainer, and I love watching him play<br />
and its nice to have this month to play together. I<br />
know it would drive him crazy if we toured all year<br />
together but I think it is one of the aspects that<br />
makes the Cariboo Express special.<br />
Barney Bentall’s Cariboo Express Tour comes rolling<br />
into Southminster United Church in Lethbridge on<br />
<strong>November</strong> 2nd, the Max Bell Centre in Calgary <strong>November</strong><br />
4th, and the Vogue Theatre in Vancouver on<br />
<strong>November</strong> 26th. There are plenty of other stops in B.C.<br />
– check barneybentall.com for listings.<br />
VALDY<br />
WEDNESDAY<br />
NOVEMBER 23<br />
8PM<br />
CORIN<br />
RAYMOND<br />
THURSDAY<br />
NOVEMBER 24<br />
8PM<br />
RANT<br />
MAGGIE<br />
RANT<br />
WEDNESDAY<br />
NOVEMBER 30TH<br />
8PM<br />
The Creekside Villa<br />
709 Benchlands Trail<br />
Canmore, <strong>Alberta</strong><br />
403 609 5522<br />
www.csvlive.com<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 43
ANDREW COLLINS TRIO<br />
telling a story without saying a word<br />
Andrew Collins may not be in church every<br />
Sunday, but the five-time JUNO-nominated<br />
composer still recognizes that spirituality is<br />
an active part in his life and that of others. On his<br />
latest release, And It Was Good, Collins, once a member<br />
of acclaimed instrumental groups the Creaking<br />
Tree String Quartet and The Foggy Hogtown Boys,<br />
used the Book of Genesis as inspiration to create<br />
atmospheric acoustic music.<br />
“I think spirituality plays a part in my life, it’s not necessarily<br />
religion per se, I just really loved the concept,”<br />
Collins tells <strong>BeatRoute</strong>, “It seemed to resonate, for some<br />
reason. It was sort of inspired by Vivaldi’s Four Seasons. I<br />
had the idea many years ago, but for whatever reason, it<br />
took until now for me to put it together and make this<br />
album. It took a lot of hard work to make this record.”<br />
And It Was Good follows the lead of the “new<br />
acoustic music” movement, led in the past by such<br />
musicians as David Grisman, Darol Anger, and Mike<br />
Marshall, and with those artists and others as points<br />
of inspiration, Collins adds another layer of classical<br />
music to the record with the help of a string quartet.<br />
“Composing the string parts was very conscious,” says<br />
Collins. “A lot of it happened after my baby was asleep,<br />
writing with my computer in my lap in my studio at<br />
two in the morning.”<br />
While Collins often produces his own recordings,<br />
And It Was Good was helmed by his mentor, David<br />
Travers-Smith, and was cut live off the floor, with his trio<br />
and the string quartet. “The scope of this was bigger, I<br />
had the string quartet, and we had only really rehearsed<br />
twice, they’re just such great players and sight-readers.<br />
Mandolin maestro Andrew Collins instrumentally narrates The Creation.<br />
by Mike Dunn<br />
I was counting on their excellence, and I wanted to rely<br />
on someone else’s ears, and David’s such a great producer.<br />
I took it home and mixed it.”<br />
Collins knew that touring with a string quartet<br />
would be cost-prohibitive, so he carefully arranged his<br />
pieces to be playable and translate live with his smaller<br />
trio, all of whom are multi-instrumentalists, including<br />
Mike Mezzatesta and James McEleney. “I purposely<br />
worked the music with a trio, so that it stands on its<br />
own, and I arranged the string quartet parts so that it<br />
surrounds the trio, fills out the composition and adds<br />
more texture.”<br />
The album has been well received in the folk<br />
community, Collins and Travers-Smith having been<br />
nominated for a Canadian Folk Music Award for<br />
co-producing the record, and the trio being nominated<br />
for Instrumental Group of the Year. While<br />
the accolades are graciously accepted, Collins sees<br />
himself as more of an ambassador of acoustic music<br />
than an innovator. “Part of what makes me want to<br />
play music in the first place is to always be getting<br />
better, and not resting on my laurels. It’s great that<br />
people like the music, but I know from listening to<br />
this style of music, that it’s natural for people to be<br />
‘impressed’ by acoustic music played at a really high<br />
level, but I don’t see it as a reflection of me. I see<br />
myself as an ambassador of this music, rather than<br />
say, an ‘admired musician’, if that makes sense.”<br />
Andrew Collins Trio plays two Calgary shows this month:<br />
the Nickelodeon Music Club on <strong>November</strong> 12th and the<br />
Ironwood Stage and Grill on <strong>November</strong> 14th.<br />
photo: Rob Doda<br />
100 MILE HOUSE<br />
Edmonton folk duo find peace in ‘melancholy nostalgia’<br />
Hiraeth is a Welsh word, and although its<br />
meaning doesn’t translate directly into<br />
English, the rough definition is that it’s a<br />
sense of longing for a place or person, even one<br />
that may never have existed.<br />
“A melancholy nostalgia” is how Peter Stone of<br />
the Edmonton-based kitchen-folk duo 100 Mile<br />
House describes the term, the lucid ambivalence<br />
of which names their new full length album.<br />
“I think it is the most open and honest<br />
album we’ve done, for sure.” Stone explains.<br />
“Not that we’ve ever been particularly hidden,<br />
but this kind of lays out our personal lives<br />
kind of completely out there.” While personal<br />
content isn’t necessarily new for the duo, whose<br />
ruthlessly honest and domestic storytelling<br />
won them the Calgary Folk Fest songwriting<br />
contest a few years back and set the stage for<br />
their current career, this new release touches on<br />
some pretty sensitive content. The narratives<br />
inside stretch from laments about getting older<br />
to the trials of loss along the way. The defining<br />
feature of the album for Stone is using music<br />
as a medium, allowing the moods and motions<br />
of their string driven melodies to bring up<br />
personal topics aren’t necessarily always made<br />
explicit, especially in music, but many people<br />
experience and grapple with.<br />
Depression and grief are deeply personal,<br />
but also extremely ubiquitous, and as such,<br />
there isn’t any reason to keep them private.<br />
The songs they wrote for the album have<br />
broadly impactful themes, but touch topics<br />
that doesn’t seem much explicit exploration.<br />
“I’m not sure why we were ever told that<br />
[depression is solitary]; I guess because it<br />
made people uncomfortable, talking about<br />
it,” Stone comments.<br />
Working on Hiraeth proved to be therapeutic,<br />
both for Stone, and his partner in life and<br />
music Denise McKay. This effect is also starting<br />
by Amber McLinden<br />
Peter Stone talks about being open musically and “the most exciting thing” about making music.<br />
photo: Jessica Fern Facette<br />
to be seen by their listeners. The first folks to<br />
hear Hireath found it to be deeply relatable,<br />
which Stone explains, is kind of the point. “The<br />
actual creation of a piece that deals with an<br />
issue is really sort of healing, and then when<br />
other people connect to it, then that’s another<br />
stage of healing as well.”<br />
This album is the first that Stone and McKay<br />
have recorded in a proper studio, but despite<br />
the change of scenery, the couple has continued<br />
to experiment, producing some of their<br />
most complex compositions to date. Both their<br />
music and their lives together have had some<br />
time to develop, and it provides a different<br />
perspective to their writing and production.<br />
“It freed up our brain space, if that makes<br />
sense.” Stone suggests, “instead of having to<br />
wear so many hats and do so many different<br />
jobs, we could just be musicians and [perform]<br />
for the first time on the recordings, if<br />
that makes sense.”<br />
Hireath is a departure from their previous<br />
recordings. Recording in a studio has done<br />
a lot to add professionalism to an already<br />
functional formula, but 100 Mile House<br />
have created deeply emotional album that<br />
discards some of their Americana aesthetic. A<br />
diverse range of string instruments permeate<br />
the record, but they have also introduced elements<br />
of rock in the hope that they can make<br />
the themes permeable to as many listeners as<br />
possible. “Having your songs hopefully connect<br />
with complete strangers who somehow<br />
will feel connected to you once they hear<br />
your music. That’s the most exciting thing,”<br />
Stone explains, “When your song connects<br />
with someone else.”<br />
100 Mile House releases Hireath at Festival Hall in<br />
Calgary on <strong>November</strong> 18th, and at La Cité Francophone<br />
in Edmonton on the 20th.<br />
44 | NOVEMBER <strong>2016</strong> • BEATROUTE ROOTS
JAMES VINCENT MCMORROW<br />
on moving to a new sound by Cole Parker<br />
ORIT<br />
SHIMONI<br />
soft like snow… beautiful, delicate and deadly<br />
by B.Simm<br />
James Vincent McMorrow fights<br />
“diminishing returns” with help<br />
from OVO collaborators<br />
photo: Suzy King<br />
James Vincent McMorrow is an artist whose<br />
career has been defined by changes to his sound.<br />
His 2010 debut Early in the Morning was almost<br />
entirely made up of soft acoustic arrangements,<br />
with his guitar playing front and centre. Next came<br />
2014’s Post Tropical, a notable departure away from<br />
his indie-folk sounds to lush soundscapes of dreamy<br />
reverb and cathartically melancholic arrangements. It<br />
was a conscious decision McMorrow made towards<br />
becoming the artist he wanted to be. Now in <strong>2016</strong>,<br />
We Move, his first number one album in his home<br />
country of Ireland, is another missing link for the<br />
ever-evolving artist.<br />
Gone are the building crescendos, the choral-like<br />
background vocals and the wistful nature. Instead<br />
on We Move, he opts for a funkier, more R&B-tinged<br />
sound with a return of some more tasteful guitar and<br />
hip-hop influenced beats. McMorrow is definitive<br />
though in his approach to the different stages of his<br />
career. “I feel like evolution is necessary.”<br />
While the move from his debut to his sophomore<br />
was purely stylistic, We Move is a shift in<br />
the songwriting process as well. It’s led to some of<br />
McMorrow’s most immediate and ear-grabbing<br />
tracks to date. That change is courtesy of OVO family<br />
members Nineteen85 and Frankie Dukes, who have<br />
songwriting and production credits on a handful of<br />
We Move’s tracklist. This created a much different<br />
atmosphere for McMorrow, and it was one he actively<br />
sought out. “The goal was to bring in people that<br />
could do things that I just can’t do myself and people<br />
whose minds I could tap into.” Historically an artist<br />
that would take his time alone in the studio, McMorrow’s<br />
collaborators forced him to have material ready<br />
for their focused gazes.<br />
As with any artist whose sound grows and<br />
expands the way McMorrow’s does, he’s lost some<br />
fans along the way. “They really want you to stay<br />
the same, because they want to enjoy those things<br />
(you used to do). The reality is if I were to keep<br />
mining those things, it would be the law of diminishing<br />
returns. Everything I do would be a lesser<br />
thing than the thing I did before.” For McMorrow,<br />
who’s constantly looking to hone his craft, you<br />
get the impression that stagnation would be<br />
unacceptable.<br />
For an artist who is so devoted to his craft, it’s kind<br />
of unfortunate that to date the highest he’s reached<br />
in terms of mainstream acceptance is a cover version<br />
of Steve Winwood’s “Higher Love.” He’s glad it came<br />
from an organic place, recorded for a charity album<br />
with all proceeds of the single going towards that<br />
charity, rather than from some attention-seeking<br />
stunt. He’s definitely distanced himself from any kind<br />
of ‘cover artist’ title however, with “Higher Love”<br />
being the only cover he performs live, simply for its<br />
emotional connection. “My mother used to play it all<br />
the time growing up.”<br />
The live show will also be a different experience<br />
for fans of the singer-songwriter. On his previous<br />
trip to Calgary, McMorrow performed an extremely<br />
stripped-back acoustic set with no one else onstage<br />
at Knox United Church. The intimate atmosphere,<br />
stained glass-windows and rows of pews seemed to<br />
fit the angelic tones of McMorrow’s Post-Tropical<br />
Tour. The fuller sound of We Move however comes<br />
with a fuller live show with his band coming to<br />
perform at the Jack Singer Concert Hall. A few solo<br />
sections are promised for the more subdued selections<br />
of McMorrow’s setlist.<br />
James Vincent McMorrow plays the Park Theatre in<br />
Winnipeg on <strong>November</strong> 19th, the Winspear Centre in<br />
Edmonton on <strong>November</strong> 21st, the Jack Singer Concert<br />
Hall in Calgary on <strong>November</strong> 22nd, the Commodore<br />
Ballroom in Vancouver on <strong>November</strong> 24th and the Alix<br />
Goolden Hall in Victoria on <strong>November</strong> 25th.<br />
While playing her acoustic guitar and<br />
softly singing, “Will there be a gentle<br />
and comforting hand reach down from<br />
above? Will there be, will there be love?” you can<br />
hear the faint, but distinguishable sound of a chair<br />
creaking, presumably the one that Orit Shimoni<br />
is sitting on while recording. Because the way<br />
in which it creaks, you imagine it’s a wooden or<br />
wicker chair that sits on an Indian wool rug in the<br />
middle of a fantastic old parlour or living room<br />
with the original Victorian brass light fixture still<br />
hanging overhead.<br />
In fact, you can’t imagine how this new collection<br />
of songs was recorded except in some kind<br />
of aged but inviting setting, far removed from the<br />
sterility of the nuevo studio. The musical intimacy<br />
extends beyond the chair: you can hear the scratch<br />
and zing of her fingers as they move along the<br />
guitar strings, the breath and breaking of her voice,<br />
the piano keys hitting the felts as the notes ring<br />
out, and the graze of brushes as they circle on the<br />
snare skin. Your skull gets right inside the sounds<br />
as they were recorded.<br />
Despite its rich, enchanting quality, Shimoni<br />
feels, “There is nothing cool about this album,<br />
nothing to tap your feet to.” Intended to it be<br />
“incredibly vulnerable,” she says, “it leaves no<br />
production room to drown out the content, and<br />
the content is intense. It takes one to emotional<br />
places one might not want to go. There is a lot of<br />
pain in this album.”<br />
There’s pain, there’s also redemption in its<br />
honesty. In the overflowing country-gospel, “Wine<br />
Into Water,” Shimoni acknowledges it would take<br />
a miracle to turn someone’s life around, but if she<br />
could, she would.<br />
“I made a man walk out of a bar crying with<br />
that one,” says Shimoni. “Who wants to hear that<br />
song when they’re out trying to have a good time?<br />
Considering the music industry and the drinking<br />
industry are practically one and the same, it’s<br />
practically suicide to put it out there. But you<br />
know and I know damn well, that there are a hell<br />
of a lot of people out there who are going to relate<br />
to that song.”<br />
Indeed there are. As a comforting testament,<br />
Shimino adds, “The bar still hired me back!”<br />
But there’s nothing very comforting in the<br />
religious and political denunciation that screams<br />
out in the anti-war song “Fool”. The most complex,<br />
gripping, heart-wrenching and ball-busting track<br />
on the album, Shimino doesn’t take sides nor<br />
does she mince words, there’s only one tragic<br />
outcome: we’re “fools to think it’s worth the blood<br />
of children.”<br />
Noting, “There aren’t a lot of anguished war<br />
songs in the Canadiana genre,” she says, “That<br />
song calls everybody stupid, the mongers and the<br />
bleeding hearts. Wait ‘til you see the video. It is not<br />
uplifting.”<br />
Entitled Soft Like Snow, the album is stark but bold,<br />
full of tangled emotion and uncompromising sentiment.<br />
It’s a gutsy endeavour, entirely unreserved.<br />
“Yeah, for sure,” confirms Shimino. “When you<br />
say the album is gutsy, and you mean production<br />
wise because of how stripped back it is, we wanted<br />
to say, ‘Here is what this woman sounds like<br />
when she’s in a room, with a squeaky chair, with<br />
fingernails, with a broken voice, and a tired but<br />
still-trying soul. We’re not going to mask any of the<br />
ugliness. It is what it is, and we think it’s beautiful<br />
because it’s true.’<br />
“And it’s soft like snow. Beautiful, delicate and<br />
deadly if you stay out in it too long. It’s a piece to<br />
investigate, then put away, take it out again, and<br />
hopefully fall in love with. It can be an open relationship.<br />
Music’s real understanding that way.”<br />
Orit Shimoni’s CD release party is on Friday, Nov. 25<br />
at the 628 Stage and Lounge located in Calgary at<br />
628 - 8 Ave. SW. Doors at 8 p.m.<br />
46 | NOVEMBER <strong>2016</strong> • BEATROUTE ROOTS
SHRAPNEL<br />
TRAER<br />
finding common ground under a black canopy<br />
by Christine Leonard<br />
Traer released their full length iitoomhkitopi, which translates to “First Rider,” on October 21st.<br />
What do you do when 50 shades of<br />
black just isn’t sufficient to satisfy your<br />
festering soul? You invent your own<br />
Mordorian subgenre. That’s exactly the twisted<br />
forest path that Calgary-based doomsters Traer<br />
have opted for. Comprised of a wraith, a recluse,<br />
and a lupine fiend, this tightly-knotted ensemble<br />
is poised to unleash a new universe of sturm and<br />
drang where black holes double as porch lights,<br />
guiding the way home.<br />
“All three of us have a history of playing with<br />
different bands,” explains Traer’s vocalist/guitarist<br />
Ghûl. “The bass player, Nekro, and I are best friends<br />
and have been playing together for a decade. The<br />
drummer, Scara, is from Red Deer but moved to<br />
Calgary once he started dating Nekro. We decided to<br />
form a brand new group together; something Calgary<br />
hasn’t really heard before. Traer is our interpretation<br />
of what we enjoy most in black metal.”<br />
An icy sonic avalanche that engulfs and numbs in<br />
equal measures, Traer’s most recent recordings are<br />
incredibly dense yet carefully devised. Each emergent<br />
track builds the suspense with stealthy rhythms and<br />
veering melodies gradually revealing the shadowy<br />
world between reality-blurring distortions and<br />
riveting details.<br />
“I’ve always had a love for black metal,” says Ghûl.<br />
“For me it’s a way to express that kind of grim,<br />
hopeless, darker atmosphere that I find myself<br />
drawn to. Even in my previous bands it’s creeped<br />
in as a major influence for me. And I’m not just<br />
talking about those core black metal bands most<br />
people would know, like Mayhem or Burzum.<br />
Nekro is also a fan of that dark imagery, not<br />
necessarily Satanism, but that cold, life-sucking<br />
esthetic. Traer’s sound is rooted in a traditional<br />
manner of playing black metal, but with a slower<br />
doomy feel. I’m totally obsessed with that whole<br />
black gaze scene. You can see it in my music and<br />
the way I play guitar. No straight power chords,<br />
but rather weaving a spell.”<br />
Another ascendant to the dark throne of<br />
mystical music, Ghûl’s bandmate and BFF Nekro<br />
has discovered a bastion for self-expression in<br />
the catacombs of Traer’s gothic fantasies. Also a<br />
member of the horror-punk outfit Frightenstein,<br />
she’s proven herself capable of morphing from a<br />
ravenous zombie into a solemn sylvan banshee<br />
without skipping a dolorous bass note.<br />
“Frightenstein was my stepping-stone into the music<br />
industry. It gave me the opportunity to become a<br />
zombie character in the band. I wanted to add more<br />
of me, so I added the corpse paint with the gore and<br />
put spikes on my boots,” Nekro says.<br />
“Twelve years is a long time to be in the music<br />
scene, especially in metal/punk. I have been<br />
laughed at, told I wasn’t pretty enough, told it was<br />
a gimmick to have a female in the band, I was a<br />
joke, trashed talked and that ‘girls don’t know how<br />
to play music.’ Not only did I have to battle the<br />
sexism, my real challenge is the racism, not only in<br />
the music but just in general,” says Nekro, who is<br />
an indigenous woman.<br />
“There are many negative aspects, but I use them<br />
to my advantage and I do feel that it makes me more<br />
resilient, empowered, and stronger.”<br />
Smelting an iron will with a fiery spirit, Traer<br />
have smithed a blackened metal masterpiece that<br />
is ready to be visited upon the masses. A more<br />
refined example of the slothful surges heard on the<br />
band’s live-off-the-floor “Demo 2015” release, Traer’s<br />
forthcoming debut iitoomhkitopi (a.k.a. First Rider)<br />
is a fitting introduction for a band that excels at<br />
manipulating the familiar and making the unusual<br />
instantly accessible.<br />
“There’s no direct storyline to the album, it’s more<br />
of a tribute,” Ghûl elaborates.<br />
“The title means ‘First Rider.’ which was Nekro’s<br />
grandfather’s Native name. The front cover of the album<br />
has a picture she took at his place on the Siksika<br />
Reserve, so it’s called ‘Grandpa’s Trees.’ It’s of our way<br />
of honouring him. We definitely draw on supernatural<br />
themes, and every culture has their own version<br />
of ghosts and witches of the woods. Our music is<br />
like slow creepy storytelling; it’s much more organic<br />
than your typical black metal. That’s why our name is<br />
Traer, which translates as ‘Trees’ in Norwegian.”<br />
Rife with taut tunes such as “Banshee,” “Silence<br />
in the Forest,” and “Blood Sacrifice,” each bend<br />
and scrape on Traer’s self-released homage to the<br />
passage of time reverberates with the age-old<br />
clash of inescapable fate and strident mortality.<br />
Unblemished by fractious misrule, the three<br />
bandmates’ solidarity of purpose slices through<br />
the subterfuge and delivers a deathblow worthy<br />
of Sauron’s most elite soldiery.<br />
“When my husband (Scara) and I started writing<br />
the first few songs for Traer, this other very dark side<br />
was exposed,” says Nekro.<br />
“It was so raw and authentic, as I continued<br />
to write more music, I started to understand<br />
myself better as an artist. Never have I ever felt<br />
so alive in my life. All the sadness, pain and<br />
trauma in my life gave me the power to write.<br />
This band has given me the stamp of approval<br />
to really embrace that feminine side, but remain<br />
tough as nails. I am fortunate to have two amazing<br />
men call me their leader. Their support and<br />
love is mind-boggling.”<br />
Traer released iitoomhkitopi on October 21st. The<br />
album is available on Bandcamp at https://traer.<br />
bandcamp.com/releases.The band performs on<br />
<strong>November</strong> 4th in Edmonton at Rendezvous Pub with<br />
Korperlose Stimme and Solarcoven; check online for<br />
more <strong>November</strong> events in Calgary.<br />
SHRAPNEL<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 49
ORCHID<br />
Tropic of Capricorn<br />
Celebrating a decade of fulfilling ominous<br />
acid rock fantasies, San Francisco’s Orchid<br />
is in a pretty good place right now. Not<br />
specifically the sunny sidewalk outside of guitarist<br />
Mark Thomas Baker’s home in Petaluma, CA, but<br />
thereabouts and getting closer every day. Predicated<br />
on the vibrant vocals of Theo Mindell, who<br />
also plays percussion and synths, along with bassist<br />
Keith Nickel’s surf-worshipping undertow and Baker’s<br />
exotically organic guitar strains, Orchid is easily<br />
next best thing to having Pentagram play your<br />
quinceañera. Firmly rooted in the lush loam of<br />
‘70s psych-rock, Orchid’s musical virtuosity melds<br />
traditional American blues and hard rock influences<br />
with a flair for emulating British heavy metal<br />
mainstays; earning them frequent comparisons to<br />
the likes of Led Zeppelin and Black Sabbath.<br />
“We try to write classic rock songs and every<br />
song that we’ve ever worked on is really hook-oriented<br />
and constructed around Theo’s vocal lines,”<br />
says Baker. “A lot of bands I hear are obviously<br />
coming up with riffs and trying to write vocals<br />
over that. I don’t know if it’s a signature thing, but<br />
our songs are written around vocals and not really<br />
based on the riff so much.”<br />
Regaled for their head-noddingly good 2009 debut<br />
EP, Through the Devil’s Doorway and subsequent<br />
2011 LP, Capricorn, Orchid were signed to the<br />
Nuclear Blast record label in 2012. They released their<br />
EP Heretic that same year with the full-length album<br />
Mouth of Madness following in 2013.<br />
With two LPs and a fistful of EPs to their current<br />
credit, the career retronauts behind Orchid are now<br />
Orchid is celebrating a decade of fulfilling ominous acid rock fantasies.<br />
faced with their biggest musical challenge: creating<br />
new and interesting compositions that hold their<br />
interest (and hopefully the audience’s too) while still<br />
sounding like themselves.<br />
“That is a battle for sure,” he confirms.<br />
“I think you can’t get too hung up on what<br />
you’ve done in the past and you have to keep<br />
creating and finding things that keep you excited<br />
about your music. If you just chase your tail and try<br />
to produce work that you think your fans want to<br />
hear, that can really lead to failure. There’s no point<br />
trying to guess what people want from you, cuz I<br />
don’t know. They just want the Capricorn album<br />
over and over again! But you can’t really step back<br />
in time and be the person you were. We’ve got all<br />
these years of experience between us and that time.<br />
Everything that’s influenced us in those years is<br />
coming out in what we’re doing now.”<br />
After forging ahead with their fourth EP, Sign of<br />
the Witch (May, 2015), Orchid found themselves<br />
adrift in the doom miasma as they sought a new<br />
drummer to anchor their quartet. The ongoing process<br />
of adjustment and acceptance has done little to<br />
diminish the band’s desire to create compelling songs<br />
by Christine Leonard<br />
and perform them in front of adoring crowds. Regardless<br />
of these inevitable upheavals, Baker portends<br />
that the natural potential of Orchid is still emerging<br />
and that their artistic friendships are growing deeper<br />
even as their audience and influence expands.<br />
“I think that the next album that we’re writing<br />
now is going to be awesome. We’re really excited to<br />
do it and I think it’s going to have ties to our past<br />
as well as some steps into the future, whatever that<br />
may be. It’s so hard to say, because there’s a new<br />
member in the mix,” Baker continues, referring to<br />
new drummer Tommy, who is not yet a permanent<br />
member of the band.<br />
Cultivating an ear for improvisation while<br />
satisfying vocalist Mindell’s obsession with artistic<br />
perfection, heretical guitarist Baker acknowledges<br />
that Orchid will never produce elevator tunes for<br />
the mall-roving masses. But on the other hand, he is<br />
equally quick to admit that hearing Orchid’s heavily-grooved<br />
anthem “Eyes Behind the Wall” used as<br />
bumper music during a World Series radio broadcast<br />
was one of the proudest moments of his life.<br />
“I had all these people messaging me, ‘Dude,<br />
KNBR is playing your song for the Giants’ game!’<br />
So that was a really cool thing for me to have<br />
something associated with my favourite sports<br />
team. But as far as accessibility or what people<br />
want, we’re not that concerned about it. We’re not<br />
popular enough, I don’t think. I wouldn’t worry<br />
about having hits or singles.”<br />
Orchid performs on <strong>November</strong> 5th with Napalmpom<br />
and Temple at The Palomino Smokehouse in Calgary.<br />
STEVE GRIMMETT’S GRIM REAPER<br />
returns rock fans to hell once more with 4th full-length<br />
See you in hell my friends! Steve Grimmett’s Grim Reaper plays <strong>Alberta</strong> in <strong>November</strong>!<br />
In the midst of a pile of discarded bones a stone<br />
tablet reads ‘Fear the Reaper. No One Escapes<br />
His Evil Power.’ The year is 1985 and visions<br />
of a monstrous humanoid hellhound consume<br />
the television sets of headbangers everywhere.<br />
Battling the encapsulation of evil is a foursome<br />
of leather-clad heavy metal warriors, defining the<br />
core of the genre and proving the power of pummeling<br />
riffs over any exterior force. Leading the<br />
brigade known as Grim Reaper is Steve Grimmett,<br />
who may appear to be a mere mortal prior to<br />
unveiling an unfathomably powerful voice. After<br />
releasing three sacred full-lengths in the ‘80s long<br />
worshipped by defenders of the lead based, harmonically<br />
driven traditional metal, a brief chapter<br />
with thrash metal outfit Onslaught, and countless<br />
other masterful musical endeavours, Grimmett<br />
returned to his roots in 2006 when he banded<br />
together Steve Grimmett’s Grim Reaper.<br />
Fresh from the fire is Walking in the Shadows, and<br />
regardless of it being the first full-length released<br />
under the Grim Reaper belt in nearly 30 years, it is<br />
equally as punishing as all the rest.<br />
“For us it was very important to do this,” Grimmett<br />
recounts on the continuance of the traditional<br />
roots of his latest album.<br />
“Ian [Nash, guitars] and I have been writing and<br />
recording songs for years always improving our<br />
craft, now I’m not saying we were going backwards<br />
in writing this album but we wanted some consistency,<br />
to make it the fourth album, not only in song<br />
structure but old school recording techniques, so, we<br />
recorded drums, bass and guitars the old school way.<br />
I recorded the instruments in my studio so I know<br />
there is nothing added, there are no samples in there<br />
at all, and I’m sure you agree we hit the mark.”<br />
Led footing on the accelerator of Walking in<br />
the Shadows is the metallic and aggressive anthem,<br />
“Wings of Angels.” Not unlike nearly every song<br />
included in their discography, the chorus is the pinnacle,<br />
encouraging pounding fists and banging heads<br />
by the masses. Altogether, the album is comprised of<br />
12 tracks true to the traditional structures with an old<br />
school feel uncommon with modern metal releases.<br />
By no means is it a complete throwback to the<br />
group’s earlier work, but with the addition of a band<br />
that contains no previous Grim Reaper members,<br />
Grimmett perfectly demonstrates how he has mastered<br />
his craft throughout his extensive and colourful<br />
musical journey that started way back in 1979. It was<br />
then that Grim Reaper caught their big break in 1979<br />
when they won a battle of the bands competition. An<br />
idea easily romanticized, yet apparently not so.<br />
“It was horrific and I swore I would never put<br />
myself through that again, but it was as the start of<br />
all you see. We won 24 hours in a 24 track studio, we<br />
made a demo that I gave to Ebony Records and the<br />
rest is history.”<br />
by Breanna Whipple<br />
The decade that followed saw the band release See<br />
You in Hell (1983) and Fear No Evil (1985) via Ebony,<br />
and then get picked up by larger label RCA for their<br />
grand finale Rock You To Hell (1987). Unfortunately,<br />
the album didn’t perform as well as the label<br />
expected in the American market, and the band was<br />
unceremoniously dropped. They broke up shortly<br />
after in 1988, but were resurrected by Grimmett in<br />
2006 as a solo project, which also became the lineup<br />
for Steve Grimmett’s Grim Reaper. Staying true to<br />
methods of the old regardless of the vast changes in<br />
the music industry, Grimmett still values the importance<br />
of touring.<br />
“It’s the only way we can reach out and see our<br />
fans, it’s the hardest work I have ever done but the<br />
most rewarding,” he says. “One of the most fortunate<br />
things about my band is we all get along, the fun<br />
starts at the airport and continues until we get home<br />
so every day is a highlight.”<br />
Fanatics may wonder why Grimmett has taken<br />
the initiative to rock his fans to hell once more. The<br />
answer lies within them.<br />
“I will always look after our fans, because without<br />
them we can’t do this, they are passionate about their<br />
music, and you can’t beat that, and to be fair that’s<br />
the whole world over. It’s a true brotherhood and it’s<br />
bloody fantastic.”<br />
Steve Grimmett’s Grim Reaper performs in Calgary,<br />
<strong>Alberta</strong> on <strong>November</strong> 16th at Distortion and in<br />
Edmonton, <strong>Alberta</strong> on <strong>November</strong> 17th at the<br />
Mercury Room.<br />
50 | NOVEMBER <strong>2016</strong> • BEATROUTE SHRAPNEL
Danielle<br />
French<br />
Presents<br />
MISS<br />
SCARLETT<br />
& the<br />
Madmen<br />
Dark Love Songs<br />
CD Release Party<br />
Thurs., Nov. 17<br />
Wine Ohs
musicreviews<br />
Lady Gaga<br />
Joanne<br />
Universal Music Canada<br />
Bon Jovi, Bret Michaels, and Jenna Maroni: just<br />
three pop/rock acts to have pulled the now-classic<br />
“going country” maneuver. With much of Joanne,<br />
Lady Gaga is the latest to join their ranks – to mixed<br />
success. There are a handful of worthwhile surprises<br />
from the artist born Stefani Germanotta that we’ll<br />
get to a bit later, but overall Joanne is not the hardwon<br />
reinvention many expected of her.<br />
In the three years since Gaga’s worst-received fulllength,<br />
ARTPOP, she’s done much to shed the expectations<br />
that came along with her larger than life<br />
persona that mixed up high- and low-brow forms of<br />
expression, capturing all the world’s attention along<br />
the way. She won a Golden Globe for her performance<br />
on American Horror Story, was nominated<br />
for an Oscar for Best Original Song, and nabbed a<br />
Grammy for her album of jazz standards (another<br />
classic sidestep for an out-of-vogue pop star) with<br />
Tony Bennett.<br />
With all that branching out done, what were fans<br />
to expect upon the announcement of Joanne? A<br />
Sasha Fierce-esque character? Maybe even a Chris<br />
Gaines? In fact, Joanne is the name of a deceased<br />
aunt she never met and happens to share a sexual<br />
assault trauma with. On the title track Gaga strums<br />
tenderly and restrains her vocals to a vulnerable<br />
crackle as she implores her aunt not to go into the<br />
afterlife but instead stay with her family. A pretty<br />
standard grief track, though one suspects that’s<br />
because of the lack of the room for nuance in pop<br />
music rather than Gaga not having complicated<br />
feelings about it all. Early in the album, “Joanne”<br />
reinforces that Gaga knows which muscles to flex<br />
to best serve a song’s tone, never falling victim to<br />
over-belted wails.<br />
It’s a shame she doesn’t quite pull that part of<br />
her act off when she adopts a new tonality for the<br />
“gone country” contingent of the record. From<br />
opener “Diamond Heart” through “John Wayne”<br />
(yes, really) and along to “Million Reasons,” Gaga<br />
misses the mark of a successful genre transition<br />
with too-affected nasality and flattened consonant<br />
annunciation. It’s the voice your friend Steve, whose<br />
OkCupid page says he’s into all music except country<br />
and metal, makes when he wants to get a cheap<br />
laugh. In fairness, these are the absolute low points<br />
on an album that does come with strong highlights<br />
and more successful new fields of exploration.<br />
“Sinner’s Prayer” is the one slice of Dixie-fried<br />
Gaga (unless you count the title track, which lies<br />
closer to folk ballad than country) that pans out.<br />
52 | NOVEMBER <strong>2016</strong> • BEATROUTE<br />
It’s also a song where her cast of major supporting<br />
characters shines brightest. Written by Gaga, Thomas<br />
Brenneck, Mark Ronson (co-producer for the<br />
entirety of the album) and Josh Tillman (aka Father<br />
John Misty), it’s a western fable about two tainted<br />
people in an explosive love affair. It’s where Gaga<br />
best commits to Southern mysticism and benefits<br />
from the dual guitars of Sean Lennon and Josh<br />
Homme – one smoky and mysterious, the other a<br />
bright lilt that carries the tune.<br />
The following three tracks that conclude the<br />
standard version of the album are a hat trick. “Come<br />
to Mama” is a bit hammy in its let’s-all-just-getalong<br />
sentiment, but cabaret vocal from Gaga and<br />
a Phil Spector Christmas meets Let’s Dance Bowie<br />
composition offers what a lot of us want from pop<br />
– a simple, feel good moment.<br />
“Hey Girl” puts both feet firmly in the ‘70s with<br />
its near exact interpretation of the rhythm from<br />
“Bennie and the Jets” paired with psychedelic synth<br />
squeals and harp plucked by duet partner Florence<br />
Welch. It’s a girl-power, support-one-another<br />
anthem that works quite well due to Gaga’s turn<br />
as a supporting character, letting Welch’s vocal<br />
dramatics take the lead.<br />
Finally there’s “Angel Down,” a song that’s been<br />
interpreted both as a little too pandering and as<br />
a sincere plea. It touches on the confusion of the<br />
social media era and puts police brutality against<br />
people of colour into the center of its yens. A minimal,<br />
twinkling instrumental takes the background<br />
as Gaga gives a perfectly measured amount of vocal<br />
intensity, all the while creating an instant earworm<br />
with her Leonard Cohen-like cadence.<br />
Taking inventory of the highs and lows of the<br />
album, it almost feels like there are two Joannes.<br />
While Gaga reflects and plays with a new direction,<br />
she’s tapped into both her strengths and weaknesses.<br />
It helps humanize the record, even if at some<br />
expense of the listener’s ear. Perhaps this is best<br />
exemplified by her not-quite-smash lead single<br />
“Perfect Illusion.” It’s the closest thing to classic<br />
Gaga style and makes awkward use of rock (Homme<br />
again) and Kevin Parker of Tame Impala’s signature<br />
synths. It doesn’t add up to much to remember –<br />
but as an act of imperfection it gives us a modular<br />
vantage to approach what we expect Gaga to be,<br />
where she was, is, and is headed next. This album<br />
is one that questions itself, making strides and<br />
missteps towards a high point for Gaga. It may be a<br />
necessary breather for her, but it could just as easily<br />
be the work we last remember from her. Only time<br />
will tell.<br />
• Colin Gallant<br />
illustration: Bad Blood Club
Animals as Leaders<br />
The Madness of Many<br />
Sumerian Records<br />
Tosin Abasi, Javier Reyes, and Matt Garstka, otherwise<br />
known as Animals as Leaders, have come<br />
together again to take you into the madness of<br />
their musical minds. The Madness of Many is the<br />
first album the band has self-produced, however,<br />
it often feels like a disappointing follow-up to their<br />
Billboard Top 200-charting The Joy of Motion. After<br />
putting out three mind-bending records, each one<br />
was better than the last, it feels that the trio have<br />
hit their ceiling in terms of ingenuity.<br />
The deception comes with the intro track “Arithmophobia,”<br />
where the listener is charmed by the<br />
sound of a sitar which leads to an onslaught of heavy<br />
riffage, followed by mellow jazz solos, and an intense<br />
breakdown to finish. No complaints, classic Animals<br />
as Leaders. As the next few songs go by, however,<br />
the listener is left begging for something special to<br />
grasp onto. It isn’t until the end of the fourth track<br />
“Inner Assassins,” where the usual chugs fade to clean<br />
strumming and a gorgeous, melodic solo, that some<br />
sense of inimitability was reached.<br />
Animals as Leaders haven’t in any way “fell off,”<br />
as far as their talent and song writing ability is concerned.<br />
The issue is the inability to keep the listener<br />
engaged and excited throughout the entire album.<br />
Regardless, Animals as Leaders are still the masters<br />
of their own domain.<br />
• Jay King<br />
Brandt Brauer Frick<br />
Joy<br />
Because Music<br />
Brandt Brauer Frick are a techno trio, they’re a<br />
classically trained bunch of minimalist composers,<br />
they make pop music and challenging music,<br />
they regard tradition highly, yet seek to destroy<br />
it. They’re a Berlin-based unit who aim high,<br />
argue with logic, and always deliver something<br />
compelling.<br />
It was harder to say this before high water<br />
mark Joy. The confounding nature of three people<br />
making music across intersections of classical<br />
thoughtfulness, dance-geared rhythm worship<br />
and experimentalist band dynamics isn’t a tidy<br />
little thing one can name, justify and place in its<br />
respective corner. Brandt Brauer Frick are all the<br />
better for it. On Joy, without any pandering, the<br />
group’s disparate ambitions make more sense than<br />
ever before.<br />
Throughout Joy, we experience acoustic percussion,<br />
piano, strings and horns, all settled among<br />
erratic acid lines, garage and rave beats, evocative<br />
synths and, finally, the nuanced vocals of Canadian<br />
vocalist Beaver (I shit you not) Sheppard. His<br />
sleep-deprived insistence is the kind of thing you<br />
can’t make up: something that sounds as satisfying<br />
in a disaffected tone as it does urgently entreating<br />
the listener to come to terms with an insoluble<br />
truth. Sheppard is an ace in the hole for the ages<br />
here. One should only greet his future work with a<br />
high bar in mind.<br />
It would be wrong to read that as giving Sheppard<br />
all the credit for Joy’s success: BBF wrote and<br />
executed the album a bit differently from prior LPs<br />
in terms of process; vocals from an outsider as an<br />
informant to the composition, responsiveness at<br />
the forefront. Respect is due to their instinct that<br />
it would pay off, and for offering an invigorating,<br />
career-defining moment.<br />
• Colin Gallant<br />
The Darcys<br />
Centerfold<br />
Arts & Crafts<br />
There is a plague of artists scoping out the ‘80s for<br />
inspiration, and while the era is easy to dismiss as<br />
an awkward transition period, there is plenty of fun<br />
synth tones and bubbly drum machines to mine<br />
for ideas. That said, a self-serious indie rock band<br />
deciding to shirk their low-tempo droning choruses<br />
for danceable rhythms is hardly a new idea.<br />
Toronto’s The Darcys are following this trend<br />
boldly, with direct lyrical and para-textual references<br />
to the so-called ‘decade of shame.’ It comes<br />
across playfully, but never broaches direct parody.<br />
The tonal infrastructure borrowed from the period<br />
is dialed in smartly with contemporary polish.<br />
There’s enormous detail in every track, and each<br />
one is extremely fresh. Beyond the tone and instrumentation,<br />
the musicianship is as precise as you<br />
would expect from a band who put out a Steely<br />
Dan cover album less than five years ago.<br />
Centerfold doesn’t come entirely out of left field<br />
for The Darcy’s. Warring (2013) was hardly inaccessible<br />
as a record (it did come out on Arts & Crafts<br />
after all), but it did contain a certain level of brood.<br />
This new release feels like The Darcys are finally<br />
enjoying themselves, and it’s entirely infectious.<br />
• Liam Prost<br />
Gord Downie<br />
Secret Path<br />
Universal Music Canada<br />
There’s no need for introduction to the terminally-ill<br />
Canadian rock legend Gord Downie. He and<br />
his band, The Tragically Hip, are easily one of the<br />
greatest Canadian rock groups of all time. Secret<br />
Path, however, is a solo project. In Secret Path,<br />
Downie tells us the story of Chanie Wenjack, an<br />
indigenous boy who died escaping a residential<br />
school 50 years ago.<br />
In a press release accompanying the album,<br />
Downie tells us that “this is Canada’s story.” Residential<br />
schools are a dark part of our history that<br />
we rarely acknowledge, but it is essential to our<br />
identity as Canadians. There is no better musician<br />
who could possibly capture this pain, this sense of<br />
loneliness and confusion than Downie.<br />
The title track is one that vividly describes the<br />
journey of Wenjack and is the best track on the<br />
album. Pounding, unrelenting drums propel each<br />
song forward into the next, making the album feel<br />
exactly as it should: a journey. The production on<br />
Secret Path is top-notch, but as it always is with<br />
Downie, it’s never really just about the chords and<br />
beats. The passion in the project is what pushes it<br />
into the realm of being one of the most essential<br />
Canadian albums in years. Downie and his brother,<br />
who helped with the album, are donating all proceeds<br />
to go towards healing the wounds caused by<br />
these residential schools.<br />
• Matthew Coyte<br />
Eliza Doyle<br />
Ain’t What it Seems<br />
Independent<br />
There’s a strange ambivalence that permeates Eliza<br />
Doyle’s Ain’t What It Seems. Lyrically, it’s extremely<br />
depressing. Doyle’s piercing tenor emotes some<br />
dreary sentiments about tired living, desiring<br />
change, and regret, but she does so with some<br />
propulsive banjo-led bluegrass. Her major key tunes<br />
confuse the impact of her depressive lyricism, but<br />
not in a way that feels deliberate.<br />
The record peaks and valleys predictably, but the<br />
low moments like “Old Blue Jeans” and “Moonlight”<br />
don’t offer any significant tonal shifts from<br />
the peppier tunes, some of which are jarringly dour.<br />
Record highlight “Wish I Felt This Good Without<br />
the Whisky” is perhaps the best example, and you<br />
can probably tell why by the title alone. This track<br />
in particular highlights Doyle’s clean and polished<br />
banjo playing. She constructs melodies gingerly<br />
with her fingers. These leads are strongly highlighted<br />
by warm fiddle accompaniment and almost<br />
silent percussion. Louder tracks like this one also<br />
double her vocal during the chorus, which helps<br />
distract from her sometimes flat delivery.<br />
Eliza Doyle’s Ain’t What It Seems is very much<br />
is what it seems, a sparkly bluegrass record with<br />
extremely grim sentiments throughout. Pleasant<br />
enough on the ears, but doesn’t feel totally finished.<br />
• Liam Prost<br />
Roman Flügel<br />
All The Right Noises<br />
Dial Records<br />
For almost two decades, German DJ/producer<br />
Roman Flügel has been travelling the globe to bring<br />
famed Berlin raves to the masses. Still, his name in<br />
this part of North America is largely unknown. You<br />
can see the slow shifting recognition on social media;<br />
mentions of the 2015 <strong>edition</strong> of BC’s Bass Coast<br />
usually accompanied by an attendee commenting<br />
with glee that they’ve had Flügel introduced to<br />
them via his standout set. His 2015 track “Sliced Africa”<br />
making year end lists aplenty, regular features<br />
on late-night BBC programming, and a recent signing<br />
to acclaimed label Dial all give the impression<br />
that the world may finally be ready for Flügel.<br />
And yet, with All The Right Noises, his first album<br />
with Dial, Flügel shows of his brainier side, ditching<br />
rave aesthetics for more experimental tones and a<br />
sly subtlety that plays better in headphones than on<br />
a dancefloor. Album opener “Fantasy,” is a beat-less<br />
ambient birdsong; the musical equivalent of a clear<br />
winter morning. Much of the album is blissful in this<br />
way, more akin to his track “9 Years” on this years DJ<br />
Koze Presents: Pampa, Vol. 1 compilation.<br />
Not until halfway through the album does Flügel<br />
truly drop the hammer with “Warm and Dewy,”<br />
even still he holds back with little low-end, opting<br />
instead for restless, rolling hi-hats and euphoric<br />
melodic haze. The following track “Dust,” continues<br />
this trend; it’s an ascendant, afterhours-ready<br />
standout, all lightly-lfo’d chords and articulated<br />
arpeggiations. All The Right Noises may not be<br />
ready for the dancefloor, but rarely does music<br />
made with machines sound this lively.<br />
• Jamie McNamara<br />
The Game<br />
1992<br />
Blood Money/eOne<br />
Tove Lo<br />
Fresh off the release of two massive albums last year,<br />
West Coast rapper The Game is back again with 1992.<br />
Usually, an artist releasing full-length albums in a<br />
short succession is call for concern, but the quality of<br />
the Compton rapper’s 2015 output, The Documentary<br />
2 and The Documentary 2.5, proved otherwise.<br />
While 1992 does not have as many memorable<br />
tracks as his 2015 albums, it still has just as many<br />
Kanye references (if not more), and proves that The<br />
Game is still riding a hot streak. One of the best<br />
tracks is the opener, “Savage Lifestyle,” featuring<br />
a Marvin Gaye sample, a chorus dedicated to the<br />
aftermath of the Rodney King trial, and a whole lot<br />
of rage to the boys in blue over a beat that never<br />
stops switching up just like The Game’s flow.<br />
Colour is an important theme of 1992, specifically<br />
red and blue. On “True Colors/It’s On,” he tells<br />
a horrifying story of his childhood about his dad<br />
molesting his sister, detailing the blood on her shirt<br />
when he found her. 1992 is a solid, honest album,<br />
offering nothing extraordinary save for a few tracks,<br />
but The Game’s talent makes it a worthwhile and<br />
smooth listen nonetheless.<br />
• Paul McAleer<br />
Hope Sandoval and the Warm Inventions<br />
Until The Hunter<br />
Tendril Tales<br />
Fans of ‘90s dream pop forbearers Mazzy Star are in<br />
luck. The enchanting voice of vocalist Hope Sandoval<br />
has been renewed in Hope Sandoval and the Warm<br />
Inventions’ highly anticipated new album: Until The<br />
Hunter. The album is a mellow exploration of loss,<br />
growth, and questioning. The repetitive background in<br />
many of the songs pulls the listener into a trance, a delicate<br />
balance between dream pop and psychedelic folk.<br />
In the track “A Wonderful Seed,” the artists<br />
seem to draw inspiration from traditional Celtic<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 53
Solange<br />
folk music while integrating ghostly hums. The<br />
album’s first single “Let Me Get There,” features a<br />
vocal duet between Kurt Vile and Sandoval. While<br />
there’s no doubt that the two are both powerful<br />
musicians, Vile’s voice seems out of place. At times,<br />
his vocals and the electropop guitar accents detract<br />
from the dream-like atmosphere of the song.<br />
Apart from that track, the album makes the listener<br />
feel as though they are high on a Viking ship that<br />
is floating through the clouds, and is a must listen for<br />
ethereal dream pop lovers and Mazzy Star fans alike.<br />
• Robyn Welsh<br />
Nicolas Jaar<br />
Sirens<br />
Other People<br />
Silence isn’t often used as a tool in music for fear<br />
that the listener will disengage if there’s too long of<br />
a pause. Nicolas Jaar starts off his new record Sirens<br />
with around a minute of silence. Fittingly, the first<br />
track is called “Killing Time,” beginning with soft<br />
crackling and nothing else. Suddenly, there’s a burst<br />
of sound with keys exploding like glass shattering,<br />
a blossoming of noise comparable to the creation a<br />
living universe.<br />
After releasing his highly acclaimed and experimental<br />
debut album in 2011, Space is Only Noise,<br />
Jaar has been all over the map, working on everything<br />
from soundtracks to helming his own label<br />
and Internet radio hub Other People. Based in New<br />
York, but of Chilean descent, Jaar’s musical influences<br />
are extremely varied, ranging from hip-hop to<br />
Iberian folk, yet he manages to incorporate the very<br />
essence of these genres into his music constantly.<br />
Sirens is an experience to listen to. It’s Jaar’s least<br />
innovative record, but at the same time his most<br />
refined. At 42 minutes, the universe Jaar has created<br />
is short, but each song is a different world with a<br />
magnetizing atmosphere: “No” lives in disarray and<br />
revolution, while “Three Sides of Nazareth” breathes<br />
insanity; “History Lesson,” the surprising conclusion,<br />
is filled with complacency. In this sense, Sirens<br />
sounds too close to home.<br />
• Paul McAleer<br />
Jacuzzi Boys<br />
Ping Pong<br />
Mag Mag<br />
With their fourth album, Ping Pong, Florida trio<br />
54 | NOVEMBER <strong>2016</strong> • BEATROUTE<br />
Jacuzzi Boys seem to be all about starting fresh.<br />
They’ve started a new label called Mag Mag, but<br />
while they’ve left behind Hardly Art, Ping Pong may<br />
just be the most suitable album for that label. It’s a<br />
fuzzy, garage pop gem that embodies all of the best<br />
qualities of Jacuzzi Boys previous work while bolstering<br />
their song writing ability. Songs like “Boys<br />
Like Blood” and “Can’t Fight Forever” are just that,<br />
actual songs. Where their previous work had a seatof-its-pants<br />
aesthetic, Ping Pong feels punky, but<br />
polished. The chugging “Seventeen,” is a Dum Dum<br />
Girls song smashed through a fuzz pedal; featuring<br />
a pounding, percussive bass guitar and an infectious<br />
scream-along chorus. “Easy Motion” carries<br />
on the band’s fascination with ‘60s psych, bringing<br />
an acoustic guitar and razor-wired synth together<br />
for a song that sounds like Ty Segall’s “Manipulator,”<br />
or Thee Oh Sees on their ode to psych, Drop.<br />
Overall, Ping Pong makes a serious argument<br />
that Jacuzzi Boys may just be a garage band that<br />
actually sounds better in the studio.<br />
• Jamie McNamara<br />
Tove Lo<br />
Lady Wood<br />
Universal<br />
Tove Lo is the latest in a long line of Swedish pop<br />
stars that manage to run up the charts without<br />
making their audience feel like idiots in the process.<br />
That’s not to say that the 28-year-old is reinventing<br />
the wheel in three-minute pop songs, but her<br />
unique brand of third wave feminist sex positivity<br />
is refreshingly open and adult. Of course, it doesn’t<br />
hurt that her songs are impeccably produced,<br />
often sounding like a hybrid between fellow Swede<br />
Robyn, and the hazy, horned-up hedonism of<br />
The Weeknd. It was this fairly simple formula that<br />
launched her 2014 debut Queen of the Clouds<br />
to platinum status, but that album suffered from<br />
bloat and artistic growing pains that have all but<br />
disappeared on her follow-up Lady Wood.<br />
Anchored by the world-conquering, manic-pixie-dream-girl-destroying<br />
lead single “Cool Girl,”<br />
Lady Wood finds Tove Lo gliding confidently into<br />
her own lane as a synth pop sex icon for the “vibe<br />
generation.” Highlight track “Influence,” is built<br />
around a fairly cliché lyrical metaphor (being in lust<br />
is like being drunk), but a Max Martin-esque attention<br />
to vocal intonation and rhythm in the chorus<br />
raises a dumb lyric to an undeniable earworm level.<br />
It’s just one of the many hooks on Lady Wood<br />
that are poised for radio domination. Luckily, Lady<br />
Wood is one of the few pop albums where that<br />
sentiment is a positive.<br />
• Jamie McNamara<br />
Tkay Maidza<br />
TKAY<br />
Downtown/Interscope<br />
Listening to Takudzwa Victoria Rosa Maidza’s<br />
music is a surprisingly maddening experience. Not<br />
because Maidza’s music is bad at all, the complete<br />
opposite, actually. Her music is so good that it’s<br />
hard to believe that the Adelaide-via-Zimbabwe<br />
artist, better known as Tkay, is so talented despite<br />
being so young. At just 20, the rapper/singer has<br />
worked with an impressive cast of producers like<br />
SBTRKT and Bok Bok to provide the bubbly foundation<br />
for her bombastic pop-rap style. Her debut<br />
album for Interscope, the simple titled TKAY, finds<br />
her continuing that trend, working with people<br />
like Mixpak label-head Dre Skull, LA producer<br />
Salva, and co-writer George Maple to craft a<br />
debut album that may just be one of the best pop<br />
albums of the year.<br />
TKAY is a fizzy, synth-heavy sugar rush of an<br />
album. Songs like the lead single “Carry On,”<br />
with Killer Mike, sit somewhere in between early<br />
Charli XCX and Young Thug. Throw in a little PC<br />
Music, some U.K. garage, a little grime for good<br />
measure, and you get close to what Maidza has<br />
created. There are moments, like on the lead<br />
off track “Always Been,” where Maidza channels<br />
Nicki Minaj on her famed “Monster” verse, using<br />
grime-influenced rapid-fire cadences and sophisticated<br />
rhyme structure to force any competitors<br />
to bow down.<br />
Australia may have been responsible for the<br />
scourge of Iggy Azalea, but consider Tkay Maidza<br />
the country’s musical penance.<br />
• Jamie McNamara<br />
Moby & the Void Pacific Choir<br />
These Systems Are Failing<br />
Little Idiot Music<br />
Moby is no stranger to criticisms on his vastly-varied<br />
body of work. Well, he received a great deal of<br />
praise for his most successful, and not-so-arguably<br />
best, album Play in 1999. That featured many truly<br />
timeless electronica classics like “Why Does My<br />
Heart Feel So Bad,” and that song from The Beach,<br />
but his previous album, Animal Rights, nearly<br />
ruined him as he tried to force his angsty, teenage<br />
punk years into an album. So, while that train<br />
wreck was criticized for deviating too far from<br />
what he was good at, so too was the preceding album,<br />
18, chastised for sounding too much like Play.<br />
Also, if you, like me, happened to be in attendance<br />
at his much-hyped set at Shambhala 2014, there’s a<br />
good chance you criticized him to his very core for<br />
that colossal mockery of a “DJ set.”<br />
Now we have These Systems Are Failing, and<br />
while I tried to push my negative associations<br />
garnered from my one experience seeing him<br />
“perform” aside while listening to his latest<br />
record, it didn’t help much. It seems as though<br />
he has returned to his ‘80s punk influences,<br />
channeling his personal issues with the modern<br />
world into perhaps his lividest music yet. The<br />
problem is, it doesn’t pack enough of a punch;<br />
even with all its fuzzy, synth heavy guitar lines<br />
and drum machines and his deadpan voice that<br />
permeates through out. Like the rest of the album,<br />
it’s monotonous and uninspired. Much like<br />
the way he apparently perceives this generation,<br />
you might say.<br />
• Paul Rodgers<br />
MV & EE<br />
root/void<br />
Woodsist<br />
Psychedelic music over time has had very different<br />
meanings. From the Lewis Carroll-fueled jams of<br />
Jefferson Airplane, to the prog styling of Pink Floyd, to<br />
the poppy funk of Tame Impala, I’ve never heard music<br />
that encapsulates the hallucinogenic, mind-altering,<br />
norm-bending nature quite like MV & EE. root/<br />
void is the Vermont duo’s 36th(!) album since their<br />
debut in 2004. Combining traditional western and<br />
eastern instrumentation together, their folky jams<br />
have a strangeness to them that is uniquely their own.<br />
A lot of what they do might be construed as<br />
trying too hard. Track names like “No $ (Shit<br />
Space - It’s All About the Coin ¢ /Corn)” or the<br />
lengthy sections containing nothing but a single<br />
chord slowly being strummed certainly don’t help<br />
that impression, but there’s something undeniably<br />
earnest about their output.<br />
Their reverb-slathered, disharmonic duets<br />
channel Mesoamerican chanting over twangy<br />
steel string, or the drug-rooted spirits that you<br />
hear on the wind singing you disquieting lullabies.<br />
Their seemingly entirely improvised mish-mash of<br />
sitar, country guitar, and dreamy synth filled come<br />
downs make up a perfect soundtrack for a trip<br />
anywhere far away from people who might judge<br />
you for your ten-minute psychedelic love songs.<br />
• Cole Parker<br />
NxWorries<br />
YES LAWD!<br />
Stones Throw<br />
When Anderson .Paak released his debut album<br />
Venice in 2014, he was essentially homeless,<br />
hustling to survive. That album caught the ear of<br />
New Jersey native Glen Boothe, otherwise known<br />
as producer Knxwledge, who himself is no stranger<br />
to the hustle (you don’t get to 64 releases on<br />
Bandcamp without serious dedication, after all).<br />
The two started working together as NxWorries,<br />
releasing an EP in 2015 called Link Up & Suede.<br />
The latter track would make it’s way to none other<br />
than Dr. Dre, landing .Paak a contract with Aftermath<br />
Records and a total of eight(!) guest spots on<br />
the Dre’s 2015 comeback album, Compton.<br />
Yet, as amazing as 2015 was for .Paak, <strong>2016</strong> has<br />
somehow been even better. In January he released<br />
the album of the year in Malibu, all the while<br />
working with Boothe on a follow-up to that 2015<br />
EP, the full-length YES LAWD! for Stones Throw<br />
Records.<br />
YES LAWD! is a fitting victory lap for .Paak,<br />
even when it doesn’t work all that well. It’s a dank<br />
and dusty beat-tape, filled with sub-three-minute<br />
throwback jams, that sounds like a ‘70s R&B<br />
Madvillainy. In a few ways it mirrors that 2004<br />
classic from Madlib and Doom, most notably<br />
that it features two of the game’s most outlandish<br />
outsiders flexing on the game with an infectious<br />
unfuckwittability. The album finds .Paak adopting<br />
a Superfly-era Curtis Mayfield persona. He’s a<br />
shit-talking amalgamation of Shaft and Sade, torn<br />
between being a lover and a player, often in the<br />
same line. On the late-album cut “Sidepiece,” he<br />
contemplates his place as a rap game Don Juan,<br />
protesting his love for a woman is strong enough
to relinquish his other sexual escapades, even<br />
though “one won’t do, and two is not enough for<br />
me, no!”<br />
It’s soundtracked by swelling, sampled strings<br />
and slowly rolling toms and tams straight out of<br />
the ‘70s. On opener “Livvin’,” and the stunted jam<br />
“Kutless,” the dust in the grooves of the record is as<br />
audible as any of the sampled instruments.<br />
There are brief moments that take away some<br />
enjoyment from YES LAWD!, but it still leaves<br />
the impression that when they’re on, NxWorries<br />
are the smoothest duo since Rob Thomas and<br />
Santana.<br />
• Jamie McNamara<br />
Pale Lips<br />
Wanna Be Bad<br />
Hosehead Records<br />
Montreal garage-punks Pale Lips have a ripping<br />
time of a first LP on their hands with the release of<br />
Wanna Be Bad. Just a few chords, vocals that run<br />
from sweet harmonies to raw yowls and a healthy<br />
heap of sass keep these 12 nuggets of brittle but<br />
bright power pop a riot from start to finish.<br />
Tongue-in-cheek opener “Doo Wah Diddy Shim<br />
Sham (Bama Lama Loo)” makes playful use of<br />
vintage garage-pop scatting while maintaining the<br />
genre’s reverence for earnest vocal melody. If that<br />
sounds a bit innocent for a record called Wanna Be<br />
Bad, fear not: “Queen of Spades” is an ode to the<br />
thrill of gambling, “Mary-Lou Sniffin’ Glue” (sounding<br />
not unlike an Exploding Hearts song) preaches<br />
the joys of inhaling that you should not, and “Run<br />
Boy Run” is about taking vengeance on a cheater.<br />
Like much punk and garage-rock, the album<br />
doesn’t exactly swell with variety throughout. Rather,<br />
it takes something fun and unfussy and injects it<br />
with snark, snarl and a sense of humour that makes<br />
the tracks endlessly personable. It’s a saccharine<br />
and venomous concoction, perhaps described<br />
best a big, bright lollipop coated in a lethal dose of<br />
speed and arsenic.<br />
• Colin Gallant<br />
Peeling<br />
Rats In Paradise EP<br />
Buzz Records<br />
Toronto DIY punk “supergroup” Peeling features<br />
members of Mexican Slang, Odonis Odonis, Dilly<br />
Dally, and Golden Dogs. Their first EP as a group,<br />
Rats In Paradise, combines aspects of garage rock,<br />
punk, noise and pop into one album.<br />
In the song “Magic Eye,” lead singer Annabelle<br />
Lee’s rasp and growl is paired with hard hitting<br />
drum beats to create a sultry song focusing simply<br />
on body positivity and sex. Another song off of<br />
the record, “Leisure Life,” condemns apathy, greed<br />
and those who are “making money off of war and<br />
institutional oppression.”<br />
While the themes of the album seem a bit heavy<br />
handed, what’s produced is an enjoyable, almost<br />
pop-influenced, punk album. In just four songs,<br />
Peeling tackle broad concepts such as sexuality,<br />
death, consumerism, religion and mental illness,<br />
but - like much of Buzz Records catalogue – Rats In<br />
Paradise is still a hazy, fuzzy and fun album.<br />
• Kennedy Enns<br />
Planes Mistaken For Stars<br />
Prey<br />
Deathwish Inc.<br />
Prey comes to us as the first new offering in almost<br />
10 years from Colorado-via-Illinois post hardcore/<br />
metal/rock outfit, Planes Mistaken For Stars. But in<br />
all honesty, did we really miss them? Prey is easily<br />
the most cohesive and listenable album of the<br />
band’s catalogue, but that being said, there are really<br />
only three tracks of note and the rest fall into a<br />
weird, too-similar flatness. “Til’ It Clicks,” “Clean Up<br />
Mean,” and “Pan In Flames” are those noteworthy<br />
tracks. “Black Rabbit” gets a partial note for being<br />
simple and stirring, though it’s short enough to<br />
sound like an intro off of Alexisonfire’s Crisis, with<br />
little more development.<br />
The overall production favours a squished-together<br />
sound instead of letting the individual parts<br />
breathe. This does come together like a striking<br />
chorus of ghostly howls at times, but at other times<br />
mimics the decaying rabbit carcass of the cover art:<br />
bleeding together and blending into the landscape.<br />
This album will make you realize maybe you don’t<br />
like PMFS as much as nostalgia tells you to. But that<br />
being said, there are highlights and it still comes<br />
together as the most mature album the band has<br />
put out.<br />
• Willow Grier<br />
Poor English<br />
Poor English EP<br />
Darling Records<br />
It often seems that Portland, and the Pacific<br />
Northwest in general, is one of the last few areas<br />
where six strings still reign supreme. Poor English,<br />
a trio home-grown in the Rose City, kneel to the<br />
throne on their self-titled debut EP, with five<br />
songs that blaze new trails and hearken back to<br />
indie rock’s more celebrated past. Lead single “Everlaster”<br />
is the definite standout of that handful<br />
of tracks. Featuring extremely dense instrumentation<br />
packed with sporadic, mathy guitars, buzzing<br />
slides, a silky smooth bassline, and lead vocalist<br />
Joe Hadden’s impassioned pleas, it really shows<br />
off the band’s ability to harmonize what should<br />
sound like total chaos into a rock song with<br />
instant pop appeal.<br />
That chaos is based on the sheer amount of<br />
effects, noise and musical fidgets – you get the<br />
impression that a Poor English stage is lined<br />
with pedals. Occasionally (like on closer “See<br />
Through”) they overpower what’s being played.<br />
It’s mostly done tastefully though, with seemingly<br />
random one-off riffs dashed with these effects<br />
adding to the overall experience.<br />
Amid that muddle is Hadden and harmonizing<br />
back-up vocals repeating mantra-like hooks over<br />
quickly shifting riffs and rhythm lines, building<br />
tension in an extremely effective way. Frequently<br />
acting more like a rhythm guitar then a lead guitar,<br />
these choruses allow the listener to unpack<br />
the virtuous instrumentation while belting along<br />
to Hadden’s desperation.<br />
• Cole Parker<br />
Protest the Hero<br />
Pacific Myth<br />
Sony Music<br />
There’s no middle ground when it comes to<br />
discussing Canadian prog-rockers Protest the<br />
Hero. Four strong albums in, PTH has developed<br />
a love-‘em-or-can’t-fucking-stand-‘em reputation<br />
that stems primarily from frontman Rody<br />
Walkers divisive vocal delivery which shifts<br />
from crystal-clear highs to vicious gutturals on<br />
a dime. However, Pacific Myth, their latest EP of<br />
voracious fret-burners, is a prime example of a<br />
band that knows their place so well that they’re<br />
unable to escape the territory of self-parody that<br />
comes from musicians that *literally* grew up<br />
playing the same music they’re still putting out<br />
15 years on.<br />
To remedy this situation, Protest has started implementing<br />
unique marketing strategies to produce<br />
their work, beginning with 2013’s Volition (which<br />
was crowdfunded via Indiegogo), and continuing<br />
with Pacific Myth, which was released over a<br />
12-month span to paying subscribers via Bandcamp.<br />
The result is 12 tracks (well, six, with accompanying<br />
instrumentals) that essentially sound like<br />
rejected cuts that didn’t quite make it onto their<br />
last full-length. In fact, any song on Pacific Myth<br />
could be slipped into any other post-Fortress<br />
release and the listener would be none the wiser.<br />
While the guys in Protest are undoubtedly<br />
talented, Pacific Myth has made it clear that<br />
being really, really good at what you do doesn’t<br />
necessarily make it interesting.<br />
• Alec Warkentin<br />
John K. Samson<br />
Winter Wheat<br />
Anti-Records<br />
As if John K. Samson needed to prove to us that<br />
he is among Canada’s best songwriters, Winter<br />
Wheat is the lyrically ambitious, clean and clever,<br />
release that we weren’t sure we were going to get<br />
this late in his illustrious career.<br />
With the Weakerthans now permanently<br />
defunct, and his Propaghandi days a distant<br />
memory, Samson began settling into singer-songwriter<br />
mode on Provincial (2012). It’s a beautiful<br />
record, but also small and reserved. Armed with<br />
the knowledge that Samson writes fitfully, this<br />
year’s 15 track, sprawling, Winter Wheat, comes<br />
as a most pleasant surprise.<br />
Close listens do not go unrewarded. The record<br />
is packed with extremely compelling narratives,<br />
such as the charming and fun first-person account<br />
of a Cambridge spy about to be caught on<br />
“Fellow Traveler,” but it also maintains the many<br />
quotable one-liners that made Weakerthans’<br />
blue-collar anthems so memorable. “The payday<br />
lonely pray in parking lots, a one bar wifi kinda<br />
town,” Samson whispers on “Capital.”<br />
The record is fairly sparse in its production,<br />
and this helps highlight Samson’s lyricism. This is<br />
most true of “Alpha Adept,” which balances its<br />
delusional narrator with some slinky bass guitar,<br />
wirey synths, and a beautifully sci-fi keyboard<br />
breakdown. “17th Street Treatment Centre”<br />
sounds like a first take recording, just electric<br />
guitar and wavering vocals, it feels deliberately<br />
unpolished, like it was recorded from the hospital<br />
bed of the protagonist. Among the most energetic<br />
and fun songs on the record is ‘Fellow Traveler,’<br />
but with its soft percussion, and widely spaced<br />
doo-wop vocal harmony, the track never peaks<br />
quite as highly as it could.<br />
Winter Wheat is a fantastic record, a sprawling<br />
collection of short stories with a clean, but soft,<br />
coat of paint.<br />
• Liam Prost<br />
Slow Hollows<br />
Romantic<br />
Danger Collective Records<br />
It’s winter <strong>2016</strong> and there’s no sign of decline for the<br />
slew of white male jangle pop rehashes: a recycled<br />
‘80s trend re-popularized by the likes of Mac DeMarco<br />
for the new, liberal generation of entitled Millennials<br />
experiencing the woes of life. HYPERLINK “http://<br />
www.mtv.com/news/2793656/rip-indie-rock/” After<br />
all, indie rock - historically and even today - is still a<br />
straight white male dominated industry.<br />
Take L.A. hopefuls Slow Hollows, a new generation<br />
of ‘90s alt-rock revival, jangle pop youths, led<br />
by Austin Feinstein (lead guitar/vocals). Straight<br />
out of high school, their resume is remarkable, if<br />
only by the number of collaborations Feinstein’s<br />
had with high-profile artists such as Frank Ocean<br />
(“Blonde,” “Endless,” and “Self-Control” alongside<br />
Swedish wunderkind Yung Lean) and Tyler the<br />
Creator (“Cherry Bomb”).<br />
Following the release of 2015’s Atelophobia,<br />
Slow Hollows emphasize dreary winter blues with<br />
their third album, Romantic, released under their<br />
own DIY label Danger Collective. The album is a<br />
youthful, poesy, lovelorn collection of songs written<br />
during Feinstein’s senior year of high-school<br />
that effortlessly meander into the foundation of<br />
the human pathos: loneliness (“How can you love<br />
something / and know you’re not trying... / for<br />
what’s feeling / are we breathing still?” laments<br />
Feinstein on “Flowers”).<br />
Don’t expect anything innovative (except<br />
for that sexy, sexy brass), but don’t expect to be<br />
disappointed, either. One can’t go wrong with a<br />
band so reminiscent of the ‘90s alternative rock,<br />
post punk scene, the album’s opening track “Spirit<br />
Week,” providing immediate callbacks to Pavement,<br />
Sebadoh, and Beck. Feinstein’s vocals aren’t<br />
choirboy material, but his lackadaisical drawl laid<br />
over clever, easy-to-follow instrumentation (have<br />
I mentioned that brass?) and chord progression is<br />
definitely appealing.<br />
• Nikki Celis<br />
Solange<br />
A Seat At The Table<br />
Saint/Columbia<br />
On her first album in eight years, A Seat At The<br />
Table, Solange Knowles considerably raises her<br />
creative ante, while providing a strong female<br />
perspective concerning race and gender issues in<br />
21st century America. In co-writing, producing,<br />
and arranging the album, Knowles proves not only<br />
a deft-yet-sensitive hand at vocalizing the strength<br />
and struggles of today’s women, but her skills as a<br />
composer and producer serve as an example of the<br />
highest degree of musical imagination and taste<br />
currently in pop music.<br />
From the cascading intro harmonies of “Rise,”<br />
there’s an inkling that A Seat At The Table might be<br />
a more run-of-the-mill pop exercise, but the notion<br />
is quickly disregarded, as the opening cut never<br />
drops the beat, settling on vocals and Wurlitzer<br />
with a subtle high-hat/kick on the off beat to keep<br />
the cut off balance.<br />
“Don’t Touch My Hair” is continually rising,<br />
with an arrangement brought to classy heights by<br />
classic ‘90s hip-hop horns that blaze into a sort<br />
of Daptone climax. It’s a shocking move for a pop<br />
record, but at this point, Knowles has confounded<br />
throughout, and her artistry, and reverence for the<br />
history of black pop music is well assured.<br />
Solange Knowles is a singular artist, distinct and<br />
distant from her commercial pop past, and A Seat<br />
At The Table is a smart, unpredictable album that<br />
ought to position her as a serious voice in the social<br />
movements of her time, and breathes some life<br />
into a style that has long become sterile, rote, and<br />
endlessly greedy.<br />
• Mike Dunn<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 55
Tropic Harbour<br />
Tasseomancy<br />
Do Easy<br />
Outside Music / Hand Drawn Dracula<br />
If you’re looking for a slow-burning, ethereal album<br />
filled with spine-tingling harmonies, you’ve<br />
come to the right place with Tasseomancy’s Do<br />
Easy.<br />
Tasseomancy’s definition as a word describes<br />
the divination of information based on tea, coffee,<br />
or wine-resin reading. It’s a form of fortune<br />
telling that belongs to the earth. On that front,<br />
Do Easy has you covered with unadorned yet<br />
hair-raising harmonies from twin vocalists Romy<br />
and Sari Lightman. The duo formerly known as<br />
Ghost Bees form the crux of the band, but this<br />
LP is bolstered by the perhaps more recognizably<br />
named contributions like Simone Schmidt (Fiver,<br />
One Hundred Dollars) and Alex Cowan (Blue<br />
Hawaii, Agor).<br />
Starting with the piano-punctuated torch song<br />
“Dead Can Dance and Neil Young,” drifting blissfully<br />
along to lead single “Missoula,” (a bit like Belinda<br />
Carlisle meets Beach House in a Leonard Cohen-written<br />
fable), and wrapping with the startling<br />
spare “Eli,” Tasseomancy track deeply personal<br />
themes best explained in late-night whispers and<br />
not in a needfully brisk album review.<br />
If you’re someone who values the reward of<br />
taking time to settle into deeply considered pacing<br />
and merits reflection on – and investigation<br />
of – pristine, obtuse music without a single clear<br />
grabbing point, you’ll find the rewards of Do Easy<br />
to be rich and plentiful.<br />
• Colin Gallant<br />
Testament<br />
Brotherhood of the Snake<br />
Nuclear Blast Records<br />
As the legend goes, The Brotherhood of the Snake<br />
is a secret society to the fore of culture and civilization<br />
as we know it now: Earth was constructed by<br />
“a serpent-infested swampland called Snake Marsh.”<br />
The Alien King (Ea) engineered humans to work as<br />
slaves to mine for gold. Or something like that.<br />
Testament has taken this mythical apologue and<br />
infused it into their 12th studio offering Brotherhood<br />
of the Snake – a self-described concept<br />
album – distinct in its lyrical content from their<br />
previous works, which used to lean more towards<br />
56 | NOVEMBER <strong>2016</strong> • BEATROUTE<br />
politics, the environment, angsty emotions and<br />
reality.<br />
The title track, also the record’s first single,<br />
invites us on an allusive trip that storms forward<br />
over the course of 10 songs, ending fittingly with<br />
“The Numbers Game,” a narrative about a 14-day,<br />
14-night killing spree. Musically, it’s everything one<br />
might expect from Bay Area thrash - high BPMs,<br />
tangled upper-register guitar with extended runs<br />
and solos layered over a groovy, funk bass line.<br />
This while the second guitar gusts around the<br />
percussion, smartening up the others, but staying<br />
subdued enough that all parts can be admired<br />
separately.<br />
Even after 12 albums, Testament shows no signs<br />
of slowing down anytime soon. Though, they better<br />
be better than just good every time they drop an<br />
album because thrash doesn’t need a comeback; it<br />
never really leaves.<br />
• Lisa Marklinger<br />
Twin Rains<br />
Automatic Hand<br />
Independent<br />
Drift into the electro-dream realm of Canadian duo<br />
Twin Rains. Their debut album, Automatic Hand,<br />
splices motivational melodies and despair, creating<br />
a sublime mindscape for the listener. After moving<br />
from homeland Toronto to Vancouver, Jay Merrow<br />
and Christine Stoesser unearthed this gleaming<br />
gem, full of laidback beats and whimsy. There is<br />
a deep stormy ripple throughout the album, a<br />
yearning and pining vibe that is laced with Stoesser’s<br />
solemnly sultry vocals. Opening track “Before”<br />
totes a weight of anticipation, while twin track<br />
“Ghost Bird,” is slow, almost dragging with trailing<br />
guitar and sorrowful vibraphone.<br />
Fear not, though, the album is not entirely dark.<br />
Sunny guitar licks grace their first single “Flash<br />
Burn,” while “Automatic Hand” is dressed with the<br />
zest of Ace of Base. Haunting synth and a driving<br />
beat unleash an uncontrollable dance-y pants<br />
direction on “A Swim,” laden with contemplative<br />
lyrics like, “If I know that the moon is making the<br />
waves, who am I to point out the undertow?”<br />
The frequency of loneliness and reverie reverb<br />
throughout.<br />
As a whole, the album is seamlessly cohesive,<br />
marrying poppy guitar, airy vocals, intriguing synth,<br />
and wandering beats, all whilst carrying a wide<br />
spectrum of emotion. Just in time for the reflective<br />
essence of winter, this debut is not to be dismissed.<br />
• Shayla Friesen<br />
Tropic Harbour<br />
Glowing Eyes<br />
Independent<br />
Winter in the Prairies is a dreadful experience. The<br />
snow smothers any memory of a warm summer<br />
afternoon spent lounging around, losing track of<br />
time. An escape from the bleak winter, however<br />
temporary it may be, is well deserved to anyone<br />
living here. Enter Tropic Harbour, an Edmonton<br />
dream-pop project led by Mark Berg, whose new<br />
release, Glowing Eyes, offers some comfort regardless<br />
of the seasonal incongruity. Saying it evokes a<br />
longing for the return of summer is an understatement.<br />
Building on the foundation laid by his previous<br />
EP Colour, Berg’s sound has developed, becoming<br />
more sophisticated and lavish. Glowing Eyes<br />
ditches the thin Casio-tone percussion in favour<br />
of a rich rhythm section. Tracks “Stay Awake” and<br />
“Now I See” are prime examples of the new Tropic<br />
Harbour. The music never feels forced like other<br />
synth-heavy groups who seem to relish in bludgeoning<br />
listeners with tacky, Allman-esque solos.<br />
Thick, resonant synth tracks are layered over jangly<br />
guitars resulting in surprisingly light and infectious<br />
melodies.<br />
The entire album represents a uniformity in<br />
composition. Whether that is an intentional choice<br />
made by Berg or the result of a lack of song writing<br />
diversity is debatable. Glowing Eyes is consistent; A<br />
delight from beginning to end and offers a temporary<br />
(and much-needed) break from our cheerless<br />
winter. God knows we need it.<br />
• A.L. Devlin<br />
Tycho<br />
Epoch<br />
Ghostly International<br />
Tycho can do no wrong. Scott Hansen’s dreamy, ambient<br />
downtempo project is a case study in straddling<br />
approachability and constant innovation. Putting the<br />
surprise-released Epoch next to his very first LP, Past<br />
is Prologue – now exactly a decade old – the creative<br />
progression between the two is subtle, but clearly<br />
discernible. Hansen’s evolution is like a comet blazing<br />
a lazy trail through the galaxy, with no set destination.<br />
This combination of stoic serenity and mastery<br />
results in yet another album that’s as beautiful as it is<br />
technically perfect.<br />
Hansen’s recent focus on live performance and DJ<br />
sets bleeds into Epoch elegantly, with a healthy balance<br />
of analog and electronic influence that always<br />
feels symbiotic.<br />
Tracks like ‘Slack’ and ‘Division’ are decidedly<br />
grounded in their analogue-leaning directions, while<br />
title track ‘Epoch’ is a haphazard, epic and emotional<br />
mishmash of techno and textbook Tycho. Throw in<br />
bold strokes like the mixtape-flavored hip-hop vibes<br />
of ‘Local,’ the subtle dubstep nuances of ‘Source,’<br />
and the Dive tributes that exist in ending tracks<br />
‘Continuum’ and ‘Field,’ and the result is what feels<br />
like a comprehensive sampler of what Hansen is truly<br />
capable of.<br />
Epoch feels like an agglomeration of Tycho’s<br />
previous three albums, condensed into their quintessential<br />
components. It’s an excellent introduction to<br />
Hansen’s work for the uninitiated, and a love letter to<br />
die-hard fans needing another album to memorize.<br />
• Max Foley<br />
Martha Wainwright<br />
Goodnight City<br />
Cadence Music<br />
After four years of slumber since her last solo<br />
album, Come Home To Mama, Martha Wainwright<br />
re-emerges only to say “bonne nuit” with Goodnight<br />
City.<br />
Wainwright has recently admitted to feeling<br />
exhausted and satiated in the studio after spending<br />
long, persistent hours arranging each of the 12<br />
songs for this release with her band, proudly stating<br />
that “the integrity of the songs and our ability to<br />
play together as a band” comes through due to<br />
minimal overdubs and the cohesive camaraderie<br />
that inevitably unfolds out of such a focused collaborative<br />
period.<br />
While Wainwright wrote lyrics for only half the<br />
songs on Goodnight City, she carefully adapted and<br />
crafted six other offerings from songwriters such as<br />
Beth Orton, Canadian poet Michael Ondaajte, and<br />
her brother Rufus Wainwright. The album begins<br />
in an easy, playful realm while quickly unraveling<br />
into a stormy battle of arrangements, verbose<br />
lyrical content, and the raw, effortlessness of her<br />
voice. Each song demands attention of its own,<br />
resulting in a dramatic journey through voyeuristic<br />
landscapes. Revealed are intimate glimpses into the<br />
symptoms of family, romance and fame, making<br />
this a challenging listen unsuited to the emotionally<br />
faint at heart. Admittedly, some of the clichéd<br />
content is only forgivable due to the impressive<br />
charisma of her voice, but will most certainly lend<br />
to a steamy, boisterous live show.<br />
• Danielle Wensley<br />
Zeds Dead<br />
Northern Lights<br />
Deadbeats<br />
Zeds Dead is like a virus, evolving ever-faster with<br />
every attempt to nail them down. It makes sense,<br />
then, that the bass-fueled Toronto sensation continues<br />
to deliver lick after lick of infectious material.<br />
Purists and old-school fans might lament their<br />
departure from the tried-and-true, bone-shattering<br />
low-end that put them on the map and to a degree,<br />
they may have a point. But ignoring the duo’s<br />
ever-changing style is to ignore what allows them<br />
to continuously push boundaries. Northern Lights,<br />
the duo’s debut full-length, is an unstable nuclear<br />
reactor of conflicting genres about to reach critical<br />
mass. And it works beautifully.<br />
A challenging listen for ‘true’ heads, Northern<br />
Lights has such a wide range of content spread<br />
across its 15 tracks that it’s hard to believe there’s<br />
an equivalent depth, a palpable passion injected<br />
into each component. The LP boasts an impressive<br />
roster of vocalists like Twin Shadow, Dragonette,<br />
Pusha T (with Weezer frontman Rivers Cuomo on<br />
the same song) and Ghetts – with each of their<br />
unique sounds buttressing powerful production<br />
that could undoubtedly stand alone. The newschool<br />
sound of tracks like ‘Stardust,’ ‘Where Did<br />
That Go’ and ‘Neck and Neck’ stand in sharp contrast<br />
to the old-school anthemic vibes of drum and<br />
bass roller ‘Me No Care’ and the long-anticipated<br />
‘Dimemories.’<br />
Those unwilling to watch their old favourites<br />
grow might dismiss Northern Lights as a pop-facing,<br />
radio-friendly mid-life crisis. For the rest of<br />
us, here’s an intriguing selection of tracks that<br />
cements Zeds Dead’s dedication to constant<br />
reinvention.<br />
• Max Foley
livereviews<br />
Lucette<br />
White Lung<br />
The Switches<br />
Shadowy Men<br />
on a Shadowy<br />
Planet<br />
Up + Downtown Music Festival<br />
Edmonton, AB<br />
October 7-9, <strong>2016</strong><br />
Running a festival over 16 venues during a holiday weekend might<br />
have been ambitious, but the best part of Up + Downtown (UP-<br />
+DT) Fest in Edmonton was that their multi-venue setup fostered<br />
a choose-your-own adventure experience. There was a chance to<br />
see a Canadian chanteuse in a world class concert hall, a future<br />
country star in an intimate venue or a band who wrote the theme<br />
song for one of the best comedy shows of all time. Perhaps it was<br />
their surf-rock that set off the rash of people to hang ten above<br />
the crowd at the after party. At UP+DT Fest <strong>2016</strong>, you could have<br />
seen a professional punk band riding a high tide up out of the underground,<br />
in full command. You could have broken through your<br />
pre-Thanksgiving coma with a high-energy alt-country band. You<br />
might have stumbled into a reunion show with a band full of high<br />
school friends. Or you could have laughed at a kid in the hall.<br />
Some of Friday’s UP+DT <strong>2016</strong> shows featured Faith Healer,<br />
Mitchmatic, Royal Canoe, Close Talker and If These Trees Could<br />
Talk, which took place at the Needle Vinyl Tavern. While it may<br />
have been enticing to stick inside one venue as the first snow of<br />
the year fell outside, the spirit of the festival encouraged roaming.<br />
Faith Healer were the most alive I’d ever seen them. It was<br />
refreshing to hear Jessica Jalbert addressing the fact that she<br />
was ill but still performing in spite of sickness. Although we only<br />
caught the last few songs of their set, it was a delightful start to<br />
see Jalbert spurring the audience with her quick wit and charm.<br />
Mitchmatic made it abundantly obvious as to why he remains a<br />
crowd favorite in his Edmonton hometown. The audience continued<br />
to swell at the Needle for Winnipeg’s Royal Canoe, who were<br />
as quirky and brilliant as they ever have been.<br />
Although we missed out on the last two bands of the evening,<br />
we trudged over to Brixx Bar just in time to catch Edmonton’s<br />
Counterfeit Jeans. Tight and boisterous, the true highlight of the<br />
trio’s set was Cassia Hardy of Wares appearing onstage to join<br />
them for a live rendition of “Fairy Ring,” the song she provided<br />
guitar support for on their self-titled LP. Hardy added a wild and<br />
assured stage presence the trio wouldn’t have otherwise; teasing<br />
both bass and guitar parts with her natural charisma.<br />
Worst Days Down lived up to their reputation as consistently<br />
sharp and passionate performers. Ben Sir is amongst the dearest<br />
champions of local music in Edmonton and his enthusiasm was<br />
palpable through his slightly nervous, slightly awkward stage<br />
presence but proved that humility will never go out of style.<br />
Our Mercury had the entire room in a trance. While their<br />
punk rock may not have been as fiery as in the past, the band<br />
seamlessly elevated their performance into a more melodic and<br />
adult version of their former selves. Thankfully for us, they didn’t<br />
lose any of their kick and the full crowd at Brixx was left visibly<br />
energized and uplifted.<br />
Saturday kicked off with a plucky all ages set by Tokyo Police<br />
Club at the Needle Vinyl Tavern. Their set was danceable, happy<br />
indie rock punctuated by a smiling, bright audience. It was also<br />
wonderful to see so many young kids at this show properly celebrating<br />
Thanksgiving with their families.<br />
Later Saturday evening, with the help of Not Enough Fest, Banshee,<br />
Wares, Switches, Labour and White Lung put on memorable<br />
and explosive sets. Banshee continues to tighten up as a band and<br />
it’s always impressive to watch the singer/bass player, Jackie, grow<br />
in her vocal range. Banshee’s bluesy Queens of the Stone Agestyle<br />
of rock noticeably impressed the crowd.<br />
After Banshee, I ducked out into the cold wind to check out<br />
some of Bruce McCulloch’s comedy set at the All Saints Catholic<br />
Church. Best known for his time on Kids in the Hall, McCulloch’s<br />
set was inspired mainly by his family life. My lingering hangover<br />
coupled with the few tranquilizing beers I drank at the Banshee<br />
show nearly put me to sleep in the church pew, uncomfortable as<br />
it was. We caught a part of McCulloch’s show in which he reminisced<br />
about Pismo Beach and a collection of disgusting items he<br />
and his family discovered at an unfortunate Airbnb experience:<br />
dirty diapers, a box of condoms with one missing, and a wet tube<br />
sock were just a few other items left behind by the previous renter.<br />
After a few laughs I resolved to return to the Needle.<br />
We walked in perfectly timed to see Wares do her thing on<br />
the small stage. Never one to disappoint, Cassia Hardy hopped<br />
off the stage and yelled directly in my face while ripping through<br />
“Missed the Point.” Switches followed and true to form, did<br />
not disappoint. Although this particular show didn’t include a<br />
shot-gunning contest or cigarettes being thrown into the crowd,<br />
they maintained their delightful stage presence despite a lack of<br />
saucy antics.<br />
With the Switches, it’s always a fun sing along!<br />
Sunday was a flurry of loud punk rock, with the exception<br />
of JPNSGRLS, who felt like a weird last minute addition beside<br />
Borrachera, who are much louder and aggressive. Jay Higgs of<br />
Borrachera is always captivating with his gritty, primal howls and<br />
potent ability to turn your head toward the stage. Chunky, dirty<br />
bass and his delightfully audacious rock star stage persona make<br />
for one of Edmonton’s best bands out there today.<br />
As mentioned, JPNSGRLS were a lot lighter, especially in contrast<br />
to Borrachera. Suited to a younger, Sonic Boom going crowd,<br />
their poppy sound was slightly lost on me. Lead singer Charlie<br />
Kerr was entertaining to watch as he bounded from one side of<br />
the stage to the other, engaging their young fans.<br />
Calgary’s Mortality Rate instantly impressed the afternoon<br />
Denizen Hall crowd with a badass female lead singer. They<br />
performed a set of heavy hardcore mixed with a touch of emo<br />
screaming, for good measure. Everyone in the crowd was ready<br />
to party as they closed their set. This was good timing for Youth<br />
Decay of Vancouver to pop on stage and give the crowd a set of<br />
accessible pop punk, constantly fun to sing (and drink) along to.<br />
After a bit of a breather (and some much needed food in our<br />
bellies), we ended the weekend at 9910 with the Allovers. Fun,<br />
fast and danceable, the Allovers seem to be a fixture each year at<br />
UP+DT. We clumsily danced, smiled and soaked in the last of the<br />
festival. It’s easy to remember why this is one of the best festivals<br />
in the city. Friends everywhere you look, new and old, instilling<br />
the spirit of Thanksgiving in our little hearts.<br />
Until next year…<br />
• review and photos by Levi Manchak & Brittany Rudyck<br />
BEATROUTE • NOVEMBER <strong>2016</strong> | 57
SAVAGE LOVE<br />
the young and the old...<br />
Waiting to pay for my groceries at the market this evening, this guy,<br />
stinking of booze, says to my 9-year-old daughter, “Sweetheart, can you<br />
put the divider thing there for me?” First, why is some leering grown man<br />
calling my child “sweetheart”? He then thumps two huge bottles of vodka<br />
down on the belt. I move closer to my daughter; he then reaches his hand<br />
over me and wraps his hand around her arm, saying, “Now, you be nice<br />
to your Mommy, sweetie.” I pluck his hand off. “Do not touch my child,” I<br />
say. My other hand is pressed against my daughter’s ribs, and I can feel her<br />
heart POUNDING. “You have a beautiful daughter,” he says. The cashier,<br />
whom we know, a guy, looks at me, eyebrows up. I roll my eyes. So pissed.<br />
We leave. “I hated that man,” my daughter says once we get in the car. “He<br />
smelled bad, I wanted to hit him, if anyone ever does that to me again I’m<br />
going to scream.” Here we effing go: “Sometimes you have to be hypervigilant,”<br />
I tell my daughter, “because some gross men out there feel they are<br />
entitled to touch us.” And then I share my story: “When I was a little girl…”<br />
I don’t even remember the first time it happened to me. I don’t remember<br />
the last time some pervert rubbed up against me. But that’s what you have<br />
to deal with when you are a girl. We have to learn to brush this shit off, to<br />
make sure that this endless assault course of predators doesn’t take one bit<br />
of your pride, your confidence, or your sense of peace as you walk through<br />
this world. I am so angry.<br />
We should call this the “Trump Talk.” The depressing conversation that<br />
every parent needs to have with their little girl about revolting, predatory,<br />
entitled men. The Trump Talk.<br />
— Mother And Daughter Discuss Enraging Realities<br />
I’m sorry about what happened to your daughter at the grocery<br />
store—I’m sorry about what was done to your daughter by that<br />
entitled asshole at the grocery store—but I’m glad you were there<br />
with her when it happened.<br />
The author Kelly Oxford, in response to Donald Trump’s horrific<br />
comments about sexually assaulting women, called on women to<br />
tweet about their first assaults under the hashtag #notokay. Oxford’s<br />
post went viral—more than a million women responded—and reading<br />
through the seemingly endless thread, I was struck by how many women<br />
were alone the first time they were assaulted. Oxford herself was<br />
alone the first time it happened to her: “Old man on a city bus grabs<br />
my ‘pussy’ and smiles at me. I’m 12.”<br />
A lot of women I know, including some very close friends, were your<br />
daughter’s age the first time it happened to them, MADDER, but they<br />
were alone. Tragically, many assumed that they had done something<br />
wrong, that they had invited this on themselves somehow, and most<br />
didn’t go to their parents for fear of getting into trouble. And when it<br />
inevitably happened again, some became convinced they were indeed<br />
to blame, that they were bringing this on themselves somehow, because<br />
they thought it wasn’t happening to anyone else, just them.<br />
So thank God you were there with your daughter, MADDER,<br />
there to pull that asshole’s hand off of her, there to protect her<br />
from worse, and there to help her process the experience. And in<br />
that car ride home you inoculated your daughter with your message<br />
(you are a human being and you have a right to move through<br />
this world unmolested) before gross predators could infect her<br />
with theirs (you are only an object and we have a right to touch<br />
you). I want to live in a world where this sort of thing doesn’t happen<br />
to anyone’s daughter, MADDER, but until we do: Every little<br />
girl should be so lucky as to have a trusted adult standing by ready<br />
to intervene when it does happen. I only wish the grocery store<br />
clerk had intervened, too.<br />
Regarding your suggestion, MADDER, I’ve received roughly 10<br />
million emails begging me to do for Donald Trump what I did for<br />
Rick Santorum: My readers and I redefined santorum (“the frothy<br />
mixture of lube and fecal matter that is sometimes the byproduct<br />
of anal sex”) and some wanted us to do the same for Trump. People<br />
even sent in suggestions: trump is the streak of shit a large turd<br />
sometimes leaves on the bottom of the toilet bowl; trump is the<br />
snot that sometimes runs out of your nose when you’re giving a<br />
blowjob; a trump is a guy so hopelessly inept in bed that no woman<br />
(or man) wants him, no matter how rich he is. The suggested new<br />
meanings all struck me as trivial and snarky—and I don’t think<br />
there’s anything trivial about the racism, sexism, xenophobia,<br />
anti-Semitism, and violence that Trump has mainstreamed and<br />
normalized, and I’m not inclined to snark about it.<br />
And, besides, “trump” already has a slang meaning: It means “to<br />
fart audibly” in Great Britain—and that definition is already in the<br />
Oxford English Dictionary. And it frankly didn’t seem possible to<br />
make Donald Trump’s name any more revolting than he already<br />
has. If I may paraphrase the amazing letter the New York Times<br />
sent to Trump after he demanded they retract a story about the<br />
women he’s assaulted: Nothing I could say in my sex column could<br />
even slightly elevate the feelings of disgust decent people experience<br />
whenever they hear his name. Mr. Trump, through his own<br />
words and actions, has already redefined his last name.<br />
But then your e-mail arrived, MADDER, and I set aside the column<br />
I was already working on to rush your idea into <strong>print</strong>. Because<br />
your suggestion—that parents call the conversation they need to<br />
have with their daughters about predatory and entitled men the<br />
“Trump Talk”—is just as fitting and apt as the “frothy mixture” definition<br />
of santorum. It’s not trivial and it’s not snarky. It has gravitas,<br />
MADDER, and here’s hoping “Trump Talk” isn’t just widely adopted,<br />
but universally practiced. Because no little girl who gets groped on<br />
a bus or in a grocery store or on a subway or in a classroom should<br />
ever have to wonder if she did something wrong.<br />
I am a 63-year-old man and I am engaged to a wonderful woman<br />
in her 50s and our sex life is great. My libido is off the charts when<br />
I am with her, and she is always initiating. She told me she used<br />
to enjoy teasing and watching guys online shoot while she played<br />
with (and exposed) herself, and she loves to see huge loads. It is a<br />
massive turn-on for her. But I’m at an age where I produce hardly<br />
anything when I ejaculate. Is there a way to increase my production?<br />
Is there some way to increase the volume of my loads by a<br />
large amount? We watch porn that has guys shooting seemingly<br />
endless streams and she gets crazy horny watching them. I would<br />
love to be able to do the same!<br />
—Need To Fill The Girl<br />
Hydrate more, NTFTG, and go longer between orgasms (days,<br />
weeks), and you might see a moderate increase in volume. But you’re<br />
never gonna blow loads like you did in your teens and 20s, and you’re<br />
never gonna blow loads like<br />
guys do in porn. Remember:<br />
Porn producers, professional<br />
and amateur, select for big<br />
load blowers, NTFTG, so<br />
those samples (and those<br />
loads) are skewed. So what<br />
you’re doing now—enjoying<br />
your fiancée while not<br />
denying her the pleasure<br />
of watching her porn (and<br />
then reaping the rewards<br />
yourself)—is without a doubt<br />
your best course of action.<br />
Listen to Dan at<br />
savagelovecast.com<br />
Email Dan at<br />
mail@savagelove.net<br />
Follow Dan<br />
@fakedansavage on Twitter<br />
by Dan Savage<br />
58 | NOVEMBER <strong>2016</strong> • BEATROUTE
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