Beatroute Magazine BC Print Edition - July 2017


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.

Currently BeatRoute’s AB edition is distributed in Calgary, Edmonton (by S*A*R*G*E), Banff and Canmore. The BC edition is distributed in Vancouver, Victoria and Nanaimo. BeatRoute (AB) Mission PO 23045 Calgary, AB T2S 3A8 E. BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120

JULY JUNE 2017 2016


Ashleigh Ball

Makes Summer

Cool Again PG. 19








July ‘17


BeatRoute Magazine



Alisa Layne


Jash Grafstein


Emily Blatta


Robin Schroffel


Shimon Karmel


Rachel Park


Gold Distribution


Glenn Alderson







∙ with Dani Vachon and Emily

Bach of Bonkers Games








-Burcu’s Angels

-Folk Fest 40 Year Anniverary

-Tom Lee Music

-Welcome Parlour

-Skye Footwear

-The Flats

-Claude Monet’s Secret Garden

-Elad Lassry


-Bottoms Up

-Hey Y’All

-Nutri Vodka



Maxwell Asper • Bailey Barnson • More Betty Jennie Orton

Emily Blatta • Luiza Brenner • Mark Budd

David Cutting • Beth D’aoust • Adam Deane

Quan Win Divination • Mike Dunn

Joshua Erickson • Heath Fenton • Jamie Goyman

Allie Graham • Kathryn Helmore • Safiya Hopfe

Alex Hudson • Zak Johnson • Monica Lockett

Sarah Mac • Hollie Mcgowan • Zoei Nijjar

James Olson • Jennie Orton • Johnny Papan

Cole Parker • Liam Prost • Yasmine Shemesh

Vanessa Tam • Willem Thomas • Brayden Turenne

Gareth Watkins • Graeme Wiggins • Mat Wilkins




David Arias • Rebecca Blissett • Scott Cole

Syd Danger • Kip Dawkins • Caroline Desilets

Effixx • Galen Robinson - Exo Asia Fairbanks

Eduardo Figueroa • Chase Hansen • Julia Iredale

Shimon Karmel • Tanis Lischewskib • Mandy Lyn

Frederique Neil • My-an Nguyen • Cara Robbins

Willem Thomas • Avalon Uk


Glenn Alderson



Vanessa Tam


David Cutting


Johnny Papan


Yasmine Shemesh


Graeme Wiggins













-Everytime I Die

-Wednesday 13


-Pat Lok


-Fvded in the Park








-Queen of the Month


-Cameron MacLeod

-Our Debut Album

-Tim & Eric


-This Month in Film


-Broken Social Scene

-Guitar Wolf, Isaac Rotherand .

the Phantoms, and the .

Vicious Cycles

-Jurassic 5

-Tool w. Crystal Method

-Nick Cave & The Bad Seeds



We distribute our publication to more than 500

locations throughout British Columbia. If you

would like BeatRoute delivered to your business,

send an e-mail to


Paris Spence-Lang


Galen Robinson-Exo


202-2405 Hastings St. E

Vancouver BC Canada

V5K 1Y8 •

©BEATROUTE Magazine 2017. All rights reserved.

Reproduction of the contents is strictly prohibited.


July 2017 3

with Dani Vachon and Emily Bach of Bonkers Games

Emily Blatta

Best buds and business collaborators Dani Vachon

and Emily Bach were once two strangers dabbling

in music, nerding-out over theatre and working

hard for a chance to design album covers for local

Vancouver musicians. Vachon got her start working

in music at Sam the Record Man back in the

day, but a serendipitous connection would eventually

inspire her to kick-start her own career in live

show and event planning. Vachon helped produce

the very first Arcade Fire shows in Vancouver while

working with Sealed With A Kiss productions,

and once sang backup for Broken Social Scene to

a sold out Commodore. In 2009, Vachon helped

open Guilt & Co. and now runs her own business,

Bonkers, an event and entertainment company

that provides jumbo-sized games for adult parties.

Imagine playing a giant game of Jenga at your office

Christmas party, or Twister at your sister’s stuffy

second wedding.

Vachon’s business partner in crime, Bach’s life

started out as a blur of sheet music and string

quartets, collecting vintage clothes and hanging

out with “freaks” at punk shows. She moved to

Vancouver almost a decade ago, where she now

jams sheet free with her instrumental rock band

Dirty Spells. One spontaneous whiskey-swilling

night in Bach’s apartment found her and Vachon’s

worlds collide when they landed on a passion project

centred on nostalgia, and connecting weirdos

through the love of parties.

Bonkers now offers Tickle Trunks, which are

rentable costume-party kits. According to Bach

they are designed to bring even the shyest of nerds

out of their shells. And for all you other weirdos,

if swilling whiskey as the sun comes up isn’t awesome

enough, we’re told that doing it in a blue wig

dressed as Colonel Mustard is even better. Vachon

and Bach swear by it anyway. We caught up with

the duo to find more about what makes Bonkers


BR: Each trunk has a theme, right? What sort of

themes are we talking about here?

EB: We have three trunks at this time. Who Dunnit:

A Clue Themed Tickle Trunk. This has complete

costumes for all of the main characters you'd

expect to see in a game of Clue. The costumes are

various sizes, but it's way funnier if it doesn't fit


Blast From the Past: A 60's & 70's Trunk. This trunk

has various vintage items from an era I would have

loved to be alive for. It's very mix and match, very

obsolete fabrics. We've even included a lava lamp

and a fibre optic lamp to set the vibe.

Tight and Bright Under Black Lights. Everything is

obnoxiously colourful, many things are stretchy,

and if you're going to a warehouse rave in 1995 this

is the kit for you. We're also building Spotify playlists

that work with the theme of each trunk!

BR: What kind of music do you two like to listen

to while you work?

DV: I love new music and I am a sucker for mellow

indie folk and/or electronic with sweet vocals. My

favourite Vancouver locals are Bob Moses, Dralms,

Brasstronaut, Eric Campbell & The Dirt, Youngblood,

and Dirty Spells.

EB: Instrumental, minimalist or classical.

BR: What is the most important thing to keep in

mind when planning a party?

DV: It depends on the size. If we're just talking a

small house party, then snacks, bevs, entertainment

and good tunes is all you need.

EB: For me, playlist. Definitely also go off-map, but

when everyone blanks on a great new record, it's

great to have a prepared playlist to defer to. Otherwise

you'll get stuck in a YouTube downward spiral.

BR: What is the most rewarding part about your


DV: I love working on my own schedule. And it's

really rewarding to get to work with Emily and have

lots of laughs about silly costumes. And doing the

photo shoots and video shoots doesn't feel like

work at all.

EB: I love curating these trunks! Thrifting for

hours, and stumbling upon increasingly ridiculous

ideas (like combover wigs, or patent silver high

tops). My favourite moment was when I realized

that Mrs. White wears shorts.

BR: You’ve got Giant Jenga, Connect Four and

Yahtzee, what’s next for the Bonkers team?

DV: In game land, I must say I really want to get

a man-sized operation table. They're really, really

expensive though. And a huge battleship would

be amazing. As for Tickle Trunks... sky's the limit!

We have some future theme ideas including ’80s,

onesies, ugly Christmas sweaters and a sci-fi trunk.

EB: I want to try giant Twister!! Dani, can we have a

very serious business meeting where we play giant

Twister? And I want to start building cyborg limbs

for the sci-fi trunk (I know a guy).

For more information about Bonkers and

how to rent one of their giant games or

tickle trunks check out

BeatRoute: Where did you get the idea for Tickle


Emily Bach: I've collected vintage and weird

clothing since high school. The crowd that I hung

out with in those days were called "The Freaks"

(charming, right?). We wore thrift store clothes and

went to punk shows. Flash forward 20 years, I still

have a fondness for the strange and unusual. When

my former roommate Laurel's grandma gave her an

old, metal trunk, we piled all of our funny clothes

into one spot, and whenever we found ourselves

at home and drinking, dressing up became part of

the fun. Dani spent many a night knee-deep in our

tickle trunk, and she had the vision to bring this

hilarity to the masses.

Dani Vachon and Emily Bach have the secret ingredient for your party with Tickle Trunks and jumbo board games.


July 2017



ironically embracing all that is futile


The Drums’ beach-bum sound is classic.

The success of Portamento in 2011 secured

them as masters of blending the

modern and the nostalgic, the synthy

and the surfy, the freshness of the Beach

Boys with the grime of the Kinks. Now

they return — or, rather, Jonny Pierce

does — as the last man standing of the

seven-year-old project with something

distinctly edgy. A sometimes cacophonic

landscape of angst and self realization,

Abysmal Thoughts is Pierce’s emergence

as a fully individual artist.

Then again, Pierce states that The

Drums have always been a sort of solo

project for him, he was just never vocal

about it until now. Although the transition

after bandmate Jacob Graham’s

departure was somewhat of a relief to

Pierce, creatively speaking, the album

illustrates anything but constancy and

serenity. In Pierce’s words, the album

is about searching for hope and mostly

coming up empty.

“I had just come out of a serious relationship,

that I thought was going to

last forever. It crushed me that it fell

apart and I found myself spinning out

of control,” he says. “So yeah, I guess the

album is in a sense about longing. Longing

to feel a sense of hope again. Longing

to know who I am and what I want. It's

very introspective when you compare it

to my past works. When Jacob left the

band, I started to feel a small but subtle

strength start to rise in me. I felt like I

needed to make a new album and that

his leaving was not a burden, but rather

a gift. This was my chance to find my

voice and make it known. It was a huge

opportunity and I sunk my teeth into


As the title teases at, Abysmal

Thoughts is a wild cocktail of existential

anxiety and self-navigation. “Head of the

Horse,” for one, addresses the tumultuous

story of Pierce coming out to an

unaccepting father. Pierce openly states

overall that the childhood trauma he

has dealt with and watched bleed into

his adult life helped make the album

what it is. But the record isn't meant to

be tragic per say, or depict a fractured

and unsalvageable reality. Pierce breaks

down the worldview from which Abysmal

Thoughts grew.

“I guess I just always come back to

the ‘what's the point of it all?’ question. I

mean, we all came from single-celled organisms.

There was a time where we had

fins and gills and we lived underwater.

Through variations or defects in nature

over the course of of billions of years, we

have evolved into the humans that we

are now. To not believe in a divine creator

is courageous. It takes strength to

admit that we are just these primal animals

at the end of the day. We breathe,

eat, fuck and die. That can be really

scary. However, more and more I find

that it makes me feel more at peace.

Here is why: while the whole world is

spinning out of control and everyone is

fighting to get to the ‘top,’ I can sit back

and know that, yeah, Father John Misty

might end up ruling the world, but at

the end of the day he and I are both

gonna die and turn to dust.”

In other words, the tragedy of life

cancels itself out. More than anything,

ironically embracing all that is futile

and melancholy is the essence of what

Pierce has spent this pivotal time cooking

up. Abysmal Thoughts is colourful

not despite but because of its grim atmosphere,

and its maker is more than

ready to share it with the world.

The Drums perform July 18 at

Venue (Vancouver).

Newly solo, Jonny Pierce spreads his wings and makes the Drums all his own.


garage rock demons get the last laugh

She-Devils perfect an edgy but relatable sound on new album, The World Laughs.


There’s nothing really hellish about the Montreal

act She-Devils, but they certainly have been hot as

hell lately.

The musical duo comprised of Audrey Ann and

Kyle Jukka will be touring their third LP this summer,

The World Laughs, which features art-house

style sounds inspired by ’60s garage rock. Although

no longer working from the garage, the pair still

works with samples and track-loops as the necessary

tools to stoking the coals of their tracks.

Currently under the label Secretly Canadian, the

pair has been one of Montreal’s best-kept secrets,

existing mainly underground and through word

of mouth. Ann and Jukka first met as roommates

while living in the city’s Mile-End neighbourhood,

known for its prominent arts community and

music scene. During the band’s formative years,

exposure to those scenes and spaces was all that

was necessary to grab the attention of local fans—

which were simultaneously also friends—and the

She-Devils were able to survive primarily offline by

way of casual shows that were grungy, mysterious

and off the grid. But their following has quickly

grown-up in the few years they’ve been together,

and the pair is clear that they’re ready for something


“The thing about Montreal is that everyone is

really poor, and artists are doing things with very

little means. It’s good to be resourceful in the beginning

for sure, but it’s definitely something I’d like

to grow from,” says Ann.

The young singer also emphasizes that, although

the She-Devils have been built on a neighbourhood

of struggling artists, their music isn’t for one specific

kind of person. In other words, retro-alternative

music doesn’t have to only serve those who

traditionally fit that mold, but should also include

people who transcend the underground aesthetic

altogether and emulate other, more diverse

things—awkward teens, nine-to-five dreamers and

anyone else repressed or misunderstood are all invited.

“When I think of myself as a teenager and the relationship

I had with music, I want this album to be

a safe place for people,” she adds. Ann makes room

for all of this while at the same time remaining

untouchable and in the past. Her and Lukka don’t

come out with themselves altogether, but work

hard to exist creatively in spaces that have already

been opened, and push to re-invent their meaning.

“We’d sample something and then kind of fuck

with it, layer sounds and that sort of thing. It’s kind

of like imitation I guess. That’s just the way I’ve

learned to make music,” says Lukka.

This approach to music-making hasn’t worked

for everyone, but it has for them. The World Laughs

is edgy and relatable, without being too easy to digest.

Having obvious notes of Serge Gainsbourg

and grey shades of Nico, the She-Devils succeed at

being pretentious, sensual and enigmatic in that

they seep in and out of eras to defy their context.

Some songs beg for you to run away with them and

others won’t let you come, but all will have you

feeling dizzy in the best way possible.

She-Devils perform July 10 with Beach Fossils

at the Biltmore.

July 2017 MUSIC




a revolution one day at a time


Algiers is a band very necessary for these strange times, creating music

so righteously furious, unique and forthright as to be deserving

of the term biblical. They heave everything onto the creative table,

crushing the listener with a phalanx of ideas, questions and powerful,

genre-defying sounds. Mixing elements of post-punk and afropunk,

southern gospel, industrial noise and soul in such a manner as to

make the insane-on-paper act look easy, Algiers manage to create an

album that challenges both itself and its audience, encapsulating the

thematic idea of an endless struggle. The band’s name is in reference

to anti-colonial efforts the world over, with the Algerian Revolution

of the 1950s being the namesake inspiration. They might just be the

band we all need right now.

Speaking to BeatRoute from Paris while on tour with Depeche

Mode, Algiers come across appreciative, thoughtful and still basking

in the glow of the relatively new lives they lead as professional musicians,

which involve their second LP The Underside of Power.

“Making a record and touring with a label like Matador isn't something

I ever thought would happen,” says guitarist Lee Tesche. “ We

never had delusions of grandeur that this band was anything more

than something necessary to us to make sense of the world.”

The band, now a London-based multinational unit with the addition

of drummer and ex-Bloc Party member Matt Tong, comes from

Atlanta, GA, where its original members—guitarist Tesche, vocalist/

guitarist Franklin James Fisher, and bassist Ryan Mahan—all grew up.

Music helped the group to heal from and process the political turmoil,

racism and economic disparity surrounding them growing up

in the American south during Bush's presidency.

Having released their first self-titled LP in 2015, the relatively

young Algiers has already made a sizeable impact culturally, at least

in Europe. They've encountered slightly less spirited reception in their

home country. “ Even though we're from Atlanta, sometimes it feels

like we're a European band trying to crack the States,” says Tesche. “

In American music culture there's a need to put everything ina specific

box for people to get it.”

“Because we combine so many influences that might not traditionally

go together, there can be a challenge to get the point across in

America,” Tong adds.

The Underside of Power was recorded over a year of drastic change.

From starting the recording process with Adrian Utley of Portishead

in Bristol, UK just after Brexit, to finishing it in New York at the height

of the US presidential campaign, the album was created in the middle

of opposition, and under currents of pressure and excitement.

“We turned in the masters of the LP during the inauguration,” says

Tesche with a laugh. The album plunges deeper into the territory they

explored on their first record, but the song-writing takes a more melodic,

focused turn. The second single “ Cleveland,” about Tamir Rice,

juxtaposes tragic subject matter with a triumphant tone, as if to rise

above in unity.

For Algiers, this tour has been a rewarding experience that’s helped

shine a light on the subject matter and music that influence them.

About the past few months, Tesche says “ From creating and getting

ready to release the record, to playing huge stadiums with a band like

Depeche Mode, right after having recorded with Massive Attack...

things are going okay right now.”

Algiers perform at the Cobalt on July 13.

Algiers latest album, The Underside Of Power, was created in the middle of opposition and under currents of pressure and excitement.


providing a refuge in uncertain times

With its smooth tones and easy-listening vibes, Pickwick’s new album, Lovejoys, offers an escape for what ails you.


Well, it’s happened. The three-way lovechild of

Freddy Mercury, Dan Auerbach and Stevie Wonder

has been unearthed – and where else but right

here in the Pacific Northwest.

I know what you’re thinking… That must be one

handsome child. You are correct, my friends. Not

only is Pickwick’s lead vocalist, Galen Disston a

looker; the soul leaches from his lips like that of the

speakers on your Grandpa’s old Crosley Fiver.

Disston and the band have been working day


and night to record what will become the record all

the hipsters, folksters, hip-hopsters and rocksters

will be grooving collectively to all Summer. Lovejoys,

Pickwick’s most recent creation will be available

for the public to devour as of July 7.

Of the new record, Disston stressed he would

love the songs to be an escape from uncertain

times both politically and beyond. Pickwick has

always been a band that takes risks to constantly

evolve in an ever-mutating Seattle music scene.

photo by Ellie Lillstrom

“I think we did feel a lot of pressure after our

first record, Can’t Talk Medicine, to make a good

commercial follow-up to please the fans, but honestly

I think because we went through so many incarnations

of the record, we had to sort of shed all

of those expectations and get to a place where we

found something that we enjoyed making. It was

something we needed to get out.”

Disston has that alarming, catch-you-off-guard

honesty and soft-disposition for the out-of-control

fire hose he is on stage. Admitting that the band is

still on the proverbial cusp that separates slap-youin-the-face-reality

and the idea of actually making

a career out of playing an instrument and pouring

your heart out to a crowd, Disston seems to find an

odd balance most of us are still searching for. Rather

than fighting the current, he draws inspiration

from his day job as a window-washer, his family-life

in the organic music capital of the world (Seattle)

and the harsh realities that exist in our world today.

Lovejoys was the product of an escape in and of

itself and the tracks are reminiscent of a simpler

time, one that involved more love, fewer problems

and lower gas-prices.

“It was a very different experience. It feels like a

destination. It felt that way while we were recording

it. While I listen to it, it’s almost like I can return

to that time and place. We’d written and recorded

a lot of it before things changed politically here,

but shit just seems crazy. It was an escape for us

to go down to the basement and write and record


You always hope that the tracks in which you

hand your conscious-self to give just as much pleasure

and comfort to the artists while producing

them. Lovejoys couldn’t be more appropriately

named. With its smooth tones, easy-listening vibes

and just a hint of maniacal genius, smiles are laced

throughout every track – you can’t help but to finish

and brag about it to any moving-body who’ll


Pickwick perform at the Rickshaw Theatre

on July 29.

July 2017

July 2017 7


July 2017


hitting the road for a summer vacation party



a weird and wonderful musical smorgasbord


photo by Gina Canavan

Judging by the announcements, it seems the New

Orleans based husband and wife duo, Quintron and

Miss Pussycat are indeed heading out for a summer

vacation. Not entirely sure about what their

suitcases might be packing as they leave that party

mecca. There is one sure fact, and yes, it is all-true,

once you’ve drank that Louisiana tap water, you just

can’t shake that swamp magic, but you can let it

shake you. Their unique audio-visual extravaganza

just oozes with tainted charm, even after fifteen

plus years. With a well-documented track record

of frenzied dates, proven to rattle the ordinary out

of any average day. Go ahead, blame it on the beat

(see Drum Buddy) or those hypnotizing maracas

(see Miss Pussycat) or something about the Hammond-Leslie

combination (see Quintron’s ride); and

yes, things may never be the same again, even after

just one live show.

Quintron, the audio-centric half, picks up the

phone as he prepares for rehearsals at Spellcaster

Lodge in NOLA. He kindly sets aside a few moments

to talk about their current tour plans with words

like “celebration” and “vacation” popping into the

conversation and explained that the heart of this

tour will revolve around select West Coast, Midwest

and Canadian dates. These are sandwiched

between two special festivals, one in Oakland at

the Burger Boogaloo, and then off to the National

Puppetry Festival in St. Paul Minnesota. As for new

news, Miss Pussycat, the visual half, will showcase

a puppet show that has not been seen on the west

coast. Hints? So sorry, no spoilers, you will just have

wait to see it!

For those who are not familiar with the liberating

nature of these live shows, to say the least it defies

a simple written descriptive. Again, you really have

to be there. The fun does straddle the infectious

dance grooves produced by the glorious noise of

Quintron’s Hammond and custom sound devices,

contrasted by Miss Pussycat’s cozy and artful

puppets. Those creatures have the capacity to manipulate

the audience into hysterical laughter one

moment and reduce them to a hush the next. There

is still another tangible magic at work here, and it’s

the juxtaposition of these two artists and how this

contrast feeds their collective process. “I’m dark and

stormy, she’s bright and sunny,” says Quintron, at

first thought as he begins to analyze the differences.

“I don’t walk through the world with my eyes, [and]

she does so much, exclusively. It’s amazing and frustrating,

because I really walk through the world with

my ears. I didn't really realize we had that match for

years.” Quintron describes how Miss Pussycat is so

visual and she “sees everything,” while he barely

pays attention to even what colour he is wearing.

“It’s beautiful. She has got skills. You can see it in her

puppet shows, in her clothes. She has strong opinions

of every colour you can name,” he adds. As with

her visual nature, he noted it was similar to his focus

for sound based elements. “We don’t argue because

we don’t have the same skill sets,” he explains. The

conclusion? Sounds like the perfect collaboration of


If you have caught Quintron and Miss Pussycat’s

show before, consider this your advance notice! If

you are new to the experience, get set to dance like

you never have before and dress appropriate, they

just might be conjuring up your own mini summer

vacation! Remember, this one is an early evening

show so check your ticket times.

Quintron and Miss Pussycat will perform at

Fortune Sound Club Saturday July 8.

Quintron And Miss Pussycat take their unforgettable live show on the road again.

photo by Gary Lavourde

Geneva Jacuzzi embraces the weird from beginning to end while crossing boundaries into new media.


Think giant tentacles reaching out to the darkest

corners of the room while sound waves pulsate

through your eardrums urging you to dance. The

Los Angeles based avant-garde disco inspired

pop artist Geneva Jacuzzi is an amalgamation of

different aspects of the creative art world and

has been pushing the weird that's trapped inside

her creative mind for everyone to explore since

2008. A woman of many talents (lighting, video,

costume, performance, music) Geneva does it all;

that mad dash, sickening rush felt when all eyes

are on you for a good show, she loves and thrives

off of it.

"I have a weird thing about me where I agree to

do certain things without knowing how I'm going

to do them,” she says. “It's that insanity that

happens in the middle of that pressure where I

start to recognize those silly aspects of myself

and expand on them in the most ridiculous ways

I can. I like challenges; I get off on them. I'll say yes

to something that I know is going to destroy me

because I just want to see if I can do it."

Coming off preparation for her massive Warhol

inspired show she just did at The Broad museum,

Geneva talks with such excitement and life

behind her words it's hard not to be captivated

by her work and want to catch the whole package

live. "I build landscapes, an atmosphere or

sometimes I put on a play, there is just always

some sort of object I'm interacting with when it

comes to live shows," she says. "I do something

that is kind of neat that doesn't fit in any one

place, but also fits anywhere. I can play a festival

or a museum or in a gallery; it's a self contained

weird little beast that I create and I can go anywhere.

It incorporates music and visual arts. It's a

big fucking smorgasbord." We love all you can eat

art displays and her latest tour with Nite Jewel

promises to be a good one. Geneva’s last album,

2016's Technophelia (Medical Records LLC), gave

audiences tracks that create movement from

within, tracks like "Technophelia" which sums

up the abstract nature of her work, the danceable

and fun "Cannibal Babies" or "Squid Hunter"

each throw listeners into the world Geneva has

constructed while causing all bodies involved to

move. Intentional or not, your body will shake

with the world she creates. "What ends of happening

is weird shit comes out and nobody can

stop me."

The following months will see Geneva Jacuzzi

yet again push her personal boundaries by not

only making more music as the first plan of attack,

but also pushing into creating art - "residencies

and exhibitions," she tells. "I'm going to move

into different territories and push out."

Colliding worlds with her imaginative and intoxicating

form of expression, Geneva uses her

magic, or "gooey stuff" as she calls it, to reach out,

fills listeners up and sticks when the play button

is hit. "When you have an abstract situation it has

the ability to be interpreted beyond language

and clear definitions. It's a better form of connection

between the person viewing and the person

creating the work," she says. "Songs I pick have a

bit of that goo to them and then I organize them

into a weird journey from beginning to end. I find

the gooey songs - all that sludge found in the Jacuzzi."

Geneva Jacuzzi performs July 11 at the

Fox Cabaret.

July 2017 MUSIC



July 2017


sensible rock and roll without a mould


Time and space — the essential forces on life’s path

towards sensibility. When we separate time and

space, we expose the self-doubt that colours life’s


Time+Space, the new album from Vancouver’s

Uptights, explores sensibility and self-doubt

through a flight of anthemic rock songs. “It’s a nod

to our own lives and the experience of making this

record,” states guitarist Jason Stevenson. Recording

the album took longer than expected after a bike

accident required organist Jesse Gander to take

time to heal. So Uptights slowed their pace and

recorded in pieces over the following months. Stevenson

points out that chipping away at the record

gave Gander space to produce, “Ultimately creating

a more nuanced recording.”

The nuances are in the crucial instrumental

balance — a distinctive distorted guitar jangle, a

swirling organ, the tasteful rhythm and bass duo of

Barry Higginson and Tyler Mounteney — that flies

alongside a rich vocal presence. Sing-a-long hooks

are peppered throughout Time+Space, and each

Uptight contributes lead and harmony vocals. It

gives the record a collaborative and consistent feel.

“We thought that suited the vibe of the way we

approach songwriting,” Stevenson explains. There is

a similar balance on Time+Space retained from last

year’s singles collection EP. Stevenson and Gander


alt-folk king grows up and dreams big


Sam Tudor’s new album Quotidian Dream is slated

to drop later this summer, and in the event that

this is the first you’ve heard of him, congratulations:

you’re just in time. In the wake of his debut album,

The Modern New Year, released three years ago, Tudor

has capitalized on the opportunity for an auditory

changeup with a deftness and creativity that

would make even a musical makeoverist like T-Pain

green with envy.

“I grew up in a community that really appreciated

acoustic instrumentation and earthy vibes,” says

Tudor of his pre-Vancouver days in William’s Lake,

BC. After moving to Vancouver, however, (with a

population almost 300 times as large) new influences

were plenty— if not a little incessant. Having

spent his childhood in Gavin Lake Forest Research

Centre where his father is camp manager, Tudor’s

relationship with things like music blogs and social

media naturally became intimate a smidge later

than most.

“I started getting caught up in contextualizing

my music; I tried placing it somewhere in relation to

what people thought about it, but I realized doing

that can be restrictive and stressful.”

Tudor’s relationship with his own creativity continued

going through changes during his three year

hiatus, eventually culminating in a full length album

that was written, recorded, yet never released. With

his sights set on artistic integrity, (and deciding to

The Uptights cure self-doubt with anthemic rock and roll that defies convention.

continue to share lead vocals equally. However, the

rhythm and bass duo each take a turn in front of the

microphone on songs like “Brinkmanship” and “In

the Park.” These songs temper the otherwise energetic

and up-tempo pace of the album.

The pace is expected. Uptights are a rock and

roll band that harbours power-pop and garage sensibilities.

Stevenson suggests, “None of us are so

committed to an aesthetic that we feel we need to

squeeze the songs into a mould.” And so the fourpiece

aptly guides the musical shape with lyrical

commentary on indecision and acceptance that

settle for nothing less than an authentic and masterful

record) the unnamed project was archived

and forgotten. This meticulousness shines through

in the album, a carefully considered collection of

music covering a breadth of emotion and insight

that will keep listeners captivated from start to finish.

The music of Quotidian Dream was influenced

by various scenes in Vancouver that Tudor experienced

first-hand, including genres like noise, psych

rock and jazz. But as a recent film graduate from

UBC, he claims to have found an unexpected but

considerable amount of influence in cult cinema of

all things. Describing the main inspiration for the

album’s concept as being like the opening scene

of Blue Velvet, Tudor says he often found himself

feeling uneasy and confused about the all-too-common

facade of perfection hovering over Vancouver,

as a collective while a chaotic unease oozes and

swirls beneath its shiny surface. Quotidian Dream is

an album that is lyrically insightful, beautifully selfaware

and sonically interesting, providing listeners

with an excellent collection of music that will tide

them over for years to come— but lets all hope

that’s not too far down the road!

Sam Tudor’s Quotidan Dream is available

online now via Bandcamp.

photo by Ryan Walter Wagner

gives vivid substance — like a cleaner sounding

Stiff Records band accented with the heartfelt honesty

of Reigning Sound.

Uptights have followed a sensible trajectory:

write songs, make records, play shows. With their

newest album, the four-piece remains right on target

to offering variety and spice in the world of rock

and roll.

Uptights play their album release for

Time+Space at The Biltmore Cabaret July 7

with Little Sprout and Brutal Poodle.

photo by Pat Valade

Sam Tudor’s new album is an absolute dream.






































































































July 2017 MUSIC



Siberian radio personality celebrates Vancouver’s punk rock scene with two-day festival


Tim Bogdachev is the eccentric radio

personality who hosts the punk-rock

Rocket from Russia program on CiTR

101.1. Moving to Canada from the city

of Novosibirsk, Siberia in 2005, Bogdachev

was proactive in immersing

himself within Vancouver’s punk community.

“Me being me, before the trip I went

on the Russian dial-up Internet, found

some Vancouver punk rock forum and

started talking to people on there.” Bogdachev

explains. After connecting with

Tim Krysko who runs the Punk International

website, Bogdachev was soon

introduced to Eric Flexyourhead, who

hosted CiTR’s hardcore radio show Flex

Your Head from 1989-2007. “I ended up

as a guest and talked about the Russian

punk scene in broken English on Eric's

show. This is how I found out that CiTR


Now, Bogdachev is the host of his

own CiTR program, Rocket to Russia,

which airs Thursdays at 10am. The

show features local and international

punk music, as well as artist interviews.

To date, Bogdachev has spoken with

high-profile acts such as Against Me!,

the Descendants, Anti-Flag, Lagwagon,

and Gogol Bordello, to name a few. Bogdachev

learned much of his interviewing

skills from Nardwuar, the Human

Serviette, who also runs a weekly CiTR

program. “His level of knowledge, research

and awareness always fascinated

me. To this day I learn things from him.

I'm a curious person as well, so I'm really

interested in bands which I like.”

Rocket to Russia Festival is set to be

one of the final shows to grace Vancouver’s

locally renowned Media Club,

which will be sadly shutting its doors in

August. This two-day event will feature

some of Vancouver’s best punk outfits,

including the Isotopes, You Big Idiot, the

Corps, Contra Code and Bogdachev’s

own band: Russian Tim and the Pavel


“I've done many shows at this venue.

I really like the room, I do shows for 100-

150 people. I'm confident that a punk

show must have that energy of a full

room.” Bogdachev continues: “Media

Club is great because there is nothing

else to do, no pool, no pinball machines.

You have to watch the band. I like that

because I really think those bands are

great and people should watch them.”

When asked about the parallels between

the Canadian and Russian punk

rock communities, Bogdachev states:

“The similarity is that there is the same

passion for punk music, that rebellious

desire and DIY approach. That’s

what drives both scenes.” Bogdachev

continues: “In my opinion, to have a

strong scene you need to have quite a

few factors come together. At the same

geographical location you need to have

people who want to play punk rock music,

people who would listen to people

play punk rock and places for all that to


“With the closure of Media Club I

would have to migrate to another location

to do our shows, so if any bar owner

wants to have five great local bands play

at their bar, we're open for a conversation.

You'll sell booze, we'll bring 150

people and drink your booze.“

Rocket to Russia Festival takes

place on July 21 and 22 at the Media

Club in Vancouver.

Tim Bogdachev brings one last local music hurrah to the Media Club.

art by Steve Kitchen


July 2017


godfathers of grunge take a walk with love and death



The Melvins don’t follow traditional form. They are not heavy metal

or alternative rock and their experimental approach to songwriting

has juxtaposed them into a genre-defying void of their own. It’s hard

to categorize what exactly the Melvins are stylistically. All you need to

know is they’re raw, distorted and sometimes unfamiliar.

Often credited for their direct influence on bands like Soundgarden

and Nirvana, the Melvins’ vastly noisy-to-mellow rock hybrid

would plant the seeds to the 90s punk-rock trend soon marketed as


Dale Crover, the soft-spoken yet hard-hitting drummer of the band

touches on being lumped into the scene. “Sometimes we might get

pigeon holed into that, but people are figuring out Melvins are not

some old sound from a certain time period. We were something completely

different and separate, but somehow influenced that whole


While in the Melvins, Crover also performed bass and drums on

the 1985 cassette-tape demo Illiteracy Will Prevail, the first known

original-music recordings of Nirvana frontman Kurt Cobain. Crover

also makes appearances on the Nirvana albums Bleach, Incesticide,

and the With the Lights Out. This only scratches the surface to his

expansive and diverse discography, which will soon feature his first

solo record The Fickle Finger of Fate.

“Our area was really isolated. Buzz [[Osborne]] was the one that

was into underground music and weird obscure stuff. Stuff that

wasn’t your normal pop music. Without him being into that, none of

us would be where we are. Not the Nirvana guys, not me.”

Buzz Osborne is the eccentric singer-songwriter of the Melvins,

who consistently explores the possibilities of creation. “I’m always

looking for something to kick me out of any kind of corner I may have

painted myself into,” Osborne explains.

The Melvins are set to release their whopping 26th studio release

A Walk With Love & Death, named after the John Huston film, on July

7. Split in two parts, Death, the first section of the album, is a more


Boston metal powerhouse repents with fury

traditional Melvin’s song collection, though in its own right, still sets

itself apart from their past works. Love, on the other hand, is a noisy,

experimental soundtrack for the band’s upcoming short film, which

shares its title with the new album.

“Love was a completely different experience because we were writing

a soundtrack for a movie that doesn’t exist,” Osbourne states.

Unconventionally, the self-produced short-film, directed by Jesse

Nieminen, is being made to support the soundtrack, as opposed to

the other way around. “We always thought our stuff was perfect for

soundtracks. It wasn’t happening so we decided to do it ourselves.”

This isn’t the Melvin’s first venture into cinema. In 2015 they

self-produced and released Across the U.S.A. in 51 Days: The Movie!

This film documented their 2012 North American tour in which they

performed 51 shows in every U.S. state in 51 days. This documentary

is roughly 51 minutes, dedicating a minute to each location.

In terms of what their upcoming movie is about, Crover and Osborne

don’t say much. “It’s about a man in trouble,” Osborne expresses.

Crover chimes in: “I’ve seen little clips of it. It’s definitely strange.


The band gave the director personal photographs and footage for

the piece. A surrealistic, almost lynchian trailer has been released and

is available on YouTube.

This is the first record to fully feature bassist Steven McDonald,

who recently made guest appearances on the Melvins’ last effort

Basses Loaded. A Walk With Love & Death also features some guest

performances, including guitarwork by Joey Santiago of the Pixies.

Creatively, Osborne doesn’t give too much away on the lyrical content

of the album. “I’m not really a lead someone down the garden

path kind of lyricist. I work really hard on the lyrics and a lot of people

say they mean nothing. I say your head has nothing in it if it means


“We are non traditional band, so people should not expect us to do

traditional types of things,” Osborne states. He credits the experimental

nature of the Melvins to a lack of classical training. “I don’t know

how to read music, I didn’t take guitar lessons. I learned on my own.”

Osborne concludes: “We focus on ways of writing music that are

not in the traditional form. Or we’ll take an untraditional way of doing

something and apply it to traditional song structure. It doesn’t

always work, but you have to wave through it all and see what comes

out on the other side.”

Melvins perform at Venue Nightclub (Vancouver) on July 14.

photo by Chris Casella

Melvins prepare to crush your summer with their massive two-part opus.

Heavy metal heavyweights Revocation bring dynamism to the Armstrong Metal Fest.


This year’s Armstrong music festival is set to let

loose a plethora of diverse bands bursting up from

the underground. Crowning off the whole fest is

Boston’s Revocation, a band that has risen in popularity

at a pace almost as furious as the music

they produce. With a sound that dabbles in various

streams of musical influence, both metal and

otherwise, the band has found a way to execute a

dynamism and variety in their songs tends to defy

any particular sub genre within the scene.

“I think there's always room to expand our

sound, that being said I think it's important to

work with certain parameters to keep a specific

aesthetic,” notes band founder and frontman, Dave

Davidson. Despite the multifaceted nature of their

sound, each and every track across the band’s six

album discography is undoubtedly Revocation.

The band’s latest offering, Great Is Our Sin,

reaches higher in both quality and concept, with

lyrical themes examining the doomed nature of

man, which, especially in this modern era, is more

relevant than ever.

“The world around me definitely influences my

lyrics, but I also like to look back at history to gain

inspiration,” Davidson claims. “There are a lot of

themes that seem to repeat themselves over and

over again which is interesting because I think it

says a lot about humanity. Even as technology advances,

we still cling to old ways of thinking and

repeat similar mistakes. That notion was a driving

force behind the lyrics.”

Davidson’s lyrics have always had a wide spectrum

of influence. “It could be current events,

history [or] pure fiction. I draw a lot of inspiration

from the works of H.P. Lovecraft because he created

such a vast universe with his stories. I've always

been a fan of sci-fi horror, even when I was just a

young kid, so it's only natural that those types of

influences creep into the lyric writing process.”

Revocation have recently embraced a new

drummer in Ash Pearson, former member of Vancouver

legends, 3 Inches Of Blood. “Ash is able to

bring his own style to the band,” said Davidson, “I

think we're playing tighter than we ever have before.

We're all really locked in and Ash is a big part

of that. Drums are really the backbone of metal and

he's one of the most consistent drummers in the

business, he's killing it behind the kit every night.”

Revocation headlines Armstrong Metal

Fest which takes place July 14 and 15 in

Armstrong, BC.

July 2017 13




hardcore with a blue-collar mentality


To make a go of it in the hardcore/metal/punk

scene it takes immense dedication.

Unfortunately, with the exception

of a few bands, this type of music has a

hard time gaining mainstream acceptance.

In today’s musical landscape,

constant touring and putting your life

into a band is what it takes for the underground

to surface. Buffalo’s Every

Time I Die has been punching the clock

for almost two decades now, sacrificing

family commitments, friendships, and

financial stability; all just to keep their

music career afloat.

You can’t confuse the cause and effect.

It’s not that we worked jobs until

the band became our job and then quit.

We quit our jobs and then made the

band our job. We gave up everything

to make the band work. That’s the only

way to do it, take dumb risks,” vocalist

Keith Buckley explains. “We’re too old

and broken to do anything else during

the day. For that one hour we’re on

stage, that is the only time in 24 hours

that our hearts are racing. We save every

ounce of energy for the stage. We

don't waste it on partying until 4 am or

playing golf before the show. We give it

everything we have, that is our purpose,

our reason for being. When people see

us, they're seeing us at our best every


Buckley formed the band with his

brother Jordan and childhood friend

Andy Williams, both guitarists, back in

1998. Since then there has been a carousel

of support members, but bassist

Stephen Micciche and drummer Daniel

Davison take up current residency.

1998 was a pivotal time in the extreme

music scene. The world was getting

sick of nu metal and bands like Dillinger

Escape Plan and Killswitch Engage

were starting a new, yet-to-be defined

scene that was steeped in hardcore and

Every Time I Die age gracefully and ride the tides of change with their eighth proper release, Low Teens.

punk, fused with metal. Every Time I Die

would fit right into this mold.

Every Time I Die’s 2003 record Hot

Damn is considered a groundbreaking

release. They have been stalwarts in a

scene that prides itself on the blue-collar

mentality necessary in an ever-changing

music scene. With music that spans grit

points such as math metal, classic rock

and gutter ball hardcore, Every Time I

Die are one of the bar setters in what

would become a diverse musical mentality

bent on attracting a wide variety

of fans. In 2016 came their latest slab of

glory, their 8th record, Low Teens. With

this, Every Time I Die has now outlasted

most of their contemporaries.

“Low Teens is absolutely not a departure

in sound by any means, but there

was a lot surrounding the writing/recording

that took us out of our comfort

zones. We didn’t resist change or doubt.

We explored it. What resulted is without

a doubt our best record. The only

photo by Josh Halling

constant for us is change,” states Buckley.

Now they take Teens to the road and

renter the grind.

“It’s always a challenge, but that is

what keep us on our toes. Always making

adjustments and tweaking things

and figuring out how to adapt. We’re

going to tour until the wheels fall off.”

Every Time I Die play the Rickshaw

Theatre on August 2 with openers

Neck Of The Woods, and Anchoress







































80s/90s UK + BRIT POP























































PMS 84 (OR)

















July 2017

photo by Jeremy Saffer

Not to be confused with WENDY 13, Wednesday 13 finds the horror in real life.


horror-rock icon unleashes new album inspired by grim reality


On the Mount Rushmore of horror-rock, there is

no doubt Wednesday 13, born Joseph Poole, would

have his likeness carved in along the likes of Alice

Cooper, Rob Zombie and the Misfits. Developing

an underground following with Frankenstein Drag

Queens from Planet 13 in the early 90s, Poole’s

career was taken to the next level when receiving

contact from Slipknot’s Joey Jordison and joining

the cultivated horror-rock supergroup: Murderdolls.

Over a decade later, Wednesday 13 continues

making music as a solo artist. Though he is widely

known for writing about scary movies and their

characters, he decided to take things in a much

darker direction this time around, bringing light

to real-life horrors on his new album Condolences.

“I’ve been embracing different types of true

crime stories, I find them to be more and more

frightening these days.” Poole states. “Horror films

just don’t strike me the way they did than when

I was growing up. To be shocked I need to read

about something that’s really happened. I just start

going into the human mind, what makes them go

that way, and that’s what I write the songs about.“

Undoubtedly Poole’s heaviest and most mature

release to date, Condolences revolves around the

theme of death and lyrically, many songs on the

new album are inspired by the acts of serial killers.

The new track “You Breathe, I Kill” is about Richard

Ramirez who murdered 14 victims between 1984

and 1985 and was sentenced to death row.

The evils written in fiction and documented in

time aren’t Poole’s only source of inspiration. He

also draws influence from his personal life, usually

disguising his lyrics with monstrous metaphors.

“We had a song on our Calling All Corpses record

called ‘We All Die.’ When you listen to it, it sounds

like a zombie apocalypse but it was actually about

our experience being in Japan during the earthquake-tsunami

in 2011.” Poole was touring Japan

with Murderdolls during the Tōhoku 9.0 magnitude

undersea earthquake that tragically took over

15,000 lives. Touched by the event, Poole quickly

began doing charity work to support families affected.

The new record has already dawned four music

videos: “What the Night Brings,” “Blood Sick,”

“Cruel to You,” and the album’s title track: “Condolences.”

Poole is very involved with the creative

process behind these videos and plans to release

one for every song on the album.

In terms of Wednesday 13’s current tour, Poole

claims it’s the biggest and most elaborate he’s done

in his entire career. He hints at an almost classic Alice

Cooper-esque style performance.

“We have an amazing light show, an amazing

setlist and a theatrical show to go along with it.”

Pool concludes: “It’s like watching a movie, I feel

like we're doing something that not a lot of people

do anymore. If you wanna see something that's

entertaining, whether you like our music or not, I

think you'll walk away saying ‘wow that was an entertaining


Wednesday 13 performs at the Rickshaw

Theatre (Vancouver) on July 22.



finding the essence of holding on and letting go


“I’ve been here [in L.A.] for six weeks writing and playing

a few gigs, but I still live in Van,” the electronic music producer

and performer Pat Lok explains.

Over the past few years, Lok has gained a notable reputation

as one of Vancouver’s most prominent producers

both nationally and internationally. His recent achievements

of hitting over 2.5 million plays on Soundcloud and

appearing on major networks such as BBC Radio One has

helped to give not only the country, but the up-and-coming

West Coast city, a name for itself on the global stage.

“There are a lot of electronic music producers and artists

within the last decade that I’ve seen make their presence

known while letting their work speak for themselves,” says

Lok over Skype. “It’s cool because [where they’re from] is a

part of their story and a lot of people wear that Canadian

pride [without having to flaunt it].”

One of the major aspects of the Vancouver electronic

music scene, and many other Canadian music scenes for

that matter, is the multiplicity of influences found within

our country from East to West. “I think one of the benefits

that come with growing up in a place like Vancouver is

the exposure and diversity of cultures; it comes out in the

music that I like to make,” he says. “We’re not a country

founded on rebellion and we’re constantly evolving which

has made us very dynamic. That is our identity!”

With awareness of diversity in cultures comes an awareness

of diversity in people and their music tastes. Lok seeks

to write his music for a range of people and aims to bring

as many of them under his electronic music umbrella as

possible. “I try to write music for everyone from electronic

music nerds to people that didn’t even know that they may

like dance music,” he mentions. “If I can evoke something

out of myself with a finished track or song, I hope that it’s

also being communicated to others.”

On June 23, Lok released his debut album Hold On, Let

Go via the French record label Kitsune. The album itself, is

all about continuing your work as an artist while holding

on to the essence of what brought you there in the first

place: the music. “That’s what this whole process of writing

the record has been about,” Lok explains. “[The title

is] multifaceted and [references] my own personal growth

[as an artist]. It’s about knowing what things are truly important

and knowing what to let go of whether that’s your

songs, relationships, or your own hang-ups.’

“This record is a snapshot in time for me,” adds Lok. “I

wrote most of it on tour over the past half year, from Tokyo

to New York and from Los Angeles to Paris. Sonically it reflects

that up-and-down pace of the road and my effort to

find moments of peace amongst it. We are only the sum of

our experiences, but at the same time we can’t carry all of

it with us every day; so the real difficulty lies in choosing.”

Pat Lok performs at the Fox Cabaret on June 8.

Vancouver producer Pat Lok embraces dynamic identity on his album Hold On, Let Go.


life after Chance is sweet indeed

Producers Ivan Jackson and Conor Rayne got no problems as they prepare to release a new project under Brasstracks.


Ivan Jackson and Conor Rayne are

living the Soundcloud bedroom producer’s

dream with their joint project,

Brasstracks. After three years of uploading

music to Soundcloud and one

Grammy win with Chance the Rapper,

Jackson and Rayne are playing festival

16 BPM

after festival and appearing on tracks

alongside Lil Wayne, 2 Chainz and

Schoolboy Q.

First meeting at the Manhattan

School of Music, their shared love of jazz

music was what initially brought them

to start a band. Their debut EP, Good

Love, was released in 2016 and features

artists such as Masego, Alexander Lewis,

Lido and more. As the name suggests,

Brasstracks heavily utilizes brass instruments

in their production paired with

fast paced percussion to produce their

signature high energy bangers. Their

incorporation of jazz and electronic

music elements combine to create feelgood,

genre breaking sound that make

you want to jump up and get down.

It’s no surprise that Jackson and Ryan

are the two talented producers behind

Chance the Rapper’s Grammy winning

track, “No Problem.” How the collaboration

initially came about, was all

because of Twitter. In 2015 Brasstracks

tweeted, “Lol we actually can't upload

a single song without someone saying

Chance the Rapper should be on it. not

mad.” And before they knew it, they

were collaborating in a LA studio with

Chance himself.

“I was frankly astonished and super

grateful to have had the opportunity to

work with Chance and to even have the

opportunity to attend the Grammys,”

Rayne shares. “That was one of the most

special moments of my life. I think the

most important part of the night was

my mom meeting Chance’s mom; that

was dope.”

“Seeing how happy my mom was in

that moment was probably the best

part of the Grammys,” chimes in Jackson.

In an era of musical abundance, the

duo partially credits their unique sound

to New York City praise the city for it’s

jazz scene. “There aren’t any brass musicians

[out there] that are touching

what’s happening in New York right

now, as far as I'm concerned, not even

New Orleans,” Jackson mentions, excitedly.

“There is not a better collection

of brass players anywhere in the world,

that’s factual. I think that what’s happening

in New York is a renaissance of

people around our age starting bands

based on the horns, popular music, hip

hop, R&B and a huge dose of nostalgia

that is inspired by the melting pot that

is New York.”

With a new EP on the horizon for the

Brooklyn based artists, the duo shared

that the record will be released in two

parts. “We started with a bunch of

[loose] tracks, some of them made pre

Good Love [but] most of them were

made after,” Jackson shares. “We weren't

able to weave a real story around all of

it, but we loved all of the songs so we

split i[them] up into a two part EP. We

looked at them as two separate bodies

of work and saw that stories could be

woven around those two juxtaposed


Brasstacks performs at Faded in

the Park on July 7th.

July 2017


BeatRoute’s must see acts of Fvded in the Park 2017


With both Squamish and Pemberton six feet under, Fvded in the Park has become one of the only major music festivals for

anyone stuck in the city this summer. Currently celebrating it’s third year in existence, Fvded transforms the tranquil landscape

of Holland Park at the end of the Expo Line into top tier festival grounds with an international calibre lineup to match.

Boasting a solid mix of EDM, house, rap, hip hop, and modern R&B, Fvded in the Park has it all. Throw your gear into a fanny

pack and check out our selection of six artists to check out at this year’s festival.

Fvded in the Park takes place July 7-8 at Holland Park in Surrey.

The Chainsmokers

Currently one of the biggest EDM-pop producers

in the world right now, every song

The Chainsmokers seem to touch, turns to

gold. Comprised of Andrew Taggart and

Alex Pall, the Grammy award winning duo

first started to gain global traction with

their hit single “#Selfie” released on Dim

Mak in 2014. Since then, it’s just mainstream

hit after hit with their latest being

“Closer” featuring Halsey and “Something

Just Like This” featuring Chris Martin from



OVO signee PartyNextDoor is a rapper,

singer and songwriter hailing from Mississauga,

Ontario. Born as Jahron Anthony

Brathwaite, the young artist often layers his

lyrics over stripped down trap instrumentals

to create a modern R&B vibe and can

often be found collaborating with fellow

artists Drake, Big Sean and Jeremih.


Based in Toronto, Canada, Badbadnotgood is an

instrumental hip hop and jazz band consisting

of Matthew Tavares on keys, Chester Hansen on

bass, Leland Whitty on saxophone and Alexander

Sowinski on drums. Connecting on their mutual

love of hip hop, the band first started gaining attention

on the world stage after Tyler, The Creator

heard their cover of some of his music back in

2011. Since then, the band has gone on to release

five studio albums and collaborations with artists

like Ghostface Killah, Kaytranada and Charlotte

Day Wilson.

What So Not

Formerly a production team partnered

with Flume, What So Not is now comprised

of just Emoh Instead based in Sydney, Australia.

Popularized by his hits “Gemini,” “Jaguar”

and “High You Are,” Instead is known

for his experimental take on hip hop, trap

Yellow Claw

and bass music. Currently signed to OWS-

Incorporating elements of hardstyle, hip LA and Sweat It Out, Instead can commonly

be seen collaborating with fellow indus-

hop, trap, dubstep and moombahton into

their music, Yellow Claw is a DJ and production

duo that really knows how to get the

try leaders RL Grime and Skillex.

party started. Made up of Jim Taihuttu and

Nils Rondhuis, Yellow Claw initially started

out a club night hosted at Amsterdam’s

Jimmy Woo and has since evolved into the

international EDM powerhouse that it is



Soulful rapper and singer Russ Vitale is a self

taught artist who’s known for writing, producing,

mixing, mastering and engineering

all of his work on his own. In May of this

year, Russ released his debut album There’s

Really a Wolf with Columbia and is most

often recognized by his emotive hit single

“Losin Control.”

photo by Brandon Artis

What if one day you picked up a magazine that gave you some practical advice

on how to have a good summer? Like wearing a lot of sunscreen means you

won’t get sunburnt. Or by drinking lots of water means you won’t pass out

halfway through the day. And if you go to see all the hip hop and electronic

music shows on this list, you’ll probably have the best summer of your life.

Junior Reid

July 6 @ The Waldorf Hotel

Growing up in the rough and tumble Waterhouse District of Kingston, Jamaica,

Junior Reid is one of the most prolific Reggae Dancehall artists of our time.

Most well known for his 1990 anthem “One Blood,” Reid recorded his first

song at the young age of 13 and has since gone on to work with legends of

the industry including Augustus Pablo, Sugar Minott and Barrington Levy, ot

name a few.


July 13 @ Vancouver Forum

Recognized for his smooth and soulful delivery, Khalid Robinson is an American

singer and songwriter hailing from El Paso, Texas. Just going by the name

Khalid on stage, the young artist was first thrust into the spotlight with the

viral success of his debut single “Location” that was released during the summer

of 2016.


July 21 @ Celebrities Underground

Bridging the gap between funk and disco, producer Terence Nguyen brings

sexy new vibes to the French house genre under the name Darius. Often likened

to other French artists Cassius, Fred Falke and Daft Punk, the Parisian

artist is most recognized by his Romance EP released back in 2014.

Secret Circle

July 27 @ Fortune Sound Club

Without much documentation, very little is known about the underground

hip hop supergroup Secret Circle made up of rappers Antwon, WIKI and Lil

Ugly Mane. All we can say is this will be a truly rare appearance for our fair little

city and that curiosity will probably not kill the cat.

Lil Pump

July 28 @ The Vogue Theatre


your month measured in BPMs


The latest in internet sensation hailing from Miami, Florida is 16 year old rapper

Lil Pump. Good friends with Lil Uzi Vert, Pump just started posting tracks

to his Soundcloud page last year and has already garnered over 50 million

plays. Fans of mumble rap or not, no one can deny that’s still one hell of an


Lil Pump

July 2017 BPM



finding the gold in everyone


Ashleigh Ball has been at the helm of a Juno-nominated

band, touring around North America for the

last decade and it’s only this year that she’s started

to refer to herself as a musician. She’s always felt it

never quite fit, but since releasing her debut solo

EP, Gold In You, she’s been warming up to the title.

“It’s been a learning curve for me,” says Ball.

“With this album I was kind of doing it myself, and

it’s been emotional and taxing and tricky — I’m

glad that it’s finally out.”

Best known around Vancouver as the lead singer

of alternative pop-rock band, Hey Ocean, her shiny

seven-track EP has been two years in the making.

Hot on the heels of summer, the sultry synth-pop

ballads have proven to be worth the wait.

The EP is a leap for Ball lyrically and sonically.

Her songwriting for Hey Ocean, often drew on the

trio’s coastal surroundings, whereas Gold In You

is inspired by a whirlwind of new experiences and

growing pains prompted by her band’s unexpected

breakup in 2014.

“It’s sort of a direct narration of what I was sort

of going through,” says Ball. “My band, that’s sort of

been my identity for the last ten years...and I was

trying to figure out who I was supposed to be without

this thing.”

Though Gold In You is Ball’s first solo release,

it’s not her first solo album. Following Hey Ocean’s

temporary break up, she recorded an album, which

her bandmate David Vertesi helped produced, but

Ball ultimately decided not to release it.

“I just was sitting on it and it never felt quite

right, because all of the songs were Hey Ocean

songs,” says Ball. “It didn’t quite feel like the solo

thing I was really looking for, so I sort of shelved


For curious Hey Ocean fans, some of these

‘shelved’ songs will be featured on the band’s upcoming

album. Ball says in the past year, they’ve

recorded, mixed and mastered a full-length album,

which she expects they’ll release sometime in 2018.

“It’s funny, I was so ready for this solo adventure,”

says Ball of their decision to reunite. “I think we all

just needed a break. We all just needed to do our

solo thing—flex that muscle, prove it to ourselves.”

But for now, she plans to bask in the gold-tinted

glow of her new release.

“I’ve learned that it takes me a long time to do

anything—Oh, and that I can be an emotional

wreck,” says Ball. “I never want to take my band for

granted again!”

Gold In You gives us a glimpse into a determined,

joyful and badass Ashleigh Ball, as she candidly

confronts and names intimate doubts and challenges

with fervor and conviction, reckoning with

what she finds in herself. Thankfully, Ball strikes

gold—and we’re reaping the rewards.

Ashleigh Ball’s Gold In You is available now

on Spotify and Apple Music.


July 2017

Ashleigh Ball is

wearing green Sunja

link suit from Charlie

& Lee and her own

kimono from Duchess

vintage. “Heaven

Sent” ice cream from

Say Hello Sweets.

It’s 3 p.m. on an especially cloudy

Vancouver day in June and we’ve

only just got back from a beer run

when emcee Matt Brevner walks up to

our East Van photo studio wearing his

signature set of gold grills. The young

and rising rapper eagerly slips on a

pair of baby blue sashimi swim trunks

from Gastown’s The Block and takes

to the camera as if he were about to

perform at the club. Every year we

invite a mix of local talent to come

out and show off their best bodypositive

beach vibes. As artists show

up, our pristine collection of local and

vintage swimwear from local shops

gets pilfered, then blown apart.

Throughout the day, bodies are

being thrown at the camera and

sacrificed in the name of Apollo (by

the end of the day, we should at

least have some sun). Some artists

are down to get sexy and flirty, in

both the retro and ironic Sports

Illustrated kind of way. A few remain

pure and wholesome, like babies

at the beach, only if babies played

guitars and shredded keyboards in

their spare time. Others are animated

and vaguely Carnival looking, in a

glorious Cirque du Soleil meets the PNE

midway kind of way. And the lucky few

wearing Charlie & Lee’s silk kimonos?

They are indisputably untouchable in

their silky other-worldliness, because

even the sweatiest of beachgoers

look like a goddess in one of those.

When we finally wrap the shoot

at the end of the day, everyone

returns to their street attire with a

newfound pep and sunless glow,

like the best spray tans in town. To

get any of these fresh summer looks,

hit up these local Vancouver hot

spots before you hit the beach.

The Block

350 W Cordova St, Vancouver, BC

Still Life

2315 Main St, Vancouver, BC

Charlie & Lee

223 Union St, Vancouver, BC

Nettle’s Tale

1E8, 330 W Cordova St, Vancouver, BC

F as in Frank

2425 Main St, Vancouver, BC

by Emily Blatta

Photos by Shimon

July 2017 19

1 2 3 4

1. Karmen Poirier of Brutal Poodle

in black one piece from Still

Life. See Brutal Poodle live

at the Biltmore on July 7.

2. John Johnston of Brutal Poodle

wearing rose shorts from Block.

3. Karmen Poirier and John

Johnston of Brutal Poodle.

4. Steven Beddall & Missy Cross of

Wooden Horsemen in their own

outfi ts. See Wooden Horsemen

live at Khatsalano, July 8.

5. Skye Wallace in the Popupshop

panther one-piece from

Block. Skye Wallace performs

July 11 at the Heatley.




6. Alex Little in her own outfi t. See

Alex play at the Canada Day Block

Party at the Waldorf on July 1.

7. Geoff Millar from So Loki

wearing shirt and swim

trunks from F as in Frank.

8. Savannah Wellman and Meagan

Davidson of Tiny Kingdom

wearing their own suits and

kimonos. Jewellery is from RISH.

9. Gina Loes of the Ruffl ed

Feathers in the Misty Suit from

Nettle’s Tale and Strathcona

Stockings’ Navy Little Fishies silk

kimono from Charlie & Lee.

10. Sam Lucia of So Loki wearing

Bather’s shorts from Still Life,

Brookes Boswell Millinery sun

hat and black Ozma silk scarf

from Charlie & Lee. So Loki

will be performing at Fvded

in the Park on July 7.




11. Stefan Tosheff of Cloudhood

wearing Nettle’s Tale.

See Cloudhood at Stylus

Records on August 11.


July 2017

11 12



12. Isaiah Dobbs and Jacob

Schwinghammer from Funk

Schwey wearing their own

outfi ts. See Funk Schwey play

at the Canada Day Block Party

on July 1 at the Waldorf.

13. Allie Sheldan of Little Destroyer

wearing her own suit. See

Little Destroyer live at The

Imperial on September 15.

14. Emily Jayne of Pet Blessings in

her own swimsuit. Catch Pet

Blessings July 28 at SBC.

15. Hussein Elnamer aka Handsome

Tiger is outfi tted in Komono

sunglasses and Bather’s swim

trunks from Still Life. See Handsome

Tiger this summer at Bass Coast,

July 7 to 10 in Merritt, BC.

16. Matt Brevner in sushi shorts from

Block and glasses from Durant

Sessions. See Brevner perform

at the Red Room July 6.




17. James Green in Komono

sunglasses and Brixton Murphy

black chino shorts from Still

Life. James Green performs

solo at Arts on the Fly July 14-

15 in Horsefl y, BC and with The

Godspot on July 7 at The Cobalt.

18. Riyana Kazi of TULIP wearing

her own outfi t. See TULIP live

at Khatsalano, July 8.

19. Sarah Jickling wearing a suit

from Nettle’s Tale, Strathcona

Stockings’ Yellow Tulip silk

kimono from Charlie & Lee.

20. Harvey Merritt of Ponytails

wearing Patagonia shorts.




July 2017 21


finding a home amongst the misfits in Hastings Sunrise

photo by Glenn Alderson

Hastings Sunrise allows owner Burcu Ozdemir to fully be herself.


Hastings-Sunrise has a new addition. Located

amidst punk bars, sushi restaurants and coffee

houses sits a recently parked time machine. While

Burcu's Angels, a vintage clothing boutique on East

Hastings and Nanaimo, doesn’t literally warp physical

dimensions to travel through time, it will nevertheless

make fashion history junkies drool. The

space is home to a variety of fabulous, hard-to-find

vintage items including velvet opera gowns, luminescent

flared jeans and seductive silk gowns.

Those who visit the shop will meet the colourful

Turkish-born owner, Burcu Ozdemir. A veteran of

the vintage scene, Ozdemir is the kind of woman

who can size up your waist, style and personality

over a single cup of tea.

“I started my own vintage store 20 years ago,”

says Ozdemir. “Inspired by a vintage store on Main

called Whatever, I rented a space with one small

rack. Everything came together from there.”

Since the early days, Ozdemir has moved her

ever-expanding collection of vintage clothes across

the face of Vancouver. Ozdemir has rented spaces

at Eugene Choo and at Main near Broadway, resting

on 16th Avenue for nearly a decade.

Despite years on Main, the neighbourhood’s

recent upscale projection hasn’t sat well with

Ozdemir. While she still has one location on the

street, she moved a large collection of her clothes

to East Hastings this past April. “On the 29th of

April I woke up and realised I was slowly dying on

Main Street,” Ozdemir says. “When I walked down

the street and asked someone for the time, their

response was ‘I don’t have any change.’ I had become

a crazy, eccentric lady.” Her sudden decision

to open a location in the Hastings-Sunrise neighbourhood

was catalysed by an innocent visit to the

area for a haircut. Within minutes she was sold — it

was reminiscent of the Main Street she had once


“When walking through East Hastings, I noticed

the queer and trans folk were part of the fabric,

they weren’t sticking out,” she explains. “They were

just themselves.”

Now that Burcu’s Angels has settled in it’s newest

location, it is becoming an intrinsic part of the

community — a fact exemplified by the small table

at the entranceway, which offers fresh fruit, dog

treats, and an ashtray to passersby.

“In our living room [a space at the opening of the

store] we have a free box for children,” adds Ozdemir.

“The children come and play here, learning

how to dress up and trade while mothers breastfeed

their babies.”

In even a brief amount of time spent at Burcu’s

Angels, one thing is made clear — This boutique

is a time machine not only because it sells vintage

clothes, but also because it embodies the good old

fashioned community values so often missing in

our modernizing city.

Burcu’s Angels is located at 2355 East Hastings



July 2017


celebrating 40 years of tradition and diversity



Vancouver has always been a place of

diversity — a desired destination for

both tourists and immigrants around

the world, and a breeding ground for

environmental and social movements

that represent our geographical and

social multiplicities. The Vancouver

Folk Music Festival has thrived in such

a city, and, now in its 40th year, has

firmly established its role in celebrating

diversity and inclusivity.

“There are two distinct kinds of

music that end up sheltering together

under the umbrella of folk music,” says

VFMF co-founder Gary Cristall. “One of

them is purely traditional music; music

that goes back hundreds of years that

essentially comes from rural, pre-capitalist,

non-literate societies… and then

there’s a whole body of song writing

and popular music that doesn’t really

fit into the commercial music industry,

and that too became known as

folk music.” Folk music, which can be

defined as music for and of the people,

has the ability to connect people with

forgotten stories, heritage, and cultural


Cristall started the VFMF in 1978 as

a way to “do something that gave people

music that celebrated diversity of

traditions…and music that was going

to change the world or have the ambition

of doing that. Music that was

provocative — music that was saying

something.” A not-for-profit charity

run by volunteers, the VFMF has always

been committed to providing a stage

for authentic and honest artistry — in

one of the most beautiful settings, Jericho

Beach Park, at that.

At first, some criticized the festival

for being too much of a nostalgic

throwback to the free-thinking, freelove

era. Cristall jokes that it seemed

as if the public presumed festivalgoers

to wear tie-dye shirts and Birkenstocks,

without appreciating the core

traditions of folk music itself. After all,

folk music is not to be confined within

current trend or fad — it is much more

substantial than that. But over the last

four decades, the VFMF’s vision has

remained the same: deeply rooted in

values of diversity, equality, inclusivity,

and peace. Cristall recalls artists

from past years who have represented

this well, like Ed Balchowsky — a

one-armed pianist who lost his right

hand in the Spanish Civil War and who

performed at the festival in 1982. The

VFMF, Cristall says, is “a place where

a number of dynamic, contemporary

artists, and different facets of music are

able to reach thousands of people.”

This year, the festival lineup includes

Haitian roots group, Chouk Bwa Libète;

Australian singer-songwriter and Indigenous

advocate Archie Roach, who

combines folk music with the stories

of his ancestors; experimental African

musicians Mbongwana Star, from the

Democratic Republic of Congo; Saskatchewan

singer-songwriter Andy

Shauf; Barenaked Ladies; Missouri-born,

BC-raised blues artist, Jim Byrnes.

These are all people from different

backgrounds, uniting together through

music, storytelling, and emotion to

share a greater experience of humanity.

It is this that demonstrates the

beautiful diversity that is intrinsic to

folk music — and, in the same way, the

Vancouver Folk Music Festival.

Vancouver Folk Music Festival

runs from July 13 – 16 at Jericho

Beach Park.

photo by Florent de La Tullaye

Chouk Bwa Libete

The popular Vancouver festival celebrates 40 years of music and cultural unity


new flagship store helps make musical instrument buying more accessible, dynamic


Since its inception in 1969, Tom Lee Music has worked to share their

love of music-making by highlighting the beauty of sound, and their

new location does this better now than ever before. The store opened

their new flagship location in June, which features impressive strides

forward in space, technology, and location.

Although just two blocks down from their heritage space on Granville

Street, which they occupied for over 30 years, Tom Lee Music’s

location across from Nordstrom represents a shift from entertainer

to retailer, and makes shopping for musical instruments more accessible.

“Many of our customers live or work downtown, and are much

closer to where we are now,” says Graham Blank, Vice President at

Tom Lee Music Canada. “Whereas our business used to be built

around the building, our new building has been built around our


With more freedom to work within, Tom Lee Music has managed

to not only modernize their space and brand, but has also succeeded

in creating a more dynamic shopping experience. Behind every detail

is a purpose and intention for how it should interact with shoppers.

Proof of this is their open-concept piano room, which features

state-of-the-art technology and acoustics to bring sound that is worthy

of the quality of their instruments, and, most notably, their collection

of Steinway pianos. Each instrument has its own place, where

it can be experienced full-force and on its own.

Tom Lee Music’s new flagship store is located at 728 Granville

Street. Visit for a complete list of upcoming

workshops, events, and products.

Tom Lee perfects their indelible influence on the Vancouver scene with new location.

July 2017 CITY



personality, authenticity the main ingredients of small batch ice cream shop

photo by Rob Moroto



in The Phillips Backyard...



























*all times are

subject to change




Gone are the days of walking into

an ice cream parlour only to be

confronted with the ultimate

dairy-product dilemma. You want

Chocolate Oreo, Strawberry Berry

Berry Swirl, and Birthday Cake? Enter

ice cream float: you can enjoy one

with all three flavours and two more.

The float is one of the highlights

of Welcome Parlour, a newly opened

ice cream shop in North Vancouver.

But it’s not all they have going for

them. At the family-run and locally-sourced

parlour located off Lonsdale

in the 1912 heritage building,

“the Hodson Block,” personality and

authenticity are vital components of

this establishment.

“At Welcome Parlour, we’re trying

to make authentic small batch ice

cream,” says owner Ian Widgery. “We

try to create something that is very

real. There are no colorings or synthetic

flavorings, we use whole dairy

cream, and we source locally. There

is love and care that goes into every


At any given time, there are a

maximum of 11 flavours of ice cream,


kicks with a conscience


There is good reason that SKYE Footwear is named

for the big blue up above — the shoes the Vancouver-based

company create are so airy, wearing

them feels like you’re ascending towards the heavens.

Indeed, comfort is an integral part of both

the philosophy and the make-up of the athleisure

line. In fact, it was because of not being able to find

something stylish that would also soothe tired feet

that co-founder Gary Chang and designer Justin

Heinrichs decided they would fill the void themselves.

For two years, the team sought out the perfect

ingredients to achieve the delicate balance between

style and comfort. "We did tons of research

on different shapes of feet, different ergonomics,

how orthopedic insole designs [are],” Chang says,

speaking over the telephone. They discovered

how back pain and joint pain begin from the bottom

up and, with that in mind, engineered a shoe

that would be more than a fashion accessory — it

would provide relief physically and, in turn, mentally.

A cushiony, foam outsole absorbs shock.

The shoe’s exterior is made from a breathable,

microfiber fabric that stretches four ways and provides

a snug fit. The insole, specifically designed for

the shoe and anatomical support, is composed of

two oil-based gels: a deep gel heel cup that absorbs

impact and a springy gel that delivers that bouncein-your-step

feel. And it’s biodegradable.

"If you just leave [the insole] there for 10 years,

it actually will dissolve itself,” Chang says. "But with

that type of material, the interesting part is that

the more you wear it, the more flexible, the more

durable it will be. It’s like natural rubber — if you

carefully and deliberately picked by

Widgery and his team of artisans.

“We work with Eleanor Chow Waterfall

of Cadeaux Bakery in Gastown,”

Widgery says. “Together we come up

with original recipes. Every month

new flavors are offered.”

One of their most mouthwatering

concoctions is Apple Pie. Instead of

using synthetic flavourings, Chow

Waterfall bakes an entire apple pie

and then places it into a mixer, adding

in the remaining ingredients

required to create the impossibly

smooth apple pie ice cream.

Welcome Parlour, which takes its

name from a 1909 Lonsdale food

and general store, also puts a unique

twist on floats using kombucha and

ginger beer — products of Green

Leaf Brewing, located at Lonsdale

Quay Market. Touches like these are

quickly making the shop a staple in

Vancouver’s artisan ice cream movement.

For Widgery — who started

his career in the United Kingdom as

a music producer and has worked on

projects for artists like David Bowie

and U2 — it’s just about being inspired.

“I landed my first record deal at

17,” Widgery says. “So life started

very early for me. I quickly learnt

what was real and what wasn’t

real. I learnt what true authenticity

and creativity were. As such, these

don’t use it, it becomes hardened because of the


This conscious component is another one of

SKYE’s core values. Fast fashion, Chang explains,

has a negative impact on our environment partly

due to fabric dyes and chemicals. The company intends

to do their part to reduce carbon footprints

and minimize pollution by working with sustainable


SKYE currently offers three styles: the Lons, the

Powll, and the Rbutus. The shoes take their names

from Vancouver streets (Lonsdale, Powell, and

Arbutus, respectively) and their designs are influenced

by the characteristics of those neighbourhoods.

The Lons, for example, is a marine-inspired

model suited to the North Shore. The urbanized

Powll is perfect for stomping around local cafés.

North Vancouver joint brings simplicity back to everyone’s favourite indulgence.

themes will always be the centre of

my life — whether I’m producing

music or selling ice cream.”

Welcome Parlour is located at

277 East 8th Street in North


The sporty Rbutus, ideal for walking, hiking, or biking.

Looped bungee cables — inspired by stand-up

paddle boarding — act as laces for all styles.

"We want to design something that actually

can reflect who you are, and what you believe in,

and what you stand for — not just a product or

a showpiece,” Chang maintains. “We want something

more, that truly is different and unique."

For SKYE, it’s about accommodating busy west

coast lifestyles. Celebrating individuality. Crafting

a shoe that is comfortable, versatile, stylish, and

made mindfully.

Something to feel good in — and about.

SKYE Footwear is available for purchase at

Comfort, style, and sustainability make Vancouver-based shoe company rise above the rest.

July 2017



Quebec City summer festival celebrates 50 years


seminal French painter blooms again in significant exhibition




Quebec City is celebrating 50 years of Festival d'été

de Québec (FEQ) this year and with that comes one

of their biggest and most legendary lineups to date.

With acts like Metallica, Gorillaz, The Who and Kendrick

Lamar leading the charge, as always there is

something for everyone gracing stages all throughout

the city from July 6 to 16.

Each year over the course of ten days, the festival

consumes the city with its main stage events

sprawled across the historic Plains of Abraham, a

once legendary battleground where the English defeated

the French in the Seven Year War of 1759. This

year, the only battling will be between the sounds of

James Hetfield’s fully cranked distortion and the earbuds

of the expected 10,000+ people on the main

site when Metallica takes the stage Friday July 14.

With 135,000 passes sold at a reasonable price

($95/pass) so as not to leave anyone without an opportunity

to participate, the festival just announced

they are completely sold out of passes this year,

which should be of no surprise to anyone, considering

the positive relationship that the festival has

fostered and maintained with both tourists and the

people of Quebec City.

“The relationship between the festival and the

people from Québec is kind of unique,” says communications

director Luci Tremblay. “Québec citizens

have a strong feeling of belonging towards the

FEQ and they’re proud of it. They’ve been coming for

many years — with their parents when they were

younger, and now their kids and even their grandkids

are enjoying it!”

Festival d'été de Québec truly is a festival unlike

anything else with a good mix of Franco and Anglophone

culture, both locally and internationally acclaimed.

For more information about the lineup and

how you can bare witness to the endless

amount of entertainment that happens

each summer throughout beautiful Quebec

City, visit

photo by Andre Olivier Lyra

FEQ celebrates 50 years with a legendary lineup of artists.

With Claude Monet’s Secret Garden, the Vancouver

Art Gallery is inviting the public to fall in

love again with the art that helped define modern


“Monet is one of the most important European

artists of the late 19th and early 20th centuries,”

says senior curator Ian Thom. “His work has been

widely influential and allows us to see the world in

a novel manner, quite unlike the academic art of

the 19th century.”

Monet is known for being foremost in a party

of painters who fled the confined and dark

studio for the great outdoors. His work is more

concerned with light than subjects, and his brush

strokes aim to capture energy, not detail. Inspired

by a passion for the beauty of nature, Monet

does not bother with the trials and tribulations

of mankind.

The exhibition, which features 38 paintings

sourced from the Musée Marmottan Monet in

Paris, opens with “En promenade près d’Argenteuil”

— an 1875 painting that wistfully depicts

Monet’s wife and son walking through a field of

bloomed flowers. The exhibition concludes with

work inspired by Monet’s home and garden in

Giverny, France. His famous Water Lilies series are

part of this period.

“The ‘Nymphéas’ [Water Lilies] are my favourite

pieces,” says Thom. “I like the fact that the

image seems to hover between representation

and abstraction. I admire the boldness of his


artist’s work challenges perception, comfort

photo courtesy of 303 Gallery

Multi-faceted artist shows the displeasure in simplicity.

Vancouver Art Gallery exhibit celebrates seminal Monet works.


Elad Lassry. His artwork is like a bottle

of lukewarm water on a hot, dry day. It’s

like the first two seconds of your favourite

song, turned off before the rhythm

begins. In other words, the works of this

Los Angeles-based artist can be uncomfortable

and frustrating. But this is not an

insult. In fact, Lassry specializes in making

his audience feel dissatisfied, thirsty, and

subtly unsettled.

“Lassry has been called ‘a new kind of

conceptual photographer,’” says Mandy

Ginson, a curatorial assistant at the Vancouver

Art Gallery, where Tel Aviv-born

Lassry’s first major exhibition in North

America is being shown. “He is among a

generation of artists whose work is concerned

with how pictures communicate

and how we perceive different kinds of


Over the last decade, Lassry has produced

an extensive body of work in mediums

including photograph, film, and

sculpture. Yet to categorize Lassry is tricky.

He isn’t a photographer, a filmmaker, or a

master of sculpture. His small pieces, generally

8 by 11 inches, are carefully staged

photographs of average things, from people

to animals to household objects, such

as nail polish. He also frequently alters photos

sourced from magazines and archives.

photo by Bridgeman Giraudon

brush work; an apparently incoherent network

of brushstrokes coalesces into an encompassing

vista which daringly eschews conventions of composition.”

Organizing an exhibition of this prestige was an

undertaking and the event has been in the works

for over five years. “Part of the role of the Vancouver

Art Gallery is to bring great art to Vancouver,”

says Thom. “We are pleased to be able to show

Monet’s work in a scale and depth that has never

been seen in Western Canada before.”

Claude Monet’s Secret Garden runs at the

Vancouver Art Gallery until October 1.

“Lassry very purposefully uses types of

images that are simple and familiar, images

that might resemble fashion photography

or product shots for example,” says

Ginson. “He makes subtle changes, so that

they become strange and prompt us to go

back, look again, and maybe engage with

the image in a different way.”

“Untitled (Green)” embodies Lassry's

unique approach to photography. The

photograph is simple: a woman sitting

against a plain, green backdrop. Based on

her posture and her crocheted dress, she

looks like a vintage pin up girl. Who the

woman really is, we’ll never know — the

core components of identification, her

body and face, are blocked by a single vertical

strip of foil.

“What I like about ‘Untitled (Green)’

is how the gesture is so simple,” says Ginson.

“The single line drawn though the

middle of the image makes the piece and

our experience of viewing it compellingly

strange and complex.”

A survey of Elad Lassry’s work runs

at the Vancouver Art Gallery until

October 1.

July 2017 CITY




Winking Judge


The Winking Judge is a favourite hole in the wall

for grumpy old guys who have never stopped going

there and people stopping in for a pint before rotting

their brains across the street at the Scotiabank

Theatre at the latest comic book movie. Amongst

the friendly staff and the impromptu pool tourneys,

there is the teddy bear of the house: Camilo Miguel

Ramirez Martinez. Don’t let the tough exterior fool

you, Camilo has a softy gooey core and a heart of

gold that everyone at the bar appreciates. We spoke

to him about the biz and the joys of hitting up the

pawn shop on off hours.

BR: How did you start bartending?

CMRM: I was bouncing when I turned 18 at the

Drum in Calgary. They were short staffed and needed

a bar back and the rest is history.

BR: How long have you worked at the Winking


CMRM: I moved from Calgary to Vancouver in

March 2014. My brother lived close to the Judge so

when I came to visit, the Judge would be my local. As

soon as I moved here I knew it was where I wanted

to be.

BR: Best thing about your job?

CMRM: My favourite part of working at the Judge

is my co-workers. They are pretty much my family.

BR: Favourite drink to make?

CMRM: Obviously beer based on sheer simplicity

(laughs). But I also love to make, and drink, Old Fashioneds.

BR: Go-to on a night off?

CMRM: Favourite place to go has to be the pawn

shop or Lucky Taco. I love me some tacos.

BR: Tell us about the greatest night you’ve ever had

at work:

CMRM: My greatest night I’ve worked is a tough one.

I love pool tourney nights at the Judge; I feel like it

brings a lot of great local customers around and it’s

always a good time.

BR: The worst?

CMRM: The worst night was when I was working

in Calgary and one of my favourite actors came in

and was a complete dickhead. Ran up a crazy bill and

then walked out. FML right?

Camilo Miguel Ramirez-Martinez


everyone’s favourite dirty summer romance



With their anti-Trump marketing,

Nütrl finds a way to combat bad

taste by selling good taste

It has happened to the best of us;

the sun becomes a thing, the heat

starts to hit our bare shoulders,

summer starts happening and we

get a thirst we have very little control

over. A thirst for the unholiest

of poisons: the vodka cooler.

Though there have been many of

the years that have captured the

imagination and livers of summer

revelers everywhere, one locally

brewed treat in particular embodies

everything about the long hot lazy

days of summer and our collective

desire to squeeze every last drop

from them: Hey Y’all! Southern

Style Hard Iced Tea.

Made in Vancouver, Hey Y’all!

has become part of the BC experience,

particularly for anyone who

became of drinking age in the last

three years. It has become an indelible

presence in liquor stores and on

patios, but what sets it apart from

your Twisted Teas and your Palm


“I found them to be perfect for

me because I tend to get a little

sleepy while drinking, so the caffeine

allows me to keep up,” says

longtime fan Taylor Hunter.

The caffeine comes from the

black tea used in the brewing and

it gives Hey Y’all! that pep it puts

in your step. The brand then is, by

definition, a high energy entity and

it shows in everything from their

marketing to the events that they

sponsor. Hey Y’all is served at Vancouver

Canadians games, at something

called the 5k Foam Fest, you’ll

even be able to grab one to sip under

your comically large hat at the

Hastings Racecourse. Cause who

doesn’t like a little hopped up sugar

when hobbing and knobbing?

Unlike any other drink of its kind,

Hey Y’all! has managed to harness a

baffling level of loyalty from a fairly

large cross section of Vancouver

area drinkers.

“Our consumers are 100% what

makes our brand entertaining. They

associate Hey Y’all! with fun times

and we respond, engage and get to

know our drinkers. The amount of

love we receive from our fans on social

media is what keeps us wanting


the best way to keep your palate clean and your opinion dirty


In what will helplessly become the

Era of Trump to those unearthing

evidence of our withered husk of

a civilization after inevitable nuclear

winter has subsided years

from now, there is ample material

for discourse, humor, and good ‘ol

fashioned trolling. Neutrality has

become a phantom term: one that

is slowly losing its meaning and appeal

in favor of flavours too strong

for half of a population to stomach.

But there is a local vodka, the

fastest growing vodka in Canada

no-less, that is taking that term and

defining it in a way I think we all can

agree on.

Nütrl Vodka, made in Delta, is

a lovingly crafted high-end spirit

that believes in one thing: neutral

on taste, not on opinion. The brand

lives as a fully functioning being on

its own, the makers preferring to

not dwell on themselves in any way

when talking about it.

A founder we will call Mr. P explains

that it is the local BC rye from

Hey Y’All has gone from cooler newbie to everyone’s favourite wacky behaviour pairing.

to do more and do better,” says Hey

Y’all! representative Caroline Ross.

She adds that the brand itself celebrates

“making good friends during

fun, relaxing, spontaneous, wild and

affordable experiences.”

And that is part of the appeal;

basic ingredients, affordability, and

the catharsis of being allowed to be

those annoying people having fun.

“The simplicity in that has always

been appealing,” admits Hunter.

“Hey Y’all's totally symbolize summer

beach days to me, and sunshine,

and happy times enjoying the

company of friends.”

It sounds basic but a legitimate

nerve has most certainly been

touched by this funny little hard

iced tea. It’s the insidious drug with

the loud packaging that many of

us started drinking ironically but

now find ourselves craving when

seated at a patio when we should

be ordering wine like all the other

grown-ups. And when we order

one, we share a knowing glance with

those at the next table and we raise

an obnoxiously bright can to each

other, to taking ourselves a little less

seriously, and to chasing that sweet

sweet buzz.

You can grab Hey Y’all at most

BC Liquor stores

the South Peace River Valley, the

absence of glycerin, and the 79-step

process through a 38-plate rectification

plate “Carl” copper still that

gives the vodka its smooth character

and sophisticated mouth feel.

But what gives Nütrl its audacity

is its nose-thumbing, bear-poking

marketing campaign.

During the election campaign,

early into the two-year-old distillery’s

life, Nütrl began poking fun at

the behemoth that would become

the Donald Trump phenomena. The

campaign grew and, though it inevitably

drew criticism from a few (not

to mention a Smirnoff copycat attempt),

it started a buzz that gathered

a large and rabid social media

fan base.

“This whole notion of opinions is

good,” says Mr. P. “So, our opinion

on him [Trump] is popular with

some and unpopular with others,

but it’s our opinion. If someone

disagrees with us, we’re totally

open-minded. We’re not this bleeding

heart…you know, snowflake.

This ‘more is more’ thing, which I

don’t really subscribe to. It’s winning

at all costs, it’s xenophobic, sexist,

racist stuff that keeps popping up.

Our opinion is that it’s wrong. Did

we point at him to be political? No.

Is there an overt amount of asshattery

going on? Yes.”

Though the intent was never to

have Nütrl be a political brand, the

climate offers ample opportunity to

not only promote your product’s

key goal of “neutral flavor” while

celebrating the cathartic freedom

of speech that lies within the social

media cesspool of opinion.

Or, as Mr. P puts it: “Poke a little

fun at this and try to deflect a little

stress.” And that kind of thing always

pairs best with a double shot

of vodka, neat.

Nütrl Vodka is available at BC

Liquor Stores. Follow them @

nutrlvodka on Facebook to

witness the campaign in action

26 BOOZE •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

July 2017



“The Hair Flipping Diva”


Sienna is known for her hair flips. They are always on

beat, each one smashing around to the rhythm of the

song. Her choices in songs are often huge diva numbers

evoking Vegas-style spectacle performances.

Sienna Blaze is the 45th elected Empress of Vancouver

under the Dogwood Monarchist Society. Her reign

in 2016 brought about more exposure for the Society

stemming from her passion for the organization. We sat

down with her to talk about her journey to greatness.

BR: Tell us about your drag journey?

SB: Well it all started when I was in a dance class when I

was about 5 years old where I put on my first dress! But

the first time as an adult was a dare... and obviously I'm

always down for a challenge so I was gamed; especially

coming from a background in hair and makeup and

stage performance it was an opportunity to be back on

stage so I went for it. Fast forward a few years I got asked

to do it again then got nominated for Entertainer of the

Year where I placed second then next thing you know I

started getting bookings all over and saw an opportunity

and ran with it. Fast forward again to a few years ago

I started to get heavily into the Dogwood Monarchist

Society which eventually brings me to being an Empress

of Vancouver!

BR: What do you love about drag?

SB: For me I basically grew up performing, and it was a

major creative outlet for myself personally. The fact that

I could blend together performance, hair and makeup

all in one... what other career or job can one personally

do to create a brand that encompasses all that? And

seeing how creative some people get when they get into

some form of drag is just awe inspiring!

BR: What is the biggest challenge in drag?

SB: Keeping current and always improving myself to

push myself further to keep up with the childrens! And

also keeping relevant to today's world and trying to

keep the Vancouver Drag history alive.

BR: What do you think the younger generations needs

to know?

SB: They should always know their Drag Herstory. Especially

what our own community leaders have done for

us so we can do what we do and be who we are. A lot

of people don't know what kind of rich history Vancouver's

Drag scene has done for our community. There's

opportunities like The Dogwood Monarchist Society

that have been around for 46+ years. Longer than the

Vancouver Pride Society and all LGBTQA2+ organization

in Vancouver. There is a lot you can learn from the...

"experienced" generations, so I would say listen.

BR: What’s the best advice you got?

SB: To always Be respectful, be thoughtful and be compassionate.

BR: What is the future of drag?

SB: Well I'm not a fortune teller contrary to beliefs but

I'm excited to see what the future holds. I would love

to see the art of drag take over and become something

that can change the world. No matter what it becomes

I just hope it keeps pushing me to become better at my


BR: What is something people get wrong about you or

that they don't know?

SB: I come from a professional circus and dance background

which all those experiences helps me on the

stage. And if any word of advice that I give to someone

is always to help push someone to be their better self;

you're worth more than you think.

BR: What’s next for Sienna Blaze?

SB: To take over world! (laughs) Seriously though, I'm

currently working on a live singing / comedy set with a

producer that will hopefully be created as a show that

I can travel all over the world with. Let's bring Sienna

Blaze to a theatre near you!

photo by Chase Hansen

July 2017 QUEER




juiced up on an instrumental stand up album


stop Podcasting Yourself comedians get serious (sort of)


Inspiration often comes from the most spontaneous

of places. For local comedian Cameron MacLeod,

inspiration for his new instrumental sketch

comedy album hit in the middle of the night,

while brainstorming names for songs. Icon Of An

Orange Juice Container was created with the help

of his trusty Casio SA-1 Tonebank keyboard and

what would seem to be Mark Mothersbaugh's

absurdist influence. The album covers a range of

ground, including songs about Mountain Dew,

Point Break and a long-winded account of overcooked

steaks. Impressively, it never gets bogged

down by its jam-packed narrative.

As far as a precedent goes for this kind of project,

there isn’t much. However, he did turn to the

international alternative scene for guidance.

“I’d just finished a run of my one man show I

Had Sex Until My Heart Stopped at the Vancouver

Fringe, and I wanted to give myself a project

to do during the fall. Comedians like John Benjamin

and Eugene Mirman have done some weird

shit with alternative comedy albums over the past

couple years that reinvented what a comedy album

could be, like fake jazz or meditation albums,

and I liked what they were doing," says MacLeod

about taking notes from the community.

In terms of music making, MacLeod's first ever

project was a four-track album he made in his

parents' basement as a teen. He was also in a disco-punk

band called the Videogames and a Vancouver

rap group Too High Crew, which he calls

"all very fun, but it’s been awhile since I sat down

for breakfast with music."

Despite all of this input, the comedy-album is

minimalist, and without unnecessary references

or verbiage. There is literally nothing else quite like

Icon Of An Orange Juice Container, other than,

like any remotely good cultural product, it's imminently

quotable. Just in time for a summer full of

jokes between friends. We bet you'll be drinking

Mountain Dew, too.

Take a listen to Cameron MacLeod’s Icon

Of An Orange Juice Container at www.

photo by Ryan Walter Wagner

With his new album, Cameron MacLeod offers an impressionistic take on sketch comedy.

With Our Debut Album, veteran Vancouver podcasters take time sensitive creativity to the next level.


When Vancouver comedians Graham Clark and

Dave Shumka launched their chat show Stop Podcasting

Yourself in 2008, the podcasting scene

was still the Wild West: the medium was still new

enough that the novelty hadn’t yet worn off, and

you didn’t need a catchy gimmick to attract an audience.

“It's got a lot of listeners and it does well and

people love it, but it's not sexy,” Shumka says of

SPY. “It doesn't have a hook. It's just us talking.”

The same cannot be said of Clark and Shumka’s

latest podcast, Our Debut Album, which has

a memorable gimmick each episode: the pair has

just one hour to write a song. Once the hour is up,

they record the song with local producer Jay Arner

and post the results online. Clark and Shumka are

best known as comedians, but these aren’t novelty

songs. Rather, they’re earnest attempts to write

sincere songs.

“We thought it would be funny and scary to try

and write serious songs. A lot of the humour comes

from the fact that we're not trying to write a funny

song. We're just putting ourselves out there,” says


photo by Leigh Righton

As expected from an experimental project like

this, the results have been unpredictable, and

songs run the gamut of genres. Highlights of the

album are “Sharon Shockwave”, an unforgettable

power-pop gem about falling in love with an older

woman, “Party Lyin'”, a piano-anchored disco

banger and “Back Home (Grande Cache)”, a weird

collision of country and jock jams. Some of the

tunes are excellent, some are bizarre, and all are extremely


They launched the project last spring and, having

released approximately one episode per month,

the final episode of Our Debut Album is to arrive

in July, which will coincide with the arrival of the

12-song album. Now that it’s come to a close, they

both seem surprised at how naturally they took to


“To go from a thing that I never thought I would

do to having done the whole thing – there’s a satisfaction

there. Oh, that would be a good name

for a song!” says Clark. Shumka’s face lights up in


Our Debut Album is available on Our- or wherever you get

your podcasts.


July 2017



comedy oddballs dress up for the occasion


Never an idle moment persists at the production

offices of the ‘Tim and Eric’ universe, and as Eric

Wareheim chats about the duo’s upcoming 10

Year Anniversary Awesome Tour!. Tim Heidecker

struggles into a pair of ladies pantyhose across

the room. “We’re so excited to get back to that

Vaaaaan-town!” exclaims Wareheim. Glancing over

at his partner in crime, Eric explains that the duo

are in the middle of shooting Season 2 of Tim &

Eric’s Bedtime Stories, and “Tim is dressing up as a

woman for tomorrow. He’s looking good.”

Heavily influenced by the cheesy public access

television of their youth, Heidecker and Wareheim

began crafting their intentionally low production

value comedy content as early as 1994.

It was throughout the five season run of Tim and

Eric Awesome Show, Great Job! on Adult Swim,

however, that the two were able to fine-tune their

absurd brand of stomach-churning, side-splitting,

razor-sharp sketch comedy that rapidly garnered a

widespread cult following.

“We’re excited to come back to Canada, because

we’ve always just felt like we’ve had a connection

with you guys, because you guys are strange. And

we love that.” Wareheim continues, “we had such a

good time playing a couple years ago. […] We just

love the city. We’re going to be probably spending

the whole day in Stanley Park in the drum circle

and then we’ll just hop right on the stage and do

the best that we can do!” Still struggling with his

blouse, Heidecker moves closer to the speakerphone,

“You’re going to see some hints from the

TV show come to life. We’re very excited to dig

deep into some of those characters and just be silly

for once!”

A bit of a departure from their trademark brand

of bizarre, intentionally off-putting comedy, with

every bit pushed to the brink of absurdity, ‘Tim

and Eric’ have forged into new, yet similarly somber,

territory with their horror anthology series,

Tim & Eric’s Bedtime Stories. Despite the somewhat

dismal tone that underlies a body of work

founded on skewering the disintegration of our

twisted modern culture, the pair do not consider

themselves nihilists. “We do, I think, with Bedtime

Stories, lean a little bit towards the dark side with

the stories we tell,” Heidecker muses. “But we hope

that, ultimately, it becomes something that people

can watch and feel a little less alone and a little less

confused by the world, because there are other

people out there that sort of have the same feeling

of confusion, despair and disappointment. We’re

trying to make entertainment but we’re also trying

to reflect back upon our audience and the world

as we see it and I think that has a generally positive


When asked to reflect on their influence in the

comedy sphere, Heidecker and Wareheim reveal

both an air of humility and an intensely discerning

taste. “ We don’t think about it too much,”

admits Heidecker. “We’re too busy thinking about

the next thing we’re going to do.” Wareheim adds,

“we’re always very flattered when people consider

us artists. Because in our minds were just two guys

from film school making funny videos.” “I’ll be honest,”

Heidecker continues, “without naming names,

there’s almost nothing in the current comedy

world that I have any interest in or appreciation

for.” Laughing, he concludes, “so if Eric and I collaborate

with someone, that’s our list. Or if Abso

Lutely has made it, that’s a good sign.”

Hand in hand with the highly specific taste and

aesthetic Heidecker and Wareheim have cultivated

with their work is the pastiche of outlandish, lovable,

unknown actors cast in their productions, for

whom it is consistently almost impossible to determine

whether they are in on, or simply the brunt of,

the joke. “I don’t even know if I’m in on the joke!”

exclaims Heidecker, when asked to comment on

the degree of self-awareness. “I feel like that’s part

of the fun,” adds Wareheim. “My favourite things

to watch are when you have a moment and it’s

like: ‘Is that real?’ When we came out to L.A., we

made a decision to not use trained comedians. We

use real, eccentric people. And that’s sort of how

we got this tone that we think is really interesting

and funny.“ “That said,” Heidecker continues, “the

relationship we have with these people and the

shooting experience and the aftermath and everything

is always super positive. And whether or not

they get the joke to the degree that maybe you get

the joke… You know, for them, they love it. And,

you know, a lot of people just want to be on TV.”

“Bringing this all the way back to the tour,” hints

Wareheim, “maybe you’ll see some of those characters

live. I know for sure, in Vancouver, we have

something fun in store for you!”

To see for yourself which lovable weirdos

Tim and Eric bring on the road for the 10

Year Anniversary Awesome Tour! celebrating

a decade of spoofs and goofs, come on

down to the Orpheum Theatre on August

4th at 8pm. Tickets available on

photo by Rickett Sones

Loveable wackadoos Tim and Eric keep playing with comedy to make things they’d like to see

July 2017 COMEDY



The Bad Batch


a deflated stab at the post-apocalypse


The Bad Batch opens strong but ultimately

fails to follow through. The drama-thriller

follows Arlen, a twenty-something criminal

relegated to “the Bad Batch” and forced

to wander through a post-apocalyptic

wasteland where she battles cannibals,

cults and what it means to be “bad”.

With a gory, cannibalistic intro, the film

sets up to be quite the thriller but there

reaches its peak making for an anticlimactic

story. Perhaps the film’s best aspect is


a Car Ride Across the Irish Divide


Democratic Unionist Party and Sinn Féin

Hate UberPOOL? Ian Paisley (Timothy

Spall) of the Democratic Unionist Party

and Martin McGuinness (Colm Meaney)

of Sinn Féin put your ride-share horror

stories to shame when they hitched a ride

together, resulting in a long conversation

and the 2006 peace agreement in Northern


The Journey is the dramatized retelling

of this ride, with the two men squaring

off in the back of a car for the duration

The Journey

its trippy post-apocalyptic visuals, wardrobe

and set pieces, which all blend nicely

to create an electro-punk wasteland

scored by electronic duo Darkside.

The Bad Batch delivers when it comes

to providing an original take on the trendy

post-apocalyptic genre, but the film’s plot

is bland and the movie opens with its

greatest trick.

The Bad Batch is in theaters now.

of the film. Unbeknownst to them, their

chauffeur is a British agent, and their

conversation is being transmission to the

British Prime Minister and the head of

MI5 (no, Daniel Craig does not make an


The intense ride traverses the spectrum

of emotion, and while the film is

already spawning vitriol from the Irish,

its tale of humanity will leave you seeing

green—in a good way.


female Wrestling Comedy Grapples

With Identity



Glow shines a light on the world

of 80s female wrestling. The show

follows Ruth (Alison Brie), an unemployed

actress who joins a new

female wrestling television show

run by Sam Sylvia (Mark Maron).

The show revolves around her quest

to find her place in things, both for

her character in the show and for

her life.

The show also seems to be trying

find it’s character. It’s a comedy that

deals with emotional heft and drama,

but can’t quite connect the two.

Maron shines as a vaguely nihilistic

director, and Ruth brings out the

contrast with Brie showing herself

capable of humour and dramatic


Ultimately the show is funny, and

smart. If Glow could just work on

sorting out exactly what they are

trying to achieve, it could be great.

Still, it’s definitely worth pulling up a

chair—just don’t hit anyone with it.

Glow is now on Netflix.



Monterey Pop 50th Anniversary Edition

Two years before Woodstock cemented a counterculture legacy, the Monterey International

Pop Festival brought iconic figures like Jimi Hendrix, Janis Joplin, and

Otis Redding into the limelight. Directed by D. A. Pennebaker (Ziggy Stardust and

the Spiders from Mars) this essential remastered recording gives us a taste of The

Who, Mamas and the Papas, Simon Garfunkel, and many more at the height of their


Catch a screening of this seminal concert doc at The Cinematheque

July 7-9 & 12th.

Indiana Jones and the Trilogy Marathon

Forget indie films—I’ll stick with Indy films. Our favourite archeologist is back with

Marion Ravenwood, Short Round, Sallah, and a whole suite of snakes. This is your

chance to catch Raiders of the Lost Ark, The Temple of Doom, and The Last Crusade,

in one go for over six hours of whip-cracking, Nazi-punching, heart-burning

movie magic. And in the words of the Rio: “You read that right. ‘Trilogy.’ We’re pretending

that fourth installment never happened.”

Throw the idol July 14th at the Rio Theatre.

Upcoming Releases

City of Ghosts

“Raqqa is Being Slaughtered Silently” is a coalition of anonymous Syrian activists.

They fight ISIS in the only way they believe can win—through brutally honest

journalism. These men and women face constant threat of death—not just of

themselves, but of family members—even in the exile many of them endure. City

of Ghosts tells their story with stunning personal access, and is as hopeful as it is

hard-hitting. (In theaters July 7th)

A Ghost Story

Casey Affleck plays a ghost in this slow-burning drama, one that haunts his old

home with an unbearable melancholy while wearing a sheet with eyeholes. Through

these eyeholes, he witnesses the passing of time eternal, and understands what it

means to truly lose someone as he slips away from his wife’s memory. (In theaters

July 7th)


Christopher Nolan tackles one of the world’s greatest close shaves in war epic

Dunkirk. Set on the beaches of France in 1940, hundreds of thousands of Allied

soldiers are awaiting evacuation as an impending Nazi force closes in. Tom Hardy

sweats it out with an unlikely bunkmate in Harry Styles, but this is sure to be one of

Nolan’s best yet. (In theaters July 21st)

A Ghost Story

Platinum Era (’96-’09)



10:30pm - 19+

2755 Prince Edward Street





10:30pm - 19+


July 2017


Hug of Thunder

Arts & Crafts Records

Broken Social Scene is perhaps the most striking exemplar of the notion that there are only two categories

of music, live, and recorded. Not that the elaborate rock and roll soundscape of a track like “Halfway

Home” couldn’t be replicated on a big stage with enough Fender Jaguars and Micro Korgs, but rather that

a collection of musicians with this level of individual success are rarely seen at award shows, let alone in the

same band.

In its inception, Broken Social Scene was a microcosm of the Toronto indie rock scene. The band began

through the slow merging of two bands, Kevin Drew and Charles Spearin’s KC Accidental (which became

the title of one of Broken Social Scene’s best known songs), and Kevin Drew and Brendan Canning’s Broken

Social Scene. Both bands were decidedly post-rock, with paced moments of lowercase in between slow

guitar jams, glitch synth drones, and sound effects. An early KC Accidental track even features audio of

Charles Spearin flipping through his voicemail, a strong contrast to the indie rock anthems of the Broken

Social Scene of Hug of Thunder. But even in these early releases, soon-to-be-huge names started popping

up in the liner notes.

The mostly instrumental and reserved Feel Good Lost (2001) was the first full length release with the

BSS name, but the indie rock super group we see today truly emerged with You Forgot it in People (2002).

It’s a truly frenetic piece of work, with perfectly strange song titles (“Late Nineties Bedroom Rock for the

Missionaries”), slippery post-rock grooves (“Pacific Theme”), and moments of incendiary rhythm (“Almost

Crimes”). Vocals are hardly the centre of the devoutly art-rock record, but alongside the streamlining of the

band into a rock format, frontman Kevin Drew could be heard on most of the tracks. What were formerly

backing singers became features, and thus the interplay between Drew and vocal leads from Amy Milan,

Emily Haines, and Leslie Feist started to define the band. This also marked the creation of Arts & Crafts

Record which go on to become an indie powerhouse.

Between You Forgot it in People (2002) and Broken Social Scene (2005) a lot would happen paratextually

with the band members. Amy Millan and Evan Cranley’s Stars would release the career defining Set Yourself

on Fire (2004), Emily Haines and James Shaw would record three records as Metric and release two of them

on Last Gang records, and Feist would begin to soundtrack every wedding since with the release of Let It

Die (2004), to say nothing of other tangential bands like Apostle of Hustle and Do Make Say Think. These

successes would compound from here, and all the disparate styles of each member began to seep into their

own projects and bands, even into solo work from Brendan Canning and Kevin Drew as Broken Social Scene


By 2010’s Forgiveness Rock Record, the band was defined by its star-studded cast and its massive and

bombastic indie rock anthems. The live sets became a guessing game of who was available to tour in front

of a raucous horn section. Seven years later, Hug of Thunder feels like a musical high school reunion, and not

in the sassy Zac Effron kind of way.

It opens like most Broken Social Scene releases, with a tempered and drone-like build into an explosive

crescendo. “Halfway Home” is an inviting reminder of the biggest moments on Forgiveness Rock. This leads

cleanly into the Emily Haines lead “Protest Song,” which maintains a similar level of major key note density,

with several layers of roaring guitars played by Andrew Whiteman among others and synths by players like

Lisa Lobsinger. The cavernous acoustic opening of “Skyline” teases a change of pace, before drummer Justin

Peroff kicks the song back into the same rhythmic space as the opening two. The record occasionally slows

itself down in this way, but rarely turns down the volume for long. That’s not to say that every track is Forgiveness

Rock’s “Meet Me in the Basement,” but it doesn’t contain that much negative space. Every track

arcs strongly, and contains a truly dense mix, but with a strong bias towards traditional rock instrumentation.

Fewer woodwinds, less present horns. The vocals are often doubled and offset between left and right.

Thus, the mixes are hazier and less crisp than on previous releases. The headphone listening experience benefits

strongly from this, although the clarity of the vocals is less, and thus the impact of the canted lyricism

is mitigated somewhat. A track like the Feist-centred “Hug of Thunder” stands out in this regard, especially

in conversation with her new, intensely raw, solo release, Pleasure (2017). There are a few new faces here too,

most notably a transcendent vocal feature from AroarA’s Ariel Engle on “Gonna Get Better.”

What was once a compendium of disparate ideas has solidified into an identity: a respite for weary songwriters,

a chance to play big songs in a big band, singing in front of a cacophony of expert musicianship, for

audiences that might actually be smaller than they get from their day job bands. For us, it’s an extremely

large and impressive piece of indie rock canon, a high water mark for how beautiful and successful a musical

community can become, and how important it is that it stay together.

•Liam Prost

•illustration by Taryn Garret

July 2017 31


88 Fingers Louie - Thank You For Beig a Friend

Boris - Dear

Cashmere Cat - 9

Ex Eye - Ex Eye


Thank You for Being a Friend

Bird Attack Records

It’s been 19 years since Chicago-based punk rockers,

88 Fingers Louie have released a new album,

but the wait is finally over and our begging and

pleading has paid off.

While 88 Fingers' early career may have been short

lived, they quickly became a staple in the 90’s hardcore-punk

scene. Forming in 1993, they released a

couple full-length records during their quick stint.

Their last, Back on the Streets, was released on

Hopeless Records in 1998.

Fast forward 19 years and Thank You for Being a

Friend fits seamlessly into 88 Fingers’ small, but

stellar discography. Slightly more polished than

previous albums, Thank You showcases the band's

growth - something which is expected after 19

years - but it also refines the band's signature style

that fans adore. Hard-hitting bass lines, progressive,

catchy and up-tempo riffs and drums, and of

course, the heavy, melodic vocals of Denis Buckley.

“Meds,” the first track on Thank You, displays these

characteristics flawlessly. Songs like “Advice Column”

and “2810” will remind listeners of past 88 albums,

while “Our Tired Voices” and “Knock It Off”

are great examples of what the band has become.

Thank You for Being a Friend will not disappoint

fans or first-time listeners and will surely become

an album in your regular rotation. We might have

waited 19 years, but it was worth it.

•Sarah Mac



Sargent House

Dear was supposed to be, if not the end of Atsuo,

Takeshi and Wata’s 25-year career, then at least

the end of an era - a Dear John letter firing their

audience. Then, at some point in the recording

process, they changed their tripartite mind, reaffirmed

their commitment to all-caps ROCK and

made… a Boris record. Not as good as their breakthrough

Pink, maybe a little better than Noise; not

a self-conscious (or maybe not) pop pastiche like

New Album and Attention Please and also not a

four-part drone saga like The Thing Which Solomon

Overlooked. It is at times ethereal, at other

times like the final strung-out moments of The

Stooges’ “L.A Blues.” It’s post-everything all of the

time, but not totally inaccessible, and if you want

to jump onboard with one of the consistently least

annoying experimental rock bands then start here

and circle back to Pink.

•Gareth Watkins

Cashmere Cat


Interscope Records

Cashmere Cat (née Magnus Høiberg) is a Norwegian

producer who has specialized in weird sounds

in pop music. On his debut album, 9, Høiberg recruits

all his big name friends and collaborators

(MØ, Ariana Grande, The Weeknd). Only one track

is instrumental. Unlike most producer-billed output

though, 9 is not a curated showcase of pop

stars over the producer’s music. Instead, Cashmere

Cat succeeds in turning these Billboard Top 40

mainstays into instruments and extensions of his

own wonky soundscapes.

This is not the only he breaks away from the mold

with 9. He frequently baits his listener with tense

builds, of rapid fire beats and increasing key shifts,

leading the listener to expect a clichéd "drop". Instead,

he forgoes it and builds towards a soft cloud

of blissful melody and strange percussive sounds

you can rest your head on.

That relaxed atmosphere runs through the whole

record, and the few exceptions are abrasive rather

than poppy pandering.

9 is not an EDM album because you can’t dance to

it. It isn’t a pop album, its song structure, sounds

and style are too off kilter for that. It’s also not

experimental, as these are the same sounds Cashmere

Cat and his imitators have been playing

with since his Mirror Maru EP in 2012, just refined

through experience and the star quality of his collaborators.

What 9 is, is an excellent debut from a

producer who will continue to be at the centre of

pop and mainstream electronic’s future.

•Cole Parker



Relapse Records

I’m calling it: saxophones do not belong in metal

music. I know that somebody is going to jump right

into the comments section to defend John Zorn or

Candiria, but c’mon. Maybe a dozen musicians (all

of whom are now dead) can turn them into fonts

of transcendent brilliance, but mostly they’re shiny

tubes that make fart sounds.

EX EYE, are Colin Stetson, low-key indie rock’s

go-to guy for some sax; a guy from forgettable experimental

rock concern Secret Chiefs 3 and the

drummer from perennial hipster-metal punchline

Liturgy. If you’ve heard post-rock and post-metal

recently then you’ve heard this, but better or, in

Liturgy’s case, pretty much the same but with vocals

instead of an overgrown and overcomplicated

kazoo. Yes, Greg Fox is a skilled drummer, but skill

is not soul, and if you’re fucking with the sax, even

in the context of blackened post-metal you’re inviting

comparisons to John Coltrane, who had both.

•Gareth Watkins

The Guaranteed

The Guaranteed EP


As a fixture in the Edmonton roots scene for two

decades, Darrek Anderson of The Guaranteed has

been the pedal steel player of choice for some of

the city’s most influential underground acts. Having

spent time with Old Reliable, The Swiftys, The

City Streets, and Eamon McGrath, Anderson’s

steel playing has featured on countless releases and

tours. Now a member of The Dungarees, Anderson

has put together an excellent EP of alt-country

songs, his first release since 2007’s Places You Used

To Go.

The Guaranteed forgoes the currently common

expressive masculinity of modern country for a

more laid back feel, trekking to the higher emotional

ground of acts like Jason Isbell, expressively

honest in Anderson’s softly sung tenor with a

plaintive Jeff Tweedy feel. “Rest Easy” leads off with

a classic roadhouse guitar riff from Nathan Mc-

Murdo over a Waylon-phased rhythm guitar, and

rather than aim for explosive choruses, Anderson

and the band settle into an easy groove driven by

the chill touch of drummer Bradford Tebble that

suggests wizened confidence; more content to

sit back and play together than to show you any

or all of their cards at once. The steel and electric

guitar interplay on “Hear From You” is classy in its

understatement, and the harmony vocal on the


July 2017

July 2017 33



Lust for Life &

Beatroute present



Can Rock Covers


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Jokes feat.

Keven Soldo


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Mr. Boom Bap


Boogie Nights w.

Trilo Jay


The Railway

Stage presents

Pale Red


Unofficial Khats


Peach Pit,

Jock Tears,

Jo-Passed & BB


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Jokes feat.

Dan Quinn


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Mr. Boom Bap


Boogie Nights w.

Jimmy “Duck”



The Railway

Stage presents

Los Duendes


Lust for Life

special guests

The Psychic

Alliance &

Melted Mirror


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Jokes feat.

Myles Anderson


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Mr. Boom Bap


Boogie Nights w.

The New



The Railway

Stage presents

Flow n’ Motion

w/ DJ Flipout


Lust for Life

special guests

JP Maurice &

Nuela Charles

& more


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Jokes feat.

Kevin Banner


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Mr. Boom Bap


Boogie Nights w.

Friends 6.0

28 29

The Railway

Stage presents


Lust for Life

special guests

Red Haven

30 31

Happy Hour


3 Beer til 3pm


5 Beer til 5pm

Happy Hour


3 Beer til 3pm


5 Beer til 5pm


July 2017

H09909 - United States of Horror

In Hearts Wake - Ark

Melvins - A Walk With Love and Death

Jessica Moss - Pools of Light

Ron Samworth - Dogs Do Dream

hook is a high point of country melody

on the album. There’s a lengthy swell

over a well-placed “Duck” Dunn bass riff

from Tom Murray that begs for just a bit

more instrumental harmony, though it

would sound less like a live group with

that kitchen sink thrown in. Anderson

wisely resists the urge to inflect a vocal

drawl suggesting he’s from anywhere

but where he is, and the EP’s high water

mark for writing, “Sinew & Bone,” lays

back into Nebraska territory with only

Anderson’s acoustic and a hummed

melody line in a sympathetic harmony

with Dungarees mate James Murdoch.

The Guaranteed’s honesty is revealed

more through ambiguity than just a

black-and-white reading of heartache,

going for gravitas over grandeur. Its

spare production is the work of a confident

group of players who know exactly

what needs to be played, and that filling

every empty space often removes emphasis

from what needs to be heard.

•Mike Dunn


United States of Horror

Caroline Records

Punk and hip-hop have a lot of similarities

in the ethos of their respective

subcultures. Anti-authority, and a DIY

attitude are central values to each, and

they’re both channeled by New Jersey

duo Ho99o9 (pronounced “Horror”) in

their mish-mash of the two genres.

On United States of Horror, their debut

album, members Eaddy and theOGM

package their influences together with

pure adrenaline. Their live show is infamous,

and the crackle and buzz of their

lo-fi recording process make it evident

they’re trying to bring some of that

energy into the studio. United States

of Horror sounds better played out of

blown out speakers in your basement

than it does out of audiophile headphones

and that’s not a bad thing.

For Ho99o9, the scale between their

hardcore and hip-hop influences isn’t

always entirely balanced. Siren backed

banger “Splash” tips very hard to the

hip-hop side, while “City Rejects”

smashes it back like something off a

Black Flag record. Both are highlights,

but this rapid flip-flop and the occasional

jeering high-fidelity intro or interlude

can take a listener out of Ho99o9’s carefully

cultivated carnival of chaos. The

over-the-top lyrical content can also

make a listener pause their head-banging

for a chuckle.

Despite its flaws, United States of

Ho99o9 mostly feels as raw as a fresh

wound in a garage show moshpit and

2017 needs more of that.

•Cole Parker

In Hearts Wake


Rise Records

Ark is the fourth studio release from

Aussie metalcore band, In Hearts Wake.

While this album is still a decent depiction

of what the band stands for —

Mother Earth and self-love — it isn’t a

great follow up to their previous release,


It does however, follow a specific formula

coined by the Aussies, opening

and closing with a recording and with

one slower song in the middle. This album

is lacking musically, there aren’t

many riffs or beats that stick with the

listener, however, the lyrics compensate

by pushing along a message to believe

in yourself and the Earth you live on.

These boys usually have a pretty decent

balance of clean vocals, sung by Kyle

Erich, to screaming by Jake Taylor, but

Erich’s vocals aren’t showcased as well

as on their previous releases and Taylor’s

screams are lacking the raw power that

we know he has. This album is worth a

listen to at least once though, you may

find something you might enjoy.

•Bailey Barnson


A Walk With Love and Death

Ipecac Recordings

This is a double album. Or it isn’t. But it

might be. Or it’s a Melvins album, their

twenty-fifth, that is packaged with their

twenth-sixth recording, the soundtrack

for the film A Walk With Love & Death.

They are not a band that make it easy

for you.

Their music, however, goes down

smooth: although they, literally, have

no peers in the avant-sludge-americana-punk

genre there is something

comfortingly American in their reverb-drenched

solos and guitar tones

so clear that they could be pianos. The

riffs are huge, particularly on early track

Euthanasia, and there’s darkness there,

but it’s accessible. AM rock-radio accessible

at times- until the second half of

the album swings into view and it’s all

howling electronics and kitschy samples,

all of which is unbearably annoying

and nowhere near what noise music can

be. So, not so much a double album as a

very decent Melvins release that comes

with a coffee coaster that looks an awful

lot like a CD.

•Gareth Watkins

Jessica Moss

Pools of Light

Constellation Records

Jessica Moss is the violinist and composer

that has been a member of the

Montreal post-rock behemoth Thee

Silver Mt. Zion Orchestra since their

second release, Born into Trouble as the

Sparks Fly Upwards, in 2001. Since the

band’s hiatus, she’s been working diligently

touring and writing her own solo

material. First, with Under Plastic Island,

an independant release in 2015 and now

with her label debut, Pools of Light.

For fans of Silver Mt. Zion, the violin-centred

Pools of Light will be a treat.

Moss’ knack for swelling orchestral layers

of sound persists in her solo work

but it is more strongly influenced by

drone and folk. Rather than aiming to

build emotion on top of itself, Pools of

Light instead focuses on crafting atmosphere.

It has the capability to teleport you into

its lush world. You can get lost in it, but

so too can Moss and the improvisational

tone of the record can sometimes leave

it to meander without clear direction.

Nonetheless, Pools of Light can leave

you drowning in its undercurrent of

dark neo-classical.

•Cole Parker

Ron Samworth

Dogs Do Dream

Drip Audio

Composer/guitarist Ron Samworth has

created something unique on his latest

release Dogs Do Dream. Inspired by

scientific studies indicating that some

mammals, namely dogs, do dream while

sleeping, the veteran jazz musician has

crafted a suite of imagined dog dreams.

Combining spoken word narration and

freeform jazz compositions, Dogs Do

Dream is a suitably bizarre listening

experience. The narration provided

by Barbara Adler is vivid and at points

uncompromising. The text covers a

range of sensations and experiences in

the life of a dog ranging from the affectionate

(chasing a frisbee) to the unseemly

(sniffing through garbage). The

largely improvised interplay between

Samworth and long time collaborators

including Peggy Lee (cello) and Dylan

van der Schyff (drums/marimba) is commendably

cohesive in terms of creating

a mood and atmosphere to accompany

the narration. Dogs Do Dream is a

willfully difficult album but its creative

premise is undeniably avant garde.

•James Olson

July 2017 35


LA Vida Local

Homegrown Vancouver Music Releases

Cousin Arby

Cousin Arby


Cousin Arby are off to a good start with their debut seven-inch. The self-proclaimed “hottest

faux family country band in Vancouver” offer a trio of enjoyably silly tracks, each brimming with

charm and self-awareness. The title of the first track, “Sour Whiskey,” is fairly self-explanatory in

terms of its subject matter. The lyrical refrain “You make me feel alright / And give me loving

through the night / But you just don’t treat me like that sour whiskey,” serves as a delightfully

subversive ode to alcoholism. The accompanying two tracks take fantastical lyrical detours with

“The Resurrection,” addressing the ghostly presence of a dead lover. The final track “Spaceman”

is definitely the strongest of the three songs, the laid back forlorn ballad featuring pleasant keyboard

work, an emotional guitar solo and truly clever lyrics about losing your significant other

to an extraterrestrial. Cousin Arby’s tongue-in-cheek songwriting shows ample promise for a

solid full length in the future.

• James Olson

Dopey's Robe

Rock Steady New Mexico


Close your eyes little coyote and wake up in Rock Steady New Mexico, the silicone fresh EP from

those dreamy deadbeats living down on the street, Dopey's Robe. This one has all of the modern

psych swagger found on the band’s debut S/T with some added hi-fi sheen. First track "Fountain"

is a lucid ode to God knows what, packed with tribal-disco drums and psycho guitars. Next is

"Spit On The Wall" and it's looking like glitter, shot in 35mm, splattered in the rooms of the

Madonna Inn of San Luis Obispo; this one is for the danger birds to soar! Dig the sky mon ami

and then it's "Off With Your Head," a vomit inducing carousel ride with a cow-punk groove. Ever

been on a Ferris wheel greased in acid? Some B-Movie dialogue paired with bent-outta-shape

wah-wah guitar and we're out! The ritual is complete. All the slime-rock here you need to get

clean, sacrificial psych for your dirty pipe dream. Pick up a tape from your local Dopey.

• Creature

Peregrine Falls

Peregrine Falls

Drip Audio

The chemistry between multi-instrumentalists Gordon Grdina and Kenton Loewen is palpable

on their latest project Peregrine Falls. The debut record from long time collaborators sees the

pair playing off and complementing each other’s strengths to produce a collection of songs that

are at once chaotic, frenetic and dynamic. The opening track “Two Fish In A Bucket” begins with

a thunderous drumbeat, coupled with Grdina’s gritty guitar work before deftly shifting into free

flowing jazz passages. Peregrine Falls’ debut is brimming with moments of exciting spontaneity.

The psychedelic freak out in the middle of “The Machinist” and the spoken word passage over

a fuzzy, almost Melvins-esque instrumental on “Ornette” particularly stand out as instances of

jam-based artistry at work. If this debut LP offers any indication, Peregrine Falls have plenty to

offer fans in terms of challenging and exciting instrumental rock.

• James Olson

Sick Boss

Sick Boss

Drip Audio

Sick Boss’ debut album is a somewhat disjointed listening experience punctuated by moments

of true musical brilliance and emotional resonance. Edited down from a massive catalog of improvised

and composed material by a dozen musicians, this record is filled with contrasting

ideas colliding into one another. The first third of the album moves through three distinctly challenging

avant garde jazz pieces before detouring into the claustrophobic industrial pop track

“Bug Ya! (Pt.1)” featuring vocals by Debra-Jean Creelman. Sick Boss are certainly uninhibited by

genre boundaries, playing with psych rock on “Bad Buddhist” and even touches of post rock on

“They’ve Got Tombstones In Their Eyes.” The final number “Troubled” is easily the most beautiful

composition on the record; Creelman returns to provide gorgeous bilingual vocals over this

sweeping, romantic ballad. While Sick Boss’ debut might not be particularly cohesive, there is

certainly material to be enjoyed by a patient and open-minded listener.

• James Olson

Guitar Wolf, Isaac Rother and the

Phantoms, and the Vicious Cycles

The Cobalt

June 22, 2017

Guitar Wolf has been a rock and roll icon in Japan

since the late 1980s. Iword n 2016 the band put out

the album, T-Rex From A Tiny Space Yojouhan, a

fast and dirty thirty-minute LP. Guitar Wolf has

since been going on multiple tours to promote the


The night began with the Vicious Cycles, a local

five-piece band influenced by 70s punk rock and

garage rock. While playing to a small audience, the

group had a good attitude and was able to get concertgoers

engaged in their first couple songs.

Isaac Rother & the Phantoms were next, incorporating

a fusion of garage rock, surf punk, and psychobilly

with horror themes infused into their lyrics

and appearance. The lead singer and guitarist, Isaac

Rother, with a voice comparable to the low grumble

of Muddy Waters, led his band through a series

of fast-paced songs and ballads to a very receptive


By far the most entertaining band of the night

was Guitar Wolf. The trio, two thirds of whom are

over the age of 50, casually walked on stage wearing

T-Rex masks over their heads and each sported

leather jackets and pants. After looking out into the

venue for a few seconds, lead singer and guitarist

Seiji pulled a beer out of his pocket and began to

pour the whole thing into his mask before whipping

it off and breaking into the first song of the night,

Jurassic 5

Commodore Ballroom

June 23, 2017

While mainstream and commercial rap continues

to dominate radio and the internet, Jurassic 5’s stop

in Vancouver certainly made a case for the enduring

love and relevance of backpack rap. Performing

the first of two sold out shows at the Commodore

Ballroom, the crowd showed up early and excited

for the Los Angeles rap collective’s first proper Vancouver

show since J5 reunited in 2013. By the time

the group took the stage just after 10:15pm, the

Commodore was completely packed and the well

liquored up crowd was ready to party.

Opening the set with the first of several playful

DJ battles, veterans DJs Cut Chemist and Nu-Mark

got the crowd hyped up with their technical antics

on the tables, followed by the MCs taking the stage

one-by-one. While the crowd seemed ready and the

group seemed eager, the show itself started off a bit

slow and lacked some vital energy through the first

few songs. However, after getting into the groove

and some crowd interaction, the crowd and the J5

Guitar Wolf

photo by Darrole Palmer

“T-Rex from a Tiny Space Yojouhan.” The members

of Guitar Wolf remained completely theatrical and

ridiculous the whole set, much to the audience’s

enthusiasm. At one point, Seiji handed his guitar to

someone in the audience and stage dived into the

crowd along with bassist U.G., leaving the fan to his

own devices to jam with drummer Toru. At times,

Seiji would put down his instrument, pause, and

flick what seemed like ounces of sweat off of his face

into the front row.

Guitar Wolf’s performance was exceptionally entertaining

and reiterated the message that music is

as much a statement as it is entertainment.

•Zak Johnson

finally found the right vibe together and the room

became electric.

Throughout the years, Jurassic 5’s sophisticated

and socially conscious brand of hip-hop has aged

well and each and every member of the group was

able to display their skill and proficiency in a crowd

pleasing manner. Cut Chemist and Nu-Mark squared

off numerous times, showing off their specific skillsets

as well as homemade equipment, including Cut

Chemist’s hilarious novelty turntable guitar. Zaakir

made the biggest impression, with a sharp voice and

a flow surpassing even his level recorded. Chali 2na

with his unmistakable baritone was clearly the fan

favourite, with Mr. Tuna Fish receiving the biggest

crowd reception and many in the audience knowing

his bars and verses word for word. Rounded out by

Marc 7 and Akil, even though Jurassic 5 is getting

up there in age, the sold out shows prove there is

still place for J5 in the modern hip-hop landscape.

Though the show started out slow, when everything

clicked it was fire, with the whole floor dancing and

singing/rapping along. Takin’ it back to the concrete

streets indeed.

•Joshua Erickson

Jurassic 5


July 2017

Tool w. Crystal Method

Rogers Arena

June 15, 2017

Everyone’s favourite tease showed up at Rogers

to give us all a little tickle before vanishing again

into the night; and we were all FINE with it. Tool

has been dragging us all through a decade long

wait for new material all the while coyly dropping

breadcrumbs for us to sit and ration for weeks,

sometimes months. But despite the frustrations,

the fans showed up like a bloodthirsty hoard to

hear the old favourites on June 15th at a packed

Rogers Arena.

The progressive timing and flawless cohesiveness

within it sets this band apart from their

peers and from those attempting to wrassle the

mantle today. The now iconic details within these

multi-minute metal masterpieces take them from

being plain old angry opuses and turn them into

works of art. The first two guitar notes of “Parabol”

which put you right in the desert of your consciousness

while it writhes within the meat sack

that is your body. Justin Chancellor’s rumbling and

gurgling bass presence in “Schsim”, almost mimicking

the relentless churning of viscera inside someone

at odds with their existence. Those 7 indelible

Carey kicks in “Third Eye”. Jones’ talk box solo in

“Jambi”. Keenan’s “ long last vocal in “Jambi” which

tangle with endless reverb like Gandalf and the Balrog:

“stay out of my way!” Basically just everything

about “Jambi”, really. These details punctuate the

poetry like mushroom clouds.

A Tool concert is a respite from the angst of

waiting, from the strange random pulls of existence,

from the frustrations of powerlessness. Yeah

it was a greatest hits show, but with hits like these

who needs enemies? Was nice to gather, with no

expectation, and “celebrate this chance to be alive

and breathing”. And dat drum solo….

•Jennie Orton

Nick Cave


photo by Galen Robinson


Nick Cave & The Bad Seeds

Queen Elizabeth Theatre

June 22, 2017

With an advertised start time of 8pm and no

opener, it was clear Nick Cave and the Bad Seeds

intended to take the audience on a journey. After

a wave of acknowledgement, Cave grabbed a chair

and motioned to the audience to sit down as he

himself took a seat front and centre stage. The

band opened up with “Anthrocene,” a somber and

meditative cut off of Skeleton Key. Cave was not

constrained to the chair long, though. The pure

and raw emotional intensity of their songs has

become the calling card for Nick Cave & The Bad

Seeds, and this performance was nothing short of

astounding. [Text Wrapping Break]

As the show went on, the band and the energy

seemed to transform and mutate alongside

Cave. As a man of almost 60 years old, he has more

moves and urgency in his performance than nearly

anyone 1/3 his age. It is like Cave uses each song to

exorcize a particular demon – or maybe he lets the

demons inhabit him. But the way he harnesses the

band to elevate his performance while interacting

with the crowd is unparalleled. He is a wonder to

watch on stage. An emotionally fraught, performance

transcending, hip-shaking and dancing –

possibly demon inhabited – wonder

The culmination of the show, took place during

the encore. Beginning with “The Weeping Song,”

Cave crawled across the crowd gathered at the

front of the stage then climbed up 10 rows of seating

and sang in the middle of the crowd, giving an

incredibly spirited and passionate performance.

As the song ended, he ran back to the stage as the

band kicked into “Stagger Lee.” While crooning the

audience, Cave invited audience members onstage

one person at a time. With over 50 attendees beside

him, Cave went unhinged, grabbing people by

the collars and shoulders, singing/ yelling straight

into their face, letting all emotions fly unchecked

and giving a legendary performance all in attendance

will remember.

What else can you say about Nick Cave. He is

undoubtedly one of the best frontmen of all time,

backed by one of the most unique and impressive

bands in the world. He is a man of passion, intensity,

emotion and bares it all on stage for us to see.

We should be considered lucky to have him.

• Joshua Erickson

July 2017 37


NEW MOON RISING: your monthly horoscope

Month of the Fire Sheep: Full Moon July 9, 2017


•illustration by Syd Danger

A hectic phase continues as the fire stem and branch of this month

burns continuously. Artistic, creative, and expressive, the Fire Sheep

is also clever, nurturing, and altruistic. It’s a perfect time to work on

anything in your life that has been spoiled, in relationships or personal

affairs — offering a chance to repair anything that may have gone awry

through neglect, disrepair, or disrespect.

Rabbit (Pisces): Enjoy life, family

comforts, and take time for leisure

and laughter. Finish up anything

outstanding so you can kick back

and do what matters to you most.

Dragon (Aries): Show off your talents

and take the recognition you

deserve. You're good at so many

things and people love your company.

Nurture others and they will

return the favour.

Snake (Taurus): Time management

gives you a chance for work/

life balance. Others may miss the

details, but stick to your plans to

optimize doing all you can. Get organized!

Horse (Gemini): Fatigue comes

with fame, unfortunately. Take short

breaks and show your integrity by

doing what needs to be done. Even at

your worst, you can still do your best.

Sheep (Cancer): Make more time

for the things you love to do. Hobbies,

music, and family time spent

with those whose hearts are true is

good for your health, which matters


Monkey (Leo): This month comes

as a surprise to you as a highlight of

your year. You've done the groundwork,

so be decisive, cautious, and

economical to maximize your enjoyment.

Rooster (Virgo): Work on yourself.

Limits should be defined by yourself

and no-one else. Ignore the pressures

of others or cultural expectations

and just be yourself.

Dog (Libra): Your kindness can be

an asset, but don't allow others to

take advantage of your good nature.

Be brave and stand up for yourself!

Pig (Scorpio): Art, leisure, and study

foster a true academic lifestyle but

you may have to do some practical

chores at this time. Work together to

make it better.

Rat (Sagittarius): Wisdom comes

from our direct experience and your

greatest teacher lies within you. Look

for the lesson in each situation and

make time to feel and to heal.

Ox (Capricorn): Change is upon

you and you don't like it, but the

problem is an old one and it's time

to act on it. Spend three days in contemplation

and take care of number

one now.

Tiger (Aquarius): Lead the way by

example and watch other people fall

into step with you. Your superior

actions surround you with superior

people, and you are the company

you keep.

Susan Horning is a Feng Shui

Consultant and Bazi Astrologist

living and working in East Vancouver.

Find out more about

her at


July 2017

July 2017 39






The Biltmore Cabaret



The Biltmore Cabaret



The Biltmore Cabaret




The Biltmore Cabaret




The Vogue Theatre




The Biltmore Cabaret






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