Beatroute Magazine BC Print Edition - August 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. editor@beatroute.ca BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120

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. editor@beatroute.ca BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120


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August ‘17


BeatRoute Magazine



Alisa Layne



Jash Grafstein


Emily Blatta


Robin Schroffel


Randy Gibson


Gold Distribution


Glenn Alderson



Jennie Orton







∙ with Kathryn Calder






-Monsoon Arts

-Mural Fest

-Avocado Bay

-Are We Screwed?

-Good Boy

-BOOZE: Sunday Cider + Sid’s


-Levine Flexhaug



Max Asper • Emily Blatta • Frederick Blichert

Louise Burns • Jason Corbett • Local Creature

Adam Deane • Andrea Demurs

Quan Yin Divination • Mike Dunn

Heath Fenton • Adam Fink • Slone Fox

Jovana Golubovic • Melanie Green

Theresa Gunkel • Sam Hawkins • Max Hill

Alex Hudson • Sarah Jamieson • Emily Jayne

Jeevin Johal • Karolina Kapusta • Charlotte Karp

Noor Khwaja • Tanis Lischewski • Sarah Mac

Travis Markozy • Brent Mattson • Paul Mcaleer

Jamie Mcnamara • James Olson • Jennie Orton

Liam Prost • Mitch Ray • Keeghan Rouleau

Yasmine Shemesh • Hogan Short • Justice Steer

Vanessa Tam • Willem Thomas

Brayden Turenne • Evan Wansbrough

Trent Warner • Brad Wilde




Brandon Artis • Alison Boulier

Michael Corrubia • Lucien Cyr • Syd Danger

Genevieve Elverum • Pauline Johnson

Lisa Johnson • Don Levandier • Alison Lilly

Samantha Marble • Puppyteeth • Liz Rosa

Sawa • Dylan Smith • Leslie Van Stelten

Rob Zawistowski



Yasmine Shemesh



Vanessa Tam



James Olson



Johnny Papan



David Cutting



Graeme Wiggins













-Dead Cross


-Out for a Riff


-AC Slater

-Goodlife Sundays


-The Orb






-Alt Pride

-Pride Guide

-A Ghost Story

-This Month in Film


-Arcade Fire


-Eagles of Death Metal

-Perfume Genius

-The Psychedelic Furs


Glenn Alderson




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 editor@beatroute.ca


Paris Spence-Lang



Galen Robinson-Exo



202-2405 Hastings St. E

Vancouver BC Canada

V5K 1Y8

editor@beatroute.ca • beatroute.ca

©BEATROUTE Magazine 2017. All rights reserved.

Reproduction of the contents is strictly prohibited.

Rooney Mara is the sheet in A Ghost Story - Page 26


August 2017 3

with Kathryn Calder



Like so many musicians, Victoria

songwriter Kathryn Calder works a

day job to support her solo career.

Unlike others, however, that day

job is being a member of the New

Pornographers. She joined the power-pop

collective in 2005, just prior

to their masterpiece Twin Cinema.

Initially tapped as a live contributor

and backup singer, she is now a core

member, and is one of the most

prominent voices on this year’s

stellar Whiteout Conditions.

Following the split of her formative

pop-rock trio Immaculate

Machine last decade, Calder has also

released a series of sweetly touching

solo albums, most recently a self-titled

LP in 2015.

Meanwhile, she has taken on a

new role: label boss. She has founded

a company called Oscar St. Records,

through which she is helping some

talented friends release albums.

Calder spoke with BeatRoute about

some of her early work experience

and what it’s like to be a musician

with so many roles.

BeatRoute: You've always juggled

jobs as a musician—Immaculate

Machine, the New Pornographers,

going solo. What do these projects

mean to you?

Kathryn Calder: Immaculate

Machine was my first real band and

we went through a lot together. We

played one show in Halifax where

the police memorably came and

shut it down. We travelled through

Arizona with no air conditioning in

our van in 40 degree heat. We drove

through a blizzard in Manitoba. We

snuck into public swimming pools

in Toronto late at night with friends.

I had the full real young band experience

with Immaculate Machine.

We're all still very close. Joining the

New Pornographers was an entry

into a different world. Twin Cinema

was about to come out, and I felt I

was picked up and carried along for

this crazy ride. And at some point, I

wanted to figure out what my sound

was. I had only ever collaborated

before, so I decided to try my hand

at making my first solo record. We

set up a recording area in my home,

because my mother was very ill at

the time with a terminal illness called

ALS, and my soon-to-be husband

and I made my first record.

BR: What day jobs did you have

before your music career?

KC: I was quite a shy teenager and

young adult. I had to learn a lot

about working and communicating,

especially with adults. One particularly

ill-fated job I had was cleaning

a five-star B&B, and considering I

wasn't very tidy as a young person,

I'm not sure what compelled me

to try to work there. I think my

highlight of genius decisions there,

of which there were a few, was when

I put a couple of red fleece coats

in the washing machine with their

beautifully soft white fluffy towels.

Oops. The owner of the B&B spent

the next day picking white fluffs out

of her fleece coat. I did finally end up

with two great jobs that helped me

through university—both were as a

nanny for two separate families. The

kids were great, and I didn't have to

worry about ruining their laundry!

BR: With your busy music career,

what inspired you to start a label?

KC: Last year, I started doing some

radio hosting at an Alberta radio

station called CKUA. I got to understand

the radio world a little bit, and

it was an interesting insight into a

world I had only been part of from

the musician side. I've also spent the

last few years watching my friends

release beautiful records on their

own, and watching them struggle

with that process a little bit. It's hard

to advocate for yourself. For a lot of

people it's generally easier to express

how great someone else's music is

than your own. I thought perhaps

I could help some friends out by

being the person telling people how

wonderful their records are!

BR: What new releases is the label

working on?

KC: I've got a new release from an

incredible artist called Peach Pyramid

coming up. She has kind of a

‘60s surf-y dream pop thing going on.

She's got her debut album coming

Kathryn Calder has found a new day job for herself in music as the founder of Oscar St. Records.

out September 22, and I'm really

excited for her. It's a gorgeous record.

BR: What's next for the label?

KC: I'm pretty focused on Peach

Pyramid for now. Earlier this spring

I helped Vancouver artist Cascade

Falls with his latest album, which

is also very beautiful. I've also been

talking with Andy Bishop from Twin

River/White Ash Falls about teaming

up. He's got his own label he's

starting, so that's something we're

working towards together!

BR: What's next for you as a musician?

KC: I've been collaborating with my

friend Mark Hamilton, who is a beautiful

songwriter and who performs

under the name Woodpigeon. We're

hoping to finish our album together

in August. We spent ten days in Calgary

at a residency at the National

Music Centre this past winter and we

had a blast. We're going by the name


August 2017


influential punkers are still turning college kids into hyper spazzes



Descendents are creators of the fast and

melodic hardcore punk style. Hailing

from Manhattan Beach, California,

their first full-length album, Milo Goes

to College, remains one of the greatest

and most influential punk albums of all

time. 34 years later, their newest album

Hypercaffium Spazzinate resonates

with long time listeners, who saw it as

as a nod to the Descendents’ innovative

1982 debut. BeatRoute chatted with the

band’s key songwriter and drummer Bill

Stevenson about all things Descendents.

“You’re not the first person to tell me

it reminds them of Milo Goes to College,”

Stevenson reflects. “It wasn’t intentional,

but there isn’t quite as much

overdrive on the guitar so Spazz sounds

a little cleaner, like College. Stephen

[Egerton] is playing a lot more parts

where he’s using all six strings and that’s

how Frank used to play. But, if anything,

that’s just respect towards Frank.”

Frank Navetta was the original guitarist

of Descendents, performing with

the group from 1977 to 1983.

“He passed away a several years ago

and he’s been on our mind a lot. Maybe

there’s a little bit of Frank’s spirit on

there and that’s what people are picking

up on.” Stevenson pauses. “And for

whatever reason, we ended up with a

handful of songs that were really short.

That’s one of the identifying factors of

early Descendents.”

Hypercaffium Spazzinate was produced

by Stevenson as well as guitarist

Stephen Egerton in three different

studios over three different states:

Colorado, Oklahoma and Delaware.

Five bonus tracks were released on the

accompanying EP: Spazzhazard.

“We were fortunate with Hyper

Spazz, because people kind of loved

it. We were hoping for ‘oh cool, new

Descendents and it’s not so bad.’ That

would have been enough for us. But the

fact that everyone loved it was great.”

Concentrating on the upcoming tour

and almost 40 years of recordings, the

big question on everyone’s mind is what

the set list looks like.

“We’re practicing about 39 to 42

songs. It’s a good random sampling of

what we think are the better songs on

each record. Some albums will have

more songs played than other albums.

There are about 11 off the new album.”

A band that has gone under several

hiatus’ throughout their career, this

new record and tour has given hope for

a Descendents-filled future. Adding fuel

to the fire, frontman Milo Aukerman

departed from his full-time gig as a Biochemist.

It seems the stars are aligning

for long-time fans.

“We’re going to be quite a bit more

active than we have been in the last 15

to 20 years, but we’re not going that

hard. We want this to remain fun for us.

We’re going medium. We’re doing it in

a marathon way, not in a 50-yard dash

kinda way.”

Stevenson concludes: “We really appreciate

the support and we don’t take

any of it for granted. We know we’re

just one step away from being that

band that can’t sell out the telephone

booth. We’re all too aware of that.”

Descendents play two shows at

the Commodore Ballroom on

August 24 and 25.

Thirty-four years in to their career, Descendents are still an over caffeinated and important pillar in punk rock.

photo by Lisa Johnson

August 2017 MUSIC




the all-knowing crows come home to roost

photo by Genevieve Elverum


“Death is real.” These words open up A Crow

Looked at Me, Phil Elverum’s latest album under

his moniker Mount Eerie. From this first moment

on, it doesn’t let up. The record’s eleven songs

centre around Elverum’s experience of grief and

trauma after losing his wife Geneviève to pancreatic

cancer last year, documenting his process in

careful detail. It’s a difficult — but worthwhile —


“I can’t compare it to any other things I’ve ever

done,” Elverum says about recording and releasing

the record. “For me, I don’t really put it in the same

category as my other work or my other songs,

which were entertainment. It’s not entertainment.”

While the album shares many musical cues with

Elverum’s other work, it’s set apart by its minimal

instrumentation, stream-of-consciousness lyrics,

and nearly absent production: each song sounds

like you’re listening to him play it in a quiet room

with you. “It happened out of necessity, because

my life is crazy and I don’t have the opportunity

to fiddle around in the studio for months,” he says.

“I could just take five years to make a record, but

I needed to get this one out, just for emotional

reasons. That’s why it’s so sparse.”

Throughout the album, there are moments that

hit like gut punches: the lyrics describe Elervum’s

reluctance to throw his late wife’s clothes away,

searching questions from their daughter, awkward

silences in grocery stores. For Elverum, these

details are perhaps an attempt at finding a truth

beyond metaphor. “I sort of felt like disowning all

of that and just focusing down on, well, what is

happening in my household right now, day to day?

Just talking about washing the dishes, whatever —

truth, simple reality.

“These songs are just me expressing what’s going

on in real time. I wrote them in real time, and

they’re me just focusing on the present moment

around me.”

That’s not to say that the album lacks symbolism.

It’s full of images of birds, all of which seem

to exist as omens — Canada geese, crows, ravens.

And much like his other records, the landscapes

of the Pacific Northwest, specifically of Elverum’s

home in Anacortes, WA and his frequent visits to

Haida Gwaii, loom large. “Even when I’m making

albums that aren’t making geographical markers or

landscape words, people say that just the sounds

themselves sound like this place,” Elverum notes.

“I don’t know how that works, but I acknowledge

that it’s probably true.”

For Elverum’s upcoming show in Vancouver, he

chose the Christ Church Cathedral, an unconventional

venue that will inevitably suit the songs

perfectly. “These songs are so quiet, and they don’t

work in usual venues, it just isn’t the right atmosphere.

Most venues are geared towards people,

Phil Elverum mourns a huge loss with the help of his craft and the results are gutting.

you know, enjoying themselves [laughs]. That’s not

my intention.”

He stops, rethinking his statement. “I think that

there’s something redeeming about the songs,

something beautiful,” he says. “That’s what I was

going for, even though the world in which they

were made is a very harsh and traumatic experience.

They’re not entertainment, but they’re


Reflecting on how his life has changed since

releasing the record, Elverum is hesitant to call it

a turning point. “It does feel different. But I think

that’s just because time is progressing — every day

feels different in the process of digesting this trauma,”

he says. “If you’re asking whether this album

was an emotional landmark or a barrier between

two different eras, the answer is no. It feels more

like part of a continuum.”

While the album might seem like a difficult

one to follow, Elverum is already working on new

music — in fact, as we spoke, he was sitting at his

writing desk, crafting a new song. “I’ve been writing

a lot more songs, and I’ll probably play some

new songs at the Vancouver show. They’re in the

same category as the songs from A Crow Looked

at Me — pretty wordy and specific.

“I don’t know what’s next. I’ll just go with the

wind. I would like to make some really loud music

again — that sounds fun to me.”

Catch Mount Eerie at The Christ Church

Cathedral August 18.


an accurate depiction of reality not an easy task


True Care is James Vincent McMorrow’s love letter to instinct and the imperfection of reality.

With buzzwords like organic

and real popping-up around

every corner nowadays, it

seems we as a society have stapled

monetary value to these

concepts. Unbeknownst to

us, there are artists that come

around every few moons who

remind us words like these are

not specific to that bag of gluten-free

quinoa vegetable puffs

we’ve been inhaling faster than

a Vancouver Summer. No, true

to form, these artists knock us

right out of our cork-bedded

sandals sending us tumbling

to the ground to rethink our

relationship with whoever

bestowed vocal gifts among

us. James Vincent McMorrow

is one of those lucky Irish lads

chosen in this otherworldly


Ask anyone who has heard his

vocals; after they collect themselves,

they’ll tell you of his falsettos

that could bring the burliest

of individuals to tears. They’ll tell

you of his prolific ability to release

studio albums at record-breaking

rates; quality albums, at that.

They may even compare him

to other Irish greats like Damien

Rice, Lisa Hannigan or Glen Hansard.

The best part is that his head

appears to be screwed on just the

same as you or I. He appears to

deal with the same problems all

of us are struggling with, and he’s

pretty damn open about it.

Having the opportunity to

catch-up with James after a

fresh swim in the Irish Sea, he

confirmed he is in fact a human,

not an angel.

Of his new album and fourth

studio release True Care, he made

sure to drive the point home that

nothing we create is perfect, and

he wouldn’t want it to be.

“This album is life, it’s the life

I’ve lived up to this point, it’s the

one that might be ahead of me.

And sometimes life is magical.

But other times it’s scary and

fucked… honestly most times it’s

scary and fucked. It moves in and

out of rhythm constantly. It’s rarely

slick, rarely untouchable. Yes,

you can capture some of those

ideas in words, sounds; but if this

album was going to feel like a true

life, have it deep in it’s bones, then

it needed to be instinctual and

not laboured over to the point

where it became that intangible

unreal thing… real things are

always a little fucked up is what

I’m trying to say I guess.”

With that being said True Care

is an accurate depiction of the

reality we live in today. One human’s

portrayal of a deep-set, at

times agonizingly lovely journey

that we have somehow all been

fortunate enough to embark on,

together, at this time. This is the

record James is most proud of.

If you’d like to cross paths with

a human who’s heart is firmly

nailed to his sleeve, you should

probably grab someone you love

(and you’re not embarrassed

to cry in front-of) and catch

McMorrow live in concert while

you can.

James Vincent McMorrow

plays the Vogue Theatre

(Vancouver) on August 15.


August 2017

August 2017 7

Rodney Graham Actor/Director (2013) painted aluminum light boxes, transmounted transparencies | 91 ⅝ x 148 x 7 in

Rennie Museum | 51 East Pender St | Vancouver



Austin rockers keep their hot streak

Spoon have been on an upward trajectory

during their quarter century long

career. The last four records released

by the Austin based indie/art rock

unit have been critical and commercial

successes with Spoon’s fan base

steadily increasing since the release of

2007’s Ga Ga Ga Ga Ga. Speaking with

drummer and core member Jim Eno on

the phone in his hotel room on a tour

stop in Toronto, the band’s latest album

Hot Thoughts served as the centerpiece

of our conversation. Willfully experimental

with an emphasis on synth

and keyboard driven songwriting, Hot

Thoughts can be viewed as a microcosm

for everything that has allowed

Spoon to flourish creatively, maintain

longevity, and succeed on their own


The distinctively different and

varied sound of Hot Thoughts is tightly

connected to Spoon’s previous album

They Want My Soul (2014) in a number

of ways. Eno identifies They Want My

Soul highlight track “Inside Out” as a

throughline to the sounds and ideas

that the band would explore in greater

depth on Hot Thoughts. On what is

an otherwise streamlined and precise

pop/rock record punctuated by crisp

guitar work and restrained percussion,

“Inside Out” stands out as a keyboard

and effects heavy cosmic ballad. “You

can kind of hear us building from there,

building from that song” Eno says “You

can hear that in songs like ‘I Ain’t the

One,’ ‘Pink Up,’ and a little bit on ‘First

Caress.’ While it wasn’t really conscious

you can look at it now and see it was a

sort of progression.”

Eno emphasizes that Spoon is

always trying to “discover new, stylized

approaches that make the song stand

on their own,” with the greater goal

to never repeat themselves; especially

after releasing nine albums. The

addition of keyboardist/guitarist Alex

Fischel in 2013 has opened up the band

to a greater number of opportunities as

songwriters and performers. Fischel’s

influence can be felt throughout Hot

Thoughts. “He’s a great keyboard player

and he opens up a whole new sonic palette

for us” Eno explains “It used to be

that Britt would come up and have to

play the keyboard part for us, now Alex

is like a hook generator. He generates

great ideas and great melodic parts to

the songs.” “I Ain’t the One” morphed

from an acoustic number into a dark

pop number with a haunting synth lead

thanks to collaboration between Fischel

and vocalist/guitarist Britt Daniel.

Elsewhere, Fischel wrote the entirety

of the music for the bouncing, groove

leaden “First Caress.”

Spoon joined forces with producer

Dave Fridmann (Flaming Lips, Mercury

Rev, Sleater-Kinney) for a second time

to Hot Thoughts to life. Fridmann has

been not only an excellent producer

and engineer for the band, Eno identifies

him as a valued collaborator. Eno

vividly recalls Fridmann’s input on the

track “WhisperI’lllistentohearit” as a

prime example of the producer’s innovative

and at times peculiar recording

techniques. “That song [has] two major

sections and we knew we needed some

sound to bridge section one and section

two” Eno explains “So Dave told

us to go out and grab any pedal that

we thought would be exciting and to

make sure that we got ten of them. We

brought in ten and Dave hooked them

all up and somehow came up with

that crazy sound that bridges the two

sections together.”

Eno has described Spoon’s music as

psychedelic on a number occasions,

a term that Eno is inclined to use in a

very broad sense when it comes to the

band’s body of work. Studio effects,

reverb, guitar effects, and experimental

song structures all makeup Eno’s qualification

for Spoon’s off kilter sound. “ I

feel when you listen to something like

The Soft Bulletin [by the Flaming Lips]

you hear so many different sounds and

otherworldly sonic events. That’s sort

of what I’m talking about as a listener

when you’re listening to a 3 minute

song you want things to keep your

interest” says Eno “That’s one thing

Dave [Fridmann] is really great at in a

studio is creating certain moments that

keep you interested and keep things

surprising and unexpected.”

Spoon’s music has been used in a

variety of TV shows and movies, most

recently an instrumental version of

“The Underdog” can be heard in the

superhero blockbuster Spider-Man:

Homecoming. There is indeed a

cinematic quality to the band’s music

that Eno says comes from a need for

dramatic moments within their songs.

“When you’re making music for a record

you have to figure out a way to get

a listener’s attention. Often someone is

listening to your stuff with earbuds on

a subway for example. It’s obviously different

from playing a live show where

you have the energy of the crowd and

the four walls of the venue” says Eno.

Eno name drops “Can I Sit Next You”

as a specific example of the band’s desire

to create surprises and unexpected

moments for the listener. This standout

track off of Hot Thoughts features

an instantly memorable and ethereal

string solo halfway through the song

that Eno calls a real moment of payoff

for the song and for the listener.

Reflecting on the band’s 25 year long

career, Eno emphasizes that the band

has learned to never take anything

for granted and to always be pushing

themselves in new and exciting directions

as musicians and songwriters. “Everything

that we’ve done we’ve worked

really hard to achieve and we get fans

slowly but we keep getting more fans.

That being said we would like to have

more people hear our music. We would

like to hear more of our songs on the

radio, we’re not opposed to that. We’re

constantly trying to find new ways to

get new fans and get people to hear

our music because we believe in it and

we only put stuff out that we think is

great. Hopefully more people will check

us out” says Eno. Eno agrees that the

band’s last two records are likely their

strongest to date and expresses excitement

at what the future holds for their

tenth record.

Eno and Daniels have been the only

core members of Spoon. While Eno

can’t specify what exactly has allowed

the band to last for so long he expresses

tremendous gratitude at the opportunities

that this creative partnership

with Daniel has afforded him. “For me

I’m just happy to be in a band that has

amazing songs that’s putting out great

records. That’s all I can really hope for.

I’m honored to play on Britt’s songs.

They’re exciting to me. I think a band

works when it has great songs. That’s

what I feel this band is about.”

Spoon perform at the Malkin

Bowl on Sept. 2.

August 2017 MUSIC




finding the cathartic beauty in letting go


You used to be able to find Marika Hackman playing quiet folk sets

in small, smoky venues. Like a candle burning slowly in the centre

of the room, Marika would provoke a depressing sentimentality

from audience members – but those days are in the past. 2017 has

seen Marika depart from her toned down ways, focusing on a more

upbeat, poppy folk sound instead. Most recently, the Hampshire, England-born

artist has teamed up with beloved record label, Sub Pop

Records, to release her new album, I’m Not Your Man. Early reviews

have been kind, and Marika is excited to take her new stuff on tour.

I’m Not Your Man, released in June, seems to represent a step towards

more freedom and simplicity for Marika. “It was one of those

things where I kind of let go a little bit more…I think when it came

to actually writing, I was trying my best to push myself and the chord

progressions to a weird abstract kind of place just to make them

unique. I kind of just let the music flow, which is always going to give

you something a bit more poppy and a bit more upbeat. I think I was

less prone to overthinking it maybe this time around.”

The idea of ‘letting go’ is felt musically through the album’s range,

sometimes offering wild jam sessions (“Time’s Been Reckless”) and

other times sounding very tamed (“Apple Tree”). Marika suggests

that her newfound freedom can be attributed to being in a better

headspace than she was during the recording of past projects, namely

her 2015 debut full length album, We Slept At Last, which was

charged with a much darker, melancholy sound. Marika offers insight

as to what brought on her positive mindset.

“I think that, over 2 years you grow a lot, and you grow into

yourself and you find out more about yourself as a human being.

On the last album [We Slept At Last], I had just come out of a long

relationship and the photography is kind of heartbreaking on that


kooky creation takes many forms

With I’m Not Your Man, Marika Hackman embraces her freedom and comes out swinging.

album. This time around I was and am still in a very strong relationship

and kind of just - I’ve been enjoying life and I left my manager

and my label the day I started writing it. I don’t know, there was a lot

of change and shifts, but I feel like it was all positive and very much

all my decision and I felt very empowered by that. So yeah, I think it

was very much a confidence thing, and I just came from being in a

better headspace.”

We Slept At Last also lacked the instrumental accompaniment

that I’m Not Your Man embraces. Marika provides all the vocal and

instrumental elements to over half the album’s tracks, with indie


rockers The Big Moon supporting her on some of the other songs

and her live performances. The whole gang is about to embark on a

North American tour before heading back home to the UK for a couple

more shows. Marika admits to being weary of being on the road

for long periods of time, away from her family and girlfriend, but

she is eager to throw herself back into the fervor of tour life. To keep

positive in the chaos, Marika advises “enjoying things while you’re

doing them, and not wishing you were somewhere else.”

Marika Hackman performs at the Biltmore Cabaret on August 3.

Jon Cohen takes everything he has learned and sinks it into the very unique new release Go Getters.

Defiance has been a growing trend as of late in

Canada. Resisting governance, legalizing weed,

and perpetually giving Uber the cold-shoulder.

If you’re a visionary, at some point in your life

you’ve defied at least once. If you’re a musician

chances are you’ve broken at least one law, and

if you’re not into the whole law-breaking thing,

you could always defy something else; like genre,

for instance.

Just look at Jon Cohen of JCEX (Jon Cohen

Experimental). His music routinely defies genre,

and he doesn’t even have to break any laws,

regularly. Pinning him down for an intelligent

exchange is tougher nowadays as he is in the

process of birthing two babies. Go Getters, Jon’s

shiny-new album, has a due-date of August 11th

pending all goes well with labour and delivery.

Jon also has a human-baby on the way set to

be launched in November. Of his new baby, he

stresses that it’s been a long-time coming. Wait,

scratch that, reverse them.

This album will mark the 10-year anniversary

of his favored Montreal band which has

had what Jon refers to as a “revolving-door of

talented musicians” move through over the

decade. Staying trendy in one of the world’s

most vibrant music scenes ain’t easy though.

Upon further prodding, Jon offered-up a few

of his secrets to staying the right amount of

relevant enough to break new and weird ground

on a routine-basis. Thought-provoking cover-art

for instance. Go Getters was the result of a few

madly creative minds coming together to form

a whole and making some killer tunes along that

route. Cohen is keen to the connection between

all forms of art, so the cover was very important

to him; important enough to change the name

of the album to better fit the portrayal. “The art

represents the innocence we are killing. Our ability

to have any kind of freedom taken away piece

by piece. It depicts the purest manifestation of

good taken away by Swat officers.”

And it does the trick; provocation at it’s finest.

Jon has something that a lot of other artists

are in constant rabid, unconscious-hunt for,

and that is a comfortable restraint. Both his

voice and lyrics lift you to a place akin to your

grandmother’s garden on acid. It’s pleasantly

satisfying with just the right amount of kooky;

like biting into a ripe-plum with your pants

on your head. If you dig a smooth, hypnotic,

soul-moving beat that allows you to transcend

and tip-toe over the daily trials and tribulations

of this whole thing we’re all living in right now, I

would strongly suggest not missing the birth of

one of this man’s babies.

Jon and his Experimentals will be at the

Astoria (Vancouver) on August 16.


August 2017


she’s a queen

photo by Liz Rosa


The title of Tonye Aganaba’s

next single is “Queen”, dropping

on August 4. And it’s fitting,

because after all, she is one.

Signed to 604 Records, her debut

EP, Villain, was recorded two

years ago but has not yet been

released. “I’m really happy with

the songs,” she says, “but the

person who wrote those songs is

long dead.” Writing Villain in her

early years of sobriety, the songs

are about love and the process

of falling out, something she

finds inspiring. The result is an

upbeat and dancey EP.

The first single “Villain” debuted

earlier this year with the

second, “Get Up”, announced

just before her performance at

Montreal’s Jazz Fest — an experience

she describes as magical.

Often dressed in all black

sporting a cane, the bald Aganaba

with a diamond-cutting gaze,

is reminiscent of Nina Simone,

commanding every ounce of

energy on a stage functioning

as her throne. The connection

with her band is symbiotic: they

feed off her, reigning on floors

together for years as working


Aganaba carves out a unique

sound with classic ‘90s hooks

packed with RnB and pop


“Music is alive. If you’re

playing with it right, you can do

powerful things,” she says. You

can change someone’s moment,

second, hour, afternoon, day,

or life. It’s not about perfection,”

she explains, though she

once was “obsessed with being

flawless.” Instead, music is about

an unleashing of truth. Her

personality is no different — uncompromisingly

self aware and

humour filled with gratitude

for pain.

Last year, Aganaba was diagnosed

with an aggressive form

of Multiple Sclerosis right in the

middle of a potential album

release. The attacks have left her

hospitalized with the worst of

which occurring this year. Aganaba

had a seizure in her childhood

home of Dawson Creek

(there to record a show for CBC)

and fell down a flight of stairs.

Then, on the way to the hospital,

she was in a car accident, taking

months to recover.

She says her struggle with MS

had been a blessing. “There’s

nothing like a healthy dose of

Tonye Aganaba has overcome many hurdles to bring her debut EP to life.

poo-poo salad to send you into

hiding,” she notes. “What do you

do when you hide? You either

burrow deeper into yourself or

you grab the thing that helps

you express it.” Though Aganaba

has evolved, “Queen” shines

through as soulful, with a hook

you want to belt out.

Excited for the eventual

release of her full EP Villain, she

says “MS and other adventures”

kept it sitting. The next

project Promethea Rising: Songs

about a girl I loved is completed

with plans for a band-focused EP

in the near future. “Tonye, minus

the guilt, that’s what’s coming

out next,” she says, ready to shut

down the “old her” for good.

Tonye Aganaba will be

opening for Queer As Funk

at The Commodore on

August 4.


a summer cocktail for your jetlagged mind

photo by Lucien Cyr

Trevor Gray confronts his compulsions on his latest release.


In need of a holiday from the modern

kaleidoscope? Is the world at large

frying your brain and leaving you choking?

Are you needing more and more

distractions from your distractions?

You might want to take a leaf out of

Kim Gray’s book if any of this sounds

familiar, or better yet their new LP, the

bright and floral, soul-saving Compulsions.

It’s summer of resplendent synth

that welcomes you on opening track

“P.I.G,” and it whirls onwards through

the album as singer, songwriter and figurehead

Trevor Kim Gray lullabies your

restless mind. Stand out tracks like

“Restless Legs” and “What’s In A Smile”

are similarly bleached in a peroxide

fervour for groove.

Chatting with Gray he mentions

“wanting to do something with the

initial appeal of garage music, with

limitations, and making it work.” Compulsions

was recorded in day dreams

at the psychedelically renowned Lido

with Tascam wizard Malcolm Biddle

handling all the vintage equipment and

production. “I love that guy,” Gray says

of the easeful approach of Biddle and

its effect on his past two albums. The

two would vibe on direction and, once

satisfied, call upon the full Kim Gray

live band. The result is a consistent and

driven album, with grooves and bass

lines any lo-fi rhythmic nerd will die for.

(Necessary shout out to bassist Joon

Baek here for his magic.)

Meditating on the lyrical themes of

meaningless sex, substances, memes,

and internet dating, Gray offers, “I

don’t think people need to be saved

necessarily, but maybe laugh once in

awhile at how ridiculous all of this is.”

So go on baby, bleach your eye balls

and buy some new shades, cosmically

out do yourself on this Compulsive parade.

“Connection, I think that’s what

its all about,” Gray notes on a closing

remark. Disconnect to connect honey

and give this record a spin. You deserve

it. Cheers.

Compulsions is out August 11 on

Bad Diet Records. Kim Gray perform

at the Cobalt on August 17 with

Tracy Bryant and Roy's Bag.

August 2017 MUSIC




follow the sonic path to a transcendental experience


It could be argued that music is the art-medium

that permits the greatest opportunity for

exploration and experimentation. It is as potent

and moldable as it is abstract and arcane, and has

the power to influence our emotions and way of

thinking. The musical group, SWANS, has become

synonymous with this idea: the power of sound.

Formed in 1982 by Michael Gira, the band has

gone on to release fourteen monolithic full length

albums that truly test the boundaries of music and

genre, emulating shades of dark country, blues,

industrial and noise, among many others. SWANS’

songs are commonly very long, forging vast sonic

landscapes that build over time. “It’s like if you

imagine something continually morphing.” Gira

noted. “I look at the last four records as being one

body of work… a gradual growth of sound.”

While the live experience is crucial for an active

band, SWANS have come to utilize the medium to

an even more extreme degree. “At the highest moments

when we perform, it’s like the music is playing

us,” mused Gira, “We’ll be playing something

and following the sonic path it’s leading to, then

something else will occur. We’ll start to explore

that throughout a tour [so] it eventually becomes

a new thing and we discard the old thing.”

SWANS have truly taken the live concert experience

and given it greater depth as a grounds for

improvisation and discovery in a moment for both

the band and the audience to share in. “The audience

is crucial,” Gira emphasizes, “the audience

is participating, in a way, just as much as we are.

It’s as close as I get to some sort of transcendental

experience. That’s what rock music is all about.”

After a lengthy hiatus, SWANS reformed under

Gira back in 2010, maintaining a steady collection

of band members. That is about to change as

the band’s latest album The Glowing Man is to

mark yet another lineup reformation. “We’re very

familiar with each other’s ways of working, as well

as with our own particular ‘odours,’” Gira reflects.

“Things become maybe a little too familiar… I feel

it’s time to shake things up. I don’t want it to become

too safe or predictable.” Given the semi-improv

mode of writing that has shaped the last few

SWANS records, “unpredictable” is gospel.

From its inception, SWANS has been like a

sonic spectre amidst the world of music, leaving

Still glowing, SWANS have gone on to release fourteen monolithic albums throughout their prolific career.

its haunt and influence in the minds of countless

contemporary artists, spanning genres of all kinds.

Gira and SWANS have become monuments to

artistic freedom and purity that goes unhindered

by accepted convention or template. With the

imminent shift in members, SWANS is soon to

abandon the accepted norm of a stable band. Gira

photo by Samantha Marble

is truly letting go and seeing what will happen,

embracing the chaos of it all in order to find something

meaningful and potent within the maelstrom.

“To be honest, I have no idea what’s going to

happen next.”

SWANS performs at Venue on August 26.


August 2017


pure punk rock fury drenched in hardcore ethos


Only someone like legendary former Slayer

drummer Dave Lombardo can get a stellar, kick ass

band to fall from the sky right in his lap. Last year

Lombardo had some shows booked with another

project of his, when that project would fall to the

way side, a random meeting with producer Ross

Robinson would hook him up with some new cats

to play with, including bass player Justin Pearson

whose played in bands such as The Locust, Head

Wound City and Retox. Fellow Retox bandmate,

guitarist Mike Crain would join the fold as well

as The Locust vocalist Gabe Serbian. Right there

they decided to form a band and complete the

commitments that Lombardo had booked.

“We had a band name, we had a logo and we

had posters overnight,” Lombardo reveals. “I was

really excited because I saw the creation of a band

from out of nothing. These guys are very much

in tune with the DIY underground mentality,

so everything came together quick. We started

writing music and I was really pleased with how

heavy it was.”

They eventually got down to recording an

album with Robinson at the console. Shortly

afterwards Serbian would opt out of the band.

Rather than just release the record as is, Lombardo

had other ideas. What started out as a friendly

text with his old friend Mike Patton, the diverse

frontman known for performing with such groups

as Fantomas, Tomahawk, Dillinger Escape Plan,

Peeping Tom, Mr. Bungle and most famously, Faith

No More, soon turned into a recruitment pitch

for a new vocalist. So what was coined early on as

“Dave Lombardo’s new band” turned instantly into

a “supergroup” with Patton now at the helm.

Patton would take the recordings and make

them his own, like only he can, writing all new

parts as well as lyrics and what turned out is a

marvelous thing. Make no mistake, this is not a

metal album. It is also not some weirdo spastically

warped noise project. This recording is pure punk

rock fury drenched in hardcore. Hardcore punk

music is not really something that Patton had

dabbled in before.

Lombardo, who had previously worked with

Patton and Melvins frontman Buzz Osborne in

the 90s supergroup Fantomas, knew the eccentric

vocalist would be a perfect fit.

“Patton can pull anything off. We all know his

capability. Within the catalogue of Fantomas’

music we had snippets of hardcore, even though

they were only like two bars,” Lombardo chuckles.

“I was always really excited when those parts came

up. There was no doubt in my mind that Patton

was fully capable of doing something like this.

We gave him free reign. As we were receiving the

songs, we were noticing the development and the

excitement behind how he was approaching the

songs. It was beautiful. It is without a doubt, Mike

Patton at his best.”

When it comes to the music, Patton does

hardcore like a demonized eagle in full shrill hunt

mode. You can hear Lombardo’s characteristic

tasty fills, his style is there but a lot more unhinged,

surrounded by swirling rigorous riffs. Dead

Cross is something different than all the sum of its

band member’s parts. It is full of rage and that was

Lombardo’s intent.

“I was at a time in my life where I was tired

of playing music softer than what I am known

for. Due to the current state of the world and

everything that is going down, including the Paris

attacks at the Bataclan venue, that just pissed me

right off,” Lombardo explains. “That stage is a stage

I have shared. For something like that to happen,

it hits very close to home. I was angry and wanted

to play aggressive music again. To play punk, to

play harder and heavier. Playing with these guys,

that goal was attainable. I wanted to make sure

this album was brutal from beginning to end. It

makes you drive fast, it makes you want to wring

someone’s neck.”

From the get go, this album cooks like meth

that makes you eat the flesh of a bath salt user.

It’s relentless and by press time you will be able to

hear the results as the self titled record is out on

Aug 4. This is not some chump change supergroup

that doesn’t live up to expectations. Dead Cross

rewrites the term and they do it in an amazing

fashion all their own.

Dead Cross plays Vancouver at the Vogue

Theatre on August 25.

photo by SAWA

Slayer drummer Lombardo and Patton create a deaf defying statement with hardcore supergroup.

August 2017 13



transcend ethereality through the medium of meditative doom


Although it is nearly impossible to

confine the multifaceted sounds of

Zaum to a single genre, if you had

to narrow it down, the most fitting

option would likely be “walking

through the underground caverns

of an ancient temple while someone

plays the sitar three chambers over.

There’s an ethereal voice chanting

at you from seemingly nowhere and

everywhere at once.”

New Brunswick-based Zaum is the

otherworldly product of Christopher

Lewis’ slow and purposeful drumming

as well as Kyle Alexander-McDonald’s

hypnotic chants, all of which are

accompanied by intricate layers of

meditative bass, synth and hints of


As for the band’s name itself,

Alexander-McDonald describes the

meaning of Zaum as, “communication

between two people or two

entities without a commonly spoken

or human known language. Communication

via the mind or through

universal means.” This rings true, as

their transcendental sounds paired

with droning yet melodic chants

penetrates the deepest layers of one’s

consciousness and burrows into some

ancient, untouched part of the brain.

Zaum seemingly creates meditative

journeys rather than just mere songs,

starting with drawn out caliginous

sounds which seamlessly morph into

an audible light at the end of the

tunnel. Somewhat surprisingly, Alexander-McDonald

cites Peter Gabriel’s

“Passion of the Christ” as a source

of inspiration for these old-world


“The middle eastern vibes were so

heavy in a non-metal or a non-conventionally

heavy way,” Alexander-McDonald

explains. “I felt like

maybe I could harness some of that

vibe and then add something that

is kind of conventionally heavy and

doomy. Applying it all together was a

total experiment in sound for me.”

photo by Don Levandier

East Coast two-piece Zaum create a sound too big for this world.

While it may initially seem as

though recreating the dense sounds

of their albums could potentially be a

struggle when it comes to live shows,

the duo is already countless steps

ahead. While recording, Zaum makes

a conscious effort to keep things minimal

and recreatable to produce the

best live experience possible without

compromising the end result of the

album. Armed with a 70-something

pound “mothership” of a pedalboard,

the duo is able to weave together various

layers of synth, sitar effects and

bass in order to achieve an end result

that sounds like a complete legion of

performers, rather than just the two.

“I don’t want to be that classic

band that has this huge epic record

and then live it totally falls short and

feels kind of empty,” Alexander-Mc-

Donald concludes. “If anything, I want

it to be right on par, or maybe even a

little more with the energy of the live


With their Canadian tour set to

kick-off in Ottawa on August 4th,

Zaum already has their sights set on a

European run in the fall and thoughts

of a new album for early 2019.

Zaum perform at the Astoria on

August 14.

artwork by Alison Lilly

design by Rob Zawistowski


filling a heavy void in Vancouver’s summer festival catalogue


Mitch Ray has created a party for the oft forgotten Vancouver metal head.


In a summer filled with outdoor EDM and

folk fests, the elusive Vancouver metalhead

is normally relegated to its nocturnal

habitat of black light basements and dives.

Vancouver promotion and artist management

company Art Signified founder Mitch

Ray wants to summon headbangers from

their dank pit.

“We want to throw the party of the summer

for the local heavy music community,

with a good mix of local and touring talent,”

he said of the inaugural Out for a Riff festival

on August 24. “There aren't many, if any

outdoor events for heavy music in Vancouver,

so this is intended to fill that void.”

The event, created by Ray, Art Signified

co-founder Taya Fraser and Scott Bartlett

of Black River Productions, has expanded

13 of the heaviest acts they could find and

tossed them into the Waldorf’s parking lot

with 500 rabid metal fans. At the top of the

bill are stoner kingpins Weedeater as well as

soon-to-be local legends Black Wizard and


“The lineup this year is one legitimate

banger after another,” Ray said. “When

measured against any of the lineups we

had in the past for Burger Fest, this one is a

substantial leap forward, even though we're

very proud of all previous lineups as well.”

Burger Fest was another collaborative festival

between Art Signified and Black River.

Also in the lineup are Serial Hawk, Heron,

Neck of the Woods, Wormwitch, Hedks,

Satan’s Cape, The Hallowed Catharsis and


The event also includes food from The

Heatley, Jackalope’s Neighbourhood Dive

and What’s Up? Hot Dog.

Beyond sun, snacks and supreme riffage,

Bartlett also emphasizes Out for a Riff’s goal

of fostering a sense of community in the

city’s metal scene.

“It’s about bringing the scene together

for a giant summer party celebrating heavy

music in Vancouver [and] cramming many

skids as we can into the parking lot of The

Waldorf. Everyone is welcome.”

Out for a Riff Vol. 1 takes place on

August 26 and 27 at the Waldorf in


August 2017


the party that won’t quit


Blame it on the wobbly bass, the UK

warehouse party-inspired vibes or the

tight-knit house music community, but

there ain’t no party like a party thrown

by AC Slater.

“My name is Aaron Clevenger, I

was born in West Virginia and live

in Los Angeles,” the bass music DJ

and producer says over Skype from

what looked to be a darkened studio.

Clevenger – better known as AC Slater

both privately and publicly – is known

for his underground house sound

that’s inspired by UK garage and old

school rave.

Touring like mad these past few

years, Clevenger has been sharing his

party-ready reverbs with club and

music festival circuits around the world

from North America to the UK and

even Japan. “When I DJ, I’m showcasing

my own music as well as music from

my label,” he explains. “Most of my set

is unreleased music [too] so it’s almost

like [each performance] is a trial.

Getting those positive reactions from

all over the world, it feels really good to

see it connect.”

His now signature Night Bass started


welcome to the Good Life


It’s hard to think of Vancouver’s nightlife

without Future repeatedly banging

in the background or Hennesy on the

rocks, but the city hasn’t always been

as welcoming when it comes to hip

hop culture. Flash back to 2006 with

Matt Perry, Ian Pelen, Rico Cunanan

and Michael Henry, also known as DJ

Kutcorners, DJ Seko, DJ Rico Uno and

DJ Marvel.

As previously established DJs in

Vancouver, the four friends joined

forces in 2006 to create a foursome of

talent. Naming themselves The Freshest,

they made their main objective

bringing hip hop and reggae culture to

the mainstream in Vancouver starting

with their popular Wednesday night

programming at the now defunct Lucy

Mae Browns.

As the unnamed night coontinued

to grow in popularity, the crew moved

the weekly event to Republic nightclub

and in the fall of 2007, established the

name as Good Life. “The song ‘Good

Life’ by Kanye West was introduced on

an episode of Entourage,” says Culu,

one of the hosts of Good Life who also

goes by the name Curtis Lum. “We still

Always an innovator, AC Slater is still making the bass go bump in the night.

three and a half years ago as an alternative

to the mainstream EDM and

celebrated the music that Clevenger

was into, but didn’t really exist yet in

North America at the time. “I was kind

of frustrated [as] I didn’t really fit any

event,” he shared. “At festival stages

I was too heavy for the house stage

but wasn’t heavy enough for the main

stage.” Transforming his frustrations

into productive energy, Clevenger

decided to throw his own party in LA

and it quickly resonated with so many

people that Night Bass emerged out

of the dark naturally. “I really, deeply,

invest my time into people who love

and are dedicated to the music, and

who I’ve known for a while,“ he says. “I

want to take it around the world more,

I want to take it everywhere. I want to

do my own festival, eventually.”

AC Slater performs at M.I.A.

Nightclub on August 19.

haven’t stopped playing that song,”

added Henry.

From low key to one of the biggest

club nights in Vancouver, GoodLife

Sundays at Republic has grown with

the city, continuing to capture the attention

of varying demographics. They

have kept their tactics simple; implementing

an authentic hip hop feel and

creating a community within the night.

Believe them when they say, “Love us

on Sunday, Hate us on Monday.”

Join Good Life in celebrating their

10 year anniversary at Republic

on August 27th.

photo by Brandon Artis

Vancouver’s hottest hip hop night celebrates its 10 year anniversary.

Is a good live concert universal or subjective to the viewer? Does context matter?

Personal history and taste? Do the technical specs of a live show matter?

While you ponder those questions, be sure to check out these five shows that

are guaranteed to be universally good. You can trust us, we’re professionals.

SG Lewis

August 12 @ Fortune Sound Club

Once called a “white boy with soul” by Pharrell Williams, SG Lewis is a British

DJ and producer originally hailing from Liverpool. With an uncanny ear for

pristine vocals and knowledge on how to wrap them up in a cozy blanket

of synths, Lewis is most well known for his groovy remixes of tracks by label

mates Disclosure and Jessie Ware.

Bryson Tiller

August 18 @ Doug Mitchell Thunderbird Sports Centre

A contemporary R&B singer and songwriter, the title of Bryson Tiller’s debut

record “trap soul” best describes his style as an artist. Cosigned by both

Timbaland and Drake, Tiller won over the majority of his fans with the singles

“Don’t” and “Let ‘Em Know” over Soundcloud from his home in Louisville,



August 19 @ Imperial

Under the name Quantic, Will Holland is a British multi-instrumentalist, DJ

and producer who creates electronic music that is globally inspired. Known

to create most of his own original samples himself instead of sampling other

works, Holland is known for finding inspiration from a wide range of genres

including but not limited to cumbia, salsa, bossa nova, soul, funk and jazz.

Die Antwoord

August 27 @ Doug Mitchell Thunderbird Sports Centre

Preparing to release what they say will be “their final album” this year, Die

Antwoord is an experimental rap group from South Africa comprised of Ninja,

Yo-Landi Visser and DJ Hi-Tek. Pairing Yo-Landi’s super sonic vocals with

Ninja’s rhymes layered over techno inspired beats, prepare to have your mind

stimulated to the highest power if planning to catch this show.

Chaos in the CBD

September 1 @ Open Studios


your month measured in BPMs


Specializing in the production of classic house grooves with a touch of jazz,

New Zealand based brothers Ben and Louis Helliker-Hales come together to

form Chaos in the CBD. Mad scientists behind the decks, believe that Helliker-

Hales brothers will be settling in for a long night of endless grooves and

prepare to dance till the wee hours of the morning.

Die Antwoord


August 2017 BPM




defying the boundaries of mainstream electronica


The Orb’s Alex Paterson was born with

an affinity for the dark and peculiar. In

his hometown of Battersea, England,

heavy industry pollutes the skies

with thick, grey smoke, offering only

momentary glimpses into the bright

and colourful world beyond the haze.

Depressing and artificial to some,

Paterson used these surroundings to his

advantage, harnessing their ominous

power to help shape the vision for his

musical career.

The Orb have never been a household

name, yet the group’s conception

in the early 90’s had a burgeoning affect

on the underground electronic music

scene in the U.K. Often dubbed as the

“Pioneers of Ambient House,” Paterson

and longtime collaborator Thomas

Fehlmann, recently celebrated the 25th

Anniversary of the groups debut studio

release, The Orb’s Adventures in the

Ultraworld, which includes their breakout

single “Little Fluffy Clouds.” Still,

no veil of celebrity sheaths their egos

as they continue to experiment and

manipulate sounds not always accepted

by mainstream audiences. “[The Orb]

have been laying ourselves on the line

[for years] and being told off by critics

that we’re making shit music or being

told by electronic wizards that we’re

still the mainstay of electronic music,”

proclaims Paterson. “[None of that]

bothers me as long as I’m happy.”

Having spent the latter part of their

careers signed to independent record

companies like the German-based

Kompact and leaving powerhouse

labels like MCA and Columbia, freedom

of experimentation remains the driving

factor in their decision to sign to

smaller, lesser known labels. In a scene

dominated by arena artists like Diplo

and Deadmau5 who create pulsing

dance anthems for the masses, The

Orb find solace in the underground,

uninterested in these kinds of beats

and lifestyles. "A lot of these bands just

go along with the flow, being told by

record companies to do this, do that,”

Patterson says, sighing. “So sad really.

The way they manipulate bands. I’ve

seen it all before; every year it becomes

another scene.”

The Orb harness their ominous power to help shape the vision for their impressive musical career.

On their latest release Cow/Chill

Out World!, the duo continue to follow

their path of unpredictability. “[In the

beginning] we were just learning, and

if we can unlearn it all, it’ll be just as

much fun again,” claims Paterson. The

record itself includes many field recordings

from their travels, often taken

simply with an iPhone. Though it’s not

the tool used to record the sounds that

matters to Paterson, but what is done

with them after. During a live show, it’s

not unusual for Fehlmann to take some

of these samples and “slow [them] right

down, making [them virtually] unrecognizable

to whatever anyone would ever

think it was,” explains Paterson.

The album itself has been referred

to as a peaceful protest, challenging

listeners to momentarily free themselves

from the burden of political forces that

plague our countries. “Its an anti-politics

album,” declares Paterson. Now in his

late 50’s, Paterson is wise to the slimy,

backwards thinking arrogance of those

in charge of the world’s most powerful

nations, asserting that, “They’re a bunch

of school kids just shouting their heads

off.” He contemplates for a moment

before asking, “What’s so wrong with

being a person for the people? It’s not

such a bad thing.”

Next year The Orb will celebrate

their thirtieth year in the electronic

music game, and are already at work on

what will be their fifteenth studio album.

But the milestones and accolades

haven’t gone to their heads. Patterson

jokes, “Every year another [person] is 25

years old and all that malarky.” A purist

at heart, Paterson dreams to “go back to

the British, weird way where [structure]

doesn’t matter. The early Orb was all

about that.”

The Orb performs at The Biltmore

Cabaret on August 16th.

16 BPM

August 2017

August 2017 17



music and arts festival maintains good vibes with curated, community-minded focus


A music festival with homecooked

meals, helicopter rides,

tipis, secret swimming holes, art

installations, pancake breakfasts,

and loads of live music? Hell

yes! Grab your sleeping bags

and head to Rock Creek this

summer, because Ponderosa is

where it’s at.

This music festival/giant party

was created by Kia Zahrabi,

Kris Hargrave, and some friends

who wanted to chill out with

people, food, and beats. When

100 people showed up, they

joked about turning it in to a

music festival, and a few weeks

later — boom! They booked the

site and Ponderosa was born.

“In our minds, Ponderosa is a

big outdoor house party and as

hosts we take it on personally to

make sure everyone is having a

good time,” says Hargrave.

“It’s also a bit of a family

affair — my dad working the

main gate, Kia’s dad setting

up and selling local fruits and

In its second year, the Monsoon Festival

of Performing Arts continues to spotlight

South Asian talent in an industry where

opportunities rarely escape from the realms

of the Euro-centric model. The festival was

founded by two theatre enthusiasts, Rohit

Chokhani and Gurpreet Sian, who both

identified an unfair disconnect between the

talent of South Asians in the community and

their representation in the performing arts.

veg, so it’s got a real family feel.

We also put a lot of effort into

making sure our volunteers and

artists are having a great time

— the sense of community and

vibe at Ponderosa kind of just

happened all on its own. A good

party is all in the details!”

What makes Ponderosa so

fresh is the location, the chilled

vibes, and the cost. You can

get tickets to the festival, take

a helicopter ride, sleep in a tipi,

and have cash left over to make

it rain all summer long.

“Having a historic site right

by the river is a great start for

any festival,” says Hargrave. “Get

up, do some yoga, get in on

the pancake breakfast, maybe

a river float, then you add

Ponderosa’s careful curation of

live music with a heavy focus on

home-grown BC talent and you

find yourself immersed in a one

of a kind BC experience.”

Along with sets from artists

like The Courtneys, Wolf Parade,

Speaking with Chokhani and Sian,

they explain that the festival’s vision is to

“create a space…for South Asian artists

to perform in a manner of their choosing.”

This space allows repressed forms of

expression to thrive, highlighting “diverse

backgrounds” and “unique methods of

creation,” which do not always have a

place in our local mainstream arts culture.

and Gang Signs, the festival has

some new additions this year,

including more markets, vendors,

surprise pop-up sets and

artist jams, an Art Installation

Program, and a collaboration

with Sofar Sounds, who will

be around the site recording

acoustic songs from some of the


“We always put so much

thought and effort into just

how we want our lineup to flow

throughout the weekend because

each band plays a special

part of the festival mix-tape,”

says Hargrave. “Although, I must

admit, I am insanely excited to

see Wolf Parade outside under

the stars!”

Grab some tickets, get your

friends together, and road trip

your way to this three-day extravaganza

in the heart of BC.

Ponderosa runs from August

18-20 in Rock Creek, BC.

Ponderosa is a big outdoor house party for music lovers.


diverse local, international South Asian talent takes centre stage


photo by Leslie Van Stelten

One headlining performance of the festival,

Burq Off!, is playing at the York Theatre

on August 11 and 12. Nadia Manzoor’s

one-woman show of impersonations perfectly

embodies this year’s theme of eastern

feminism and classical Indian art form.

Featuring an autobiographical exploration of

the clashing cultures of Pakistan and England,

Manzoor bravely tells all. She explains that

while similar ideas of cultural “yo-yoing” have

been addressed in the past, it still feels “significant

and fairly novel that a Muslim Pakistani

woman is on stage…sharing her sex life, her

confusion, her drug use” and more.

The transposing value of South Asian

performance is represented beautifully in the

metaphor of rain. Monsoons in India, Sian

and Chokhani explain, “take over the country

on an annual basis…[causing] damage and

destruction.” However, amidst the destruction

is a festive surplus of “celebration including

dance, music, theatre, and film.”

Similarly so, the rains of Vancouver create

a mirrored environment, leaving room for a

celebratory space that the Monsoon Festival

of Performing Arts can artfully fill.




culture celebration emphasizes first nations, female artists in second year


"A vessel of culture." This is how David Vertesi describes the murals

in the streets of Vancouver. The young musician is the co-founder

and executive director of the annual Vancouver Mural Festival,

which is in its second year taking place from August 7 until 12.

BeatRoute talked to Vertesi about this year's celebrations, which will

not only include the transformation of over 50 walls across Strathcona

and Mount Pleasant into huge works of art, but also feature live

music, walking tours, street parties, and a variety of artist-led talks.

The festival’s purpose, according to Vertesi, is to make people recognize

the young and energized culture scene of the city. "We would

like to see Vancouver identifying as an arts and a cultural hub," he

says. The event already kicked off with a street festival in Strathcona

where a building covered in murals was unveiled. Vertesi describes

the work of his team as event-based art-activism. "We are trying to

give people eventful experiences with art and culture to give them a

feeling to be a part of what is happening."

The event team's main tasks are to fill in bureaucratic holes, as

well as pick the right participants out of over 350 applications. "We

always look at the art first but we think that it is also important to

empower a broad range of artists to express their stories," says Vertesi.

This year, they especially encouraged First Nations and female

artists to participate in the festival — artists like Bracken Hanuse

Corlett and Jeska Slater will be making contributions. The team is excited

about the works and hoping for the same amount of positive

feedback as last year.

"Art in public space makes people feel like their neighbourhood

got infused with energy and simply feels more alive," says Vertesi.

"They have their heads up looking at the murals, not just at their


Vancouver Mural Festival takes places from August 7 – 12

throughout the city.

Nadia Manzoor’s Burg Off! embodies this year’s theme of eastern feminism.

Monsoon Festival of Performing Arts runs

at various locations in Vancouver and

Surrey from August 6 to 13. Visit monsoonartsfest.ca

for more information.

50-plus walls will be blessed by the brush this year.


August 2017


new eatery finds innovative way to celebrate everyone’s favourite green thing


Have we hit peak avocado? Avocado Bay, recently

opened in the West End, gladly tests the limits of

Vancouver's infatuation with the fatty, water-crisis-causing

fruit. Less than a decade ago, these

delicate, fleshy objects the world now values more

than financial stability were slotted a third tier grocery

store desirability rank. Guacamole was dutifully

eaten every few months and then it was back to

whatever low-carb mess you could make in a slap

chop people ate back then. A few years and Serious

Think Pieces later, plus a “superfood” labeling and

now we can't get enough of them.

Memo Bañuelos, chef and co-owner of Avocado

Bay, sees potential for avocado that extends far

beyond just toast. “Avocados can be a lot of fun to

work with in the kitchen, and there's so much more

to them than what's being done by most restaurants,”

he says. The menu, while not fully finished

when BeatRoute visited, presents a number of

creative takes on presenting the fruit. A sampled

avocado margarita worked well, with the smoothie-like

texture benefiting a well-rounded flavour

combo of avocado, tequila, and sharp hints of fresh

pressed juice. Avocado burgers (each contain an

entire avocado), tacos, ceviches, and cheesecake

all will contain generous amounts of the namesake

fruit. Of course, guacamoles are present, with an

equal casting of meat and veggie options available.

Having worked at some of the best Mexican

joints in Vancouver (La Mezcaleria, Los Cuervos),

and having owned his own restaurant in Mexico,

Bañuelos always planned on opening his own place

once fully settled here. He also has real experience

with limes and avocados — he spent a few years

importing both directly from Mexico and selling

them to bars in Vancouver, during the lime shortage

a few years ago.

“The bigger food distributors we're basically like,

‘You're the only one with limes right now...what else

can you get?’ and I found avocados being grown in

my hometown of Guadalajara.” Bañuelos had been

eyeing Avocado Bay's current English Bay location

for a few years, and eventually worked out a deal to

take over the space from it's previous owners who

had been operating it as a sports bar.

Avocado Bay seems like an interesting concept,

and Bañuelos really cares and plans to have the

restaurant in summer-ready mode when the full

menu is launched. As for the lime and avocado

importing business? “I now need all those limes and

avocados,” he says, “everything we make uses them.

Avocado and lime together is a beautiful thing.”

Avocado Bay is located at 1184 Denman Street.

photo by Alison Boulier

Tacos, ceviche, and margaritas are just some of the avocado’s new faces by chef and co-owner Bañuelos.

August 2017 CITY




Geoff Dembicki finds hope in millennials when it comes to fighting climate change


Hope is a hot commodity lately, seeing as the

general consensus is that millennials consume

it faster than we can make it — that and a few

hundred other important commodities. Walk

out there and you’d be hard-pressed to find an

activist who is standing up for this generation,

screaming into the void that millennials, as individuals,

are trying to do their best for our planet.

Geoff Dembicki is one such activist. Stemming

from a background in journalism, Dembicki has

travelled far and wide through the hills of the

Silicon, over the Sands of Tar, to Wall Street,

Washington, D.C., and even Paris to witness

the climate talks. His findings? As a generation,

millennials aren’t the problem. In fact, millennials

are are essentially responsible for building the

resistance. And who better to use as their toy

soldiers than the politicians. Dembicki believes

the quickest way to the monster’s heart is

essentially through the blood; the folks who are

guiding Mother Nature to her deathbed.

Maybe we aren’t as screwed as we thought.

Hope was a big theme throughout any conversation

on the subject Dembicki, has. He is a young

man who has been to the frontlines; he has seen

the worst of what the enemy is capable of; he

has met with our best soldiers and he’s returned

hopeful. Are We Screwed? will blur those bold

lines of your existential crisis and remind you

just why you bike to work. Dembicki reminds

us that we have “the most to lose from climate

change, but we also have the most to gain from

fighting it.” Think about that one the next time

you feel that impending sense of doom, alone, in

your Prius. The numbers are in our favor: the last

election saw an 18% increase in millennial voters.

The book, which is widely available for pre-order

right now, is worth a read. Let it stew in your

mind for a while, and then, just when you’d

generally shelf it, give it to a friend. Tell them

your honest opinion. Tell them it’s a bit of hope

for this generation; a manual for the resistance,

and an important one. Why? Because we all live

on this planet and people like Geoff Dembicki

are looking out for and standing up for this


Are We Screwed? by Geoff Dembicki will be officially

released on August 22. Check out bloomsbury.com

for pre-order and release details.

Geoff Dembicki reminds us that we have the most to gain from standing up for our environment.


August 2017


shop supports local rescue, provides ethically-made goods for dogs


Since she was a little girl, Dayandra Elrod knew she wanted to work

with dogs. She’s an advocate of the adopt-don’t-shop movement and

calls her rescue, a Boston Terrier named Bowie (christened so for her

two different coloured eyes), her angel. Now, dreams have become

reality for the Vancouver-based entrepreneur with Goodboy—Collective:

a curated shop of ethically-made goods for dogs that benefits

Thank Dog I Am Out, a local rescue society.

Finding most readily available canine accessories cheaply made

with low quality materials, Elrod wanted something that aligned with

her eye for style. Something that would look good in her space and

that she could feel good about giving to Bowie. So, six months ago,

she took matters into her own hands.

"Originally, I started to make dog beds,” Elrod says. "I had this idea

to have a really simply designed bed and I wanted to use as many

Canadian materials as I could and have it be all ethical and have a

modern look. Something that kind of resembles a floor pillow.

Because that’s what happens with owning a dog, too — they come

with a lot of things and sometimes these things don’t feel as nice in

your home.”

Elrod took up sewing and, after positive responses from friends

(both furry and non), the idea developed into a project that

would combine thoughtful design and giving back. She partnered

with Thank Dog I Am Out and, through friends and by scouring

Instagram, sought out like-minded vendors who create in small

batches. Included are Edition 12, a leather brand that handcrafts

collars and leashes, and local talent Annie Arbuckle, who refurbishes

vintage sweaters. Elrod laughs as she describes how she and Arbuckle

go vintage shopping together for dogs.

Thank Dog I Am Out will receive 10% of the proceeds from the

GB—C in-house line. Elrod calls the pairing the most important

aspect of her venture. She’s looking forward to the non-profit’s

adoption event on November 4, #Save80DogsNov4, where Goodboy—Collective

will hold a pop-up.

"I think it’s really rad what they’re doing,” Elrod says. “That’s a lot

of dogs! And they work really hard on making sure that all of them

get homes, only pre-approved adopters can come to the event, and I

think it’s going to be fun and exciting. As we know, there’s definitely

a lot of dogs that need homes and, honestly, having a dog is one of

the biggest blessings of my life.”

Next, Elrod plans to expand her vendor roster and make even

more efforts towards helping Thank Dog I Am Out. "I just want to do

as many things as I can to support the adopt-don’t-shop movement,”

she says, “and have [Goodboy—Collective] grow in a positive way.”

Support and shop Goodboy—Collective at shopgoodboy.com.

photo by Michael Corrubia

clothing by Garmetory

Bowie approved. A love for dogs becomes a project for Dayandra Elrod.

August 2017 CITY


Media partner







“Martin’s unique blend of comedy,

music, drawing and off-centre

anecdotes help him keep it fresh.”

– Prairie Dog, Gregory Beatty



keeping cider local and within walking distance at all costs


Still in its infancy, Sunday Cider has spent

the last two years building up a solid relationship

with the East Vancouver brewing

district and the people who call it their

hoppy home away from home. One of the

only cideries in the city with a commercial

cider license (forced by the government on

any cidery not operating on the land the

apples are grown on) Sunday carries a 73%

markup just to operate within the brewing

district. The urban element is a key aspect of

the brand’s identity and it makes the absurdly

successful Sunday Cider Summer Sizzlers

hosted at the facility on a select Saturday

every month during the summer sublimely


“That’s what puts wind in our sails; we

open our shop up and people come down

and it’s a good time. It’s a great relationship

with the customers and talking about

fermentation,” laughs co-founder Patrick

Connelly. This description is very accurate: at

the lively and FREE events, which feature live

DJs and food trucks from local faves like El

Cartel, craft fans can bring their four-legged

companions and their wee ones and get

growlers filled with whatever small batch

brew is currently tapped.

“People really seem to like the product

and interesting cider is becoming a category,”

says Connelly.

“A lot of people who like sparkling wine,

who like crisp BC style wine, are discovering

cider and realizing ‘hey there is something

cool happening here on the cider side too’,”

Connelly says.

The high-cost input for craftsmanship

like this creates its own challenges but the

main culprit against cideries like Sunday

thriving and pulling a profit is the current

tax rates for commercial cideries. Most

cideries with the commercial designation are

very high output companies like Mikes Hard

Lemonade or Hey Y’all Iced Tea, companies

that distribute exponentially more product

than any small batch producer could muster.

Just by wanting to have the cidery be local,

as many craft breweries are within the same

area, Sunday must swallow the same markup

as those large distillers.

Sunday Cider aims to build a world-class cider industry in BC.

“The reality is if we want to make good

money off of making cider in BC in a

commercial environment we would have to

cut corners; we’d have to use concentrate

and encoded flavors and we don’t want to

do that; we want to make really nice small

batch craft ciders.”

Until the law is relaxed to encourage

more cideries to open and gain representation

alongside their craft beer counterparts

in the districts, Sunday Cider will hold the

mantle and continue to offer a refreshing,

inventive, and decidedly local take on everyone’s

favorite naughty apple juice.

Check out Sunday Cider’s next Summer

Sizzler on August 12 at 1575 Vernon Drive.


SEPTEMBER 8 - 7:00 & 9:30 P.M.



250-386-6121 OR 1-888-717-6121



SEPTEMBER 9 - 7:30 P.M.







bringing craft spirits to the masses despite the tax man


Have you met Sid? You’d likely

remember if you did. Sid’s Vodka,

a part of the roster at Goodridge

& Williams Independent

Craft Distillers, is an excellently

smooth local craft product that

is priced below the profitability

line for all of us to enjoy. So

basically Sid is like Robin Hood

for those of us with Grey Goose

taste and Smirnoff wallets.

The sweetness on the palate

comes from locally sourced

wheat from the South Peace

River Valley which is stripped

and distilled at the GW facility

in Delta. The 76-step distilling

process that follows, care of the

38 plate rectification plate “Carl”

copper still and lovingly repeated

twice, exposing the spirit to

“an abundance” of copper. The

result is what G&W Marketing

guru Paul Meehan describes as

“great local craft vodka” that is


And as with Robin Hood

himself, Sid’s is at the mercy

of the tax man in a fight to be

profitable. Craft distilleries in

BC must walk a delicate balance

between production levels and

profitability. 2013 regulations

passed by the BC government,

initially made to encourage

small batch distilling in the province,

have ended up creating

a very large tax problem for

distilleries that produce more

than the tax-exempt amount of

50,000 litres per year. Offering

an affordable spirit while being

stifled to 50,000 litres a year (lest

you pay a 160% markup on your

product) while still turning a

profit is impossible.

As Sid’s gingerly moves forward

on the tight rope walk that

Sid crafts a delicious and affordable spirit that helps out the little guy.

is a 160% markup, they DO offer

an option that is not only well

crafted but also turns a profit:

Sid’s Something Else. Referred to

as “Craft vodka refreshers” these

canned vodka coolers sweetened

with cane sugar are a good

way to satisfy your sweet tooth

and help out the little guy while

doing it.

22 BOOZE •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

So next time you are looking

for refreshment at the beach,

maybe consider “something

else” instead of reaching for a

Mike’s Hard Lemonade. Pretty

sure Mike can afford to lose a

couple; just ask yourself “what

would Robin Hood do?”

Grab Sid’s and Sid’s Something

Else at BC Liquor Stores.

August 2017


exhibition shines light on social, cultural history of Western Canada


Distinguished by thick evergreens surrounding

a lake and powdered mountain, Levine

Flexhaug’s landscape paintings could be

found at resorts and national parks between

Manitoba and British Columbia from the

late 1930s to the 1960s. It's a scene that the

Saskatchewan-born artist replicated an infinite

number of times as he spent summers

travelling through Western Canada selling

his work, often living out of his car as he

rambled the road. And while showing essentially

the same vista, his paintings always

differed in detail: an extra peak; a cascading

waterfall. A cabin nestled in the woods. The

silhouette of a moose.

Flexhaug’s landscapes brought a kind of

warmth into people’s homes during a time

that it was greatly needed. “He was selling to

people who had gone through the hardships

of the Depression and were living on the

prairies where there are no trees in many

places — particularly in the southern part

of the prairies, where he came from, there

are no mountains,” explains Peter White,

co-curator of A Sublime Vernacular: The

Landscape Paintings of Levine Flexhaug, an

exhibition of Flexhaug’s work now showing

at the Contemporary Art Gallery. "This

would have been very refreshing. It’s the

perfect, ideal image, almost like a paradise

or sanctuary.”

A Sublime Vernacular is the first all-encompassing

overview of Flexhaug. This isn’t

surprising, White says, because his images

tend to be regarded as kitschy, which is

generally looked down upon from a high

culture perspective — even though Flexhaug’s

landscapes are not manipulated in

the way the genre is known to be. Works like

Flexhaug’s, that hail from a rural background

with nostalgic subject matter, present a challenge

to institutionalized thinking.

“That’s one of the reasons why we wanted

to do the show,” White says. "To take this

material which we believe has great value —

it’s not that it has more value or less value

than anything else, but it has a lot of value

and it’s an important cultural achievement

— and to put it in these places where that’s

kind of questioned."

With the Art Gallery of Grande Prairie as

the organizing institution, White and fellow

curator Nancy Tousley sourced over 450

paintings through dealers, collectors, and

members of Flexhaug's family to bring the

artist deserved recognition and shed light

on who he was. It’s been about seven years

since the project commenced. “We also felt

that there’s something in this work that’s

very compelling,” adds White. “And a part of

it is its capacity to compel you in a bit of an

obsessive way. It’s sort of the opposite of less

is more. More is always more.”

The staples of Flexhaug's unspoiled landscapes

— snowy mountains, an abundance

of trees, a water body — feel definitively

Canadian. But Flexhaug didn’t base his

work on a specific location. It was simply an

ideal that he dreamed up. "It’s a distillation

using the constituent elements of romantic

landscape painting sort of massaged into

his sense of things and what he thought his

customers would want,” White explains. The

image's denotation as a symbol of national

iconography speaks to a collective consciousness

in how we, as Canadians, seem to

identify ourselves with landscape. "I think it’s

a trope in our culture,” White considers. "It’s

reassuring, it’s a peaceful image. I think that’s

why people respond to it."

Even though Flexhaug was a commercial

artist, the intention behind his landscapes,

paired with the fact that he also gave many

away as gifts, displays an engagement

and benevolence that is intrinsic to the

integrity of his work. "I think it’s not that

Flexhaug had some passionate attachment

to natural beauty and the land,” White

says, “and that doesn’t lessen the authenticity

of them because, again, it has to do with

the whole nature of…how he interacted

with his customers. He was giving them

something that they wanted and that was

partly the nature of what was authentic and

meaningful in what he did.”

With A Sublime Vernacular, Flexhaug

is no longer a best-kept secret. He is now

entered into the catalogues of art history

and the exhibition marks a significant

change in how he’ll be understood. His

work, beyond being a colourful feast for

the eye and soothe for the soul, provides

fascinating insight into a specific chapter

of Canada’s story. Work, White says, that is

really remarkable as a prism through which

to look at social and cultural history of the

West and of the Prairies.

A Sublime Vernacular: The Landscape

Paintings of Levine Flexhaug

runs until September 3 at the Contemporary

Art Gallery.

The intention behind Levine Flexhaug’s landscapes display anengagement and benevolence intrinsic to the integrity of his work.


exhibition encourages critical thinking of stories and history

photo by Pauline Johnson

Unbelievable is “the power of story and what people choose to believe.”


A new exhibition at the

Museum of Vancouver takes a

provocative look at Vancouver’s

history and future through

iconic artifacts, replicas, and

symbols, each of which have

shaped the city’s narrative and


Unbelievable, which runs

until September 24, is all about

the “power of story and what

people choose to believe,” says

Gregory Dreicer, Director of

Curatorial & Engagement.

Dreicer organized the

artifacts in four months as

collaborative partner with

HCMA Architecture + Design,

a private company specializing

in architecture and design

management. He hopes the

exhibit encourages people to

think critically about the stories

they choose to accept or reject.

He calls the collection “of the

moment,” inspired by a posttruth

society where fake news,

alternative facts, and falsehoods

are now commonplace. As a

historian, Dreicer knows that

there are multiple sides to a story

and what constitutes as truth

may be more complex. To illustrate

this further, the interactive

exhibit lists several ‘facts’ where

visitors can post sticky notes

rating how true they believe

each statement to be.

Other well-known Vancouver

objects also make an

appearance, like the original

“R” from The Ridge sign. The

storied Arbutus Street theatre,


shopping, and entertainment

complex was a “heart in the

community” according to

Dreicer, but has now been torn

down and replaced by condos

and a grocery store.

The exhibit also explores

Vancouver’s history of activism.

One of the artifacts includes

the costume of the official

Olympic Games mascot, Quatchi,

contrasted with Squatchi,

an imitative mascot used by

protestors. As well, the display

explores how activism halted

the once-planned highway project

that would have destroyed

present-day Chinatown.

Another aspect shows

Vancouver’s complicated

history with First Nations. A few

artifacts include the Thunderbird

totem pole that appeared

Edward Curtis’ 1914 work In the

Land of the Head Hunters, originally

commissioned by Chief

Tsa-wee-kok for Gway’i/Kingcome

Inlet, and the costumes

of actor Pauline Johnson, who

designed her clothing to play to

an ‘authentic image’ that white

fans expected.

Unbelievable shows visitors

that there isn’t a single version

of history — it often involves

conflicting narratives and

perceptions, all of which may

be true.

Unbelievable runs at the

Museum of Vancouver

until September 24.

August 2017 CITY




You’ll find this pride season jam-packed with parade favourites, new festivals

and celebrations more inventive than Lady Gaga’s wardrobe itself. Here

is our official list of must-sees and must-dos to get you inspired, connected

and in the spirit of loving yourself.

Davie Street Party

On the eve of pride weekend, all LGBTQ+ community members,

their families and allies are invited to a party spanning multiple

blocks through the heart of The West End. Don’t miss the local art,

good eats (like the $2 pancake fundraiser at Denny’s!) and DJ beats.

Happening Friday, August 4 from 6 p.m. to 12 a.m. between Burrard

and Jervis. This event is free.

Honey Soundsystem Davie Street Pride Party

After Party

Celebrities and Pacific Rhythm are set to host the after party of after

parties, featuring San Francisco’s very own Honey Soundsystem and

special guests Body Party and Nancy Dru. Music until 4 a.m. provides

a sweet escape, like you’re in Berlin or something. Happening

Friday, August 4 at Celebrities Nightclub. Doors at 8 p.m., free entry

before 10 p.m.

Queer as Funk!

Kick off pride and get down and funky with high-energy dance and

vocal ensemble performances by super troupe Queer as Funk! Also

featuring special guests

Dawn Pemberton

— the New Queen of

Canadian Soul — and

East Van’s own acapella

soul quartet What Is It.

If you’re looking to start

your pride weekend off

with a glitter-twist and a

shout, Queer as Funk! is

something you won’t want to miss. Happening Friday August 4 at 8

p.m. at the Commodore Ballroom. Tickets are $41.50 in advance.

14th Annual Vancouver Dyke March

This classic East Van event demands your attention this year, whether

you’re watching from the sidelines, marching with your loved


celebrating diversity with complementary programming


The Vancouver LGBTQ+ community has a lot to be proud of this year,

but what’s cooler and more important than anything is its determination

to create safer, more accessible spaces that are equally fun to

play in, only more diverse and fresh-faced. Now in its second year,

Vancouver Art and Leisure’s Alternative Pride is at the forefront of

that movement, and flaunts a list of events that could draw even the

homiest of home bodies out of their shell.

Despite offering alternatives, the festival isn’t about putting down

any of the traditional pride events that other facets of community

have worked to build, and Alternative Pride director Bradley Michael

makes clear that what they’re creating is actually a complement to

what already exists. They do however offer something a little bit

different--artists are given complete creative autonomy to perform

and involve all aspects of their identities, while audience members are

made to feel totally welcome by staff that are like-minded and from

the LGBTQ+ community itself.

one or walking to the beat of your own unique drum. The Vancouver

Dyke March fits and fights for boots of all colours, identities

and sizes. Happening Saturday, August 5 from 11 a.m. to 5 p.m. in

McSpadden Park. This event is free.

Love Disco - Little Boots DJ set

Gorg-O-Mish is hosting pride

events all weekend, but if you

love disco, we recommend

checking out this disco set by

UK-based DJ Little Boots. Also

featuring performances by

Sappho and David Sylvester,

this event is all gold lamé,

suede and corduroy. Happening

Saturday, August 5 from 11

p.m. to 8 a.m. at Gorg-O-Mish.

Pride Parade

Come hangout where the sun meets the rainbow and celebrate

who you are, who you love and where you live at the Pride Parade

through Vancouver’s gay village. There’s no event hotter, sweatier,

more colourful or exciting than a decked-out Pride Parade during

the middle of summer, and nothing more rewarding than a post-parade

beer at Sunset Beach. Happening Sunday August 6. This event

is free.

Sunset Beach Festival

Whether you’re walking in the Pride Parade or watching from the

sidelines, you might as well have run a marathon through the desert.

Celebrate at the finish line with a beer and experience the festival’s

Vendor Village, Community Zone and live music on the main stage.

Happening Sunday, August 6 from 11 a.m. to 6 p.m. at Sunset Beach.

To get things started is the much-anticipated Drag Carnival, where

all drag queens, kings and wannabes can come perform, mingle,

watch and be seen. After that, it’s a jam-packed few days of the queerest

vintage, bike tours, techno, disco and hip-hop that Vancouver has

to offer.

“I think finding accessible spaces for LGBTQ+ artists to present

their work is something the community will always have to fight for. It

has been amazing to see the creative side of our community flourish

with drag and performance art the last few years and I feel a lot of

credit goes to drag performers such as Alma Bitches, Jane Smoker,

Jaylene Tyme, Carlotta Gurl and Dee Blew who have created wonderful

shows,” says Michael.

If you’re on the hunt for something new to do this pride season,

Vancouver Art and Leisure’s Alternative Pride programming is guaranteed

to keep your wheels spinning all week long.

For tickets and more information visit www.artandleisure.ca


Drag performer, comedienne

and creator of Wigstock Lady

Bunny is all fierce lashes and

potty-mouthed humour. Renowned

in New York City and

around the globe, she’s here in

Vancouver this month to electrify

our hearts and turn things up

a notch. See Lady Bunny perform

Sunday August 6 at the Odyssey

Bar & Nightclub. Show at 10 p.m.

Advance tickets are $40.

Ice-T Pride Patio Party

Hosted by XYYVR, Ice-T Pride Patio Party features a sweet line-up of

DJs including DJ Leanne, Almond Brown, Diana Boss and more. Kick

back with a Long Island Iced Tea at the coolest patio party of the

summer, you’ll need one after all that dancing. Happening Sunday,

August 6 from 1 p.m. to 9 p.m at XYYVR.

Bye Felicia The SheQuel (Pride Edition)

Once the patio gets too cool, head indoors for a SheQuel and

continue partying through the night with Resident Queen Alma B

Itches. This bearded Queen will have you saying bye-bye to all those

things no longer meant for you. Happening Sunday, August 6 from

11 p.m. to 4 a.m at XYYVR.

Coconutz & Bananas

Hosted by Vancouver’s first-ever Trans Bar (finally!), Coconutz and

Bananas is an inclusive dance party for trans and non-conforming

bodies to feel safe and get crazy under one roof. Jam-packed with

performances by some of the hottest trans DJs, go-go dancers,

strippers and drag performers, Coconutz & Bananas provides a long

overdue scene for those who feel unseen. Happening Friday, August

18 at the Odyssey Bar & Nightclub. Doors at 9 p.m. Entry is $5.

Jaik Puppyteeth’s Drag Carnival is well worth the price of admission.



August 2017


pushing queer cinema in new directions



The Vancouver Queer Film Festival has

long had the goal of telling the stories

of the international queer community.

“In many ways there has been an

utter lack of recorded history in queer

lives, and film has really filled that gap,”

says Amber Dawn. Dawn, alongside

Anoushka Ratnarajah, is in her first

year as Artistic Director for the festival,

and the two intend to make true on its

promise to tell the unheard story.

Now in its 28th year, the festival has

seen plenty of change—much of it in

this decade—and queer representation

has spiked in mainstream film and TV,

but oftentimes with straight, cis filmmakers

or performers. Recently, this has

affected the role of the festival, whose

job is no longer just to raise awareness

of queer film, but to push the boundaries

of what’s considered acceptable in

the mainstream.

“Festival audiences get to see something

unique,” says Ratnarajah. “Oftentimes

they get to see something a little

bit edgier.” The festival understands this

role as well. “I think many of our viewers

love the daring and the innovation and

the buttons that queer films and queer

filmmakers push.”

The duo pegs this on the gate-kept

programming of the mainstream channels.

Many films don’t have the chance

to make it to those audiences, and the

VQFF offers them a home. But it’s not

just for the filmmakers—audiences also

desperately want to see these lineups.

Dawn is all too familiar with the scant

and one-sided programming of the

past: “When I started watching queer

cinema, which was only about 15 years

ago, going to a [queer] documentary

film usually meant you were going to

walk out of the theatre devastated. You

can go see a queer documentary now

and leave the theatre feeling uplifted,

feeling empowered.”

Ratnarajah agrees. “I think it's really

important for queer folks to be able to

go and see a romantic comedy, to go

and see a murder-mystery, to go and

see a musical.” She regrets that there

will be no musical hitting the screen

this year, but it’s not just about checking

boxes—it’s all about broadening the

collective perspective. “There's lots of

queer folks––most of us, hopefully––

who are having fulfilling, joyful lives.

And it's as important to see that as it is

to see our struggles.”

The lineup really is formidable, and

while all the films look great, there are

some must-see standouts. “The Indigi-

Femme program,” says Dawn, “especially

for those audience members who are

really looking for an interdisciplinary––

not just sit back and watch a film––

experience. Fathers from Thailand is a

love story, so sweet, and this is your one

time to see it. This is not going to go on

Netflix, it's not going to go on iTunes.”

Ratnarajah chimes in with her own

favourite: “B&B, which is having its

Canadian premiere with us and will go

on to a theatrical release. For those of

us who enjoy Miss Marple or Poirot,

it's going to be fun to see some queer

people in that kind of film genre.”

The breadth of the festival reflects

its desire to showcase interdisciplinary

work that brings depth through the

conversations they ignite—one of the

most important goals of an undertaking

like this. “Film can be thought of as

VQFF Artistic Directors Amber Dawn and Anoushka Atnarajah want to tell the untold story.

a finished project,” says Ratnarajah, “but

actually it's still very alive, whether it's

the conversations that audiences have

with each other afterwards, whether it's

Q&As, whether it's in conversation with

the folks who made the films, or whether

it's other artists responding to it as

a piece of art. There's still generative

energy left in a film even if it's ‘finished.’”

Depending on how you measure it is

easy to see the VQFF’s mission as “finished”,

but a closer look shows there is a

long way to go. But with each showing

of queer cinema, from underground

documentaries to foreign features to

mainstream Netflix series, we get closer

to a united viewership. And that, really,

isn’t so far away.

The Vancouver Queer Film Festival

kicks off on August 11. Check

out the full festival lineup at


August 2017 QUEER




a sad specter makes for a haunting film


Most people have, at some point, become a ghost—a sheet over

their head, with two holes cut for eyes. But our brief flirtations with

death are (hopefully) played out over an evening, at which point

we return to the world of the living. But for C (Casey Affleck), who,

killed in a car accident, leaves behind a grieving lover (Rooney Mara),

the sheet does not come off. Instead, he waits in his home and

watches, the days passing like seconds, as his lover moves, his home

crumbles, and the world passes his limboed spirit by.

With the film’s minimalistic performances and moody music,

director David Lowery has found a way to make ghost stories fresh,

and somehow more realistic. After all, why would a ghost still be

angry enough to haunt a house after 200 years? Surely they’re more

likely to display C’s melancholy while watching his entire relationship

from under a sheet, or the ennui that engulfs him after his third

century sitting in the same room, waiting for—something, anything

to deliver him.

A treatise on love, patience, and above all, closure, A Ghost Story

leaves us with the impression that we should do the important stuff

while we can still exist in our surroundings and still hold the ones we

love. Maybe then we wouldn’t have so many moody ghosts flicking

our light switches. But whether or not you have something to live for,

or something to hang around for after you’re dead, drop the sheet

for a while and make some time for this film.

A Ghost Story is in theaters now.



Lift Off Festival

The Lift Off festival is coming to Vancouver and

offers you, the viewer, a chance to become a movie

critic. The audience gets time to judge and leave

comments for the filmmaker, and films will be

awarded based on the audiences choices. Any film

buff should jump on the chance to be a part of

that process and see these elusive independent

films. Whether you see a thought-provoking short

or a heartwarming feature, there is a burning story

at their heart and talented filmmakers at their

helm. Catch the festival August 7th-9th.

Double-Bills at the Rio Theatre

I am a sucker for double features so if you have

five hours to kill then embark on an adventure

with Overboard and Big Trouble in Little China

(August 10th), or experience chest-rending fear

with Alien and Aliens (August 19th).

Film Gets Dark at the Cinematheque

For the entire month of August the Cinematheque

will be showcasing films from the American film

noir genre. Picking any of the eleven available

showings spanning from 1941 to 1955 is not just a

great reason to finally see these forgotten classics,

but a rare opportunity to see them on the big


support your local cinemas

Upcoming Releases


The duo behind The Hurt Locker and Zero Dark Thirty are sure to set the bar

higher yet again with this film on the Detroit Rebellion, setting

the standard for thrillingly factual films that are important to see. (August 4th)

Wind River

An FBI agent and local wildlife tracker team up to solve a murder on a Native

American reservation. Coming in second at Sundance, this intense thriller will put

Taylor Sheridan (Hell or High Water, Sicario) on the map as a director. (August 4th)

Good Time

This is the film that received a six minute standing ovation at Cannes this year.

Following the desperate Connie (Robert Pattinson) as he tries to break his brother

out of jail after a bank robbery completely fails. Connie must do this while still

staying clear of the law that is also actively still looking for him. (August 11th)

Logan Lucky

I love Steven Soderbergh. This is the man who made Ocean’s Eleven, and the cast

of Logan Lucky includes Channing Tatum, Adam Driver, Seth McFarland, and Daniel

Craig playing a boisterous, loud mouthed, ex-con southerner. Clear your calendar,

quit your job, do whatever you have to do to see this movie. (August 18th)

Debut of Vancouver film The End of the Road

This documentary follows the band of draft-dodgers, hippies and misfits who

left civilization for the freedom of Lund, Canada where they traded electricity for

psychedelics and community. Often telling the story through the artwork of those

who were brave enough to be free, this film paints a brilliant picture of life as we

don't know it. (August 7 & 27, Vancity Theatre)

A Ghost Story

Casey Affleck struggles with life, death and the supernatural.

Logan Lucky






AUG 11




August 2017

Arcade Fire

Everything Now


It’s hard to think of an album in recent memory that has garnered as much hatred before its release as

Arcade Fire’s Everything Now. Granted, the post-ironic content skewering and self-aware media campaign

hasn’t been particularly enjoyable, but the band has managed to enter a new level of internet infamy

located above Father John Misty, but below Azealia Banks. While it may be en vogue to hate Arcade Fire’s

unaltered pretension, it’s hard to hear any reason for such rage in the music alone.

With an oddly-indicative album cover that displays a billboard of a neon-hued, desert mountain range

blocking the view of an actual mountain range, Everything Now is a perfectly competent indie-pop album

that has been covered in a shroud of marketing cynicism and content nausea. Luckily, if you can manage to

look past the billboards, you’ll find an album that demonstrates that, even at their worst, Arcade Fire are

still capable of greatness.

Everything Now builds on Reflektor’s cold, synth-heavy sonic interiors, but opts to knock down the

warehouse walls, revealing wide open landscapes of the American south. From New Orleans-style horn

stomps (“Chemistry”), to gritty, chugging synth pop (“Creature Comfort” and “Electric Blue”), the band has

managed to cover a wide range of contemporary pop sounds while still making them sound exactly like Arcade

Fire. Everything Now is an album that sits alongside the anthemic bombast of The Suburbs, the gothic

dread of Neon Bible, and the slinky dance punk disco of Reflektor.

Throughout its 45-minute runtime, Everything Now shows a band that has a remarkable sense of sonic

identity, while simultaneously presenting themselves as completely out of touch with broader pop culture

in 2017.

The result is an album that is often textbook Arcade Fire: Anthemic, slightly cloying, and ultimately a

little heavy handed. Yet, where Everything Now feels different than the band’s earlier work is that when

the band indulges its schmaltziest self, it pays off significantly less than it used to. Credit it to the quality of

their past work that Everything Now feels like the least important album in the band’s discography, even

when they seem to try and make it feel like the most.

That kind of self-reverence results in Win Butler indulging some of his most groan-inducing lyrical tendencies.

On the twin tracks “Infinite Content” and “Infinite_Content,” Butler’s subtle-as-a-hammer message

of internet content making everyone (content)ed (see what he did there?) and bored doesn’t add much to

a discussion that has been going on since the start of Facebook.

Elsewhere, “Creature Comfort” is marred by awkward vocal cadences and ham-fisted self-mythology

(Assisted suicide / she dreams of dying all the time / she told me she came so close / filled up the bathtub

and put on our first record), but is saved by the fact that it’s flat out the best instrumental on the record.

Credit that to Portishead’s Geoff Barrow, who co-produced the track alongside Pulp’s Steve Mackey (who

worked as producer on much of the album). It’s an amazing instrumental that sounds like a chugging,

electro pop “Keep the Car Running.”

It's telling that instead of coming off as a grand treatise on internet culture and media saturation, the lyrics

of Everything Now end up sounding like the mindless content the band presumably set out to critique

in the first place.

Luckily, the album sounds a lot better than it reads. “Signs of Life” sounds like an Oingo Boingo classic

produced by Soulwax. The latter comparison being especially apt for much of the album; a hodgepodge of

chintz reworked through kaleidoscopic electronica. Blaring horns and the same disco-indebted drums that

appeared all over Reflektor anchor the track in a way that conjures the image of Oingo Boingo frontman

Danny Elfman flashing a trademark deranged smile.

“Chemistry” starts with a King Tubby-esque reggae stomp before morphing into a Billy Squier guitar

track akin to “The Stroke” at the chorus. It’s among the best tracks on the album, and instantly earns a

place alongside “Month of May” as one of Arcade Fire’s most rock-centric moments.

The track also marks a shift in the album overall, the computer-centric gloss of the first half of the album

fades away to reveal desert-folk landscapes complete with an Americana twang that is a refreshing look for

the band.

Fortunately, for all its misgivings, Everything Now does deliver with one of the most flat-out affecting

songs of Arcade Fire’s decade-plus career. Late-album stunner, “We Don’t Deserve Love” is a gorgeous, electro-twanging

ballad that somehow combines a Roland CR-78 drum machine with an Owen Pallett string

arrangement and lush, swelling pedal steel courtesy Daniel Lanois. It’s a bright spot on an album that has

plenty of them, but still ends up feeling disappointing.

• Jamie McNamara

•illustration by Dylan Smith

August 2017 27


Grizzly Bear - Painted Ruins

Lana Del Rey - Lust for Life

Gordi - Reservoir

Jay-Z - 4:44

Kacy & Clayton - The Siren’s Song

Grizzly Bear

Painted Ruins

RCA Records

2017 appears to be the year that all of

the indie rock heavy hitters of the late

aughts came back to the table. Painted

Ruins is Grizzly Bear’s fifth release, and

in the five years since Shields (2012),

the band’s success has morphed into

individual successes for its members.

As such, this new record feels like a reunion,

even if much of it was recorded

without the band in the same room as

each other.

Since 2006’s Yellow House, Grizzly

Bear has been a band of competing

frontmen, with Ed Droste’s languid

moan and backroom longings tying

up half the songs, and Daniel Rossen’s

high-register ruminations rounding out

the rest.

The two voices mesh best on

“Mourning Sound,” where Ed Droste’s

beautifully pitched backing vocals can

mope through the verses and carry Rossen’s

unsettled and haunting vocals in

the chorus. The rhythm here is simple,

but pulsing, punctuated by producer

Chris Taylor’s ruthless bass guitar. The

soaring synth melody is the oddity of

the song, but it’s wavering pitch is just

weird enough to keep it from being too

strong of a hook.

Despite their indie credibility and

swath of imitators, Grizzly Bear has

never sounded contemporary. Their

success is largely attributable to their

uniqueness and sheer virtuosity. This

isn’t psychedelic pop at its most complex,

but almost certainly at its most

dignified. There is no wall of sound

here, no undefinable pitch effects or

kilometers of reverb. Even the vocals

are remarkably clean on most tracks.

This is indie music for people who listen

to jazz and classical, it doesn’t veer too

far out of genre to be inaccessible, but

it’s musicianship and song-writing are

timeless and striking.

• Liam Prost

Lana Del Rey

Lust for Life

Interscope Records

On a fourth studio album, most artists

would reinvent themselves in some

small, noticeable way; reveal a new look,

change up their sound, or work with

a new team. With Lust for Life, Lana

Del Rey is back with more of the same,

though decidedly. She knows herself

and for her, that’s enough.

Her output is constant – always

pushing her exploration of the gloomy

glamour of California dreaming and

the dredges of American melancholia.

Oddly, on the album’s cover she is

sunny-eyed and smiling, with daffodils

in her hair, embodying the eponymous

‘60s flower-child. In the 1967 essay,

Slouching Towards Bethlehem, writer

Joan Didion integrated herself within a

group of San Francisco’s ‘hippies,’ (the

people Lana often embodies) finding a

generation lost and in search of something

greater, though none could really

define ‘what.’ Lana finds herself in a similar

position throughout Lust for Life.

Standouts include “Summer

Bummer” featuring A$AP Rocky and

Playboy Carti, where Lana is at her

most Lana – “wrapping you up in

[her] daisy chains” atop a trap beat

and her signature withdrawn coos. As

an antithesis to her hip-hop lenience,

she offers “Beautiful People Beautiful

Problems,” featuring Stevie Nicks, which

is an inspired-‘60s girl group song for

two artists that could not offer better

synthesis. The song is setting aside one’s

own day-to-day distractions and seeing

your larger connection to the world.

Sadly, Lana offers no solutions, just the

lamentation “We gotta try every day

and night.”

Lust for Life is an album to make one

feel less alone, though it doesn’t bring

any strong realizations about life itself,

just more questions.

• Trent Warner




It’s rare that you see a debut LP so

ambitious. Sharing a label with Bon Iver,

S. Carey, and Volcano Choir, Australian

songstress Sophie Payten shares many a

production quirk with her label-mates.

Ample use of auto-tune, soft horns

and quirky samples that sound almost

directly lifted from the most recent Bon

Iver release layer Gordi’s effervescent

singer-songwriter pop.

Every song is treated very specifically,

without a coherent set of instrumentation

or production style linking the

tracks. Even Payten’s rippling and raw

vocal delivery, which sits at the centre

of the mix on almost every song, varies

heavily in terms of production effect,

sometimes pitched, sometimes doubled,

often with a hefty dose of reverb.

It hits violently on tracks like “Aeon,”

and gently on moments like the closer,

“Something like this.” This is a studio

record through and through, with very

little indication of how it might present

live. Tracks like the single “Heaven I

Know” and opener “Long Way” present

strongly as headphone experiences,

rewardingly close listens with tiny

auditory ticks.

The highlight here is the sparse

“I’m Done,” featuring a subtle guest

appearance by S. Carey. Led with a

simple guitar pattern, her songwriting

comes through most strongly, concisely

laying out an optimistic narrative about

clearly bookmarking a relationship.

Reservoir is dense and of-the-moment,

a layered and temperate piece of

work that will probably not be reproduced

in either her live performances

or future recordings. That said, it’s a

tremendously well put together and

impressive debut work.

• Liam Prost



Roc Nation

JAY-Z announced 4:44 with clarification

on how his rapper alias is stylised, but

by the end of the opening track, it is

clear this new album is about dissecting

what the name represents. The name

has brought him unparalleled success

and, at times, misfortune. 4:44 is a study

of what makes JAY-Z one of rap’s legendary

figures, but it is perhaps the first

album told through the perspective

of Shawn Carter, a human no different

from the rest of us. It is everything Magna

Carta Holy Grail is not, producing

some of the best material in his vast


At first, the conversational style of

rapping on this album seems like a

questionable choice for someone who

gave us classics like “Dead Presidents”

and “Empire State of Mind,” but after

a few listens everything clicks. No I.D.

handles production duties, providing

Shawn Carter with the soulful backdrop

he needs at this point in his career.

There are no forced attempts of trying

to copy the trap-infused hip-hop dominating

radio waves, opting for timeless

samples and originality instead.

Lyrically, JAY-Z seasons his rhymes

with fresh references of events that

occurred a few days before the album

dropped. Whether he recorded this

whole thing recently, or if it was only

a few bars, is irrelevant because the

quality speaks for itself. 4:44 deals with

themes of betrayal, family, lust and, of

course, wealth, but this time around it

feels genuine. Every song delivers an important

message that doesn’t diminish

in value with each consecutive listen.

Killing JAY-Z might be the smartest

business move Shawn Carter has made

Platinum Era (’96-’09)



10:30pm - 19+

2755 Prince Edward Street






10:30pm - 19+


August 2017


Jokes feat.

Benji Rothman


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Mr. Boom Bap


Boogie Nights w.

Mud Funk


The Railway

Stage presents

Dried Out

w. Milkers Wanted


Lust for Life


The Cut Losses

& Wax Cowboy


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


The Take Back

DJs Khingz,

Mic Flont

& Guests


Jokes feat.

Kevin Banner


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Mr. Boom Bap


Boogie Nights w.

Puff Puff Beer

Oakland, CA


The Railway

Stage presents

Ron Artis II


Lust for Life


Sintra &

Dream Cars


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


The Take Back

DJs Khingz,

Mic Flont

& Guests


Jokes feat.

John Cullen


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Mr. Boom Bap


Boogie Nights w.

X Presidents &

Mark Woodyard


The Railway

Stage presents


EP Release



Lust For Life

with special

guest bands


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


The Take Back

DJs Khingz,

Mic Flont

& Guests


Drag Show


Karmella Barr,

Dust, Rose

Butch, Syren



Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Mr. Boom Bap


Boogie Nights


TODDcast Podcast


The Wild!

w. Cobra Ramone

& No Liars


Lust for Life



Brutal Poodle

& More


Happy Hour


3 Beer til 3pm


5 Beer til 5pm


The Take Back

DJs Khingz,

Mic Flont

& Guests


Jokes feat.

Marito Antonio



Happy Hour


3 Beer til 3pm


5 Beer til 5pm


Mr. Boom Bap


Boogie Nights

August 2017 29


August 2017

Mark Kozelek & Sean Yeaton - Yellow Kitchen

Catherine MacLennan - If It’s Alright with You

Rainer Maria - S/T

Avey Tare - Eucalyptus

in recent memory, paving the way for

many more to come. After all, he’s

not a business man, he’s a business,


• Paul McAleer

Kacy & Clayton

The Siren’s Song

New West Records

Following up an album which saw

your band ascend to some truly

rarified air for a Western Canadian

group might be daunting for some,

but Kacy & Clayton's latest, The

Siren's Song, finds the southwestern

Saskatchewan duo not only meeting

the promise shown by 2015's Strange

Country, but exceeding it. Produced

by legendary Wilco frontman Jeff

Tweedy, The Siren's Song sees Kacy

Lee Anderson and Clayton Linthicum

continuing to expand their sound,

deftly combining the many strains of

traditional acoustic folk music with

the sunny feel of ‘60s California folk

and the lean edge of ‘70s country

rock. While Anderson and Linthicum

have often worked with sepia-painted

vignettes of the past with cleverly

cloaked references to more modern

times, The Siren's Song tends to do so

a little more clearly, with a welcome


The first single, "The Light Of Day,"

kicks off the record with a gentle pull

in the beat and a tasty, twanging riff

from Linthicum. Anderson sweeps in,

recounting the narrative of a woman

finding an old photo of happier times

in the bottom of a drawer, before the

chorus drops with a timeless lament

in which it's often "proper" to keep

quiet and not be misrepresented by

other people's perceptions of what

they have to say.

Tweedy wisely resists throwing

all the bells and whistles onto the

production and arrangements of

The Siren's Song, giving the band a

lean, live sound, with Anderson and

Linthicum adding their own fiddle

and pedal steel parts sparingly. The

Siren's Song crackles with smart vocal

and instrumental hooks and the classic

warmth of its influences, firmly

establishing Kacy & Clayton as one of

Canada's most tuneful and musically

engaging folk rock groups.

• Mike Dunn

Mark Kozelek & Sean Yeaton

Yellow Kitchen

Caldo Verde

For a well-known grump, Mark

Kozelek (Red House Painters, Sun

Kil Moon) certainly collaborates

a lot. The man is nothing if not

prolific, his solo records and under

the Sun Kil Moon moniker are often

seriously long and verbose, and so it

makes sense that he would want to

put out some spoken word. Don’t

mistake this, Yellow Kitchen, his first

collaboration with Parquet Courts’

bassist Sean Yeaton, is not music.

Kozelek does “sing” on a few tracks

overtop of some light woodwinds, or

quietly mixed guitars and drums, but

it’s hardly in a conventionally musical

manner. The music is somewhat

sparse, but experimental, and often

goes in several different directions

over the course of a single track.

The tracks themselves and

extremely honest and gruff, which

is roughly on par for Kozelek, but in

this context the humour comes out

more strongly than in his otherwise

beautiful folk songs. On “Somebody’s

Favorite Song,” Kozelek describes

a totally innocuous and awkward

conversation about buying vitamin D

at a drug store and having to explain

to the clerk why he needs it.

This record is required listening for

the Mark Kozelek completionist, but

it’s mostly just a strange distraction,

a fun thing to smile about on the bus

on your way to serve our corporate


• Liam Prost

Catherine MacLellan

If It’s Alright with You –

The Songs of Gene MacLellan

True North Records

Catherine MacLellan has been overfilling

her father’s shoes for a long

time now, but that doesn’t stop every

bio and review written about her

from referencing her lineage. Gene

MacLellan is Canadian royalty, having

written songs recorded by Elvis, Joan

Baez, and Bing Crosby. His daughter is

every bit as good a songwriter, having

picked up a Juno for her most recent

full length The Raven’s Sun (2014).

Gene’s songwriting is decidedly

more traditional than Catherine’s,

and she effectively softens songs like

“Biding My Time” with a clean and

unaccented delivery. The record is

nicely paced with mostly heartfelt

numbers, but plenty of driving moments

with drums and electric guitars

to keep the listening experience

consistently entertaining.

The centrepiece of the record is

undoubtably Gene’s most famous

song, “Snowbird” as made famous

by Anne Murray. Catherine’s version

is reserved, softly performed solo on

electric piano, elongated with a verse

only ever recorded by Gene. It’s immediate

and resonant, heartbreaking

even, with the allegory of the winter

snowbird as the forever-feeling periods

of grief, of untrue love, or of loss.

At 13 tracks it’s a good value

record, and as a tribute album, it’s a

reverent and polished effort.

• Liam Prost

Rainer Maria


Polyvinyl Records

When bands reunite for a “comeback”

album, the end result is often

shallow compared to their earlier

work, grasping at former greatness to

no avail. Life will take unused passion

and ruin it, chewing it up and regurgitating

an uninspired mess in its place.

The new Rainer Maria record proves

otherwise, establishing the urgency

of an origin story, a youthful rock

band with genuine enthusiasm and

emotion frothing from the mouth.

Rainer Maria started out in 1995,

becoming an influential emo band

until their hiatus in 2006. With both

a male and female vocalist singing

their hearts out over pounding,

guitar-driven melodies, the band’s

earlier work is raw in every sense of

the word. Although the production

and mixing of S/T sounds refined and

clean compared to what we’re used

to, Rainer Maria is still jagged and

imperfect, bleeding beauty louder

than ever before.

Caithlin De Marrais handles the

majority of vocal duties, howling out

resentful lyrics over slower and frantic

moments alike. The three band

members are synched up throughout

the entire project, combining for an

explosive sound ready for a stadium.

Tonally, the album is cohesive, leaving

a small desire for the band to branch

out, but it is also dense with intricacy

demanding more than one or two


S/T feels like a natural progression

of Rainer Maria’s 2006 Catastrophe

Keeps Us Together, erasing the time

between and preparing us for whatever

comes next.

• Paul McAleer

Avey Tare



Three years removed from his last

solo release, 2014’s Enter the Slasher

House, Animal Collective’s Avey

Tare has returned with Eucalyptus, a

sunset dreamscape that sounds like a

hallucinogenic trip put to wax. While

this may be an Avey Tare solo album,

he’s enlisted the help of an 11-member

band, featuring Angel Deradoorian

(who also played in Avey Tare’s

Slasher Flicks), Jessika Kenney, and

Eyvind Kang. The massive band

results in an album full of seemingly-infinitely

sustaining guitar strings,

sampled sounds and machinery that

can be hard to identify. Altogether,

Eucalyptus yanks you deeper into its

haunting lull.

Lyrically, Tare fills the album with his

perspectives on the day-to-day, and

the societal constructs we all live in.

Yet, Avey Tare’s music is about much

more than the lyrics, his vocal talent

is bolstered by layered production.

Eucalyptus displays Tare’s ability to

confuse, yet still sooth the listener by

anchoring his calm voice with digital


Eucalyptus plays like a cold margarita

in your hand while sizzling warm

sand nests between your toes. It’s

sweet and relaxing in a way that few

modern albums achieve. This is an

album for a long drive in the sun,

an afternoon spent in a hammock,

or whatever relaxes you in times of

confusion and stress.

• Keeghan Rouleau

August 2017 31



Deserve To Die

Mint Records

Dark and brooding,

smart and somehow


poppy, until now

Woolworm has always

been a happy

little secret in the

Vancouver music community. Their new album,

Deserve To Die, is being released this month via

Mint Records and it won’t be long before the rest

of the world takes notice. Recorded at the Hive in

Vancouver by the incomparable Jesse Gander, all

ten tracks shine with a newfound level of polish

and professionalism that make this pleasantly cynical

four-piece come to life in a way we’ve never really

heard before. Everyone at BeatRoute loves this

record so much that we thought it would be cool

to reach out to some key players in the local music

scene to see what they thought. Here’s a track by

track synopsis of Deserve To Die that is making us

and everyone we talked to very happy to be alive.

Give it a spin and see for yourself!

Track: Unwise

Reviewed by: Andrea Demurs - Glad Rags

“Unwise" opens Woolworm's Mint Records debut

like a yawning beast with feedback and slow,

deliberate guitar. You’re being invited to cross the

threshold into Deserve to Die’s landscape, which

is gloomy like a warm summer sky that suddenly

turns quiet and heavy. Once the drums kick in, you

are fully in the world Woolworm have built with

the opposing forces of longing and dread. You are

cursed to feel the weight of the future, and it takes

the form of surprising musical contrasts: hopeful

melodies and bright harmonies that are nested

between passages of lyrical pessimism and bitter

distortion. Palindromic, the song ends the way it

started, feedback ringing out like wet pavement

after sudden rain.

angry, it’s sung as bluntly as possible. It’s exciting

when a band doesn’t pander and Woolworm

certainly do not which is one of the qualities that

help make “Seer” a second track all-timer.

Track: Judgement Day

Reviewed by: Brad Wilde - If We Are Machines

Some part Jimmy Eat World, some part Dinosaur

Jr, I'm transported to the best bike ride I ever had.

I'm riding with my pals down to the beach and

right into the ocean. We just float in the waves

until the tide rolls us back onto the shore. When

I listen to this song I feel calm, centered, happy

but also a little introspective. It's so consistent

with its driven rhythm it would be impossible to

not dance a little with "Judgement Day" blasting

through your headphones. I'm smiling right now.

Track: Come With Me In

Reviewed by: Jovana Golubovic

A gentle melody ebbs and flows in a duet of

guitars whose scratchy distortion lends the charm

of a fuzzy radio. An intimate interlude, no drums,

over as quickly as it came like a brief romance or a

passing cloud. The elusive form and simple instrumentation

is striking on its own, but the best part

is the chord change into the song's second section,

framing the title line, "Come With Me," with

anguish and satisfaction at once. It is the music of

a midsummer night I am already nostalgic for as I

listen with all the windows open in late July.

Track: Sun Rock

Reviewed by: Sam Hawkins - Dead End Drive-In

For a record so obsessed with self-destruction,

“Sun Rock” strikes me as a bit subdued. Rather

than dive headfirst into reasons why we deserve to

die, Woolworm grapple with issues of self-doubt

and decision-making. Believe me, it’s still pretty

bleak. Beneath frontman Giles Roy’s heavy hearted

hollering, one can hear a last shred of hope.

Sounding something like a modern-day Morrissey,

he pokes and prods at an unknown audience,

voice undulating like ripples on the water. It’s dark

and dazzling, depressed and danceable. Three

thumbs up.

Track: Deserve to Die

Reviewed by: Evan Wansbrough - The Isotopes

It’s dark, and personal, and what you might have

called "emo" 15 years ago (If I had to compare it to

something else – which I don’t, by the way – I’d say

Hole meets Jawbreaker) but it’s got this particularly

interesting part in the hook that sort of makes

you want to smile. It goes: “And I deserve to die”

*happy chord change* “And I’ve earned it, believe

me.” It’s a nice little moment.

Track: Body

Reviewed by: Mitch Ray - Art Signified

"Body" is the seventh track on the album and, as is

the case with much of the record, the guitar playing,

tones and production are instant standouts.

The song feels urgent, even desperate, and carries

a sort of uplifting bleakness that Woolworm does

better than most, helped in large part by the lyrics

and the great vocal harmonies - another consistently

noticeable aspect of the album as a whole.

Track: Morbid Obsession

Reviewed by: Emily Jayne - Pet Blessings

In high school when I got the compilation Fat

Music for Fat People (Fat Wreck Chords, 1994),

there was a track, "2RAK005" by the band Bracket

that totally stood out with their melodic hooks

and less bro-esque approach. The first 30 seconds

of "Morbid Obsession" transported me to that

memory from the mid '90s, then kept me there.

Not in a dated way, but in a way that when you're

hearing something new and it magically reminds

you of old favourite bands that you might have

not heard in awhile. Good trip.

Track: Catbird

Reviewed by: Jason Corbett - Actors

There’s a warmth and comfort to "Catbird."

Vocalist Giles Roy invites you in to his world with

melody and an endearing sense of matter-of-factness.

The feel is melancholy without the infinite

sadness. Woolworm's album may be called

Deserve to Die but this group is having too much

fun mining some '90s gems and I’m loving it. The

no-frills production showcases the bands strengths

as they sound like a formidable well-oiled live unit.

I'm willing to bet they have even more up their

sleeve. Woolworm is another shining example of

why Vancouver should be regarded worldwide as a

hotbed of great music.

Track: Gender

Reviewed by: Louise Burns

One of my favourite things about Woolworm is

that they are secretly a pop band. At least to my

ears. Their melodies are effortlessly catchy, and their

hooks equally tasty. “Gender” is a track that contains

neither hook nor melody (it is an instrumental)

yet I still am somehow drawn in, despite being

a basic melody bitch. Charcoals, maroons and navy

blues swirl around like a dust storm for the whole

two minutes and 11 seconds. It is a blizzard of vibes,

equal parts high and hangover.

photo by Kate Forbert

Track: Seer

Reviewed by: Adam Fink - Gang Signs/Girlfriends

and Boyfriends

Ah the second track. That’s the true test of an

album. Sure “Smells Like Teen Spirit” is a great song

but “In Bloom” was the real hit. While “Seer”, the

second track off of Woolworm’s Deserve To Die,

may only clock in at just two minutes, it certainly

makes the most of its limited time. Shrugging

off the rush of feedback that closes out album

opener “Unwise”, “Seer” kicks things into gear with

a steady drumbeat before the guitars really set the

track into motion. Expounding on the album’s

overall theme of DEATH, vocalist Giles Roy lets us

know, “It’ll happen to you, it’ll happen to those

that you love” but it’s not mean spirited or even


August 2017

Eagles of Death Metal

The Rickshaw Theatre

July 15, 2017

There’s something different in the air at Vancouver’s

Rickshaw Theatre, a course of electricity

perhaps, creating shivers throughout

your body. A sense of familiarity overcomes

you as the Eagles Of Death Metal take the

stage and get comfortable, Hughes sporting a

red cape that he quickly tosses to the ground.

There’s the count in from drummer Jorma Vik,

filling in for Josh Homme on tour, and suddenly

you’re taken away with a pounding four

on the floor. Moments later you find yourself

repeating “I Only Want You” at the top of

your lungs over and over while gliding across

the dance floor as if nothing else existed, as if

EODM were the only band on earth.

Across the entirety of Vancouver’s East Side

the crowd roars and cheers as frontman Jesse

Hughes orchestrates a human tidal wave of

voices throughout the venue. Unable to move

in the packed venue, Hughes’s energy on stage

is impossible to match. Similarly, his vocal

The Psychedelic Furs

Commodore Ballroom

July 19, 2017

If you were wondering where your parents

were on July 19 and why they came home

smelling like the front steps of the Vancouver

Art Gallery, chances are they were gettin’

down at the sold out Psychedelic Furs show

at the Commodore Ballroom.

If the reaction to the playlist pumping

through the speakers was any indication of

how the night was to unfold, it was destined

to be one for the history books. The crowd

boogied down to the likes of New Order,

Depeche Mode and an array of other

’80s bangers, all the while taking precisely

choreographed selfies that would make any

teenager’s Instagram feed look pedestrian at

best. But all eyes and phones turned towards

the stage when Modern English was cut

short for the Furs.

The band walked on stage with style and

photo by Bryce Hunnersen

range and capacity leaves audience members

breathless and defeated, chests heaving. He

sings each lyric powerfully, with purpose, and

seemingly at each and every single person

in attendance. Arms are raised high, bodies

clashed together, bouncing around like one

weightless unit.

Whether it’s the guitar on tracks like

“Whorehoppin,” or going without instruments

on others such as as “Skin-Tight Boogie,”

“Complexity” and “Silverlake (K.S.O.F.M.),”

their entire performance was wildly electrifying

as well as completely unpredictable. Also

playing such hits as “Wanna Be In LA,” “Boy’s

Bad News” and “Speaking in Tongues,” as well

as a tribute to David Bowie with their cover

of “Moonage Daydream.” It seems as though

despite their wild success and reception over

the last near two decades, EODM haven’t

forgotten the spirit of what laid the foundation

for their music, what pushed the limits

for what was acceptable or the fans they pour

their souls out for.

•Tanis Lischewski

Perfume Genius

The Imperial

July 15, 2017

The warm and inviting glow of pink lights

cascaded over the stage at the Imperial

this past Saturday, as fans calmly waited

for the return of Perfume Genius. Currently

on tour for his third album No Shape,

singer Mike Hadreas gracefully took the

stage surrounded by palm fronds, transforming

the room into a desert oasis as

they slowly wilted away in the heat.

Immediately the band soared into the

album’s opener, “Otherside,” as a blinding

white light shone intensely during the

song’s thunderous piano arpeggios. Like

a slinky, Hadreas arched his back, almost

able to touch his head to the stage, before

shooting back into an upright position

for the next verse. The guy can wiggle!

Contorting his body in ways only an

elastic band can, Hadreas wormed his way

around the stage as if Mick Jagger was

grace, jumping right into “Dumb Waiters.”

Only one song in and fans were already

shouting at them to play the songs they’d

waited years, maybe lifetimes, to hear live.

“Love My Way” and “Pretty in Pink” would

prove to be two of the most cherished

moments of the evening, inciting venue wide


Singer Richard Butler sparkled, giving life

to each lyric as if presenting a Shakespearean

sonnet, his voice containing the majesty of

Bowie but with the grit of Johnny Rotten.

Virtuoso Saxophonist Mars Williams served

as the melodic backbone to many of the

evening’s songs, giving his reeds a workout

with fury and steamy hot soul.

Although the Furs have never reached

the heights of some of their peers and

predecessors, they were truly praised by the

Commodore crowd. An evening of Greatest

Hits was just the mid-week work break Mom

and Dad needed.

•Jeevin Johal

photo by Bryce Hunnersen


photo by Darrole Palmer

dodging bullets in The Matrix.

The constant rumble of the rhythm

section kept the walls of the Imperial

reverberating, as tom-heavy drums and a

distorted bassline introduced “Grid,” off

of his 2014 album Too Bright. Juxtaposed

by glistening synth melodies and Hadreas’

tender vocals, all elements rose together

for a fierce finale that had the slender

singer screaming. A definite highlight of

the evening.

Throughout the show, a lone keyboard

sat in the middle of the stage that was

mostly neglected until the encore, where

Hadreas treated the audience to a cover

of Neil Young’s classic “Helpless.” The

stripped back cover offered a glimpse into

the artist’s past, alluding to the conception

of his work as Perfume Genius. A

skeleton in which he continues to expand

upon, creating more lush and daring songs

album to album.

•Jeevin Johal
















































































August 2017 33


NEW MOON RISING: your monthly horoscope

Month of the Earth Monkey

At last! Relief from the hectic Fire cycles as we enter heavy Earth. The

Monkey brings fun and foolery to the Rooster year and these two

animals combine joyfully, inviting celebrations of all kinds. The energy

of Earth represents integrity and loyalty, but can also cause things to

become slow or stagnant. Expect a slower pace this month. Adaptability,

forgiveness, and positivity are the keys to success at this time.

Rabbit (Pisces): The world is full of

things that you might never understand.

Cultivate tolerance and good

will towards all, despite the apparent


Dragon (Aries): Emotions can be

a clue to our hearts wishes. Listen

deeply to your heart and work to

release any repressed feelings that

might be lingering from the past.

Snake (Taurus): Lucky extra money

or added expenses make or break

you this month. Stick to your plans

and don’t take any unnecessary risks

with your finances.

Horse (Gemini): Move and run freely!

Lighten your commitments and

travel to a place you haven’t been or

seen before. New horizons inspire

your life.

Sheep (Cancer): Happiness can

be found in solitude or with close

friends and family. Taking time

with the people who matter to you

can be a perfect complement this

month to an unexpected time of


Monkey (Leo): Work pressures

mount and playing games in

relationships might make some

enemies, as well as friends. Be careful

not to offend.

Rooster (Virgo): Wheeling and dealing,

you are strutting around with a

beaming grin. Play fair and all will go

your way now.

Dog (Libra): Work smarter not

harder, as they say. Use your time

wisely as pressures that surround

you now might leave you feeling as

if you’ve been outplayed or outsmarted.

Pig (Scorpio): What brings us to

healing? Sometimes the only way we

will pay attention to our wellbeing is

when something goes wrong. Rest,

recover, and seek help from the healing








Wristbands required for general admission*.

•illustration by Syd Danger

Rat (Sagittarius): Friends, work,

and family keep you active and

social this month. Enjoy the activity

but be careful not to allow unnecessary

drain on your time and energy.

Ox (Capricorn): Discipline, hard

work, and tenacity mean that

you are always on top of things

and it’s okay occasionally to take

a break. Pick up a book, take a

stroll, or ease up on your commitments.

Tiger (Aquarius): Change and

challenge arrive this month

and you’re ready for it. Maybe

a new relationship, career path,

or friends are just around the

corner. Chin up!

Susan Horning is a Feng Shui

Consultant and Bazi Astrologist

living and working in East Vancouver.

Find out more about her

at QuanYin.ca.

AUG 19


AUG 20


AUG 22



AUG 23



AUG 24


AUG 25


AUG 26


AUG 27



AUG 29



AUG 30

THE B-52s

AUG 31
























Reserve a

private suite for

the nightly show!

Details at

*NEW THIS YEAR: Wristbands will be required to access free general admission seats. Wristbands will be

handed out starting at 2pm day of concert and will be timestamped to ensure guests get into the venue on

a first come, first in basis. Visit pne.ca/wristbands for details on how to obtain a wristband.


August 2017

August 2017 35







The Biltmore Cabaret



Rickshaw Theatre





The Biltmore Cabaret










The Biltmore Cabaret

The Biltmore Cabaret

Fox Cabaret



8/12 - SG LEWIS








8/16 - THE ORB








9/1 - HONNE


9/12 - TOPS


9/30 - MAYDAY







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