BeatRoute Magazine [AB] print e-edition - [September 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.
BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics.
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Beakerhead • Comeback Kid • Yes • A Bomb • Nosaj Thing • Kacy & Clayton • Divinity • Chad VanGaalen
feature<br />
The<br />
Poutine<br />
Supreme!<br />
ground beef, jalapeño cheddar<br />
cheese sauce, sour cream topped<br />
with tomatoes and green onions.<br />
ROLLING OUT ALL SEPTEMBER!<br />
To Book the Big Cheese Food Truck call:<br />
403-354-CURD (2873)<br />
Featured Hot Dog:<br />
BEEF WRANGLER<br />
all beef wiener topped with onion<br />
rings, sour cream, bacon and<br />
shredded cheddar cheese<br />
Slurpees! Milkshakes!<br />
This Month’s Milkshake is..<br />
Chocolate<br />
Banana Split<br />
Visit our Kensington location<br />
and enjoy 12 flavours<br />
of ice cream!<br />
738B 17TH AVE. S.W. I 207 10TH ST. N.W. I FACEBOOK.COM/MYBIGCHEESE. I MYBIGCHEESE.COM
FIXED<br />
Editor’s Note/Pulse 4<br />
Bedroom Eyes 7<br />
Vidiot 19<br />
Edmonton Extra 30-31<br />
Book Of Bridge 32<br />
Letters From Winnipeg 33<br />
This Month in Metal 47<br />
FEATURES<br />
Calgary Film 15-17<br />
CITY 8-13<br />
Beakerhead, Skifflemania!,<br />
Fashion<br />
FILM 15-19<br />
CIFF roundup, Return To Nuke Em High<br />
Volume 2, The Vidiot<br />
T<strong>AB</strong>LE OF CONTENTS<br />
MUSIC<br />
rockpile 21-33<br />
Comeback Kid, Yes, The New Pornographers,<br />
The Mad Caddies, The Voodoo<br />
Glow Skulls, A-Bomb, Mister & Mystic,<br />
2/3 Of Nothing, Mammoth Grove, UP +<br />
DT Festival<br />
jucy 35-36<br />
Nosaj Thing, Billy Kenny, Caspa<br />
roots 38-39<br />
Kacy & Clayton, Amy Helm, Ayla Brook<br />
shrapnel 41-42<br />
Divinty, Yawning Man, Maglor<br />
REVIEWS<br />
music 45-51<br />
Chad VanGaalen, Alvvays, Faith Healer,<br />
The National and much more ...<br />
BEATROUTE<br />
Publisher/Editor-in-Chief<br />
Brad Simm<br />
Marketing Manager<br />
Glenn Alderson<br />
Editor<br />
Colin Gallant<br />
Managing Editor<br />
Sarah Kitteringham<br />
Production Coordinator<br />
Hayley Muir<br />
Web Producer<br />
Masha Scheele<br />
Social Media Coordinator<br />
Amber McLinden<br />
Section Editors<br />
City :: Brad Simm<br />
Film :: Jonathan Lawrence<br />
Rockpile :: Jodi Brak<br />
Edmonton Extra :: Brittany Rudyck<br />
Book of (Leth)Bridge :: Courtney Faulkner<br />
Letters From Winnipeg :: Julijana Capone<br />
Jucy :: Paul Rodgers<br />
Roots :: Liam Prost<br />
Shrapnel :: Sarah Kitteringham<br />
Reviews :: Jamie McNamara<br />
Contributing Writers<br />
Christine Leonard • Arielle Lessard • Sarah Mac • Amber McLinden • Kennedy Enns •<br />
Jennie Orton • Michael Grondin • Mathew Silver • Kevin Bailey • Jackie Klapak •<br />
Hayley Pukanski • Nicholas Laugher • Arnaud Sparks • Brittney Rousten • Jodi Brak •<br />
Breanna Whipple • Alex Meyer • Jay King • Alec Warkentin • Paul McAleer • Mike Dunn •<br />
Shane Sellar • Kaje Annihilatrix • Dan Savage<br />
Advertising<br />
Ron Goldberger<br />
Tel: (403) 607-4948 • e-mail: ron@beatroute.ca<br />
Distribution<br />
We distribute our publication in Calgary, Edmonton, Banff, Canmore, and Lethbridge.<br />
SARGE Distribution in Edmonton – Shane Bennett (780) 953-8423<br />
e-mail: editor@beatroute.ca<br />
website: www.beatroute.ca<br />
E-Edition<br />
Yumpu.com/<strong>BeatRoute</strong><br />
Connect with <strong>BeatRoute</strong>.ca<br />
Facebook.com/<strong>BeatRoute</strong><strong>AB</strong><br />
Twitter.com/<strong>BeatRoute</strong><strong>AB</strong><br />
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Copyright © BEATROUTE <strong>Magazine</strong> <strong>2017</strong><br />
All rights reserved. Reproduction of the contents is prohibited without permission.<br />
Dave Drebit, in the newly-formed The Night Terrors, lets loose at Dickens on a hot August night.<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 3
pulse<br />
ALLY PARTY<br />
Friday Sept 22 – Sunday Sept 24<br />
Friday Sept 28 – Sunday Oct 1<br />
Beers, bands and tacos in the<br />
parking lot. Record sale<br />
Woolworm<br />
Archaics<br />
Feel Alright<br />
I am The Mountain<br />
Jason famous<br />
Cold Water<br />
King Turtle<br />
Seizure Salad<br />
Kris Ellestad<br />
Fox Who Slept The Day away<br />
Body Body<br />
Jordon Hossack<br />
Freddy Dwight<br />
36?<br />
Grey Screen<br />
Liquor Mountain<br />
… more<br />
LOCAL 510<br />
AFTER HOURS WITH BRAIDS<br />
Following a successful spring season, Studio Bell<br />
After Hours is back with more to offer late night<br />
guests on Friday, <strong>September</strong> 22 from 7:00 pm to<br />
11:00 pm. The fall season will kick-off with JUNO<br />
Award-winning three-piece Braids headlining in<br />
Studio Bell’s Performance Hall, while beat-makers<br />
Kloves (techno) and Miss Hazard (house and techno)<br />
spin selections on multiple levels.<br />
Due to public demand, the fourth installment of<br />
the series will also include a later start time, giving<br />
attendees more time to dance and mingle after they’ve<br />
gotten warmed up.<br />
CALGARY<br />
BEER CORE<br />
BENEFIT<br />
Duane Hostland is a 40 year old father of three, a<br />
loving husband and an avid obstacle course racing<br />
competitor. During a routine procedure, Duane was<br />
diagnosed with stage 3B terminal stomach cancer.<br />
His first thoughts were not of himself, but of his two<br />
daughters, his son, and the love of his life, Rosalie.<br />
Duane is determined to overcome his illness. His<br />
biggest fear is not being able to provide for his family<br />
while undergoing aggressive treatment.<br />
On Saturday, Sept. 30, CALGARY BEER CORE will host<br />
a fundraiser for the Hostland family, bringing together health,<br />
wellness, art, and music at The Stetson between 3pm and<br />
12am. A silent auction will be held, showcasing products<br />
and services donated by Calgary businesses dedicated to<br />
health, wellness, art, culture, music, and community. Local<br />
bands and musicians are slated to play throughout the event<br />
to celebrate the Hostland family. All proceeds will go to the<br />
Hostland family.<br />
WENDESDAYS<br />
4 | SEPTEMBER <strong>2017</strong> • BEATROUTE
NO,<br />
YOU’RE<br />
WEIRD!<br />
JOHNFLUEVOGCALGARYTHAVESW··<br />
JOHNFLUEVOGEDMONTONAVENW··<br />
FLUEVOGCOM
SOARING EAGLE RECORDS<br />
It’s a bird, it’s a plane, it’s....<br />
Matt Olah was the founder and frontman of Cowpuncher, a<br />
Calgary band that had a good run over several years, playing<br />
across Canada, making records, having a devout following.<br />
All good things must pass, Olah took a job with the Calgary<br />
Folk Music Festival and hung up his microphone (for the now,<br />
anyway) and is now pitching his new venture, Soaring Eagle<br />
Records.<br />
Where does the name come from?<br />
When we were filling out grant applications for Cowpuncher<br />
there was always a field on the form for record labels. As a joke<br />
we would fill in Soaring Eagle Records. We even made a Facebook<br />
page. And now it’s for real!<br />
Any specific focus or kind of music or artist?<br />
No. With the Folk Fest I’m programmed to work with a diverse list<br />
of artists. I want colour, female representation and people I like!<br />
What does it mean these days when you get signed to a label?<br />
What do you have to offer?<br />
Artist development. I work at a large music festival that also has<br />
a venue with shows year round. I think I’m good at knowing how<br />
to book and promote artists and shows. I was also an artist for 12<br />
years and had some real successes. I’m happy to share that knowledge<br />
and experience.<br />
For more Matt go to... www.facebook.com/soaringeaglerecords<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 7
CITY<br />
BEAKERHEAD<br />
a fun-filled history of human innovation at your fingertips!<br />
by B.Simm<br />
CITY AT NITE, CITY OF LIGHT<br />
Beakerhead’s photowalk workshop<br />
Torch night with Serpent Mother and her flame lovin’ fans.<br />
Now in its fifth year, Beakerhead’s stimulating, visual, hands-on,<br />
art meets science, street walk experience ups the ante with<br />
more than 60 events and exhibitions designed to inform, entertain,<br />
excite and tweak your imagination. On account this extravaganza<br />
is so massive, we decided to let Jasmine Palardy, Beakerhead’s communication<br />
pro, do the talking and touch upon this year’s theme<br />
and a just a few of the fun rides to look forward to.<br />
SNAKES AND LADDERS<br />
This is Canada’s 150th year birthday, although the land certainly<br />
has a history that extends well beyond that as does human ingenuity.<br />
This year we decided on a snakes and ladders theme. It’s not<br />
a typical board game, not in the literal sense you roll the dice and<br />
see what happens. Rather, with 14 engineered art installations we<br />
constructed a snakes and ladders story. Innovation and invention<br />
is a bumpy road. For anyone going from innovation to execution<br />
there’s a lot of failures and successes along the way.<br />
And what we’ve often heard about Beakerhead is that because<br />
it’s so massive, where do I go next? You can choose your adventure<br />
and self-discover, or walk up to a site and read about the snakes<br />
and ladders story which offers another direction to go in. It’s our<br />
way of bread-crumbing people through this story of history and<br />
human ingenuity and innovation.<br />
SERPENT MOTHER<br />
Now the most literal of snakes is the Serpent Mother which is a<br />
mechanically articulated snake more than 160 foot long staged at<br />
Fort Calgary. She shoots 20-30 feet columns of fire from multiple<br />
points along her body. And there’s buttons you can push!<br />
get your pack on and up to the space station and prepare for space<br />
travel. It delightfully pokes fun at the bureaucracy of public transit.<br />
We may think the future will be glitzy and smooth, but public<br />
transit will always come with its glorious red tape.<br />
INKED: THE SCIENCE OF DEEP SKIN<br />
One interesting workshops is Inked, and the science of tattooing.<br />
You’ll walk into a tattoo parlour, sit down with a tattoo artist and<br />
dermatologist and learn about tattoo augmentation and the affect<br />
it has on your body. Then you get to pick up the machine and<br />
actually make a tattoo… on an orange peel!<br />
SCIENCE OF CATS AND DOG<br />
Co-founder Jay Ingram is hosting a stage show at MRU’s<br />
Bella Concert Hall that looks at everything from cat and dog<br />
behaviorists to detective dogs to robot cats and dogs.<br />
THAT’S SOUNDS DIFFERENT<br />
Deaf and Hear Alberta is having a listening party at the Grace<br />
Presbyterian Church where you can bring a CD or piece of vinyl,<br />
they will play it and will remove or add certain frequencies so you<br />
understand what people with different auditory perceptions hear.<br />
Beakerhead’s complete schedule of events can be found at<br />
www.beakerhead.com<br />
Last year, one of Beakerhead’s main<br />
attractions were the giant white,<br />
luminous bunnies who lite up the night.<br />
Everyone loved the bunnies, and everyone<br />
wanted to take photos of them trying to<br />
capture that fabulous glow-in-the-dark<br />
experience, which is not so easy to do. No,<br />
the bunnies didn’t scamper off, but night<br />
photography can be tricky business if<br />
you’re not exactly sure how it works.<br />
This year Beakerhead offers a new indepth<br />
hands-on experience with a refine<br />
your skills workshop led by local photographer<br />
and visual storyteller Rob Brown.<br />
Growing up, Brown developed a passion<br />
for film cameras and went shooting<br />
when and wherever he could to snag the<br />
world through his lens. As the digital age<br />
unfolded so did Brown’s photo adventures,<br />
roaming the planet taking him to exotic<br />
territories including New Zealand, Cambodia,<br />
Cuba and Turkey where he indulged in<br />
landscape, street and night photography.<br />
“The photos I most enjoy taking involve<br />
emotional storytelling, usually with people<br />
in them, but not always... Beakerhead is so<br />
unique, because so many of the exhibits<br />
have a light component to them. The big<br />
bunnies and octopus in previous years<br />
were all lite up and dramatic allowing for<br />
great photography.”<br />
Brown will be carrying his Panasonic<br />
Lumix GX8, a street camera supreme, but<br />
he’ll show how you can make your own<br />
hand-held capture all the glory at night.<br />
For more info go to www.beakerhead.com<br />
Night Photography Workshop<br />
SAIT LOVES ACAD<br />
Anyone who has gone to SAIT or ACAD know the technical world<br />
is siloed away from the arts world, and that extends way beyond<br />
school. So this year SAIT and ACAD are playing with each other<br />
with giant inflatables, kind of a love story between those two<br />
institutions. SAIT will have a hug paint brush on its rooftop, while<br />
ACAD will have a rocketship on top of there’s.<br />
CALGARY MUNICIPAL SPACE STATION<br />
There’s a local group called Humble Wonder who will be turning<br />
the Calgary Tower into its first municipal space station. To envision<br />
an extension of public transit, we have to think about a municipal<br />
space station that will connect to galaxies beyond. They’re converting<br />
the elevator and at least half of the top of the tower into a<br />
space station that’s a fully inclusive experience and includes some<br />
virtual reality. It’s guided experience, you’ll be with a fellow space<br />
traveler to get some ground training like any other astronaut, then<br />
Calgary’s Major Tong gazing down from the tower.<br />
Rob Brown: viewing the world through a storytelling lens.<br />
8 | SEPTEMBER <strong>2017</strong> • BEATROUTE CITY
HEXAGON CAFE<br />
game board delight in Kensignton<br />
The afternoon sun pours into the fresh, bright,<br />
clean, contemporary interior of the Hexagon<br />
Board Game Cafe. It’s truly a warm delight looking<br />
out from a second story window as people wander<br />
up and down Kensington Road, enjoying their<br />
summer’s day. That the cafe has such an exquisite and<br />
inviting design is no surprise considering the owners,<br />
Kellie Ho and Randy Wong, both graduated with<br />
degrees in architecture.<br />
But the Hexagon is more than just a place to chitchat<br />
and enjoy the view over a cup of coffee or a beer,<br />
if you prefer. It’s where board-gamers congregate and<br />
delve deep into their obsession. The idea came to Ho<br />
and Wong when they couldn’t find work as designers<br />
and traveled to Korea.<br />
“Boarding cafes are really popular there with people<br />
from all over the world,” say Ho. “And we thought<br />
to bring the concept back home.” Three years ago<br />
they opened their first cafe in Edmonton, Ho’s hometown,<br />
on Whyte Ave. And then the location here in<br />
Calgary, where Wong’s from, last year.<br />
Kellie says that while they do cater to gamers they<br />
also get a lot of professionals, students and those out<br />
on date nights that crack open the board. “It’s a good<br />
ice-breaker, and you get to see the other’s personality<br />
quite easily,” she laughs. For those who haven’t yet taken<br />
the plunge into the parallel universe of gameland,<br />
you’re missing out on a wonderful experience in a<br />
wonderful place.<br />
On Thursday, Oct. 5. ACAD Student Night takes<br />
place at Hexagon, #200 -1140 Kensington Rd. NW.<br />
MADISON’S<br />
Inglewood’s new comfort cafe has many splendors<br />
Community-minded whiz kids Pieter and Jared<br />
Co-owner, Pieter Boekhoff, says that he and<br />
his partner, Jared Salekin, designed their<br />
boutique nacho bar with women in mind. “It’s<br />
meant to be female-centric. A place were women<br />
can come, enjoy a glass of wine, have good<br />
conversation,” says Boekhoff. And clearly the<br />
elegance of Madison’s with its wood paneling,<br />
white tiling, a modern flair for furniture and<br />
golden rays of sun filling the room, distinguishes<br />
and distances itself from the dingy,<br />
bottom-rung sports bar full of men chugging<br />
back beers. Although you can order beer at<br />
Madison’s, they have lots of local craft brew on<br />
tap that they rotate regularly.<br />
Boekhoff adds, “We also wanted to make it<br />
the most comfortable coffee shop you’ve every<br />
worked out of.” He notes the design of the<br />
tables, chairs and positioning of power outlets,<br />
all for the convenience of using a laptop.<br />
Speaking of comfort and style, Madison’s<br />
CITY<br />
by B.Simm<br />
Let’s go boarding now, everyone is learning how!<br />
by B.Simm<br />
may have the best patio in<br />
Inglewood, facing south,<br />
back off the street and<br />
partly shaded by mature<br />
trees and building walls<br />
on each side. There’s both<br />
sun and protection, a real<br />
comfy pocket.<br />
The nacho menu is their<br />
food specialty. Served on a<br />
8 x12 inch aluminum tray,<br />
they offer five different<br />
selections that include the<br />
Angry Hawaiian, Mexican,<br />
Korean, Poke and Wild<br />
Mushroom & Truffle with<br />
none of the typical pub grub ingredients you’d<br />
get in a bar. Fresh, filling and fantastic is a<br />
deserving description. You’d be hard-pressed<br />
to go back to that ole plate piled high with its<br />
shredded monza-cheddar mix.<br />
The name Madison’s is tip of the hat to New<br />
York where both Salekin and Boekhoff went<br />
for inspiration. And what did they come back<br />
with? A delicious Old Fashioned cocktail priced<br />
at TEN DOLLARS! Thank you very much!!<br />
Both graduates of the entrepreneur program<br />
at MRU and pro-community, Boekhoff and<br />
Salekin set up Madison’s to give people a stake<br />
in the firm. “For $5,000,” says Boekhoff, “you<br />
get an order of nachos per week. And it’s also<br />
an investment in the company where you get a<br />
profit share as a non-voting member.”<br />
Chips Ahoy! On so many levels. Madison’s is<br />
located at 1212 - 9 Ave. SE.<br />
WHAT SHAKES<br />
YYSCENE’s quick scan go-to-guide for <strong>September</strong>...<br />
Everything, and I mean EVERY-<br />
THING is happening this month.<br />
Music? Check. Dance? Check. Food<br />
from trucks? Check. Film? Hells yes,<br />
check. Science and art, together<br />
again? Check check.<br />
Are you a fan of Jay Arner? Well, he’s<br />
playing with Heavydive and Carbolizer<br />
on Sept. 7 at the Nite Owl.<br />
More into dance? The 36th Annual<br />
Alberta Dance Festival presented<br />
by Dancers’ Studio West runs at the<br />
Pumphouse Theatres Sept. 7-16. Go,<br />
culture yourself.<br />
Food! On Saturday, Sept. 9 head to Currie Park (by Wild Rose Brewery if that’s a better<br />
marker for you) for this year’s Circle the Wagons traveling carnival, featuring YYC Food<br />
Trucks, beer, music, art and performers from 9 a.m. to 11 p.m.Head off to MacEwan Hall<br />
after you’ve eaten your body weight in tacos to check out Oh Wonder’s Ultralife Tour.<br />
Beakerhead: Your art is in my science! Your science is in my art! From Sept. 13-17 you can<br />
take in some amazing exhibits – both interactive and not – around downtown Calgary<br />
and just revel in Beakerhead’s awesomeness. A giant, fire-y serpent, fun down Kensington<br />
Alley, the art of butchery. .. well that sounds weird, but you get the idea. Much to see!<br />
The Ballantynes with Hard Pressed and Letters to Lions play the Palomino on Sept. 14,<br />
with Fiver and Saltwater Hank at the Hillhurst United Church Sept. 15. Market Collective<br />
– more than just a market – brings us the Market Collective Bike Scavenger Hunt on<br />
Sept. 17 from 12-4 p.m.<br />
Film! So much film from Sept. 20 - Oct. 1 with the <strong>2017</strong> Calgary International Film Festival,<br />
featuring documentaries, shorts, local films, international films ... you name it, they’ve<br />
got it. Buy a pass and start planning your month. That’s a lot of films ...<br />
Studio Bell After Hours will feature former locals Braids with Kloves and Miss Hazard on<br />
Sept. 22 from 7-11 p.m. Sept. 23sees Elliott Brood headlining at The Gateway, and The<br />
Commonwealth will be busy with Kacy & Clayton on Sept. 24 and Austra (so excited!) on<br />
Sept. 27.<br />
Ending the month you have Feist at the Bella Concert Hall for a three-night stand, Sept<br />
27-29, The New Pornographers with Born Ruffians on Oct. 3 at MacEwan Hall, and why<br />
not head to the Ship & Anchor on Oct. 4 to check out Adictox with Canibales & No<br />
More Moments?<br />
There — start planning your month.<br />
The Ballantynes, Vancouver’s premier soul-rockers<br />
Sept. 14 at The Palomino<br />
Kari Watson is a writer and former Listings Editor of FFWD Weekly, and has continued<br />
to bring event listings to Calgary through theYYSCENE and her event listings page, The<br />
Culture Cycle. Contact her at kari@theyyscene.ca.<br />
Kari Watson<br />
Editor, writer, events listings curator<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 9
Books<br />
SKIFFLEMANIA!<br />
Billy Bragg reveals the roots of Britain’s rock ‘n’ roll revolution<br />
At the height of its popularity in 1957 skiffle<br />
in Britain was enormous. Nothing less than a<br />
massive skiffle attack with an estimated 400<br />
groups in London and literally thousands more scattered<br />
across the country playing school gymnasiums,<br />
cafes and church basements, prompting an insane<br />
surge in annual guitar sales that also soared into the<br />
thousands. Top hits on the radio, smash records, crazed<br />
skiffle contests and packed coffee houses... Skifflemania<br />
was in full swing! And then in a flash it was gone,<br />
just as a one scruffy skiffle outfit from Liverpool, The<br />
Quarrymen, made their first demo recording a Buddy<br />
Holly song. Soon after, rock ‘n’ roll was here to stay.<br />
Skiffle was a major influence, the segue to stardom<br />
and a new universe for many of great British pop and<br />
rock artists including The Beatles, The Who, David<br />
Bowie and Jimmy Page. Yet very little is known about<br />
this fertile period from ‘56 to ’58 which hasn’t garnered<br />
much more than a footnote in the history books. This<br />
is precisely why Billy Bragg, the political folk-punk troubadour,<br />
took to writing a fine piece of smart, articulate<br />
and often witty historical research with Roots, Radicals<br />
And Rockers: How Skiffle Changed The World.<br />
Its beginnings hinge on Ken Colyers, whose unwavering<br />
purist love for New Orleans jazz led to the<br />
formation of a “trad jazz” band that included Lonnie<br />
Donegan, a lively Scot who also cherished country<br />
swing and the blues. In 1954 Ken Colyer’s Jazzmen<br />
recorded a reeved-up version of Leadbelly’s “Rock<br />
Island Line” as a B-side with Donegan taking lead<br />
vocals. What was essentially a near throwaway track<br />
would launch the skiffle craze two years later and vault<br />
Donegan into orbit.<br />
In terms of Donegan’s talent, Bragg claims, “He was<br />
undoubtedly the best blues singer in Britain. Head and<br />
shoulders above anyone else as a white blues singer. He<br />
was a good all ‘round entertainer, who had that ability<br />
to engage an audience. A very gregarious personality. I<br />
meet him in his later years, he was the life and soul of<br />
the party kind of guy. And a real fan of the music. He<br />
had a real a love for it, which he wanted to communicate<br />
to the people. That’s what I got out of him.”<br />
It wasn’t just Donegan’s skill, fire and enthusiasm<br />
that created the skiffle boom, it was also its accessibility.<br />
Bragg notes that post-war youth in Britain had<br />
gown up with rationing. Music was scarce, record<br />
stores weren’t in abundance, many teenagers had to<br />
sign records out of the public library to hear jazz, blues<br />
and country. And there was a long standing a feud<br />
in the ‘50s between the British and American music<br />
unions that prevented artists to tour in the others’<br />
country. On top of it, the BBC put the squeeze on.<br />
“They rationed rock ‘n’ roll,” says Bragg. “And these kids<br />
said, ‘Fuck em! We’re going to make our own music.<br />
We don’t care about the BBC. We’re going to take the<br />
guitar and make our own music.’”<br />
by B.Simm<br />
And that they did. Bragg claims upward of 50,000<br />
skiffle bands existed in Britain with guitars in hand.<br />
“You got to remember these are teenagers, and they<br />
used the guitar as way of defining themselves as not<br />
adults and not children. The guitar is the tool by which<br />
they do that. And I do think if you were a 15 year old<br />
in 1957, and you saw a sign that said, Tonight Skiffle,<br />
you wouldn’t expect to hear just Lonnie Donegan type<br />
of songs. You would expect to hear music played on a<br />
guitar. It could be blues, it could be jazz or calypso. Just<br />
picking up the guitar was a symbol of something new.<br />
That’s what these people were trying to do. Paradoxically<br />
by going back to Lead Belly they were trying to<br />
build a bridge to the future and make it happen. And<br />
the guitar is the means but which they defined themselves<br />
as being a completely new generation.”<br />
Indeed it did. Ten years later “My Generation”<br />
was fiercely punctuated by Pete Townshend’s<br />
spectacle of violent windmills and smashed guitars<br />
that then would pave the way for yet another<br />
DIY generation led by a feisty, street fightin’ man<br />
named Stummer who, armed with a battered<br />
black Telecaster, threw down the gauntlet: This is a<br />
public service announcement… WITH GUITARS!<br />
Roots, Radicals And Rockers: How Skiffle Changed The<br />
World is publishsed by Faber & Faber.<br />
10 | SEPTEMBER <strong>2017</strong> • BEATROUTE CITY
FASHION HUSTLE<br />
PIECE ON PEACE<br />
a small boutique forging ahead with a flair for fashion and health<br />
After working as a skin care specialist<br />
for several years, Barb MacKenzie<br />
shifted her focus to fashion<br />
while continuing to maintain her interests<br />
in healthy and sustainable products. The<br />
result is Piece on Peace, a small boutique<br />
located in Southwest Calgary. Essentially<br />
MacKenzie runs a mini-department store<br />
that carries a variety of designer clothes,<br />
handbags, jewelry, footwear and bedding<br />
along with full line of eco-friendly cleaning<br />
and skin care products.<br />
“I’ve always been about the piece,” she<br />
say when discussing her shop’s name that<br />
she runs with her husband. “What got us<br />
accepted into the Farmers’ Market years<br />
ago was making capes and using the most<br />
beautiful fabrics. None of them were<br />
exactly the same, so that became your<br />
‘piece’, it’s individual and has your name<br />
on it as you walk around the city.”<br />
MacKenzie adds that as an artisan-based<br />
company, they didn’t want to<br />
carry any “manufacturing”— materials<br />
or products that made from industrialized<br />
processes. “We want to support<br />
textiles in a green way. For instance, is<br />
that piece, that product, going to be<br />
sitting in a landfill forever? So the other<br />
part, the other ‘peace’ is about sustainability.<br />
Textiles are becoming a dirty<br />
business. The dyes can be very toxic, as<br />
are the chemicals in permanent-press<br />
products. Everything from the clothing<br />
you’re wearing to what you’re sleeping<br />
in, it concerns autoimmune systems,<br />
your health, your lifestyle.”<br />
To get a better idea of what Piece on<br />
Peace is about, MacKenzie talks specifically<br />
about some of the products she carries<br />
and the benefits they have.<br />
Skin Care<br />
“They aren’t necessarily organic, but we<br />
don’t want any fillers, any petroleum<br />
by-products, or parabens which are<br />
preservatives, we frown against dyes, and<br />
don’t like artificial scents. We are looking<br />
at the most natural product that you can<br />
wear on your skin and thinking that they<br />
can be absorbed into your system. Think<br />
of it as food!”<br />
Barb MacKenzie owner of<br />
Piece On Peace, located at 5 Spruce<br />
Center in Spruce Clif f in SW Calgary<br />
pieceonpeace.com<br />
by B.Simm<br />
Cleaning Products<br />
“Most cleaners are filled with abrasive<br />
chemicals to do the job, but you don’t<br />
need that. A lot of our cleaning products<br />
are from Clean Conscious, a small<br />
company out St. Alberta who make their<br />
cleaners from natural ingredients (e.g.,<br />
baking soda, vinegar, alcohol, cornstarch,<br />
lemon) that are really effective. They also<br />
source out all their ingredients based on<br />
fair-trade practices, so no low-pay, child<br />
labour. It’s important to know that story,<br />
and we want to tell it.”<br />
Jewelry<br />
“One of our jewelry designers works<br />
with stones and their meanings. Stones<br />
have stories behind then, certain<br />
energies too and they work differently<br />
on everyone. Another is a metal jeweler<br />
who takes a lots of recycled materials,<br />
like copper tubing used for plumbing.<br />
And she also finds old broken jewelry at<br />
markets and thrift shops, then breaks it<br />
down to make something new.”<br />
Swedish Stockings<br />
“Stockings, leggings, tights and nylons<br />
make textiles the second largest pollutting<br />
industry because they’re only<br />
worn a few times, if that, then thrown<br />
away filling up landfills. And most dyes<br />
used are bad for you pressed against<br />
your body all day... This company is<br />
about women making products for<br />
women. The two Swedes who started<br />
it use recycled yarns, dyes that aren’t<br />
harmful, they taken the comfort level<br />
miles beyond, and all their products<br />
are made in a solar power plant in Italy.<br />
The company has grown from a baby to<br />
giant in the last couple years.”<br />
Footwear<br />
“We have some stylish boots similar to<br />
Wellies, Wellington rainboots, but you<br />
sweat in those. The ones we have come<br />
from Denmark although made in Portugal<br />
called Lemon Jelly. They have this<br />
technology that smells fresh like lemons<br />
but uses anti-bacterial material so your<br />
feet don’t sweat or smell.”<br />
Bedding<br />
“Real Egyptian cotton is really the best<br />
way to sleep. The quality of cotton is<br />
not based on thread count, it’s based<br />
on how durable the fibre and how long<br />
it. This cotton comes from Italy, which<br />
is the hub for all your manufactured<br />
green materials. It comes into Canada<br />
as an unfinished good then sewn here<br />
saving a huge cost on all the duty.<br />
Sleeping in Egyptian is like a dream, it<br />
allows you to have a far better sleep<br />
and that improves your health. Never<br />
underestimate your bedding.”<br />
CITY<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 11
ody-body by<br />
PUNK MEETS FASHION<br />
a runway makeover with street style<br />
by B.Simm<br />
debut cassette release available<br />
sept 15 at all fine local record shops<br />
body-body by<br />
After creating a jewelry line based on “wearing<br />
your spirituality” which has grown substantially<br />
and now has national distribution, local designer and<br />
yoga instructor, Apryl Dawn, is embarking on another<br />
venture bringing underground street style to the<br />
refined, high-flyin’ world of runway fashion.<br />
The idea of a punk rock fashion show with bands<br />
that provide a runway soundtrack, has that idea<br />
been done before somewhere?<br />
There’s a fashion week in Toronto that mixes music<br />
with fashion, but locally, definitely not. This was<br />
brainchild of Dave (Pederson, vocalist/guitarist in<br />
Downway) and I bouncing ideas off each other, and<br />
my frustration with not seeing more alternative<br />
fashion and looks on the main runway.<br />
Not seeing more alternative fashion on the runway,<br />
what does that mean specifically?<br />
I’m not a pastels and floral kind of girl, or a cut and<br />
structured wearables type of person. I’ve been to lots<br />
of fashion shows and for the big ones, that what it’s<br />
about — What is the average 30 to 40 year woman<br />
wearing? I suppose I’m not average or interested in<br />
average, nor are the people I work with. I don’t see alternative<br />
fashion out there on the level it should be.<br />
We have a lot of freedom to dress the way we want,<br />
and express our authentic self. Our fashion is our<br />
inner self, it’s our authentic being which we should<br />
be able to express. More and more we’re moving<br />
towards that point, but I still think we need to break<br />
down some walls.<br />
But you have punk street fashion, a DIY culture that<br />
creates their own style from clothes bought at thrift<br />
shops. When or how does that street style crossover<br />
and spill onto the runway?<br />
Honestly, I love the person on the street that found<br />
a whole bunch of shit for five bucks and looks totally<br />
rockin’, opposed to someone who just went out and<br />
spent 500 dollars on a t-shirt. And I think it blends<br />
from one world to the other because there is no structure<br />
in place yet. There is this deep, grungy, grindy underworld<br />
of punk and rock that’s actually feeding the<br />
high side of fashion. Couture is definitely not shaping<br />
that. It’s coming off the street, from the bottom up.<br />
We’re feeding off something that’s been underground<br />
for decades and decades, and stealing little bits of<br />
pieces — chains, leathers, belts and buckles — and<br />
that’s all being becoming one for me.<br />
The PUNK MEETS FASHION showcase takes place<br />
Thursday, Sept. 21 at Commonwealth.<br />
12 | SEPTEMBER <strong>2017</strong> • BEATROUTE CITY
OTAHPIAAKI <strong>2017</strong><br />
Indigenous Beauty, Fashion and Design Week<br />
by B.Simm<br />
Rebecca Merasty models new fashion by one of Otahpiaaki’s<br />
feature designers, Brenda Lee Asp, who named the cape<br />
“Honouring Raven - My Mother’s People”.<br />
Photos taken at Tsuu T’ina on the banks of the river called they<br />
call Kootsisáw, the Blackfoot refer to as Moh kínstsis, and the<br />
Stoney Nakoda call Wincheesh pah.<br />
PHOTOS: JASON ENG<br />
these designers are building their brands. In some cases, our students<br />
have collaborated on eCommerce sites, graphic design and the design<br />
of lookbooks for designers who do not have these tools.<br />
One of our founding students Spirit River Striped Wolf (MRU Policy<br />
Studies) developed an international costing export tool for any designer<br />
to use if they’re thinking of selling in the EU. Another student, Taryn<br />
Hamilton (MRU Justice Studies) is engaged in developing new Canadian<br />
law designed to protect the industrial designs of Indigenous creatives. It<br />
matters who is at the front of the room too. Each of these designers have<br />
successful ventures. So, having thought leaders like Justin Louis present and<br />
inspire others is critical to growth that we anticipate could be upwards of<br />
19.6M in our province alone.<br />
The Truth and Reconciliation Showcases go beyond the flair of a fashion<br />
show. Could you elaborate on these two showcases?<br />
We kick off the week with a performance by Grammy nominated artists,<br />
the Northern Cree Singers on <strong>September</strong> 18, and are very excited to be<br />
screening Rumble: The Indians Who Rocked the World on Tuesday, Sept.<br />
19 both at the Bella Concert Hall.<br />
The Truth Showcase has been curated to include designers whose work<br />
inspires questioning, commitment, action, impact and change through designs.<br />
The evening opens with opens with champion hoop dancer Dallas<br />
Arcand who warms up our runway.<br />
The Reconciliation Showcase has been assembled from designers’<br />
collections that are more couture and avant-garde, similar to a luxury<br />
runway from New York or Paris – many of our designers have been invited<br />
to both. Our featured guest is Brenda Lee Asp from the Northern<br />
Tutchine First Nation in the Yukon. The final piece in the showcase<br />
is a reconciliation cape project organized by Brenda that will be built<br />
collaboratively over the week.<br />
For all details about the seminars, runaway shows, music, film, scheduling<br />
and tickets for Otahpiaaki <strong>2017</strong>, go to otahpiaakifashionweek.com<br />
Based out of Mount Royal University, Otahpiaaki is<br />
an annual week long event that showcases Indigenous<br />
beauty, fashion and design featuring a wealth<br />
of local and regional Indigenous artists and designers<br />
with their inspiring creatives. Patti Derbyshire – Chair<br />
of Entrepreneurship, Marketing and Social Innovation<br />
in the Bissett School of Business at MRU – talks indepth<br />
about what Otahpiaak <strong>2017</strong> has to offer and<br />
what it hopes to achieve with this bold and exciting<br />
Indigenous venture.<br />
Overall the focus of the event draws on a rich Indigenous past, but then<br />
places it into a very contemporary context. In fact, that seems to be<br />
a statement made: while its roots are deep in tradition, this is a very<br />
progressive exhibition, this is Indigenous fashion design here and now.<br />
I think this is a good read of Otahpiaaki <strong>2017</strong> and the designers with<br />
whom who we’ve started to build relationships. At our first showcase<br />
last November, Justin Louis and Tishna Marlowe informed the direction<br />
of this project. There were three things that are important to convey.<br />
First, that our student teams understand that Indigenous creatives are<br />
carriers of vibrant cultural knowledge and a voice that has always been<br />
strong, resilient and diverse.<br />
Also, the design and craft of Indigenous apparel, fashion, music, film<br />
and arts has always been a critical component of identity in Indigenous<br />
communities – an underappreciated hallmark of Canada’s fashion<br />
identity. Our students completed research in this area earlier this year<br />
and we discovered that iconic fashion and apparel in Canada, in fact, is<br />
Indigenous. Finally, there is an immense creative and economic engine,<br />
by Indigenous designers and for Indigenous designers, where global<br />
impact and presence is inevitable.<br />
Looking at cross-section of the seminars and workshops offered, it<br />
seems like every stone is overturned, is there anything in Indigenous<br />
fashion and and design that isn’t covered?<br />
There are 760+ First Nations, Métis and Inuit communities within<br />
Canada, so there is much to discover yet. This is a Seven Generations<br />
project that we intend to co-create over the next seven years, so<br />
we’re just infants really. There’s no question that the strength of the<br />
program comes from the advice of our Elder, Jeannie Smith Davis,<br />
recommendations from our founder-designers, as well as Otahpiaaki<br />
student teams. Fashion and creativity are powerful platforms for<br />
discussion and healing.<br />
What we’ve developed is what worked last year – using fashion,<br />
sewing, creative studios, social innovation, and entrepreneurial thinking<br />
as opportunities to build relationships and knowledge of difficult<br />
and compelling topics. Those who participate in workshops with this<br />
year’s Indigenous designers, both Indigenous and non-Indigenous receive<br />
new knowledge. It is not formalized but we found when people<br />
work creatively with their hands, they will listen and speak with one<br />
another, with time to reflect on what is being shared.<br />
One might learn about a craft technique and its lineage, but<br />
honestly last year participants learned as much about deep beauty<br />
–intellectual, spiritual, cultural, emotional and physical, the diversity<br />
of Nations, Missing and Murdered Indigenous Women and Men, the<br />
intergenerational trauma of residential schools, the Indian Act, and<br />
about the TRC Calls to Action. Discussion and action are embedded<br />
in each of the workshops and will be shown over and over on the<br />
runway events .<br />
There’s a strong entrepreneurial, a business component. How is<br />
that weaved into the event?<br />
Economic reconciliation is a pillar of the greater Otahpiaaki project<br />
and incorporates new venture thinking, marketing, and social innovation.<br />
We are based at the Bissett School of Business so it’s valuable<br />
and a natural fit to hear the stories and methods of how each of<br />
CITY<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 13
FILM<br />
CALGARY FILM <strong>2017</strong><br />
200 films, 40 counties, Alberta galore<br />
by Jonathan Lawrence<br />
SUCK IT UP<br />
Grief and friendship meet in Invermere-shot film<br />
by Morgan Cairns<br />
try not to talk your ear off,” says Steve Schroeder jokingly. As<br />
executive director of the Calgary International Film Festival, he<br />
“I’ll<br />
talks vigorously about this year’s new films and events, espousing<br />
the level of originality and local pride that they aspire to each year.<br />
With over two thousand submissions, the team at Calgary Film (no<br />
longer abbreviated as CIFF) had their work cut out for them. What they<br />
ended up with is “200 different, remarkable perspectives, visions of the<br />
world that come through every genre from 40 countries or more and of<br />
every type of film,” says Schroeder. It’s a passion Calgary Film has both for<br />
film and organizing a community is palpable. “It’s what we love, it’s what<br />
motivates us,” he adds.<br />
Schroeder himself is no stranger to festivals or films. “I’ve always been<br />
a film buff. I’ve been now 20 plus years working in the arts community in<br />
Calgary. I started as a live theatre producer, where I developed a love of<br />
festivals in general…I love when a city has a deep festival-based culture<br />
because nothing makes a city liveable, vibrant and fun and civilized like a<br />
festival.”<br />
Calgary Film isn’t merely a series of screenings at different theatres,<br />
however. People are encouraged to come out to the Q&As and other special<br />
events that will be happening during the festival week, particularly the<br />
Opening Gala which includes walking the red carpet, live entertainment<br />
and a post-screening after party. Then the Closing Gala, which follows the<br />
Alberta-made film presentation, Suck It Up, will be an all-inclusive awards<br />
celebration, free to the public that provides a great opportunity for “fans<br />
to mingle with filmmakers,” says Schroeder.<br />
Calgary Film has a growing dedication to Alberta-produced film and<br />
TV, which has been expanding rapidly for the past several years. In 2016,<br />
they began a feature called Showcase Alberta to champion Alberta talent.<br />
In fact, about a quarter of their Canadian content has ties with Alberta.<br />
“We’re definitely an international film fest.” states Schroeder. “But the<br />
percentage of local content that we show is significantly higher than [other<br />
film festivals].” Calgarians, in specific, are really excited by this industry<br />
that they know is growing.” Schroeder also notes that often the best<br />
attendances during the festival are films with Alberta content, particularly<br />
where the local filmmakers are present.<br />
This year’s festival will have an event focused on the new television<br />
show, Wynnona Earp¸ produced in Alberta. It will be a “big cast and<br />
creator event,” says Schroeder, which includes a Q & A session. He adds<br />
that tickets to the event are selling fast, and that people are flying in from<br />
all over to see it, “If people’s Facebook posts are to be believed,” he jokes.<br />
Attendees can expect a wide range in tone and genre from the lineup<br />
this year. Schroeder says if you’re unsure which film to see, his best advice<br />
is to “find a local film and just check it out, you’re likely to have a very<br />
good time. Pick one blind, and have a random experience. People are<br />
always surprised happily so.”<br />
Calagry Film runs from <strong>September</strong> 20 to October 1, <strong>2017</strong>. See www.calgaryfilm.com<br />
for film sch edules and to purchase tickets.<br />
Albertan pride – not pretending to be anything else.<br />
After her feature film debut at TIFF in 2014, director Jordan<br />
Canning’s much-anticipated sophomore feature is set to<br />
make its Alberta debut at this year’s Calgary International<br />
Film Festival. Programmed as the coveted Closing Gala selection, this<br />
locally shot film is finally ready for its homecoming.<br />
Initially premiering at the Slamdance Film Festival in January, Suck<br />
It Up follows the impromptu trip of two friends, Faye and Ronnie, in<br />
an attempt to cope with the sudden death of Ronnie’s brother and<br />
Faye’s ex-boyfriend Garrett. Spending the week in Ronnie’s family<br />
cabin in Invermere, the two girls, in their own very different ways<br />
(Ronnie through drugs and drinking, and Faye through crafting and<br />
micromanaging) attempt to reconcile their loss whilst humorously<br />
engaging in typical vacation trysts, in what Canning aptly describes<br />
as a “joyride through grief.”<br />
“It was much more of a comedy when I first got [the script]. There<br />
was less of the grieving, emotional weight, and that was something I<br />
really thought was important to bring into the story,” says Canning.<br />
“I can’t call the film a comedy, I can’t call it a drama, and I hate the<br />
term dramedy, but that’s really where it sits - a mix of both. I call it<br />
the salty and the sweet. It has that emotional through line that really<br />
grounds the characters, and the comedy is there, and some of it is<br />
quite dark, because when you go through heavy shit your humor can<br />
get quite dark.”<br />
Joining the project after reading the first script, Canning recounts<br />
how the film’s two leads, Erin Carter and Grace Glowicki, who had<br />
already made a short together, initially fueled the passion project.<br />
“[They] wanted to take on something bigger. They wanted to write<br />
great roles for themselves that they weren’t necessarily getting in auditions,”<br />
explains Canning. “So they approached [screenwriter] Julia<br />
Hoff and said, ‘Hey, do you maybe want to write us a feature that we<br />
can shoot for $10,000?’”<br />
With Glowicki’s family cabin serving as the starting point, the<br />
actresses tapped Los Angeles-based Hoff to create a script around<br />
the BC Rockies locale. “Julia had never been to Invermere,” explains<br />
Canning, “but Grace and Erin had spent their childhoods there, so<br />
they sent her this list saying there’s a bowling alley, there’s a candy<br />
store, there’s these great lookouts. So Julia created this story, and the<br />
three of them developed these characters, and wrote this script.”<br />
Their search for a female director led them to Canning, who was<br />
immediately attracted to the project. “I was going through some<br />
stuff in my own life and Faye just kinda grabbed hold of me and I saw<br />
myself in her and I felt that I really could bring something to the table<br />
with a story about grief, and losing someone to cancer,” she said.<br />
“The script that I originally read was very different from the script we<br />
eventually shot, but what was always clear was Julia’s voice. She is so<br />
good with dialogue and emotional truth.”<br />
And while the script may have gone through numerous rewrites,<br />
the Invermere shooting location remained a steady presence through<br />
the entire process. “Right from the get-go it was written for Invermere,”<br />
says Canning. “We wanted to use everything we could about<br />
the town and showcase it well.”<br />
With most of the cast and crew returning for the film’s Calgary<br />
premiere, Canning couldn’t be happier to see the film come full<br />
circle. “We’re making films in Canada, and we’re not pretending this<br />
is anything but Canada,” she states. “I hope that there can be some<br />
pride in seeing Calgary and seeing Invermere for what it is and being<br />
like, fuck yeah, we don’t need to pretend it’s anything else.”<br />
Suck It Up will be the Closing Gala event of the Calgary International Film<br />
Festival on <strong>September</strong> 30 at 7:30pm, followed by the awards ceremony.<br />
Jordan Canning and Erin Carter will be in attendance.<br />
14 | SEPTEMBER <strong>2017</strong> • BEATROUTE FILM
SMALL TOWN CRIME<br />
modern film noir is conventional, yet intriguing<br />
Another small town meets mystery in this edgy detective film.<br />
BUCKOUT ROAD<br />
creepy urban legend delves into dream sequences<br />
Buckout Road is an intense throwback to 70s horror films.<br />
by Philip Clarke<br />
by Philip Clarke<br />
When alcoholic cop Mike Kendall (John<br />
Hawkes) is let go from the police force<br />
due to an incident involving the death<br />
of his partner, he inevitably hits rock bottom.<br />
A year and a half goes by without him ever<br />
getting a new job. Mike learns that being branded<br />
as an “alcoholic cop-killer” tends to not bode well<br />
when trying to meet new people in any kind of<br />
social circle. Either way, Mike does what he can by<br />
going to interview after interview, but he never<br />
gets the job. The fact that he tells interviewers that<br />
he has a serious drinking problem, however, might<br />
have something to do with it.<br />
In the meantime, Mike is busy collecting unemployment<br />
checks and using them at the bar to<br />
get wasted. If he’s numb to the pain, then the pain<br />
won’t hurt so badly. All his sister Kelly (Octavia<br />
Spencer) wants for him is to get sober. That and<br />
for him to get a job and pay her and her husband<br />
(Anthony Anderson) back all the money that he<br />
owes them.<br />
Old habits die hard when John discovers an<br />
unconscious, bloody and bruised woman lying on<br />
the side of the highway. This inciting incident will<br />
take Mike down an insidious rabbit hole of sex<br />
and violence. What follows is an incredibly tense<br />
series of events that never lags or feel tiresome; the<br />
pacing is on point.<br />
Small Town Crime is a lean, mean and expertly-made<br />
modern day film noir. Written and directed<br />
by Eshom and Ian Nelms, the film has all the<br />
elements of a classically made noir, but maintains<br />
a modern sensibility to it. A hard-edged private<br />
eye, femme fatales, and over-the-top gangsters are<br />
just a few of the wonderful ingredients thrown in.<br />
The film has a very balanced blend of gruesome<br />
violence and incredibly subtle pitch-black humour<br />
that takes the story over the edge to be exceptional.<br />
While many elements of the film work incredibly<br />
well overall, the film rests squarely on Hawkes’<br />
shoulders. As the broken, snarky and charming<br />
lead, Hawkes is purely magnetic from beginning<br />
to end. Mike is onscreen for almost every single<br />
scene in the film, and deservedly so. He’s so utterly<br />
compelling that you simply can’t take your eyes off<br />
him. You’re on his side throughout the length of<br />
the story.<br />
Small Town Crime follows all the beats of your<br />
typical crime film, so nothing in the story is particularly<br />
shocking or surprising. That said, it’s still<br />
incredibly well made all the same. You don’t always<br />
have to reinvent the wheel. You just need to find<br />
an interesting way to spin it. That interesting spin is<br />
named John Hawkes.<br />
Small Town Crime will be shown during the Calgary<br />
International Film Festival. For more info and times<br />
go to www.calgaryfilm.com/films<br />
NO ROADS IN<br />
Directed by Calgary-based Josh Wong, NO ROADS IN follows singer-songwriter Blake Reid, sound<br />
engineer Adam Naugler, and the Blake Reid Band on a musical journey as they challenge industry<br />
convention and set out to create an analog record.<br />
An abandoned house in the middle of an endless Alberta wheat field is transformed into a<br />
recording studio, as the group comes together to capture the love, laughter and raw energy of<br />
13 songs recorded live off-the-floor over five days in the summer of 2016. Showcasing the vast<br />
Alberta prairie landscape and the uniquely haunting isolation that foments creativity, the beautifully<br />
shot documentary celebrates music’s imperfections and explores what is really important in<br />
music, and in life.<br />
Following the film, the Blake Reid Band will perform songs from the film. Both the film screening<br />
and live performance will take place at Studio Bell, home of the National Music Centre.<br />
When Aaron Powell (Evan Ross) returns home<br />
to his small town after several years away<br />
in the military, he’s disappointingly correct<br />
in his assumption that his psychologist grandfather Dr.<br />
Powell (Danny Glover) wasn’t there to pick him up from<br />
the bus station. It turns out that Dr. Powell had shirked<br />
his familial responsibilities in favour of working with Detective<br />
Harris (Henry Czerny) to try and stop the strange<br />
happenings that are afoot in their town.<br />
The townsfolk have been haunted for several years by<br />
the many urban legends about the titular Buckout Road.<br />
Some believe in them, while others simply pretend<br />
that none of it is real. “Out of sight, out of mind” is the<br />
general mantra that many of them seem to live by.<br />
However, the legends begin to seep into the real world<br />
when members of the town begin to sleepwalk their<br />
way in the middle of the night to Buckout Road. That is,<br />
before they ultimately kill themselves in both awful and<br />
downright disturbing ways.<br />
With the help of fraternal stoner twins Erik (Kyle<br />
Mac) and Derek (Jim Watson) as well as Detective Harris’<br />
daughter Cleo (Dominique Provost-Chalkley), Aaron<br />
attempts to figure out the mystery of these troubling<br />
legends before it’s too late.<br />
What works best about Buckout Road are the dream<br />
sequences, which go back and forth between a 1970s’<br />
zombie exploitation film, and witches being burned at<br />
the stake, to name just a few of the scenes. The dreams<br />
are both creepy and unnerving in equal measure. The<br />
moments of shock and gore generally work to great<br />
effect, shown over and over again to the point of numbing<br />
submission.<br />
Buckout Road plays at the Calgary International<br />
Film Festival. For more info and times go to www.<br />
calgaryfilm.com/films<br />
Wednesday, Sept. 27<br />
Studio Bell • NMC 7:30 pm<br />
Friday, Sept. 29<br />
Globe Cinema 9:30 pm<br />
Amsterdam Film<br />
Festival <strong>2017</strong><br />
Van Gogh Award<br />
16 | SEPTEMBER <strong>2017</strong> • BEATROUTE FILM
TURN IT AROUND: the story of East Bay punk<br />
love letter to San Fran music scene<br />
Green Day at Gilman circa 1990.<br />
Turn It Around: The Story of East Bay Punk is a purely unadulterated<br />
love letter to punk rock and everything it stands for.<br />
Co-writer/director/producer Corbett Redford has flawlessly<br />
crafted a documentary about the punk rock scene in the San Francisco<br />
Bay Area over the course of over thirty years. It began in the late<br />
1970s where punk was a counterculture response to the Vietnam<br />
War. Contrary to popular belief, however, true punk rock is not about<br />
being loud and angry for the sake of being loud and angry, as many<br />
critics of the genre so often prematurely point out. Like all good<br />
art, punk rock is a form of self expression and Turn It Around is an<br />
informative, inspiring and entertaining lens with which to showcase<br />
that self-expression.<br />
We’re treated to lots of footage, photos and interviews from several<br />
key players in the punk scene spanning many years. Redford’s documentary<br />
is incredibly broad in its scope, yet remains an intimate character<br />
study with many different personalities. Billie Joe Armstrong, Noah<br />
Landis, Tre Cool, Robert Eggplant, Anna Joy Springer, Tim Armstrong and<br />
Kathleen Hanna are just a few titans of their industry that Redford interviews.<br />
The film very easily could have been a painfully biased slant on<br />
the genre. However, Redford wisely captures several different influential<br />
voices to give the film an incredibly well-rounded point of view overall.<br />
Being 155 minutes in length, Redford makes sure that every single<br />
possible aspect about punk rock is covered. Several different forms of<br />
the genre are discussed, such as hardcore punk, pop punk, ska, queer<br />
by Philip Clarke<br />
punk and feminist punk, just to name a handful. The beauty of punk<br />
rock is just how incredibly inclusive and communal it can all be.<br />
The heart and soul of Turn It Around is where much of the film’s<br />
running time takes place, at 924 Gilman Street. The venue was a<br />
well-regarded Shangri-La for every race, gender and orientation of punk<br />
rocker. Gilman was, and still is, a place all to its own. The club was home<br />
to many different shows over the decades where every kind of person<br />
could go to be themselves as free spirits. That said, Gilman did unfortunately<br />
experience some trouble from time to time. Like with anything<br />
popular, the more positive attention something gets, the more detractors<br />
and contrarians will come crawling out of the grass like serpents. As<br />
punk became continually popular throughout the years, skinheads and<br />
Neo-Nazis subsequently also joined shows at the Gilman, where they<br />
would often spout their repugnant hate-speech and/or incite brutal acts<br />
violence.<br />
It’s these moments of tension and conflict that Redford carefully documents<br />
that elevate the film to another level. The punks and skinheads<br />
conflict is ripe for several different films on their own. If you think about<br />
it, Green Room would be a perfect film to have as a double bill with Turn<br />
It Around. The very fact that these conflicts are still going on today make<br />
the hatred and intolerance showcased all the more visceral and disturbing<br />
to watch. As hard as those moments in the film are to experience,<br />
they are equally important to be aware of and discuss at length.<br />
Turn It Around: The Story of East Bay Punk is unquestionably a film<br />
worth watching for punk rockers of all ages. Even if you’re not a fan<br />
of punk rock, the film is still worth seeing to understand why both its<br />
music and lifestyle have been so beloved for many years. If you’re still not<br />
convinced however, it’s narrated by Iggy Pop and executively produced<br />
by Green Day. And who doesn’t want to hear Iggy Pop narrate?<br />
Turn It Around will be shown during the Calgary International Film Festival.<br />
For more info and times go to www.calgaryfilm.com/films<br />
SOME OTHER GUYS<br />
fascinating documentary about Merseybeat’s forgotten rockin’ rollers<br />
that was the Big Three.”<br />
The above quotation is frequently heard throughout<br />
“And<br />
Some Other Guys, often used to punctuate a story<br />
from witnesses and fans of the reckless, hard-partying loud 1960s<br />
Liverpool band, The Big Three. The band members, Johnny<br />
Hutchinson (Hutch), Johnny Gustafson (Gus), and Brian Griffiths<br />
(Griff), were punk before there was punk, and caused rock-androll<br />
mayhem long before anyone else.<br />
That said, they were a Merseybeat band, who sounded – and<br />
looked – much like The Beatles and other acts of that time<br />
and place. They packed music venues and played to hordes of<br />
screaming girls (which sounded like a “bomb going off.”) They<br />
were lauded for their musical talents, both then and today. They<br />
were called the “greatest, ass-kicking band that ever came out of<br />
Liverpool” by one musician. They were the “original power trio,”<br />
remarked another.<br />
So why then has no one ever heard of them?<br />
Beatroute spoke with Todd Kipp, director of the film, to shed<br />
light on that question, although he himself could not explain why<br />
they’ve been essentially reduced to a footnote in music history,<br />
despite their talent.<br />
“[The Big Three] were praised by everyone in Liverpool,” said Kipp.<br />
While planning the film, Kipp met with guitarist Brian Griffiths<br />
- who now resides in Calgary - and listened to some of his stories.<br />
Kipp soon realized that this was “more than just another band<br />
who were one of the hundreds on the Mersey Beat scene in the<br />
early 1960s.” Clearly, there was a story here worth telling.<br />
The documentary shares a fascinating, yet poignant story of<br />
how the band “could have and should have been huge,” Kipp<br />
said, “but were too self destructive and ahead of their time and<br />
ultimately imploded before the British Invasion.”<br />
FILM<br />
Many argue that the Big Three should’ve been even bigger.<br />
Despite their clean image, The Big Three answered to no one,<br />
least of all their manager, Brian Epstein, who also managed The<br />
Beatles. Epstein, or “Epi,” was trying to turn them into his other<br />
rising stars, donning the three in matching suits and encouraging<br />
them to write poppy love songs. The Big Three weren’t having any<br />
of it though; they were violent, rowdy, tough-talking Brits - and<br />
hard drinkers.<br />
by Jonathan Lawrence<br />
“They loved being on stage,” Kipp added, “but didn’t care for<br />
the rest of the business and it was to be their downfall.”<br />
Fans of The Beatles who are interested in extra lore will find<br />
some lesser known tales here. The Big Three played gigs with<br />
them, they hung out together, and even lived together. The<br />
Beatles were even fans. Yet The Big Three were essentially the<br />
anti-Beatles.<br />
“I wouldn’t join the Beatles for a gold clock,” said Hutch, the drummer.<br />
Kipp, an admitted huge fan of the Merseybeat era, shared his<br />
enthusiasm for making this film, which is evident throughout.<br />
“These are all first-hand stories,” he wrote, “and despite the fifty<br />
plus years and everyone’s memories, it’s essentially the truth.”<br />
Some Other Guys is a fascinating examination of a band that<br />
voluntarily cut their career short because they didn’t want to play<br />
by the rules. A band that had the potential to reach Beatles-like<br />
heights, but refused to because they didn’t want to wear suits. To<br />
be fair, there’s a sense of admiration and heroism in that sentiment.<br />
The film is told through a colorful, dynamic mix of interviews,<br />
archival photos, animation, and even a modern enactment of the<br />
band in action.<br />
Kipp summarizes it with this quote: “The Story of The Big<br />
Three is the ultimate story of every band with talent and potential,<br />
but who just didn’t make it. These guys were signed with<br />
Brian Epstein, Decca Records, played The Cavern Club countless<br />
times, all the TV shows and are still considered the best band to<br />
miss the British Invasion.”<br />
And that was The Big Three.<br />
Some Other Guys will be shown during the Calgary International Film<br />
Festival. For more info and times go to www.calgaryfilm.com/films<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 17
RETURN TO NUKE EM HIGH: VOL. 2<br />
Lloyd Kaufman reveals political message hidden in slimy satire by Breanna Whipple<br />
RUMBLE: THE INDIANS WHO ROCKED THE WORLD<br />
Tuesday, Sept. 19 Bella Concert Hall<br />
More than the Who, the Rolling Stones or Elvis Presley, it was Link Wray’s distorted guitar that<br />
forever changed the sound of rock ‘n’ roll. His 1958 track “Rumble” was described by Bob Dylan<br />
as “the best instrumental ever”—yet it was banned by many American radio stations. As a Native<br />
American, Wray’s music posed a threat to the establishment, as did the blues, jazz and pop of<br />
so many other Indigenous musicians over the years. Artists like Charlie Patton, Mildred Bailey<br />
and Jimi Hendrix couldn’t be open about their native identities as attempts to erase Indigenous<br />
cultures persisted across the continent. Blending audio archives, concert footage and interviews<br />
with industry icons Robbie Robertson, Buffy St. Marie, Taboo (Black Eyed Peas) and many others,<br />
this Sundance award-winner is an unforgettable and political exploration of a musical history that<br />
was silenced for too long.<br />
— Hot Docs <strong>2017</strong>, Toronto<br />
With a nuclear power-plant seeping toxic<br />
sludge into the veins of slapsticky nerds<br />
as they wage war against a gang of punky<br />
sadists, to describe Class of Nuke ‘Em High as anything<br />
but a subversive work of art would be a cardinal<br />
sin. Released in 1986, a historical time in which<br />
high school exploitation films swept the nation,<br />
Lloyd Kaufman’s brainchild is set apart by its meaningful<br />
message hidden by the outlandishly lavish<br />
chaos that erupts on screen. Placing hot coals to the<br />
feet of the American educational system was the<br />
goal since inception, and much of the reason why<br />
Kaufman called for a reboot of the franchise in 2013<br />
with Return to Nuke ‘Em High: Volume 1 (2013).<br />
Doused heavily enough in biting social commentary<br />
to warrant two films, Return to Return to Nuke ‘Em<br />
High: Volume 2 (<strong>2017</strong>) is set to premiere in Calgary<br />
at The Globe on <strong>September</strong> 9.<br />
“Young people are the people that change the<br />
world and they’re usually in high school, so I’m<br />
fascinated with that age group. Its the most interesting<br />
and certainly, in my opinion, the most important...<br />
and they’re the people that want to make the world<br />
a better place,” explains Kaufman of his favored age<br />
group to represent on film.<br />
“When it comes to issues like toxic nuclear waste<br />
from back in 1983, I didn’t think it made sense to<br />
appeal to middle aged, bourgeois people. I wanted<br />
to appeal to young punks who might actually<br />
learn something from this very entertaining movie<br />
called The Toxic Avenger (1984)... and indeed, The<br />
Toxic Avenger has been a huge influence on everybody<br />
from the directors of Deadpool (2016) to the<br />
Environmental Protection Agency (EPA). The EPA in<br />
both Canada and the US have used Toxic Avenger as a<br />
way to appeal to young people.”<br />
Kaufman says social commentary is deeply and<br />
intentionally embedded throughout his filmography,<br />
and the Nuke ‘Em High series is no different.<br />
“Class of Nuke ‘Em High is all about high schools<br />
and there’s lots of themes therein, especially in the<br />
United States where the junk food is being foisted on<br />
the high school students... We know about the bullying,<br />
we know about the fact that they learn nothing<br />
in the American educational system and that’s kind of<br />
what we’re dealing with here. It’s the satirical view of<br />
the horrors of the American educational system, and<br />
that is exactly the reason that we had this unpleasantness<br />
in Charlottesville, Virginia.”<br />
Sadness envelops his voice.<br />
“We’ve let the American educational system deteriorate...<br />
So that is kind of what interests me -- get young<br />
American people to realize that they’ve been totally<br />
fucked over.”<br />
Much of this message is overshadowed by Troma<br />
Film’s notoriety for bizarre scenes and cartoonish gore,<br />
making censorship a regularly faced issue.<br />
“Serious blood, guts, dismemberment... Die Hard,<br />
that’s okay – but the Troma goofy cartoon violence<br />
is not okay... This is a thing called fascism, when they<br />
apply different rules to the elite and other rules for<br />
you. It’s fascism, and it’s on the rise in your country and<br />
mine.”<br />
Social issues aside, Return to Return to Nuke ‘Em<br />
High: Volume 2 is promised to continue and upscale<br />
the madness propagated in the first volume. Sure to<br />
pique the interest of Motörhead-bangers everywhere,<br />
Lemmy Kilmister returns as the President.<br />
“We dedicated the movie to Lemmy and to Joe<br />
Fleishaker, who was our 500 pound action star.”<br />
Fleishaker was a regular fixture in the Troma film<br />
universe, appearing in such films as Zombiegeddon<br />
(2003), Tromeo and Juliet (1996), and the second and<br />
third renditions of The Toxic Avenger. Both figures<br />
passed away within six months of each other.<br />
In summation, if one were to look past the giant<br />
penis monsters and slimy green ooze dripping from<br />
every orifice in the Nuke ‘Em High films, a couple<br />
things become clear – We are the youth of today, and<br />
Lloyd Kaufman wants us to pay attention so we pave<br />
the way for our tomorrow.<br />
Catch Return To Nuke ‘Em High: Volume 2 at The Globe<br />
Cinema <strong>September</strong> 9 (Calgary).<br />
18 | SEPTEMBER <strong>2017</strong> • BEATROUTE FILM
Alien Convenant<br />
Baywatch<br />
Guardians of the Galaxy Vol. 2<br />
Okja<br />
Snatched<br />
FILM<br />
ALIEN COVENANT<br />
The key to colonizing a new planet is bringing<br />
enough weapons to subjugate the current<br />
inhabitants.<br />
Unfortunately, the colonists in this sci-fi thriller<br />
only brought American flags.<br />
When a settlement ship on its way to its new<br />
home world breaks down, the onboard android<br />
(Michael Fassbender) wakes the crew (Katherine<br />
Waterston, Billy Crudup, Danny McBride) from stasis<br />
so they can mend the ship on a nearby planet.<br />
Luckily, that planet is home to a lost crewmember<br />
of an earlier Earth exp<strong>edition</strong>. Unluckily, it’s<br />
infested with body-imbedding aliens created by<br />
the previous party’s experiments with locale DNA.<br />
Although this sequel to Prometheus finds director<br />
Ridley Scott returning to his horror roots, this<br />
Alien prequel resembles too many other entries in<br />
the anthology to be revolutionary. This is particularly<br />
true when it comes to the heroine.<br />
Besides, if mankind wanted to create new life it<br />
would just legalize marriage with space bacteria.<br />
BAYWATCH<br />
The most important thing to remember when<br />
lifeguarding is to not rely on dolphins to save<br />
everyone.<br />
Thankfully, the lifeguards in this comedy are<br />
keeping the beach safe themselves.<br />
When esteemed lifeguard Mitch (Dwayne Johnson)<br />
is forced to add hotshot Olympian Brody (Zac<br />
Efron) to his summer roster, he shows his distain by<br />
training the cocksure rookie himself. After enduring<br />
Mitch’s grueling feats of strength, Brody is filled<br />
in on the Baywatch team’s (Alexandra Daddario,<br />
Kelly Rohrbach) extracurricular activity: surveilling<br />
a suspected drug smuggler (Priyanka Chopra).<br />
A raunchier version of the already exploitive<br />
television series, this poorly written feature film<br />
adaptation brings the show’s best assets to the<br />
forefront, but at the expensive of a decent story<br />
and capable acting. Terrible T&A humour aside,<br />
this quasi-tribute plays more like an insult to the<br />
show and its fans.<br />
Incidentally, the only explosions lifeguards see<br />
are the beached whale kind.<br />
BORN IN CHINA<br />
Girls born in China know that they will grow up in<br />
a safe, white American suburb.<br />
Unfortunately, as this documentary verifies,<br />
the same doesn’t apply to every female species<br />
in China.<br />
A single-mother snow leopard struggles to find<br />
nourishment for her young in China’s merciless<br />
mountain region. Meanwhile in the jungle, the<br />
birth of a female golden snub-nosed monkey forces<br />
a neglected male to venture out on his own. Also<br />
leaving the nest is a giant panda whose mother is<br />
having a hard time letting her go.<br />
Narrated by John Krasinski, Disney’s latest<br />
nature documentary once again does an excellent<br />
job of capturing rare fauna in their native environments.<br />
Unfortunately, like the others in the<br />
eco-series, this maternal endeavour is also heavily<br />
edited to fit a desired narrative while the animals<br />
are given human characteristics.<br />
By making the pandas human, however, just<br />
makes eating ginger beef that much more difficult.<br />
THE CIRCLE<br />
The downside to working for an innovative tech<br />
company is being the first killed by sentient<br />
machines.<br />
Luckily, the gadgets in this thriller are not nearly<br />
as nefarious as their creators.<br />
As the newest hire at tech giant, The Circle, Mae<br />
(Emma Watson) makes quite the impression on<br />
the company’s co-founders (Tom Hanks, Patton<br />
Oswalt) by becoming a lab rat for their latest spycam<br />
technology. Being online all the time, however,<br />
takes its toll on Mae, her family (Bill Paxton,<br />
Glenne Headly) and her friends (Karen Gillan, Ellar<br />
Coltrane), as each of their lives are also televised for<br />
public consumption.<br />
While it is a timely piece on the loss of privacy,<br />
the power of online mob mentality and the digitization<br />
of our data, this paranoid Orwellian analogy<br />
is tactlessly encrypted with bad acting, outdated<br />
discoveries and stock villains.<br />
Moreover, facial recognition cameras can’t find<br />
you if you’re wearing a Burqa.<br />
GOING IN STYLE<br />
The most stylish way for an old man to depart this<br />
world is in a pinstriped zoot suit.<br />
The chaps in this comedy, however, chose to<br />
wear Halloween masks instead.<br />
After losing his house and pension to the bank,<br />
Joe (Michael Caine) must find a way to support his<br />
granddaughter (Joey King), so he proposes that he<br />
and his friends (Morgan Freeman, Alan Arkin) rob<br />
the aforementioned bank.<br />
With help from some neighbourhood crooks,<br />
the trio gleans enough knowledge to stage a<br />
successful stickup, but not enough to evade the FBI<br />
(Matt Dillon).<br />
A tepid remake of the 1979 heist spoof starring<br />
George Burns, this Zach Braff-directed ensemble<br />
does have some outstanding chemistry between<br />
its elderly leads, but little in the way of big laughs.<br />
The sappy script and predictable outcome don’t<br />
help either.<br />
Besides, retirees would have more money if<br />
they’d stopped giving out their credit card numbers.<br />
GUARDIANS OF THE GALAXY VOL. 2<br />
The worst thing about summer in space is that all<br />
the garage sales just float away.<br />
Fortunately, the starship in this sci-fi adventure<br />
has found a planet able to regulate its own gravity.<br />
When Rocket (Bradley Cooper) pockets a<br />
powerful battery, the alien race he stole it from<br />
hires Yondu (Michael Rooker) to bring it and the<br />
Guardians of the Galaxy – Star-Lord (Chris Pratt),<br />
Gamora (Zoe Saldana), Drax (Dave Bautista), Baby<br />
Groot (Vin Diesel) – back to them.<br />
While his surrogate father stalks him, Star-Lord’s<br />
real father Ego (Kurt Russell) offers him and his<br />
crew asylum on a sentient planet.<br />
A surprisingly emotional sequel to the 2014<br />
sleeper hit, this complex follow-up focuses on<br />
the fluidity of fatherhood and the burden of loss.<br />
Thankfully, it also amps up the action and layers on<br />
the laughs.<br />
Incidentally, if planet Earth was sentient then<br />
she could tell us where to drill for oil.<br />
THE VIDIOT<br />
rewind to the future<br />
by Shane Sellar<br />
HOW TO BE A LATIN LOVER<br />
To be a successful Latin lover you must consummate<br />
your sham marriage in 90-days or be<br />
deported.<br />
Smartly, the lothario in this comedy has sex in<br />
the first 90 minutes. Securing a sugar mama at the<br />
old of 21, Maximo (Eugenio Derbez) has spent the<br />
last 25 years leeching off his wealthy, older wife. But<br />
that all changed when she left him for a younger<br />
model (Michael Cera).<br />
Single for the first time in ages and living with<br />
his estranged sister (Salma Hayek) and her son,<br />
who is training to be a Latin lover, Maximo seeks<br />
help from a fellow gigolo (Rob Lowe).<br />
With a plethora of Hollywood cameos to<br />
compensate for its unknown lead, those brief<br />
star-studded appearances are the only highlight in<br />
this predictable comedy’s endless parade of sexist,<br />
racist and humorless jokes.<br />
Incidentally, sex with a senior citizen is actually a<br />
threesome with the Grim Reaper.<br />
OKJA<br />
When the world runs out of food the starving<br />
masses will have no choice but to eat at Arby’s.<br />
Thankfully, the scientists in this fantasy are<br />
devising new food sources.<br />
A greedy CEO (Tilda Swinton) creates and disperses<br />
a race of super-pigs across the globe that she<br />
hopes will someday feed the multitudes and make<br />
her millions. Ten years later, Okja, the super-sized<br />
swine adopted by a South Korean girl (Ahn<br />
Seo-hyun), grabs headlines when she becomes embroiled<br />
in a battle between the company’s crazed<br />
zoologist (Jake Gyllenhaal) and animal rights<br />
activists (Paul Dano, Lily Collins) trying to liberate<br />
her from slaughter.<br />
An eclectic parable of the meat industry marinated<br />
in oddball performances, this quirky Korean<br />
import pads its vegetarian agenda with twee<br />
moments between pig and owner that are brutally<br />
punctuated by the grim reality of the food chain.<br />
Besides, wouldn’t it just be easier to start eating<br />
CEOs?<br />
<br />
SNATCHED<br />
The upside to vacationing with your parents is<br />
that they wake early enough to get good poolside<br />
loungers.<br />
Nonetheless, the party girl in this comedy tried<br />
her hardest to find anyone else to take.<br />
Stuck with an extra ticket to Ecuador after her<br />
boyfriend dumps her, recently unemployed Emily<br />
(Amy Schumer) has no other option but to offer it<br />
to her overly mistrusting mother (Goldie Hawn).<br />
Their retreat takes a turn for the worse when<br />
they’re kidnapped by a crime lord (Óscar Jaenada)<br />
and accidentally kill his nephew. On the run, they<br />
must make it to the US consulate before he catches<br />
them. With scant character development between<br />
the bickering mother and daughter duo before,<br />
during, and after their experience, this poorly<br />
structured romp relies too heavily on its humorous<br />
leads to offset its lack of story.<br />
Fortunately, when you travel with family there’s<br />
always someone to identify your body.<br />
<br />
He’s a Tornado Alley Cat. He’s the…<br />
Vidiot<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 19
ROCKPILE<br />
COMEBACK KID<br />
heavy as hell and holding steady<br />
by Jodi Brak<br />
Winnipeg hardcore veterans drop their new album on <strong>September</strong> 8.<br />
From their humble beginnings as a side project<br />
through their rise to one of the biggest bands<br />
in Canadian hardcore, Comeback Kid has<br />
rolled with the punches like the best of them. They<br />
embody an aggressive style in their music that,<br />
much like the group itself, presses forward with a<br />
furious momentum.<br />
“Hardcore music is something that took me on a<br />
path in life that I would never have gone on without<br />
this certain genre of music, I’m still inspired by it,” says<br />
vocalist Andrew Neufeld.<br />
“I think the aggression and the tempos are just a<br />
healthy release. To get some of that stuff out, some of<br />
those feelings you couldn’t get out any other way.”<br />
Beginning as a side project by Neufeld and fellow<br />
Figure Four member Jeremy Hiebert, Comeback Kid<br />
quickly found traction after their 2003 debut Turn it<br />
Around, and began touring full time. It wasn’t long<br />
before they had broken through their home turf in<br />
Winnipeg and were embarking on coast-to-coast<br />
North American tours, then beyond. Now closing<br />
in on 20 years as a band, Comeback Kid has become<br />
iconic, built upon musicianship and dedication.<br />
It’s seen them grow from the community centre,<br />
all-ages scene to international headliners.<br />
Powerful drums and heavy, high-strung guitar riffs<br />
are front and centre to their sound, setting the pace<br />
for ferocious vocals that cut through the cacophony.<br />
Melodic leads rise through the distortion, adding a<br />
sense of sonic emotion to supplement the meaningful<br />
lyrics. The consistency of their sound has been<br />
impressive, and their seventh studio album Outsider<br />
ROCKPILE<br />
shows that they remain as focused as ever. It’s their<br />
fifth album featuring Neufeld as lead vocalist. His<br />
original role as co-founder was guitar; Scott Wade<br />
provided vocals. Wade then departed in 2006, which<br />
shook the band for but a brief moment, but hardly<br />
caused a hiccup in their touring schedule.<br />
“We were in between an Australian and American<br />
end of a tour when he told me, so I had some time<br />
to think about it. Actually we organized for him to<br />
do his last show, and then get dropped off, and then<br />
the guy who dropped him off drove the other guy<br />
up from Minneapolis to play guitar so I could sing,”<br />
Neufeld recalls.<br />
“Obviously in the beginning taking his style and<br />
trying to do the songs sort of like him was hard.<br />
But slowly we just kind of merged that into where<br />
we are today.”<br />
Their 2007 release, Broadcasting was the first<br />
Comeback Kid album entirely featuring Neufeld<br />
on vocals.<br />
“We just really have kind of rolled with the punches,”<br />
Neufeld says.<br />
“Me and Jeremy [Hiebert, lead guitarist], two original<br />
members, we’ve been with each other through<br />
thick and thin, we’ve also had a lot of really great<br />
members who have contributed quite a bit of their<br />
lives to this project. And we’re just able to somehow<br />
keep it going, and it always works out. Right now we<br />
feel pretty over the moon about the new record and<br />
the new tour we have lined up. And it’s never any bad<br />
blood with anybody… our old singer Scott is at our<br />
house right now.”<br />
That new record is Outsider. Featuring 13<br />
tracks of fast and furiously melodic hardcore music,<br />
the music only slows down to catch its breath<br />
before launching into another intense salvo. From<br />
the first self-titled track, it digs in and continually<br />
gains momentum with a string of heavy rippers<br />
one after another. For the most part, the album<br />
keeps up the hard and heavy pace for the entire<br />
record. Around the halfway point there is a bit of<br />
a change in tone; it’s still aggressive, but somehow<br />
on a lighter note. Towards the end of the<br />
album the music feels almost reflective, with a<br />
more somber track “Moment in Time” (featuring<br />
Northcote) to close it all off.<br />
“I think we’re writing more complete songs.”<br />
Neufeld says of the new album.<br />
“We just tried to be a little more up front on this<br />
record with our themes and really make the features<br />
of each song actually be features and not sometimes<br />
letting those things slide.”<br />
One track in particular, “Consumed the Vision”<br />
(which features Chris Cresswell from The Flatliners<br />
on guest vocals) stands out as one of the small<br />
handful of songs Comeback Kid has written that<br />
uses major-key notes to create a lighter feel. Rest<br />
assured, though, the song is just as heavy as the<br />
rest of the album.<br />
Neufeld says, “I just think it creates a different<br />
mood, and that definitely separates itself. With<br />
that song, I think it was kind of directly in response<br />
to everything we were writing that week.<br />
I remember Jeremy (lead guitar) and Stu (Ross,<br />
rhythm guitar) had all these fast songs with<br />
double picking, just fast riffs and heavy drums. I<br />
like that kind of stuff and that definitely always<br />
has a part on Comeback Kid records, but I kind of<br />
wanted to write something lighter in mood.”<br />
After the <strong>September</strong> 8 release, Comeback Kid hits<br />
the road from coast to coast across Canada and the<br />
U.S.A. After that, they’ll hop across the pond for a<br />
European leg of the tour.<br />
Outsider is another milestone in a storied<br />
career. Looking back on what Comeback Kid<br />
has become, what has been made of the blood,<br />
sweat and tears of many dedicated musicians,<br />
Neufeld can’t help but reflect on how the band<br />
evolved to become more than simply the sum<br />
of its parts.<br />
“I mean honestly it’s a dream come true for<br />
us. When we were kids this is what we wanted to<br />
do, and we were able to fulfill that. We were able<br />
to play in places we never thought we would go<br />
and stay busy as a band for this long and that’s all<br />
we ever wanted,” Neufeld says. “Comeback Kid is<br />
bigger than us, and that’s crazy to think about.<br />
We’re kind of just along for the ride and hopefully<br />
we can stay on this train for a while because we<br />
really enjoy it.”<br />
Comeback Kid plays the Park Theatre on <strong>September</strong><br />
26 (Winnipeg), The Exchange on Septeber 27 (Regina),<br />
The Needle Vinyl Tavern on <strong>September</strong> 28 (Edmonton)<br />
and The Gateway <strong>September</strong> 30 (Calgary). Outsider<br />
comes out via New Damage Records on <strong>September</strong> 8.<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 21
YES<br />
days of future past<br />
There are few things progressive rock and roll pioneer Gary<br />
Downes hasn’t attempted in his storied career. As the sole<br />
member of the legendary band Yes to possess a musical degree,<br />
his expertise on the keyboards has opened the doors (or gates<br />
of delirium, if you will) to some remarkable adventures. Opportunities<br />
that the innovative synth-player has embraced time and again, as<br />
further evidenced by his work with The Buggles and Asia.<br />
“I look at all of the different bands I’ve been in as books, or films,<br />
really,” begins Downes.<br />
“I think that certain events happen throughout a band’s history.<br />
Talking about Yes, it’s an amazing series of chapters that have happened<br />
over the years. And I think that every musician has contributed at some<br />
stage when they’ve come into the band. I consider myself to be present<br />
in a few chapters of the band at least, which is nice.”<br />
Taking a page from his own book of life, Downes’ current collaboration<br />
with Yes members; singer Jon Davison, guitarist Steve Howe,<br />
drummer Alan White and bassist Billy Sherwood, is focused on bringing<br />
that joy of discovery to a new demographic of prog-rock listeners. And,<br />
when it comes to condensing the band’s half-century run of 21 albums<br />
into a single concert event, Downes’ is definitely a fan of the divide and<br />
conquer approach.<br />
“On this particular tour we’re doing a chronological review of the first<br />
10 albums, plus some extra tracks. And it’s been very successful in terms<br />
of the fans getting to hear a couple of cuts they’ve never heard before.<br />
We put it together like that in a way that’s interesting from a musicology<br />
standpoint in that you see how the band progressed and how the influences<br />
moved on. By connecting one song from each album to the next,<br />
you see the progression of the group through the years.”<br />
Appreciation for Yes’s time-dissolving long-distance opuses has<br />
gained an almost religious quality over the decades, as their popularity<br />
has grown despite a persistent disregard for the commercial viability of<br />
10-minute long songs.<br />
Given the cult of followers who have embraced the group’s<br />
attention surplus disorder, Downes’ hasn’t really moved that far<br />
from his roots as the son of a church organist and choirmaster in<br />
Stockport, England.<br />
NEW PORNOGRAPHERS<br />
life imitates art<br />
“You make a record and then you have to learn how to play it!”<br />
Orchestrating the polyphonic activities of the Vancouver-spawned supergroup known as The New<br />
Pornographers for over a decade and a half has given singer-songwriter/guitarist A.C. Newman a<br />
certain knack for capturing a musical snapshot of a moment in time and preserving its essence like an<br />
insect suspended in amber. Recently, when tasked with pulling together a cohesive sting on compositions for<br />
the band’s ongoing tour, Newman discovered that skimming through a scrapbook of past recordings unlocked<br />
the sweetest of memories. Those that have yet to be made.<br />
“We always try and mix it up, it’s just about the math of how we’re going to split up songs, which takes a<br />
while cuz at the beginning of a tour because you’re just sort of guessing what the set will be,” says Newman.<br />
Celebrating five decades of music with an uplifted spiritual outlook.<br />
“The music is quite dynamic, and at times dark in parts, but the<br />
end result when you listen to Yes music is one of an uplifted spiritual<br />
outlook. The name of the band is positivity. I’ve come across a<br />
lot of young musicians like Taylor Hawkins of Foo Fighters who’ve<br />
decided Yes is one of their favourite bands of all time.<br />
“So, you can tell that the music isn’t just the domain of progressive<br />
rock fans, it’s spread right across a number of generations<br />
and genres.”<br />
He laughs knowingly at the mention of fellow progressive groundbreakers<br />
Rush.<br />
“When Yes was getting inducted this year at the Rock and Roll<br />
Hall of Fame, the presenters were Alex and Geddy from Rush. They<br />
both said that they were hugely influenced by Yes from the very beginning.<br />
There are whole eras of different bands and styles of music<br />
by Christine Leonard<br />
photo: Glenn Gottlieb<br />
that appreciated what Yes has had to offer over the years. And I<br />
think a lot of that comes down to the individual musicianship being<br />
to the fore, as well as composition. You could probably say that<br />
we’re the ultimate modern-day musician’s band.”<br />
A bonafide musicians’ musician himself, Downes was reputedly<br />
entered into the Guinness Book of World Records for the most<br />
keyboards played in a live performance That’s a record only one with<br />
his prowess at tickling the ivories and pushing the envelope of music<br />
can hope to achieve.<br />
Catch Yes in performance with Todd Rundgren at the Queen Elizabeth<br />
Theatre <strong>September</strong> 5 (Vancouver), the Northern Alberta Jubilee Auditorium<br />
on <strong>September</strong> 7 (Edmonton) and the Southern Alberta Jubilee<br />
Auditorium on <strong>September</strong> 8 (Calgary).<br />
by Christine Leonard<br />
“I feel like these days, we’re trying harder, especially on this record and Brill Bruisers (2014). It was<br />
the first time where we said, ‘Let’s go out there on stage and just try to be as close to our albums as<br />
possible.’ Whereas before that I think we were a little more lackadaisical about it, now we’re slightly<br />
more disciplined and it’s cool to go out there and go like, ‘Okay what you hear on the record, we’re<br />
going to try to do that live.’”<br />
Thus far the popular response to conductor Newman’s dynamic, high-fidelity approach with Whiteout<br />
Conditions has been overwhelmingly positive. After all, what better way to secure affections of a new<br />
generation of listeners than by fulfilling every frustrated delinquent’s wildest fantasy and running amok in the<br />
hallowed halls of education? John Hughes would applaud the scorching adolescent angst vented in The New<br />
Pornographers’ video for their latest runaway single “High Ticket Attractions.”<br />
“We were just talking to directors and Dan Huiting said ‘Okay, I know of a high school that’s slated for demolition<br />
and I think I could destroy it.’ And I said, ‘Let’s do that.’ The cool thing is that what makes that video look<br />
so high budget. It was real, filmed destruction! I made a couple of contributions to the video; I wanted the kids<br />
to have medieval weapons and I wanted a flaming motorcycle and after that I was just, ‘Do what you want!’”<br />
Ordering up battle-axes and stuntmen on a whim may seem out of character for a thoughtful alt-rock<br />
troubadour who has coaxed so many to crash on the floor, or psychiatrist’s couch, of his well-appointed artist’s<br />
studio. But truth be told, Newman has always had his eye on the prize, it’s just that the prize in question has<br />
gradually gotten a lot more impressive.<br />
“We just did The Late Show with Stephen Colbert and every time I’m in those situations there’s always<br />
that feeling of, ‘Holy shit. How did I get here?’ It’s almost like the nightmare where somebody throws you<br />
into a situation that you’re not ready for. But before we ever did TV I use to think, ‘Can you imagine?<br />
What else it there? That’d be the coolest thing in the world to ever experience that – to be a band that<br />
performs on a late-night TV show!’ And then it just becomes this weird thing where it becomes our reality.<br />
And it’s always surreal, and it’s fun, but there is an element of that nightmare scenario where you’re<br />
like ‘Oh my God. I’ve got to go play my song in front of a million people and I can’t fuck it up!’ It’s like<br />
child is the father of the man.<br />
The New Pornographers perform with Born Ruffians at MacEwan Hall in Calgary on Monday, Oct. 2, then<br />
Winspear Centre in Edmonton on Wednesday, Oct. 4 and at Burton Cummings Theatre on Saturday, Oct. 7.<br />
22 | SEPTEMBER <strong>2017</strong> • BEATROUTE ROCKPILE
ROCKPILE<br />
BEATROUTE • AUGUST <strong>2017</strong> | 23
THE MAD CADDIES<br />
hustling horns on the Prairies<br />
California Ska punks The Mad Caddies tease new self-produced album.<br />
The Mad Caddies have been tooting their ska<br />
horns over the world since their inception<br />
in 1995.<br />
The Caddies’ sound is a feast for the ears; it’s thirdwave<br />
ska influenced by their punk predecessors with<br />
dominating guitar riffs. Infused with a mix of reggae<br />
and calypso beats, the band tops it off with jazzy<br />
horns and heavier vocals on a pop-backbone. Combining<br />
these styles gave The Caddies their own brand<br />
of madness, which they’ve maintained and delivered<br />
across numerous releases and tours worldwide.<br />
The Mad Caddies’ last album, Dirty Rice, was<br />
released in 2014 and although new music is in the<br />
works, the guys are keeping the details tightly under<br />
wraps. Vocalist and guitarist Chuck Robertson, who<br />
helped form the band while in high school, reveals<br />
what he can.<br />
“We are recording it on our own, we love our<br />
family at Fat [Wreck Chords] but have decided<br />
to try something different this time around.<br />
Todd [Rosenberg, drums] handles a lot of the<br />
by Sarah Mac<br />
production aspect, and we’ve recently built<br />
a studio in our hometown in the Santa Ynez<br />
Valley in California.”<br />
This may come as a surprise to some since The<br />
Caddies have released all their records, except for<br />
their debut, on Fat Wreck Chords.<br />
“As for musical style, we think our fans will<br />
be very pleased! We’re experimenting with<br />
some new sounds, but it’s definitely still very<br />
Caddies-esque. The creative process is still what<br />
we love about our jobs. And it’s been pretty<br />
collaborative the past few years. One of us may<br />
have an idea, sometimes complete, sometimes<br />
in the early stages and we’ll finish and arrange it<br />
together as a band.”<br />
But, as for the release date, “it’s sort of a surprise.”<br />
Robertson adds.<br />
Fortunately for us Albertans, we’ve been<br />
graced with a second set of shows from The Caddies;<br />
the first set was during a small tour in July<br />
with the Offspring.<br />
“Well, The Offspring tour came up last minute<br />
and we were happy to be a part of it,” says Robertson,<br />
the concludes, “But we’ve always felt a strong connection<br />
with our Canadian fans. So, we love heading<br />
up North for shows. Plus, we are all still really good<br />
friends. So, it’s fun to get out on the road together<br />
whenever we can.”<br />
Don’t miss The Mad Caddies at The Needle Vinyl<br />
Tavern on <strong>September</strong> 14 (Edmonton) and at Dicken’s<br />
Pub on <strong>September</strong> 15 (Calgary).<br />
THE VOODOO GLOW SKULLS<br />
packing in the California street music<br />
This past summer, the news coming from the camp<br />
of legendary ska-core band The Voodoo Glow Skulls<br />
was hard to swallow.<br />
But first, some context. Hailing from Riverside, California<br />
and formed by brothers Frank, Eddie and Jorge Casillas in ‘88,<br />
The Voodoo Glow Skulls combine the elements of ska with<br />
traditional punk and hardcore style, and douse it with Mexican<br />
flare and rhythm; they’ve released nine full-length albums,<br />
around a half-dozen EPs and have contributed to well over 30<br />
different compilations. The Glow Skulls’ rowdy and rambunctious<br />
feel, alongside blazing horns and bi-lingual lyrics, have<br />
hooked a legion of fans and given them a distinctive sound<br />
that couldn’t be matched.<br />
Recently though, the Glow Skulls have fallen on hard<br />
times. This past June, lead singer and eldest brother Frank<br />
unexpectedly announced that he was leaving the band,<br />
leaving the remaining Glow Skulls shocked and shaken.<br />
Heartbroken, we chatted with Eddie to discuss the future.<br />
“In hindsight, we might have seen it coming over<br />
the course of a few years, but it wasn’t so clear or evident.<br />
Really, this has a lot to do with personal family business rather<br />
than the band not getting along, there’s a lot more to it that I<br />
won’t get into. But, he [Frank] moved away, to Arizona, about<br />
15 years or so ago and that was the beginning of him distancing<br />
himself from the band. It took a while for things to really<br />
change, but apparently, they did. So, it’s still shocking.”<br />
Pausing for a moment, he resumes.<br />
“And now, we’re about to do a full tour without our<br />
older brother and lead singer of the band. So, it’s an uphill<br />
battle and it’s hard. When you’re used to one guy being the<br />
front man and he’s not there and worse, he’s not coming -<br />
it’s weird. So, we’re in a weird place, but we’re working our<br />
way through it and we’re still thinking positive. So, we just<br />
want to play well and make it a rad show; hopefully people<br />
will respect that.”<br />
There’s a deep appreciation for the members of the Glow<br />
Skulls who are continuing this tour for their fans. Efrem Martinez<br />
Shulz of Manic Hispanic and Death By Stereo fame has<br />
stepped up to front the Glow Skulls for their upcoming tour.<br />
“He’s a hardcore singer in a great band of his own. So, we’re<br />
just glad he can tour, he can help us save face and not cancel<br />
on our fans, which is the most important thing. And also, not<br />
cancel on us. But, he isn’t a permeant member of the band.”<br />
Solemnly, Casillas continues, “we’ve had a career for 29<br />
years now and we’re not sure if we want to stop, but we want<br />
the option. But, to be fair with you, we’re really close to not<br />
doing this again and we might just stop. It’s hard, but we’re<br />
trying not to bum anyone out and fulfill these commitments<br />
to our fans.”<br />
He pauses, and continues.<br />
“The fact that I still get to go on stage and perform these<br />
songs I wrote over the last almost 30 years, that’s a big deal<br />
and I wouldn’t take it for granted. Because it’s all about the<br />
band and all about the music, we’re gonna be at these shows<br />
with a band that’s still functioning 100 per cent. And we’re<br />
not taking it lightly. We’re practicing more than ever, which<br />
makes us tighter than ever.”<br />
So, come ‘on Canada, let’s do Voodoo (hopefully not) one<br />
last time.<br />
Come celebrate 29 years of music with the Voodoo Glow<br />
Skulls at the Windsor Tavern on <strong>September</strong> 20 (Winnipeg),<br />
at the Exchange on <strong>September</strong> 21 (Regina), at Dicken’s Pub<br />
on <strong>September</strong> 22 (Calgary), at the Needle Vinyl Tavern on<br />
<strong>September</strong> 23 (Edmonton), and at the International Beer Haus<br />
on <strong>September</strong> 24 (Red Deer).<br />
Wherein we hear sombre news from the long-running ska band.<br />
by Sarah Mac<br />
24 | SEPTEMBER <strong>2017</strong> • BEATROUTE ROCKPILE
A-BOMB<br />
an explosive break-out<br />
A-Bomb’s debut Break Through The Static is unleashed <strong>September</strong> 1.<br />
A-Bomb has come crashing into Calgary,<br />
rising in the ranks of the local music scene<br />
over the past two years since the band first<br />
performance on fateful night at Tubby Dog. After<br />
the release of several online singles, A-Bomb has<br />
compiled their debut EP, Break through the Static.<br />
MISTER & MYSTIC<br />
philosophers in love<br />
When sitting down with Kat Westermann and Matthew Spreen,<br />
two key members of Calgary’s psych-rock outfit The Heirlooms,<br />
you’lll quickly find a refreshing outlook towards music. As the duo<br />
expounded upon their future goals, it’s clear a big part of this vision came to<br />
be in their new project Mister & Mystic, a romantic indie rock vision by two<br />
philosophers deeply in love.<br />
Westermann and Spreen are on the brink of releasing their debut self-titled<br />
EP, which was recorded in Vancouver at Blue Light Studios with producer Kaj<br />
Falch-Neilson. The album opens with an upbeat, percussion-filled rendition<br />
of “Walk Me Home,” which incorporates Spreen’s loop pedal for the multiple<br />
guitar layers. In the second track, “All the Way,” Kat sings “I missed you before<br />
I met you…”<br />
She admits the song is unabashadely “directly [about] Matt.”<br />
One notable characteristic of this YYC duo is their personal bond. It reaches<br />
all the way from their romantic and musical partnership, to their philosophical<br />
beliefs, to everything in-between. You can even see it in their perpetually fresh<br />
wardrobe and naturally abounding kindness.<br />
In the aforementioned track, Westermann captures the sentiment of “missing<br />
something… Where you know what it’s going to feel like, but you don’t quite have<br />
it yet… Then you finally get it and it’s a thousand times better than you would<br />
have thought.”<br />
So what is the big plan for the record and the couple?<br />
“Album release <strong>September</strong> 8. Wedding <strong>September</strong> 9.”<br />
Simple enough! Their album follows the same vein: something simple and sweet<br />
with a vibrant authenticity. Some reoccurring themes woven into their mystical<br />
tapestry are hints of desolation after a collapse. Don’t worry, Spreen can explain.<br />
“There’s this lingering thing in society involving apocalyptic expectations, and<br />
people kind of feel anxious, and maybe that’s a bit far, but we are living in a city<br />
where the main industry has collapsed.”<br />
Westermann happens to indulge this dark fantasy in their track “Caves In,” as<br />
ROCKPILE<br />
photo: Trevor Hatter<br />
The band itself is named after the raunchy hot dog<br />
combo of chips, cheese sauce, and ketchup, and<br />
the three-piece band is living up to their name with<br />
explosive synergy, edgy ballads, and classic rock ‘n’<br />
roll attitude.<br />
Lead vocalist and guitarist Faith Schadlich has<br />
by Kaeleigh Phillips<br />
stellar vocal range, and is reminiscent of the great Lita<br />
Ford who rose to stardom in the ‘80s hair metal scene,<br />
along with Canadian female-led bands Diemonds and<br />
The Pack A.D. With newest addition Jenny Brisebois<br />
on the bass and Nicole Niewinski on drums, A-Bomb<br />
makes for an all-force, no-fluff power trio, and their<br />
four-track EP is a tightly wound and energetic example<br />
of great music arising from the ashes of the hair<br />
metal scene.<br />
“We got a free recording with [celebrated local<br />
musician] Lorrie Matheson and found we wanted to<br />
record more, so we decided to do the EP,” Schadlich<br />
says.<br />
Each member of the trio has a different favourite<br />
song, with Schadlich preferring “Rocker Roller” due<br />
to its stylistic integrity as a classic ‘70s inspired tune.<br />
Brisebois is a fan of “Queen of the Night” because of<br />
the sing-along ballads in the song, and Niewinski loves<br />
“Breaking through the Static” because it is fun to play.<br />
When the band is taking a break from rocking on<br />
stage, they can be found “drinking cold ones with the<br />
boys” according to Brisebois.<br />
These rock-n-roll women are excited to release<br />
their EP on <strong>September</strong> 1 and are passionate about<br />
their future in the Alberta music scene. “<br />
You are jamming on stage with your friends and<br />
you meet people with a similar interest who love your<br />
shows. It is a love of playing and sharing my music,”<br />
Schadlich says of the Calgary experience.<br />
“I get to live my dream.”<br />
A-Bomb releases Break Through The Static at The Palomino<br />
Smokehouse & Bar on <strong>September</strong> 1 (Calgary)<br />
with support from Electric Revival and Dane. Check<br />
them out online at https://aa-bomb.bandcamp.com<br />
Mister & Mystic is finding harmony in all avenues of life.<br />
by Taylor Odishaw-Dyck<br />
photo: Kevin Kirkpatrick<br />
she sings “I love you when the world caves in.”<br />
There are eight tracks on the short album, although one of these is a brief spoken<br />
word interlude, which contains thought-provoking poetry laden with heavy<br />
vocal effects.<br />
Additional instrumentation on the album was provided by two studio musicians,<br />
including Peter Robinson on percussion and Brian Chan on cello. The recording<br />
took two days, which was a pleasant surprise, because that lined up perfectly<br />
with their budget. They had nothing but good to say about Falch-Neilson, who<br />
struck a balance between assertive and flexible production.<br />
For Westermann and Spreen, this release is the next step towards making their<br />
music more intimate both for their audience and for each other.<br />
Catch Mister & Mystic’s EP release as a part of We Are The Wind - A Soaring Eagles<br />
Record Showcase alongside Todd Stewart, Jason Famous & Le Fame, and Sinzere.<br />
The show takes place at Festival Hall <strong>September</strong> 8 (Calgary).<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 25
2/3 OF NOTHING<br />
please enjoy responsibly!<br />
2/3 of Nothing celebrate the release of The High Cost of Low Living.<br />
Hindsight maybe 20/20, but that doesn’t<br />
mean you don’t gain a lot of clarity by going<br />
through that shit the first time around.<br />
For Calgary-based hardcore rock outfit 2/3 of<br />
Nothing the gravelly road to rock ‘n’ roll notoriety<br />
represented a tough age for the band who spent<br />
four years slogging it out in the pit before hanging<br />
up their gloves.<br />
“Back in 1997, the jam space smelled like beer,<br />
cigarettes and pee. We didn’t take ourselves or our<br />
music seriously. It was more about hanging out and<br />
having an excuse to party. All of the songs were written<br />
under the influence so they could be played under the<br />
influence,” confirms guitarist Mike Davies.<br />
That pattern of self-immolation started to take its<br />
toll and Davies was ready to take a step back from the<br />
proverbial canvas at that point. And he wasn’t alone.<br />
“With so many conflicting drugs-of-choice, ego<br />
being one of them, infighting and addiction shortened<br />
the life of the band and we broke up in 2001,” fellow<br />
founding guitarist Trevor Lagler explains.<br />
“Fast-forward to 2015, with several years of recovery<br />
under our belts, and Davies and I rekindled our<br />
friendship, which inevitably lead to a discussion about<br />
putting the band back together. We wanted to go into<br />
the studio and record our lost songs.”<br />
Recovery is a loaded term for 2/3 of Nothing, as the<br />
group may have distanced themselves from those negative<br />
habits and attitudes, but the goal of writing and<br />
performing riveting punk and metal-tinged tunes continues<br />
to be a shared obsession. Salvaging their friendships<br />
was the easiest part of the equation, according to<br />
Lagler; he credits the band’s comradery and willingness<br />
to laugh at themselves as being essential to the process<br />
of going back to the drawing board and drafting the<br />
plans for the future. Fortunately, the passage of time<br />
had not diminished their instrumental or songwriting<br />
talents, and only served to amplify them.<br />
“Dave (Countryman) is one of the most solid<br />
and under-rated bassists playing in the local scene,”<br />
confirms Lagler.<br />
“He and Mike Davies go all the way back to the<br />
mid-80s; they co-wrote and arranged all of the band’s<br />
by Christine Leonard<br />
original songs. Mike is considered to be one of the<br />
best punk rock guitar players in Calgary and his level<br />
of experience, sense of humor, and personality help to<br />
keep things in the band light, and fun, which is one of<br />
the main focuses of this project.”<br />
With that promise of keeping things pleasant and<br />
clearheaded, Lagler and Davies had little trouble roping<br />
Countryman and (recently retired) drummer Rich<br />
Johnson into their idea for a proper 2/3 of Nothing<br />
reunion.<br />
“When the four of us got back together we discovered<br />
a different energy and perspective,” recalls<br />
Countryman.<br />
“We were playing together again because we love<br />
each other and we enjoy playing as a band. Total<br />
180-degree turn. This time we had an opportunity to<br />
grow the music as a brand and put some pride into it.<br />
We’re now coming from a place of humility, and just<br />
having fun. This album, we’ve created together, is called<br />
The High Cost of Low Living. It’s a historical record of<br />
the band and it is everything that has come before,<br />
with our new perspective stamped on it.”<br />
There’s nothing more empowering that an unclouded<br />
mind and a fresh mouth. For these Calgary rock<br />
vets that’s just two thirds of the big picture.<br />
“My lyrics range from taking the piss out of everyday<br />
mundane situations (from a very tongue and cheek<br />
perspective), to the more serious subject like life<br />
and addiction. Basically, we have serious songs and<br />
seriously silly songs. It’s all about maintaining balance,”<br />
says Lagler.<br />
“Recording this album means finally tying up loose<br />
ends that are decades old. We are intensely proud of<br />
this accomplishment, because this was the reason we<br />
got back together. People can expect us to be loud,<br />
tight, make jokes at our own expense and play some<br />
kick-ass punk rock ‘n’ roll music!”<br />
2/3 of Nothing celebrate their album release with<br />
headliners Gaytheist and Solid Brown at The Palomino<br />
Smokehouse & Bar on <strong>September</strong> 16 (Calgary). You<br />
can listen to the record online at https://twothirdsofnothing.bandcamp.com<br />
MAMMOTH GROVE<br />
street hearts hits the bricks<br />
<strong>September</strong>’s back-to-school regime is a<br />
questionably welcome event, but for Calgary<br />
students-of-life Mammoth Grove the<br />
requisite first essay question of ‘How I spent my<br />
summer vacation?’ is one worth crowing about.<br />
While others spent their dog days mowing lawns<br />
and painting fences, Mammoth Grove has been<br />
growing its fuzzy beard, working on its psychedelic<br />
moontan and observing the migratory<br />
behaviour of the Cowtown concertgoer.<br />
“In my experience music has been one of the<br />
most consistent, most enjoyable, most beneficial<br />
ways to make a living,” extolls lead singer-guitarist<br />
Devan Forrester of his summer employment of<br />
choice. “I have a pretty hard time sticking through<br />
things I don’t care about, don’t believe in and don’t<br />
want to be a part of, which how I’ve felt about<br />
most jobs in the past. So music has been great, especially<br />
recently I’ve been jamming a lot. I’ve been<br />
downtown playing gigs, solo shows, open mics and<br />
just being out there and it’s working really well.”<br />
Catching the waves of humanity that wash<br />
across the core throughout July and August,<br />
Forrester (who also performs solo under the name<br />
Silver Moss) has had ample opportunity to exercise<br />
his mind, polish his craft and gain a more fulsome<br />
understanding of the relationship between performer<br />
and audience.<br />
“I was out a lot for Stampede which is<br />
great, of course. Happy, smiley, drunk people<br />
everywhere. I was playing outside of the gates<br />
of the [Calgary International] Blues Festival as<br />
everyone filtered out and middle-aged crowd<br />
was having a lot of fun. I’ve never been offered<br />
more joints, roaches, doobies, piece of hash,<br />
one-hitters. Mom and Dad like to have a good<br />
time out! On the train ride home afterwards<br />
I had the entire car singing along to “I Won’t<br />
Back Down” on the Green Line. What can I say?<br />
Tom Petty’s been a gold nugget for me.”<br />
Sure he gets plenty of requests for CCR, Neil<br />
Young and Steve Miller, but it’s Petty who’s<br />
illuminated Forrester’s quest for authenticity and<br />
Sidewalk citizen. Mammoth Grove takes it to the street.<br />
by Christine Leonard<br />
self-awareness. By his estimation, it’s not just looking<br />
the part and delivering the goods, but bridging<br />
the gap between generations while exuding a<br />
signature sound that is entirely unique.<br />
“I play very few covers, I don’t really know many<br />
at all,” explains Forrester.<br />
“Right now the point of busking for me is to try<br />
out all these new songs I’ve been writing. And I’ve<br />
been writing lots! Mammoth Grove has this massive<br />
back catalog that we want to record and do<br />
stuff with, but we’re just kind of relaxing right now.<br />
After we went toured out to B.C. in May we figured<br />
let’s do our own things and enjoy the summer<br />
by soaking it up on the coast and playing on the<br />
streets back home.”<br />
Although this post-tour summer hiatus has<br />
been the longest of their collaboration, Mammoth<br />
Grove has been busily cultivating all of the<br />
elements necessary to flourish throughout the<br />
dark, cold winter months. Bound with wood, wire<br />
and an unquenchable thirst for beauty, Forrester’s<br />
methods and approach have only grown stronger<br />
thanks to weeks spent pounding the pavement<br />
during his 21st century troubadour bootcamp.<br />
“The biggest thing for me was just getting over<br />
that initial fear of busking. I was scared and I was<br />
nervous, but now I’m really into being able to<br />
rely on my voice and a guitar. Mammoth Grove<br />
is always electric, but this summer I’ve been really<br />
only playing acoustic, because it’s lighter to carry<br />
around. So, that definitely changes the sound<br />
and dynamic and everything about it. I’m really<br />
focusing on simple songwriting. I’ve noticed while<br />
busking that people connect with your voice way<br />
more than your guitar. I’ve been working on my<br />
vocal technique and range and it feels great to be<br />
confident in just what I am right here and now.<br />
‘Blam!’ Until recently I felt like I had to be the singer,<br />
now I feel like I get to be.”<br />
Mammoth Grove performs with Yawning Man<br />
and Alex Perrez & The Rising Tide at The Palomino<br />
Smokehouse & Bar on <strong>September</strong> 21 (Calgary).<br />
26 | SEPTEMBER <strong>2017</strong> • BEATROUTE ROCKPILE
BODY-BODY<br />
bring on the dance floor bangers!<br />
by B. Simm<br />
LOOSE ENDS<br />
what’s happening around Calgary in <strong>September</strong><br />
by Jodi Brak<br />
photo: Arif Ansari<br />
The Menzingers hit Marquee Beer Market & Stage on October 3.<br />
photo: Charles Wrzesniewski<br />
After three decades in the business of making conceptual punk, Kamil Krulis is no stranger, and certainly no<br />
wallflower, when it comes to reivention and making a statement. In his newest project he’s rechristened<br />
himself DJkkay and teamed up with an electro-beat specialist, Antoine, to produce a new dance floor (in the<br />
works) sensation called Body-Body. What’s the concept, what’s the statement? Well, as always, it’s a pleasure<br />
sparing with good ole KK and not too difficult for him to simply lay it on the line, or rather, the dance floor.<br />
Briefly, what’s the concept behind your new project?<br />
Basing a dance group on the Italo drive sound of the early ‘80s and deconstructing it.<br />
There’s definitely a lot of overt sexual referencing. Let’s start with the track “I Want Your Body”, which has<br />
the unlikely combination of Rod Stewart’s “Do You Think I’m Sexy” and Olivia Newton John’s “Let’s Get<br />
Physical” dubbed in with some slo-mo, German robotic techno. There’s no real mincing of words here with<br />
a line like, “I want your body”. A rather blunt come on, don’t you think?<br />
Well, in reality that song is the beginning of working with the Italo bass sound. How Antoine works it warps<br />
genres. I was interested in simple anthemic lyrics, as if English was my second language. Oh wait, English is my<br />
second language! But the pleasure of hedonism is a call to hit the dance floor.<br />
“Maschine” another sexified track. What are you talking about when you say, “When you turn me on,<br />
I’ll turn you on”? One of those extended mechanical devices with a dildo attached to it seen in porn<br />
videos, a fuck machine? Or is the person here a sexual machine themself, a get-up-stay-on-the-scene<br />
sort of character?<br />
Haha! Is it man-made? Is it human? In Body-Body we are living in a Phillip K. Dickian future.<br />
“Sexbooth”, interesting title. Do you remember the Orgasmatron in Woody Allen’s Sleeper from<br />
the early ‘70s? A sci-fi sex capsule that someone steps into for climatic pleasure. Is that what the<br />
sexbooth here is about?<br />
Oooooh Brad. “Sexbooth” is about what is affectionately known as booth number one at Pizza Bob’s, the one<br />
you might have passed out in. It has been the subject of a number of rumoured make-out scenes over the<br />
passage of time. The track itself is another hedonistic dance floor banger.<br />
For the record, it’s booth number three at Bob’s I had a “little nap” in on one occasion. Back to the Body-<br />
Body EP. This is a six-song recording that starts out with the suggestive “Get Down On The Beat” and ends<br />
with the kiss-off “You Don’t Know Me”. A journey, an adventure seems to take place during the songs in<br />
between. Is this some story about a sexual romp? It seems all very promiscuous, a lot of body, body and<br />
very little soul going, which perhaps is the idea. While lust and sex are the dominating themes, there’s an<br />
alienating undertow.<br />
A big part of the conceptual aspect of Body-Body is to reinvent a time when Reagan was president and nuclear<br />
war truly a fear with the zeitgeist, not unlike Trump now. So perhaps the journey is one where pleasure and<br />
the bacchanalian coincide on the dance floor with the regular mundaneness of being alive in a meaningless<br />
middle-class world. The dance floor is the ultimate other-world escape.<br />
Who’s the master programmer working the keyboards and computer? Who’s the other Body? And where<br />
do you draw your inspiration for this kind of get your electro-pop groove on? Just Italo disco?<br />
Antoine is the other Body. He is heavy into hip-hop beats. He is both a savant and very knowledgeable, so I<br />
think there is that element. I made him figure out the Italo drive, ha! One of my stipulations was that it had to<br />
sound pre-house Chicago. I think it’s working.<br />
body-body is having a tape “dance-floor” release party Saturday, Sept. 30 at Local 510.<br />
ROCKPILE<br />
THE MENZINGERS<br />
Marquee Beer Market & Stage, October 3<br />
Armed with music that looks into the depths<br />
of sadness and cynicism to pull out something<br />
positive, The Menzingers are a group of<br />
Pennsylvania punk rockers who understand<br />
that inspiration can be found in the face of<br />
darkness. Their music is highly melodic and<br />
surprisingly progressive, swinging back and<br />
forth between clean, lightly picked chords and<br />
heavy, high-gain crescendos. Top it off with a<br />
witty, irreverent sort of poetry to their lyricism<br />
and you have songs that will loop endlessly in<br />
your head for weeks.<br />
STATE CHAMPS<br />
Marquee Beer Market & Stage, <strong>September</strong> 23<br />
These guys most assuredly bring the pop<br />
to pop-punk. Hailing from New York, State<br />
Champs songs always seem to fall on a lighter<br />
note – at least musically. With an infectious,<br />
head-bobbing beats, their songs are played in<br />
keys that leave a smile on the face and a warm<br />
feeling in the gut. They’re bringing their tunes<br />
quite a ways west on their latest tour; check<br />
them out while you actually have the chance.<br />
JESUS PIECE<br />
Palomino Smokehouse & Bar, October 4<br />
Unleashing classic hardcore that leans towards<br />
the metal side, this five-piece act out of Philly<br />
deliver moshpit tunes like the best of them.<br />
They mix the beat of hardcore with the deep<br />
growls and incessant background calamity of<br />
metalcore, and are known for their ability to<br />
spin crowds into a delirious frenzy at the drop<br />
of a chorus hook. Their Calgary show is sure to<br />
be one for the books.<br />
CHANGE OF HEART<br />
Palomino Smokehouse & Bar, October 6<br />
Once thought to be a spark that flickered in the<br />
‘80s and quickly faded away, Change of Heart<br />
pulled off a successful reunion in 2009 and has<br />
been bringing their weird brand of Tragically<br />
Hip meets The Clash indie-punk back to the<br />
stage ever since. Vocalist Ian Blurton is known<br />
for his work with other Canadian indie projects<br />
such as beloved Napalmpom pals Bad Animal;<br />
he also worked with C’mon and Cowboy Junkies,<br />
conjuring a much deserved cult following.<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 27
UP+DT Festival<br />
U.S. GIRLS<br />
exploring new modes of music making<br />
Big changes are underway in the U.S. Girls world.<br />
The music of U.S. Girls, the moniker of American expat Meg<br />
Remy, is always sentimental, socially aware and elusive.<br />
Remy, the Toronto based songwriter and producer, is known<br />
for her obscure samples, produced by old tapes and recordings that are<br />
stretched and dismantled as well as fuzzy beats. Her Illinois tinged voice<br />
tells stories of despairing sadness through a glowing voice. Though challenging,<br />
her experimental singer/songwriting is hopeful and vibrant.<br />
U.S. Girls has not released an album since 2015’s Half Free, a vivid,<br />
by Michael Grondin<br />
dreamlike collection of anecdotes that also dive deep into Remy’s<br />
imagination, partnered with music videos that complement its<br />
dreamy qualities.<br />
In a phone interview with Remy while on set for a new music video in<br />
Kingston, Ontario, she explains that a brand new album is in the works.<br />
“I just finished a record. It’ll come out early 2018,” she says, not giving<br />
away too many details.<br />
“I don’t know if I can tell you what it’s called.”<br />
Making a turn from her minimalist beats, Remy says she wanted to<br />
explore new ways to approach writing an album.<br />
“It’s a record like I’ve never made before with lots and lots of musicians.<br />
Like 20. So it’s very elaborate but not ornate at all,” she explains.<br />
“It features a band, and from now on I’ll be playing with a band.”<br />
Indeed, her upcoming tour features a full band.<br />
“There’ll be drums, bass, guitar, keyboards, vocals, saxophone,” she<br />
explains with a laugh.<br />
Without getting too political, Remy discussed the ways in which the<br />
current social climate seeped into her new work.<br />
“A lot of this album was written during the course of the U.S. presidential<br />
election. So, there is a lot of that in there,” she says, again without<br />
going into detail.<br />
“It’s like asking for an opinion on the bible or something. I’m just sad,<br />
but also not surprised unfortunately. I don’t know what else to say.”<br />
She says that even if not directly, any we can asks bigger questions is<br />
important regardless of the medium.<br />
“Any platform or vehicle to address social issues can be good. If it’s a<br />
poster on a wall, or a conversation two people have, or a film or a song, it<br />
works. Music is as good as any other,” she says.<br />
U.S. Girls perform as part of Up + Downtown Fest at the Vinyl Needle Tavern<br />
on October 6 (Edmonton). They’ll be playing with Tei Shi, GGOOLLDD,<br />
and Lyra Brown. They perform with Crystal Eyes and Child Actress at The<br />
Palomino Smokehouse & Bar on October 7 (Calgary).<br />
SISTER NANCY<br />
bringing 41 years of experience to the stage<br />
Sister Nancy is the original mumma and the mistress of ceremonies.<br />
She may be best known for her hit “Bam Bam,” but her legacy<br />
and influence extends vast stretches beyond that. The classic<br />
reggae tune, a cut from her ‘82 album One, Two, did not experience<br />
immediate success. However, it experienced a resurgence courtesy of<br />
sampling in songs by Lauryn Hill and Kanye West, who used it on the<br />
new offering “Famous.”<br />
Finally, 35 years after recording, people have begun to learn who the<br />
woman is behind the timeless tune. Born Ophlin Russell in Kingston,<br />
Jamaica in 1962 to a conservative Christian family, Sister Nancy first got<br />
into music through her brother, legendary reggae/dancehall DJ Brigadier<br />
Jerry. She soon decided she wanted to start DJing and MCing herself, and<br />
became known as the first female dancehall DJ.<br />
“I was the first woman who was there, now I’m looking 41 years after<br />
all the ladies who come, they come after me,” she says over the phone<br />
from her home in New Jersey.<br />
“I of course I am very pleased with what I have accomplished and how<br />
I have set the pace for other females.”<br />
She never let the fact that the music scene in Jamaica, and around the<br />
world for that matter, was male dominated, saying simply, “I said if they<br />
can do that, I think I can do that.”<br />
She has also worked as an auto mechanic, another industry dominated<br />
by men. The experience served as the basis for her song “Transport<br />
Connection.”<br />
Last year, Nancy retired from her job as a bank accountant, and now<br />
enjoys her time relaxing at home, because when she hits the road to<br />
perform, she is hard at work. In the 41 years of her musical career, she<br />
says that her performance has changed for the better, and she is working<br />
harder now than she ever has, even when she was in her 20’s.<br />
by Paul Rodgers<br />
“The more you work, the more you gain more experience, the more<br />
you know. You know how to operate on the stage and how to perform<br />
and how to deliver to people. And I like it, I love it because now I know<br />
exactly what to do.”<br />
Though she hasn’t been in the studio to record her own music recently,<br />
she hasn’t ruled it out as a possibility in the future, saying “I’m still<br />
pretty young.”<br />
“I was born like this, this is not something I put on, or something that I<br />
can take off, I was born to do what I do and I know that.”<br />
Sister Nancy performs on October 6 at the Freemason Hall (Edmonton)<br />
during Up + Downtown Fest.<br />
28 | SEPTEMBER <strong>2017</strong> • BEATROUTE ROCKPILE
TEI SHI<br />
pop musician moves beyond the bedroom to the studio<br />
Colombian-born, Vancouver raised artist comes into her own.<br />
photo: JJ Medina<br />
The hypnotic grooves and bombastic beats of New York based<br />
Canadian singer Tei Shi are showcased on her debut full-length<br />
Crawl Space, what she calls a vessel for her emotions and fears<br />
expressed through warm melodies and a liquid-smooth voice.<br />
“Crawl Space is the closing of a chapter and the beginning of<br />
something new in my life,” says Valerie Teicher in a phone call from her<br />
Chinatown apartment in Manhattan. The album came out in April, and<br />
has received rave reviews.<br />
The Colombian-born, Vancouver raised writer/producer claimed<br />
some fame after self-producing and self-releasing two EPs, showcasing<br />
UP+DT Festival<br />
by Michael Grondin<br />
her charming yet minimal approach to electronic bedroom-pop, layering<br />
her vocals over experimental, pop-infused beats.<br />
“The journey of my experiences after having jumped into all of this<br />
made me feel like I wanted my first album to push both personal boundaries<br />
and re-introduce myself musically,” she says. “A crawl space seemed<br />
like this metaphorical space where I could hide to work through fears<br />
and anxieties.”<br />
She explained that in the two-year process of writing and producing<br />
Crawl Space, her life went through many changes.<br />
“I was dealing with a lot of the eternal conflicts and pressures you feel<br />
when you are starting to put together something you love — something<br />
that is very precious to you,” she says.<br />
“When I was really working on the bulk of the album and finishing<br />
it, I was experiencing the end of many important relationships in my<br />
life as well.”<br />
This forced her to reexamine things.<br />
“I re-inserted this period of my life and revisited my childhood life. I<br />
looked at things now the way I would have as a kid,” she says. “I wanted<br />
to rediscover the roots of why I loved singing and performing. There was<br />
a lot of tying back a lot of my current emotions as I tried to stay true to<br />
that young part of myself.”<br />
Crawl Space is a mature, fleshed out, 15 song musical effort that<br />
pushes far beyond what Teicher released in the past, moving beyond the<br />
bedroom and into a studio.<br />
“I was able to bring many musicians in, so there’s a different role you<br />
have to play where you have to guide the process but also let things<br />
unfold in their own way,” she concludes.<br />
Tei Shi perform as part of Up + Downtown Fest at the Vinyl Needle<br />
Tavern on October 6 (Edmonton). They’ll be playing with U.S. Girls,<br />
GGOOLLDD, and Lyra Brown. They also perform at the Commonwealth<br />
Bar & Stage on October 7 (Calgary).<br />
FIVER<br />
bringing mistreatment of those with mental illness to light in song<br />
With increasing numbers of people in Canada being aware<br />
of and accepting of those with mental illness, and those<br />
who suffer from them learning to cope with the challenges<br />
those illnesses present, Toronto-based artist Fiver has explored some<br />
of the darkest historical elements of those afflictions on her new<br />
record, Audible Songs From Rockwood. The album finds singer-songwriter<br />
Simone Schmidt inhabiting the psyches, in field recording<br />
style, of a number of fictional patients at the Rockwood Asylum For<br />
The Criminally Insane, as gathered from case files dated between<br />
1854 and 1881.<br />
Schmidt, who also works with Toronto psych-country group The<br />
Highest Order, and was in underground country group One Hundred<br />
Dollars, took two years to research the case histories of patients, and the<br />
album has an immediacy, a subtle yearning easily at home in the classic<br />
Appalachia of the arrangements.<br />
“I read an article about women who were incarcerated at the<br />
Rockwood Asylum before the asylum was built, this period of 12 years<br />
when prison labourers from the Kingston Penitentiary constructed the<br />
asylum,” says Schmidt. “They had nowhere to put people who were designated<br />
criminally insane, those being people who had plead criminally<br />
insane at trial, or even those who were in jail but weren’t adhering to the<br />
social order of the institutions. The ‘social order’ of the Kingston Penitentiary<br />
in particular was one of silence and work. If you couldn’t be quiet all<br />
day and work, they deemed you criminally insane. Because Rockwood<br />
Asylum took 12 years to build, they need to do something with the people<br />
who couldn’t live in the other institutions so they sent the women to<br />
live on the Cartwright Estate, where the asylum was being built, housing<br />
them in the horses’ stables. I wrote a song from that almost immediately,<br />
and wanted to explore the history further. It took me into the roots of<br />
our institutions in settler and colonial society.”<br />
ROCKPILE<br />
Two years of research brought on Fiver’s latest album.<br />
by Mike Dunn<br />
While those methods for diagnosing mental illness in the past might<br />
seem very dubious now, Schmidt doesn’t feel we’re that far removed<br />
from the antiquated methods of history. “I don’t think that the DSM<br />
(Diagnostic and Statistical Manual of Mental Disorders) is that much<br />
more of a precise science, and I would argue that I think that people who<br />
can’t conform to the dominant notions of what it is to be a productive<br />
person, or to fit into the economy, are often incarcerated, whether that’s<br />
in a mental institution or a prison, quite often their freedom is withheld.”<br />
Fiver performs at Hillhurst United Church on <strong>September</strong> 15 (Calgary) and<br />
at McDougall United Church as part of Up + Downtown Fest on October<br />
7 (Edmonton). Schmidt’s other band, The Highest Order, will also perform<br />
at Up + Downtown.<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 29
live music<br />
september 2<br />
the frontiers<br />
september 9<br />
jay bowcott<br />
september 16<br />
mackenzie walas<br />
september 23<br />
SADLIER-BROWN DUO<br />
september 30<br />
MIKE WATSON<br />
saturday nights<br />
EDMONTON EXTRA<br />
PAROXYSM<br />
Edmonton crust punks unleash sociopolitical debut<br />
photo: Dustin Ekman<br />
Paroxysm will release their self-titled EP on <strong>September</strong> 22.<br />
by Sarah Kitteringham<br />
weekly specials<br />
late night movies<br />
$5 pints, $1 oysters<br />
$1/2 off wine<br />
$2.50 tacos<br />
$7 beer flights<br />
$5 draft pints<br />
$3 jack daniels<br />
midtownkitchen.ca<br />
Emerging from Edmonton, Paroxysm expels<br />
a d-beat laden, blackened style of hardcore<br />
punk. The socio-politically oriented band<br />
is on the cusp of releasing their self-titled EP, a<br />
25-minute crossover rager. The multi-label release<br />
will be available on vinyl, and features blazing riffs<br />
and a crusty howl excellently lain over top the<br />
mix. Paroxysm has improved quickly since their<br />
March 2016 offering, the Open Wounds Demo.<br />
Despite its rudimentary recording quality, the<br />
50-cassette <strong>edition</strong> sold out.<br />
“I believe that musically the aim has been for<br />
a d-beat, blackened-crust type sound. At least,<br />
this is where I think a lot of our influences are<br />
coming from. Each member of our band seems<br />
to feed off of a variety of metal and punk,” explains<br />
Holly Blake, the lyrics and vocalist for the<br />
act. She discussed the release with <strong>BeatRoute</strong><br />
alongside drummer Chris.<br />
“The demo was recorded in one take, live-offthe-floor<br />
in a matter of hours with equipment<br />
that none of us knew how to use. By the time we<br />
recorded the EP, we were tighter as a band and<br />
playing much faster. We also took our time while<br />
recording the EP. There are more layers of guitar.<br />
The sound is altogether cleaner.”<br />
It’d be foolish to mistake cleanliness for meekness,<br />
as the EP is anything but. The oscillating<br />
groovy riff in “White Picket Fence” is overlain<br />
with unnerving shrieks; “Sickness Remains”<br />
opens with crushing, swelling instrumentation<br />
then transforms into something bordering on<br />
grindcore. The obvious difference here is the improved<br />
production, courtesy of Derek Orthner<br />
(Begrime Exemious). Thematically, the release<br />
has many commonalities with their demo,<br />
whose cover depicted the St. Bernard Residential<br />
School located in Grouard, Alberta. Paroxysm’s<br />
Bandcamp page includes a strong statement<br />
regarding the release.<br />
“Paroxysm is a platform for me to bring to<br />
light the rampant human indignities that have<br />
been caused by colonialism,” explains Chris.<br />
Extreme racism, poverty, unusually high<br />
rates of illness, low life expectancy, inconsistent<br />
access to clean drinking water and suicide rates<br />
that are double the national average are all deep<br />
seated, ongoing issues for Aboriginal communities<br />
across Canada.<br />
“Be it the cover of our demo, which depicts<br />
the Residential School my mother and her siblings<br />
attended, the cover of our [new self-titled]<br />
album that shows an ominous view of the tar<br />
sands that have destroyed a vast landscape, or<br />
in the music which I use as a release for inner<br />
turmoil caused by the struggles of daily racism.”<br />
He continues, “My family along with EVERY<br />
indigenous family on Turtle Island [the ingenious<br />
name for North America] have deep<br />
wounds that we are trying to deal with. It’s very<br />
true that not a lot of people know or acknowledge<br />
the atrocities committed on Indigenous<br />
peoples. By telling a part of my story in that<br />
write up it puts a face to the white supremacist<br />
laws created by the Canadian government.”<br />
Blake is adamant that Paroxysm will continue<br />
to focus on social issues as a means of addressing<br />
and combating injustice. In the current<br />
antagonistic political climate where extreme<br />
right wing ideologies are being normalized, it’s<br />
a message Paroxysm places deep importance in,<br />
both from within and in their day-to-day lives.<br />
“I don’t just think it’s important to make a<br />
statement about this with our band, I think it’s<br />
important to make this statement in every life situation<br />
where it needs to be heard,” explains Blake.<br />
“It’s about speaking out against ‘socially<br />
acceptable’ racism which includes anti-refugee<br />
and Islamophobic sentiments, spitting on<br />
anti-choice-misogynist-sign-holding-scumbags,<br />
or standing in solidarity with workers in every<br />
industry being exploited for their labour.”<br />
She concludes, “It’s about acknowledging that<br />
the land we inhabit is stolen, and this nation<br />
continues to exploit and victimize indigenous<br />
communities to date. We must all work toward<br />
reconciliation and indigenous liberation. I<br />
believe it starts with educating folks on Canada’s<br />
treacherous history, and addressing the racism<br />
that has been passed down through generations<br />
and dismantling it.”<br />
Paroxysm will release their self-titled EP on vinyl at the<br />
Brixx on <strong>September</strong> 22 (Edmonton). They’ll be performing<br />
alongside Begrime Exemious and WAKE. You can<br />
hear the band at paroxysmofficial.bandcamp.com<br />
30 | SEPTEMBER <strong>2017</strong> • BEATROUTE ROCKPILE
FUCK FENTANYL<br />
Punks stand up for safe partying<br />
by Jessica Robb<br />
There’s no doubt there’s a greatly romanticized<br />
cultural depiction of hard partying, one that<br />
is particularly celebrated and exacerbated by<br />
those within the music scene. It’s become as easy<br />
to find hard drugs as it is to find marijuana, and the<br />
timing could not be worse. Canada in the depths of<br />
an opioid crisis that has claimed at least 2458 people<br />
last year alone, making the tragic line between euphoria<br />
and fatal overdose so thin that two grains the<br />
size of salt can kill even the healthiest adult.<br />
This is fentanyl: a powerful synthetic opioid that is<br />
similar to morphine, but is 50 to 100 times more potent.<br />
Today it is found mixed with street drugs to enhance<br />
the associated effects of heroin and cocaine.<br />
The high potency of fentanyl greatly increases the<br />
risk of an overdose, especially as bootleg versions of<br />
the drug become more attainable and variations of<br />
the drug (carfentanil) grow even more toxic.<br />
“It’s not the fear of getting addicted anymore… It’s<br />
the fear of immediately dying that should be scaring<br />
people,” says Abby Blackburn of the band Ripperhead.<br />
Blackburn saw a need to educate the Edmonton<br />
punk community on the realities of the fentanyl crisis<br />
after witnessing some friends come fatally close<br />
to an overdose first hand. As such, she’s organized<br />
a presentation and gig at DV8 in <strong>September</strong> to help<br />
folks become better educated on the crisis.<br />
“I don’t want it to be a D.A.R.E. program. People<br />
want to party, it’s their life and they’re in control of<br />
it… I just want them to be safe about it. And that’s<br />
where the naloxone kits come in,” explains Blackburn.<br />
Naloxone kits are now available at pharmacies<br />
across Alberta, and contain a drug that can reverse<br />
an opioid overdose by pushing opioids off the receptors<br />
in the brain to restore normal breathing. The<br />
effects only last 20 to 90 minutes, which is enough<br />
time to call 9-1-1 and seek professional medical<br />
attention.<br />
“It’s basically the rule of three: don’t party alone,<br />
make sure you have this kit and know where your<br />
supplier is coming from,” Blackburn encourages.<br />
The kits are free to pick up at most pharmacies<br />
and will also be provided at the event for attendees<br />
to take home as part of the presentation by Alberta<br />
Health Services. If you’re unable to attend, Alberta<br />
Health Services website also features a lengthy list of<br />
locations where they are available.<br />
Blackburn has brought together four local punk<br />
bands to provide the music for the night, to scream<br />
in the face of fentanyl and even open up with their<br />
own personal struggles. While punk rock may be the<br />
lens to view the issue through on this particular occasion,<br />
the event isn’t specific to the punk community.<br />
Blackburn welcomes anyone who wants to get<br />
educated, regardless of genre preference.<br />
“I just want everyone to know that there’s a lot<br />
of love and heart in everything that [the punk<br />
community] does, and even though our music may<br />
be aggressive at times… We’re still happy about it,”<br />
affirms Blackburn. “That’s the number one thing:<br />
just always be happy about it, because you only get<br />
one life.”<br />
Fuck Fentanyl will be taking place at DV8 Tavern on<br />
<strong>September</strong> 8 (Edmonton). The event includes a presentation<br />
by an Alberta Health Services representative as<br />
well as a potluck. SASS, Whiskey Wagon, The Unreliables,<br />
and NME will perform after the presentation. For<br />
a list of pharmacies where naloxone Kits are available,<br />
visit www.albertahealthservices.ca<br />
Overdose prevention gets loud.<br />
photo: Nadja Banky<br />
INDUSTRY HOUSE<br />
new venue fills gap in the Edmonton scene<br />
While larger venues thrive and purvey<br />
booze to the legal music loving crowds,<br />
the question in the Edmonton music<br />
scene remains: where will the all-ages scene<br />
flourish? This is something Ryan Walraven has<br />
been considering for years, whether it was putting<br />
on all ages shows at the now defunct Avenue<br />
Theatre or with his new project, Industry House.<br />
The new venue will provide a much-needed stage<br />
for under-age bands as well as house a safe space<br />
for younger show goers. Walraven has partnered<br />
with his friend Phil Short of Corvus the Crow as<br />
well as Sabian Ryan, who will help handle booking<br />
and marketing. The venue’s manifestation appears<br />
rather spontaneous, coming together in three<br />
months at most.<br />
Thankfully, each member of the venue team has a<br />
background in the trades, which made the renovation<br />
process not only cost effective, but speedy.<br />
Walraven, Short and Sabian put in countless hours<br />
sanding, woodwork and so much more to get the<br />
room in quick operational condition.<br />
“I’ve worked in trades my whole life,” explains<br />
Short. “This is my first adventure into this side of<br />
the music scene. I’m in a band and I do wanna be<br />
involved in other parts of music. My brother has the<br />
silkscreen connections and after finding and putting<br />
this place together, I realize my new job now is making<br />
merch,” he says, his smile clear over the phone.<br />
“We tried to make it so that we considered what<br />
ROCKPILE<br />
All ages and all genres are welcome at new Edmonton venue Industry House!<br />
bands really want in a stage,” Walraven adds. “People<br />
don’t have to stare face to face with the artist and<br />
you’re also not taco-necking yourself because the<br />
stage is so high. We wanted to build the best intimate<br />
venue in the city.”<br />
The silkscreen connection Short spoke of is part<br />
of the three-pronged business plan Industry House<br />
has been implementing. Combining the silkscreen<br />
shop with L.T.D. Talent Services and Industry House,<br />
the venue can more easily manage running all-ages<br />
shows. <strong>BeatRoute</strong> asked about the common issue<br />
with all-ages venues lacking the liquor sales to be<br />
sustainable, and how Industry House plans on combatting<br />
this.<br />
“I think it’s going to take some time establishing<br />
the all-ages shows,” explains Walraven. “After about a<br />
year and a half, I found a handful of bands who were<br />
hungry and motivated. The high school networks are<br />
so tight knit that word of mouth was how we were<br />
able to get everyone out. We would have 250+ local<br />
by Brittany Rudyck<br />
kids coming out. It was insane.”<br />
While not every show at the venue will be an<br />
all-ages event, the trio looks forward to a frequent<br />
array of genres, which perhaps has not been the case<br />
in other DIY all-ages shows.<br />
“I think over the last few years the motivation<br />
to start a band at a young age wasn’t really there<br />
because there weren’t many places to play publicly,”<br />
muses Walraven. “You couldn’t rent halls anymore,<br />
and the Armoury was doing a few shows but it<br />
seemed mostly secluded to hardcore. There [are] a<br />
lot of other underage rock bands and genres that<br />
need places to play too.”<br />
The goal is to put on six shows with liquor licenses<br />
a month to ensure all-ages shows remain the priority<br />
and the youth community can be served. That said,<br />
their first performance is for an 18+ crowd.<br />
To sweeten the deal, a local food truck the Cranky<br />
Ape (owned by Walraven’s partner at L.T.D. Talent<br />
Services) will be on site most event nights to sling<br />
their carb heavy delights.<br />
“I swear he has the best fries in the city,” claims<br />
Walraven. “Hand cut, made day of - you’ll never meet<br />
a dude more proud of his food truck.”<br />
Corvus the Crow, Bring Us Your Dead and From the<br />
Wolves perform at the grand opening of Industry<br />
House on <strong>September</strong> 1 (Edmonton). For more<br />
information on upcoming shows, visit their website at<br />
http://www.industryhouse.ca<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 31
BOOK OF BRIDGE<br />
ARTS DAYS<br />
showcasing the arts in Lethbridge<br />
by Courtney Faulkner<br />
Youth create chalk art outside of Casa for Family Affair on the Square.<br />
Claire Lint busks on the street as a tap dancer for Art Walk 2016.<br />
photos: Henriette Plas<br />
Lethbridge celebrates their seventh annual<br />
Arts Days from <strong>September</strong> 23 through October<br />
1, with a plethora of activities for all-ages<br />
and interests. The event showcases the work<br />
of talented local artists through performances,<br />
workshops, artist talks, and artisan markets, connecting<br />
the community through creativity.<br />
Claire Lint, a local dance artist and co-founder<br />
of the non-profit organization the Lethbridge Society<br />
of Independent Dance Artists (LSIDA), is one<br />
of the city’s young artists who has chosen to invest<br />
her talent locally. Lint, who grew up Lethbridge,<br />
and whose dance has taken her to perform in the<br />
likes of places like the northern artist community<br />
of Dawson City, Yukon, has proudly watched the<br />
city grow and develop its talent pool.<br />
“I think we’re starting to really blossom and<br />
come into our own as an arts community,” says<br />
Lint. “I think it’s time that we’re put on the map,<br />
especially in Alberta, but I think in Western<br />
Canada, as a community that has a lot to say,<br />
and has a lot to contribute, in all art forms.”<br />
“As we continue to band together, it’s going to<br />
start happening. I feel like there’s a pulse, where<br />
the more people that get involved, the bigger the<br />
pulse is going to become, and then I think people<br />
will just have to come here, they’ll need to come<br />
here to access festivals, and residencies, and however<br />
you access the community as an artist.”<br />
Lint first became involved with Arts Days as<br />
a busker for Art Walk, an annual event that has<br />
taken place in Lethbridge coming on its 14th<br />
year. This collaboration between businesses<br />
and artists will showcase over 40 exhibitions installed<br />
in local businesses and venues throughout<br />
downtown. Lint remembers the first Art<br />
Walk she attended in 2009.<br />
“I have a very vivid memory of walking<br />
around, and I think there was only 10 venues, it<br />
was very, very small, but I just remember going<br />
around and thinking that it was just the coolest<br />
thing. For shops to open up their doors, and<br />
bring art in.”<br />
Five years later, Lint found herself compelled<br />
to participate. Buskers had primarily been musicians<br />
up until that point, however Lint had an<br />
alternative idea with her dancing shoes.<br />
“I found a piece of plywood in my parent’s<br />
garage and I painted it white, and I found a<br />
top hat, and I threw out a suitcase and I tap<br />
danced,” says Lint.<br />
“I would be like a living statue, and you know,<br />
get the coin and then tap. It was really great<br />
to see the kids engage with that, and to have<br />
that live performance art theatre feeling, while<br />
cross-pollinating into this art world, where people<br />
are moving around and they’re looking at<br />
different visual art, like ceramics and paintings,<br />
fabrics and textiles, then to be a part of the<br />
busking and the music was really cool.”<br />
Last year LSIDA put out a call for dancers, and<br />
the performance of busking dance artists grew to<br />
eight different dancers performing 17 times in 17<br />
different locations throughout the community.<br />
“Now, nearly a decade later, I’m able to reach<br />
out and connect with other people and bring<br />
those opportunities to them, which to me is<br />
really incredible,” says Lint. “Something that always<br />
stuck in my gut was creating opportunities<br />
for others, that was always something that I felt<br />
really passionate about.”<br />
The artists participating in Arts Days spans all<br />
generations. Karen Brownlee, a local painter and<br />
fine artist who has been creating work focused on<br />
the landscape and people of southern Alberta for<br />
over 40 years, has been involved with Art Walk<br />
since its inception. She’s been showcasing her<br />
work permanently in Tompkins Jewelers, and in<br />
the past offering on-site painting demonstrations.<br />
“The concept is that you take the art to the<br />
people. Rather than the people having to search<br />
it out,” says Brownlee.<br />
“My life has been devoted to my family, and<br />
the creation of my own art,” she continues.<br />
“When you get down to the heart of the arts<br />
practice, in the visual arts, it’s me in the studio.<br />
There is no exhibit, there is no book, unless you<br />
guard your studio time.”<br />
Brownlee has devoted herself to interpreting<br />
the everyday sights around her, such as the<br />
mapping out scenes of farming towns, grain<br />
elevators, community members, flowers and<br />
horses, in her colourful water colour creations.<br />
She jokingly says that as she ages and grays, her<br />
paintings subsequently become more colourful.<br />
“One of my first art professors, Pauline<br />
McGeorge, told me ‘True artists find inspiration<br />
in their backyard,’ so I really took that to heart.<br />
When I see something happening on the piece<br />
of paper that’s exciting, I go with it.”<br />
“I really feel it’s been my calling, and in a lot<br />
of ways I feel it’s been art therapy. Just don’t give<br />
up. You’ve just got to do it.”<br />
Arts Days takes place <strong>September</strong> 23 through October<br />
1 in Lethbridge, with the Art Walk on <strong>September</strong><br />
29 and 30. Visit artsdayslethbridge.org for a full<br />
list of events and times.<br />
32 | SEPTEMBER <strong>2017</strong> • BEATROUTE ROCKPILE
letters from winnipeg<br />
SLOW SPIRIT<br />
maestros of mercurial pop<br />
Since their emergence on the Winnipeg music scene,<br />
self-described “genre-immune” five-piece Slow Spirit<br />
have opted to follow their creative whims rather than<br />
meet any predetermined expectations.<br />
The band’s seven-song debut studio album, Unnatured,<br />
arrives independently on <strong>September</strong> 23. Recorded and mixed<br />
by Paul Yee at Stereobus Recording, it strikes a seamless balance<br />
between multi-instrumental precision and compositional<br />
spontaneity. The band’s five members—all skilled musicians<br />
who met while studying at the University of Brandon’s School of<br />
Music—draw from the worlds of jazz, punk, post-rock, pop and<br />
singer/bassist Natalie Bohrn’s lyrical prose to concoct something<br />
all their own.<br />
“People are still really taking us for our jazz influence,<br />
which is something I think we kind of run from in our own<br />
artistic identities,” says guitarist Eric Roberts. “We try to think<br />
of ourselves as making loose pop music.”<br />
Call it what you will. With aesthetics and influences<br />
abounding, the album shows the group’s mastery of<br />
bringing intricate ideas together. Lead tracks “Human” and<br />
“Legendary Mistake” are powerful, rhythmically complex<br />
numbers that reveal the group’s versatility. Elsewhere, “Last<br />
Night,” a portrait of the members’ time in Brandon, Manitoba<br />
and their interactions with the colourful characters that<br />
lived outside of their downtown apartment, bring their<br />
post-rock ambitions to light.<br />
“Creatively, going to jazz school helped us be more<br />
equipped to understand some fundamental concepts about<br />
music,” says Bohrn.<br />
Between the five members of the band, which also includes<br />
Justin Alcock (drums), Julian Beutel (keyboards), and Brady Allard<br />
(guitar), they now count at least four other bands that they<br />
contribute to between them. Noise troupe tunic, dream-popsters<br />
Living Hour, electro-pop act ATLAAS, and a cinematic<br />
instrumental project called Palm Trees are among them.<br />
3PEAT<br />
pass the mic<br />
The spawn of ‘90s backpack hip hop and<br />
underground Prairie rap legends, 3PEAT’s<br />
infectious beats swirl to the laid back loops<br />
of the ones that set the groundwork.<br />
During their short time on the scene, the<br />
emerging group—which includes MCs Steve, E.GG<br />
and Dill the Giant, as well as DJ/manager Anthony<br />
Carvalho—has found a place on bills alongside<br />
punk and indie-rock acts as easily as they would a<br />
rap showcase.<br />
“I think that’s what Winnipeg’s about,” says<br />
E.GG. “They just support everything.”<br />
The group’s triad of MCs started rapping outside<br />
of Grippin’ Grain shows, a long-standing rap-centric<br />
club night, and before long they were rocking<br />
stages at festivals and opening for some of their<br />
own microphone heroes, like Blackalicious and T.I.<br />
In 2016, 3PEAT released their stellar debut<br />
self-titled EP, a top to bottom fresh collection of<br />
cuts that flow to a golden-era sample base.<br />
The record features members trading verses<br />
as part of their self-styled “triangle offensive” or<br />
tackling tracks solo.<br />
“All of those songs we did together,” says Steve<br />
of the EP. “We wanted to kind of build that model<br />
with our EP. Half of it is 3PEAT songs and the other<br />
half is solo songs from each of us. It’s kind of like<br />
introducing us.”<br />
ROCKPILE<br />
“It’s hard for us to schedule rehearsals, because we’re all so<br />
busy and have so many projects,” says Bohrn. “We’re always<br />
giving our time to other bands.”<br />
It’s because of this that their first proper release feels more like<br />
a finale than it does a birth. After years of performing, refining,<br />
and adapting the songs on the album, Roberts and Bohrn both<br />
seem ready to write Slow Spirit’s next chapter.<br />
“[Unnatured] captures what we’ve been able to accumulate<br />
in the last four years,” says Roberts. “Those songs<br />
we’ve reshaped a number of times, because often we don’t<br />
have the energy between our other projects to write new<br />
songs… Rearranging was always a way that we could keep<br />
things fresh and kind of grow as a band and as musicians.”<br />
As a result, some of the songs on the album are unrecognizable<br />
live. Like living entities, they can transform depending<br />
on the situation. The song “Unknown,” a quieter piece on the<br />
record, for example, has been entirely altered into a full-blown<br />
rock tune for festival appearances, according to Roberts.<br />
“It’s hard to know when inspiration is going to strike and<br />
you’re going to want to change a song completely,” he continues.<br />
“Sometimes we’re inspired by a certain performance<br />
opportunity.”<br />
It remains to be seen what the future will hold for the purveyors<br />
of mercurial pop. What they are certain of, however, is their<br />
commitment to following whatever new creative pursuit may<br />
come their way.<br />
“It has been such a long process to get this album out, and we<br />
kind of just want to be creative again,” says Roberts.<br />
“We’re not exactly sure what we’re going to do next…<br />
We’ve never been very good at the industry standard way of<br />
doing things.”<br />
Slow Spirit perform at The Good Will Social Club on <strong>September</strong><br />
23 (Winnipeg). To pre-order their new album, Unnatured, visit<br />
slowspiritband.com<br />
3PEAT are a Winnipeg hip-hop group on the rise.<br />
Much like other rap supergroup marketing<br />
models (read: Wu-Tang), 3PEAT will operate as a<br />
rap trifecta and each individual MC will also be<br />
propped up with their own solo output.<br />
“It’s kind of like everyone brings their own little<br />
flavour into the big pot of jambalaya,” says Steve.<br />
More releases have already emerged. E.GG<br />
followed up 3PEAT’s group debut with his own<br />
Slow Spirit’s Unnatured will be released on hi-fidelity format.<br />
photo: Tommy Illfiger<br />
solo Alverstone record in 2016. Since then, Steve<br />
has offered up the soulful “Oh Yeah,” and Dill the<br />
Giant dropped the track “Emails” featuring ARI IQ<br />
earlier this year.<br />
With a consistent stream of tracks, appearances<br />
at industry conferences, live shows galore, and a<br />
<strong>2017</strong> Western Canadian Music Award (WCMA)<br />
nomination for Rap/Hip Hop Artist of the Year to<br />
by Julijana Capone<br />
photos: Eric Roberts<br />
by Julijana Capone<br />
add to their list of accomplishments, the past year<br />
for the group has been fruitful.<br />
“We were actually in Toronto at a conference—<br />
Canadian Music Week—and we were on the street<br />
when we got the email [about the WCMA nod],”<br />
says Carvalho. “We were like, ‘Holy shit!’”<br />
“I think it’s dope that things like the Western<br />
Canadian Music Awards are kind of shining a light<br />
on artists from that area of Canada,” says Steve.<br />
Indeed, it hasn’t always been easy for Canadian<br />
Prairie rap to get its due, but a new generation of<br />
hip hop artists are emerging from the ‘Peg—namely,<br />
3PEAT, Super Duty Tough Work, The Lytics, and<br />
more—to pick up where others left off, following<br />
in the footsteps of nationally-underrated Manitobans<br />
like Shadez, Mood Ruff, Frek Sho, pioneering<br />
rap label Peanuts & Corn, and Winnipeg’s Most,<br />
among others.<br />
“They’ve laid the stepping stones for us to be<br />
here and do what we do,” says Steve.<br />
“It’s gonna be dope in another decade when<br />
you’re gonna see a lot more [Winnipeg] names,”<br />
adds E.GG.<br />
3PEAT perform at Freemasons’ Hall on <strong>September</strong><br />
15 (Edmonton) and on <strong>September</strong> 16 at the Mercury<br />
Room (Edmonton) as part of BreakOut West. To hear<br />
more of 3PEAT’s tunes, head to threepeatmusic.com<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 33
september AT<br />
sun<br />
HOT MESS<br />
09/03<br />
PRIDE BASH<br />
mon<br />
09/11<br />
Hifi Club<br />
Presents Com Truise+ NOSAJ THING<br />
thur<br />
09/14<br />
10@10: A HIP-HOP SHOWCASE OF BEATS AND RHYMES<br />
sat<br />
09/16<br />
WED<br />
09/20<br />
Live Nation Presents:<br />
the Cave Singers w/ Chris Cheveyo<br />
Live Nation Presents:<br />
Allan Rayman WITH GUESTS<br />
sun<br />
09/24<br />
MRG CONCERTS<br />
PRESENTS:Kacy & Clayton WITH GUESTS<br />
wed<br />
09/27<br />
commonwealth PRESENTS<br />
AUSTRA WITH ELA MINUS<br />
what a time wednesdays • world famous fridays • modern vintage saturdays<br />
403-247-4663 731 10 TH AVE SW COMMONWELATHBAR.CA COMMONWEALTHYYC COMMONWEALTHBAR
JUCY<br />
NOSAJ THING<br />
shining a light on music<br />
photo: Innovative Leisure<br />
Mastering the connection between audio and visual.<br />
Nosaj Thing, who is colloquially known<br />
as electronic producer/composer/<br />
performer Jason Chung, has released<br />
his fourth full-length studio LP Parallels. To<br />
celebrate, he is taking the release out on a two<br />
month North American tour.<br />
Chung’s previous full-length LP tour<br />
(Fated) travelled through Houston, where<br />
the theft of all of his equipment and digital<br />
archives occurred, triggering an opportunity<br />
to reassess. In a crushing state of deep loss,<br />
Chung resiliently pushed forward with the<br />
support of his fans and friends to acquire a<br />
fresh set of equipment and a clean slate to<br />
start over with. Heading into that fateful tour,<br />
Chung had been heavily focused on collaboration<br />
in the visual realm to create an immersive<br />
experience; with his rebound production EP,<br />
No Reality, he did just that, stringing together<br />
a cohesive set of five tracks and visuals that<br />
left concert goers awestruck.<br />
JUCY<br />
With Parallels, Chung has created an album<br />
that takes the listener on a dark journey,<br />
replete with oscillating emotions and sonic<br />
reflections. While Steve Spacek, Kazu Makino<br />
and Zuri Marley’s vocal contributions to the<br />
record helped push Chung’s experimentations<br />
further in the instrumental aspects of the<br />
music, there are to be no collaborations when<br />
Chung takes the music visual.<br />
“Actually, for this tour, it’s going to be the first<br />
time that I’m performing solo, even with the<br />
visual aspect of it,” Chung says.<br />
“You know in the past I worked with graphic<br />
designers, animators and programmers and this<br />
time around I’m going to be experimenting more<br />
with light and space.”<br />
This statement may come as a bit of a<br />
surprise to anyone who’s experienced a live<br />
Nosaj Thing performance recently, but the<br />
illuminating aspect of it is that the reset and<br />
rebound of Chung’s career have helped him<br />
by Andrew R. Mott<br />
to take full personal control of the concert<br />
experience on this tour.<br />
“I’m programming lasers and lights and seeing<br />
where I can take it. Pretty much just experimenting<br />
with the space of the venue… I’m trying to<br />
program in non-traditional ways that I haven’t<br />
seen before and program to movements in a way<br />
that I kind of envision to my music. I’m going to<br />
be programming the lights with each song and<br />
getting really detailed with it.”<br />
This move away from collaborating with visual<br />
artists to venture into the creation and marriage<br />
of music with light is really born from the<br />
combination of aspiration and discontentment in<br />
a creative minimalist seeking to enter the trance<br />
of production.<br />
“I think I’m feeling just a little bit exhausted<br />
from how we consume everything, like news,<br />
basically, social media and our phones and<br />
everything. It’s just so stressful. Sometimes I want<br />
to throw my phone out the window, like, once a<br />
week or something. I just want to sit at home and<br />
make ambient music and channel out?”<br />
So Chung’s immersed himself in the task of<br />
creating a flexible multi-sensory set, pushing his<br />
skill set further and reaching deeper into the process<br />
to push his influence fully across the venue.<br />
“I’m a little bit frustrated, and actually it feels<br />
weird for me as a performer playing electronic<br />
music, when everyone’s just facing the stage.<br />
You know, I’m not up there singing or playing<br />
guitar like a traditional band or whatever. I’m<br />
used to just working in the studio or in a room.<br />
That’s kind of the reason that I started doing<br />
visuals in the first place. ‘Cause I just didn’t<br />
like the idea of everyone paying attention to<br />
what I’m doing on stage. I don’t think it’s that<br />
interesting with a midi controller and drum<br />
machine up there. It’s kind of distracting (me)<br />
from being able to perform. You know, sometimes<br />
electronic music isn’t designed to be performed<br />
on stage with a whole crowd watching,<br />
so I thought it would go hand in hand bringing<br />
a visual element in [to] play, because light has<br />
some distance, some range to it, it’s something<br />
you can kind of feel. With a laser you can feel it,<br />
it has an energy that it sends, cause it reaches<br />
to the end of the room.”<br />
This desire to personally create the visual experience<br />
of his music on stage has helped Chung<br />
find a greater sense of reward as a performing artist,<br />
shifting his focus from just playing his music to<br />
that of helping people to see what he envisions.<br />
“I’m actually just really excited about it,<br />
because I feel that it’s going to be more of an<br />
output of what I have in my head. I love collaborating<br />
cause things come out that I’d never<br />
even imagined, but it’s also interesting to make<br />
things visually that you have in your head that<br />
you can share, especially if you’re also making<br />
music too. I think that’s kind of rare.”<br />
Nosaj Thing performs at the Commonwealth Bar<br />
& Stage on <strong>September</strong> 11 (Calgary), at Amigos<br />
Catina on <strong>September</strong> 13 (Saskatoon), and at<br />
the West End Cultural Centre on <strong>September</strong> 14<br />
(Winnipeg).<br />
LET’S GET JUCY!<br />
Good god it’s autumn again. This is an interesting<br />
<strong>September</strong> for yours truly, in that it is the first in<br />
four years that I am not returning to school. Feels<br />
good man! Here’s hoping that you all had summers rich<br />
with dancing, partially regrettable decisions and drained<br />
your bank accounts on festival, shows and various intoxicants.<br />
Anyways, here’s a bunch of shows I can’t go to:<br />
Justin Martin returns to the HiFi <strong>September</strong> 2. One of<br />
those just long-standing favourites, Dirtybird’s poster boy<br />
definitely seems to like it out here, making multiple stops in<br />
Calgary a year and performing at Bass Coast and Shambhala<br />
annually. It’s for good reason, his productions and live shows<br />
never disappoint.<br />
I was really, really hoping to lock down an interview with<br />
this artist, as he is a personal favourite of mine but it didn’t end<br />
up panning out. However, you should all know Bonobo well.<br />
The multi-instrumentalist is one of the single best producers<br />
within the realms of downtempo and melodic electronic<br />
music. He brings his riveting live show to the Palace Theatre on<br />
<strong>September</strong> 13.<br />
This right here is one outrageous lineup if I’ve ever seen one:<br />
Vanilla Ice, Salt-N-Pepa, Rob Base and Biz Markie play at<br />
Winsport Arena at Canada Olympic Park on <strong>September</strong> 13.<br />
Don some neon, maybe some gigantic pants and a fanny-pack<br />
and get your nostalgic groove on!<br />
Masked and leather-clad dubstep trio Black Tiger Sex<br />
Machine perform at the Marquee on <strong>September</strong> 15. A tad too<br />
heavy on the screech and wonkiness for my cynical, decrepit<br />
old ears, but hey, if that’s your thing it should be one heck of<br />
a party, seems like they were pretty well received at this year’s<br />
Shambhala.<br />
Another festival favourite, Skiitour brings the winter early<br />
to the Palace theatre on <strong>September</strong> 16. Another good one for<br />
neon, but maybe sub out the fanny pack for some ski goggles.<br />
DON’T EAT THE SNOW!<br />
Australian hip-hop duo Bliss N Eso perform at Wild Bill’s on<br />
<strong>September</strong> 25 (Banff), the Forge on <strong>September</strong> 27 (Edmonton)<br />
and the Gateway on the 28 (Calgary). Though their career has<br />
been marred in recent years by some unfortunate occurrences,<br />
like having their music barred from Triple J, or a stuntman<br />
getting shot in the gut while filming one of their videos, their<br />
music is actually really sunny and enjoyable for the most part.<br />
Rap giant Tech N9ne performs with his frequent collaborator<br />
Krizz Kaliko play the Marquee <strong>September</strong> 29.<br />
I shall personally be making the commute for Billy Kenny<br />
at the end of the month so I hope to see some familiar faces<br />
there, and will be covering Calgary artists at Fozzy Fest as well!<br />
Enjoy the month, see ya in October.<br />
• Paul Rodgers<br />
Bliss N Eso<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 35
BILLY KENNY<br />
multi-faceted DJ and musician is a man of many faces<br />
Billy Kenny has cemented his footing within the electronic dance<br />
music industry and is making waves with his solo work and his<br />
Hannover-based im<strong>print</strong>, This Ain’t Bristol.<br />
Kenny’s passion for music stems from an early age. At 16-yearsold,<br />
Kenny was already booking venues and showcasing his vinyl<br />
spinning skills.<br />
“I got into grime music really early and it was a huge thing at the time.<br />
I DJed for a lot of grime MCs and moved from that to speed garage. I<br />
went into bassline and tiny bit of dub, then to jacking house, into what I<br />
do now,” Kenny says.<br />
Transitioning from heavy bass drops to rubbery basslines, Kenny was<br />
set to dominate dance floors and was presented an opportunity do so<br />
by starting a label through the This Ain’t Bristol event im<strong>print</strong> in 2014.<br />
photo: Ollie Simcock<br />
“This Ain’t Bristol was This Ain’t Bristol before I became to be a part of<br />
it. I was the first international artist that they booked at the event. It was<br />
just a party…. I became really good friends with the crew and I moved<br />
over four months later and we collectively decided to start this record<br />
label,” Kenny clarifies.<br />
Everyone involved with the label is from Germany, with the exception<br />
of Kenny, who hails from Leeds and Nick Hill, from Bristol.<br />
Despite having international status now, it was a challenge to get<br />
people on board with their first project, a compilation featuring an<br />
impressive list of names including Ardalan, Abby Jane and Kyle Watson.<br />
That same year, Kenny decided to chase after Dirtybird Records,<br />
where he immediately caught the attention of Barclay Crenshaw, also<br />
known as Claude VonStroke.<br />
by Catalina Briceno<br />
“The debut was April 2015, but [in] December 2014 I sent [Barclay]<br />
seven demos and he liked them all and maybe a month later he said,<br />
‘Look I can definitely tell you’re going send me something that we’re<br />
going to go with, but I think these aren’t the ones.’ A week later, I wrote “I<br />
Operate,”” says Kenny.<br />
It is no doubt that This Ain’t Bristol is influenced and inspired by<br />
Dirtybird. Kenny says the challenge is keeping the labels separate<br />
from his own work. The key to attaining that distinction is doing<br />
everything himself.<br />
“I’m trying very hard at the moment to do everything myself. I’m not<br />
sampling anything, the vocals are my own, whether it sounds like me or<br />
not, it’s always my voice.”<br />
His vocals can be heard in various tracks like “I Operate,” “Hula Hoop,”<br />
and “Das Ist Sick.” Kenny also reveals he has start to delve into singing<br />
and will experiment with that in the future. Currently, he just wrapped<br />
up the tracks, “The Trip Report,” “Hood Girl,” and an official remix of<br />
Claude VonStroke’s pounding, anthemic track “Barrump,” which will be<br />
released on the Dirtybird Campout compilation in October.<br />
Although there is no word on a release date for his collaboration with<br />
Mija, Kenny reveals plans to accompany the track with a music video. He<br />
is also back in the studio with Motez, testing out possible tracks.<br />
A plethora of those unreleased tracks were exhibited during his set<br />
at Shambhala Music Festival this year, which left attendees thirsting for<br />
more. Many on the popular event’s group page declared his set as the<br />
highlight of the weekend.<br />
Although it won the hearts of many, Kenny has decided not to post<br />
the entirety of his set on SoundCloud, he will soon release a recap.<br />
“We’re also talking about [doing something similar to Dirtybird<br />
Campout],” explains Kenny, referencing the three-day electronic festival<br />
in California.<br />
He concludes thoughtfully, “I think first, we need to make sure that<br />
we have a nice stamp in the market to attack something like that.”<br />
Catch a special five-hour-long set from Billy Kenny on <strong>September</strong> 30 at the<br />
HiFi Club (Calgary).<br />
CASPA<br />
doing what he wants when he wants<br />
Dubstep giant Caspa has been hard at work<br />
in the studio, churning out tunes more<br />
akin to the roots of the genre than the hyper-produced,<br />
mainstream “brostep” that’s come<br />
to dominate the cyber airwaves and festival bills.<br />
Perhaps best known for his pivotal FabricLive mix<br />
with Rusko, that arguably did more to shape the<br />
genre of dubstep than any one other release, West<br />
London’s Gary McCann is now setting out on a<br />
tour that hits only Canadian locations, in order to<br />
“show that dubstep is still popping in Canada.”<br />
“I just feel like there’s a lot of love in Canada,”<br />
says McCann.<br />
“And they love bass music. And it’s got a lot of<br />
history there.”<br />
He said with this tour he wants to “make a statement”<br />
that the original sound of dubstep still has<br />
the ability to get bass-heads to flock to dance floors.<br />
McCann has played numerous shows across North<br />
America, and spent a four-month stretch of time<br />
living in Denver, Colorado. He got perhaps the best<br />
taste of North American bass culture when he played<br />
Shambhala alongside Rusko last summer.<br />
“It was interesting,” relays Caspa.<br />
“We had so many people in our career asking us,<br />
‘When you playing Shambhala’ and it was like fuck it,<br />
was finally good to say, ‘We’ve played it, if you wasn’t<br />
there, too bad.’”<br />
McCann is mindful of the stress put on an artist<br />
Dubstep icon embarks on a cross-Canada tour.<br />
by the cycle of excessive touring and partying, then<br />
returning home to record more music and repeating.<br />
“You need to find that balance of enjoying writing<br />
the music to go and enjoy it playing it out, not just<br />
too much in the studio or too much live. You need<br />
to get that balance right and I think that’s what keeps<br />
the energy flowing.”<br />
He said in the early days of his touring career,<br />
nearly 15 years ago, he would try bringing a small<br />
photo: On The Rise Music<br />
studio set up with him everywhere he went on<br />
tour, but would only succeed in creating ideas,<br />
never full tracks.<br />
“When you go back to basics and you start writing<br />
music and enjoying writing music and not in a hotel<br />
room on the lobby floor doing a bloody remix, for<br />
me that’s not fun and that’s not why I do it. You need<br />
to be in the studio being creative, enjoying what<br />
you’re doing.”<br />
by Paul Rodgers<br />
In terms of the music he has been creating from<br />
the home-front, it is an absolute return to form. His<br />
Vibrations series thus far consists of five songs that<br />
highlight his origin story in music: stripped back<br />
tracks with deep bass wobbles and minimal, effective<br />
percussion usage.<br />
““Deja Vu,”” he says, “that’s the last track I released.<br />
When I made that, that’s why it’s called “Deja Vu” I<br />
wanted to make a 2007, 2005 sounding kinda tune<br />
but on steroids, with <strong>2017</strong> production.”<br />
McCann is also the founder of im<strong>print</strong> Dub Police,<br />
but in recent years he has decided to step back in<br />
order to slow down and focus on putting his time,<br />
energy and money into his own project.<br />
“There’s only so much that you can put into<br />
music and keep pumping it in and pumping it in and<br />
pumping it in,” McCann explains.<br />
His philosophy on touring, recording and the future<br />
is quite simple: keep things consistent, and more<br />
importantly enjoyable. He has been putting quality<br />
time into his recording process, releasing one single at<br />
a time, in an “old school” fashion and touring where,<br />
when and how he sees fit.<br />
Caspa performs at OV Club on <strong>September</strong> 3<br />
(Winnipeg), at the Starlite Room on <strong>September</strong> 8<br />
(Edmonton), at Marquee Beer Market on <strong>September</strong> 9<br />
(Calgary), and at the Pump Roadhouse on <strong>September</strong><br />
10 (Regina).<br />
36 | SEPTEMBER <strong>2017</strong> • BEATROUTE JUCY
ROOTS<br />
KACY & CLAYTON<br />
from Saskatoon to Chicago<br />
Kacy & Clayton were all set to record in Saskatoon when Jeff Tweedy approached them.<br />
It’s been a whirlwind year for Kacy & Clayton.<br />
It saw them sign to New West Records, earn<br />
a Juno nomination for their debut album<br />
Strange Country (2015), open for Wilco at San<br />
Francisco’s legendary Fillmore Auditorium,<br />
and have their latest album, The Siren’s Song,<br />
produced by Jeff Tweedy. Throughout it all,<br />
the Wood Mountain, Saskatchewan duo have<br />
maintained their very laid back vibe and very<br />
dry sense of humour.<br />
“Well, [Jeff Tweedy] had [Strange Country]<br />
in a frame in the bathroom at the studio in<br />
Chicago,” says vocalist Kacy Lee Anderson. “If<br />
not Jeff, then someone went out of their way to<br />
hang it up in there. I mean, I wouldn’t do that,<br />
you know, to stroke someone’s ego when they’re<br />
coming by.”<br />
Adds her second cousin, Clayton Linthicum,<br />
“‘Oh they’re coming over, better hang their<br />
record up in the bathroom.’”<br />
Jokes aside, the transition from playing<br />
smaller clubs and festivals to touring with one of<br />
alt-country’s pioneering acts was a smooth one<br />
for the band, having toured throughout Canada<br />
for several years, the band did not feel much<br />
pressure.<br />
“It’s really not so different from playing a<br />
festival,” says Linthicum. “The Wilco shows were<br />
in amphitheaters, so they had a festival feel, but<br />
going from those venues to the smaller shows<br />
we did in clubs was a real change. We felt this<br />
push to play the best show we could, and it’s<br />
nice to get that feeling, you feel a good kind of<br />
tense, it keeps you on the ball.”<br />
photo: Dane Roy<br />
The Siren’s Song finds Kacy & Clayton<br />
expanding on Strange Country’s ‘60s folk-rock<br />
sound, with the influences of Fairport Convention,<br />
Sandy Denny, The Byrds, and The Grateful<br />
Dead running through the mix.<br />
Having Tweedy sign on to produce the album<br />
had a bigger impact on their schedule than it<br />
did on the music however. Anderson notes that<br />
Tweedy was genuinely excited and easy to work<br />
with. “<br />
We wanted to have everything put together<br />
in case Jeff wanted to change things up,” Anderson<br />
attests, “and when we listened to demos, he<br />
said, ‘It all sounds great, let’s just do it.’ He really<br />
just made us feel so relaxed and let us do the<br />
work. He’d bring us soda waters, with caffeine<br />
in them.”<br />
by Michael Dunn<br />
“Kacy and I had been planning the album for<br />
awhile,” Linthicum explains.<br />
“We wanted to make one with our live band,<br />
with Mike [Silverman] and Shuyler [Jansen]. and<br />
we had the material almost all together,” says<br />
Linthicum. “We’d already booked the studio in<br />
Saskatoon, but when the opportunity to record<br />
in Chicago came up we had to rearrange some<br />
things. Tweedy’s a really kind guy. He knew a lot<br />
about our last album, it blew me away that he<br />
knew so much about what we’d already done.<br />
He really let us do our thing, and he’d step in<br />
here and there, if there was a moment of doubt<br />
or he had some idea he thought was cool.”<br />
The run up to the release of the album has<br />
seen the band drop videos for “The Light Of<br />
Day” and “Just Like a Summer Cloud,” both shot<br />
in the pair’s absence. The clips are short films<br />
that feel connected to the content of the songs,<br />
as opposed to the live or performance footage<br />
that’s become de rigueur. As with the move to<br />
New West, Linthicum and Anderson are seeing<br />
the need to let go of the day-to-day promotion<br />
of their work.<br />
“Kacy and I used to do all of that stuff, like most<br />
bands, just do it yourself,” says Linthicum. “And now<br />
there are a lot more people around, with smart<br />
ideas, chiming in on everything. Having a good<br />
manager like Shuyler really helps, we can leave a lot<br />
of those things up to him, and having a good agent<br />
to book the shows. It’s hard to keep that control at a<br />
certain point, so you have to let things go and trust<br />
the people you’re working with.”<br />
“We have to constantly check on what’s being<br />
promoted, and make sure things are going out<br />
that reflect the way we want to represent the<br />
music we’re making,” says Anderson. “With the<br />
videos, it’s about acting, it doesn’t have much to<br />
do with playing music. I hope we never have to<br />
act in another video again, maybe we could just<br />
make a slide show, or a Powerpoint maybe?”<br />
Kacy & Clayton perform at Amigo’s Tavern on<br />
<strong>September</strong> 21 (Saskatoon), at the Commonwealth<br />
Bar & Stage on <strong>September</strong> 24 (Calgary), and at the<br />
Needle Vinyl Tavern on <strong>September</strong> 25 (Edmonton).<br />
38 | SEPTEMBER <strong>2017</strong> • BEATROUTE ROOTS
AMY HELM<br />
rambling into the limelight<br />
Preaching love and community through folk and gospel.<br />
by Brendan Morley<br />
photo: Jana Leon<br />
AYLA BROOK & THE SOUND MEN<br />
selling yourself, then and now<br />
by Michael Dunn<br />
A<br />
musician finds ways to keep themselves “A lot of the time people hear my name and<br />
busy in between recording projects. think I’m a woman, so I thought the fellas in the<br />
For veteran Edmonton songwriter Ayla band might think it was funny being called The<br />
Brook, a number of life events and factors led to Brookettes,” says Brook. “Well, they didn’t. Most of<br />
him taking a long break between the Danny Michel-produced<br />
the best sound techs I know are women, but being<br />
After The Morning After (2008) that we’re all techs, and very reasonable, or “sound”<br />
and his latest, (I Don’t Wanna Hear Your) Break people, if you will, we became The Sound Men.”<br />
Up Songs, released earlier this spring.<br />
As the time passes between releases, Brook<br />
“I’d been living off music for about eight years, notices the difference between releasing records<br />
taking every gig, doing everything I could to make then and now.<br />
a living by playing, and I was pretty burned out,” “Well, there aren’t as many record stores, so you<br />
Brook tells <strong>BeatRoute</strong>.<br />
don’t have as much on-the-ground curation or the<br />
“Saved By Radio sort of ceased being a thing, suggestions to fit people’s tastes or expand them<br />
so we couldn’t work with them to put out the that you might have once before,” says Brook, who<br />
record when it was finished, and we sort of shelved worked in legendary and now defunct Whyte Avenue<br />
it for a while. Brent [Oliver, bass player] moved to<br />
record store Megatunes for a number of years.<br />
Winnipeg for three years, and so there was no real “The whole branding thing is a little new to me.<br />
rush to put the album out. I kept doing what I had The old ideal was that you weren’t supposed to be<br />
been, doing the side player thing with Bombchan, seen as trying to sell yourself, where now, it takes a<br />
and working as a sound tech, until it felt like it was massive amount of engagement to do so. You have<br />
time to put out the record.”<br />
to be on social media as much as being out playing,<br />
(I Don’t Wanna Her Your) Break Up Songs finds always putting your best face on things, and<br />
Brook and his Sound Men rollicking in a sort of maybe that’s tough for some artists. But it levels<br />
early Wilco via Sticky Fingers style, with dashes of the playing field a bit, like how are you gonna hear<br />
Lou Reed and Marc Bolan present in Brook’s laid about some band form Saskatoon without that<br />
back vocal delivery. That relaxed vibe is countered engagement? It’s a learning curve, but writing songs<br />
by the drive of the band, a full-throat throwback and playing music is still as fun as it’s always been.”<br />
rock n’ roll unit featuring veteran Edmonton players<br />
Brent Oliver, Sean Brewer, Chris Sturwold and Ayla Brook & The Sound Men perform at the Ship &<br />
Johnny Blerot.<br />
Anchor Pub on <strong>September</strong> 23 (Calgary).<br />
ROOTS<br />
Music has always been a part of life for<br />
Amy Helm. In fact, it runs deep in her<br />
blood. Growing up as the daughter of<br />
acclaimed singer/songwriter Libby Titus and legendary<br />
rock and roll pioneer Levon Helm, a career<br />
in music might seem like an inescapable fate. Yet<br />
for Helm the decision to follow on this path was<br />
not always obvious.<br />
“I’m not sure that I had a vision of a career in music.”<br />
Helm tells <strong>BeatRoute</strong>,<br />
“I just enjoyed singing. So that’s what I always<br />
gravitated towards. Then at some point in my<br />
late 20’s I think that I really decided that this was<br />
a better career than waitressing. And the money<br />
wasn’t that much better, but certainly the reward<br />
was, and the heart and spirit was much stronger,<br />
so I jumped in.”<br />
For nearly 20 years the singer and multi-instrumentalist<br />
has been sharpening her skills and honing<br />
her sound as a key player in several groups, including<br />
the celebrated alt-country outfit Ollabelle and in the<br />
Grammy-winning band led by her late father, Levon<br />
Helm of The Band fame. So when Amy Helm finally<br />
stepped into the spotlight as a solo artist with the<br />
release of her debut album Didn’t It Rain (2015), she<br />
was already well equipped.<br />
“It was a huge transition. It’s one that I’m still<br />
discovering,” Helm modestly admits about the shift<br />
to bandleader.<br />
“As I watch others who’ve done it much longer than<br />
I have, and who do it much stronger than I do, I realize<br />
that you could spend a lifetime crafting it.”<br />
This deep respect and gratitude for older gospel,<br />
blues, and folk artists (particularly strong women), is<br />
prominently displayed on Helm’s record. The album’s<br />
title track, a soulful rendition of the classic gospel<br />
hymn, is a nod to Mahalia Jackson; an artist that Amy<br />
confesses she once went months listening to exclusively.<br />
The gospel spirit that resonates on the album has<br />
been with Amy since she was a child.<br />
“My grandmother, when I was a kid, would sing<br />
those songs to me. In church, it is stuff that I would<br />
hear. Then when I was in my 20’s, I was just so drawn<br />
to singing it.”<br />
Since the album’s release, Helm and her backing<br />
band the Handsome Strangers, have toured extensively,<br />
most recently playing a string of shows with Elvis<br />
Costello. In the true spirit of the gospel music she was<br />
raised on, Amy’s live performances aim to create a<br />
powerful and emotional atmosphere rooted in community<br />
and love.<br />
“I try to keep politics off the stage because I<br />
think that going to hear music is a relief for people.<br />
Especially when there is a political climate as fraught<br />
as it is now in the States. But, I also believe that when<br />
you have an administration that is silently and now<br />
actively allowing white supremacy to be alive and vibrant<br />
in the United States, you have to do something<br />
because people need to be reminded that we’ve got<br />
to come together.”<br />
Helm is currently finishing up a brand new album,<br />
tentatively slated for release in early 2018, with Grammy<br />
award winning producer Joe Henry.<br />
“It’s not even 12 hours old!” says Helm excitedly<br />
from a Los Angeles studio.<br />
“We did four days of tracking and today I go in and<br />
do a little editing and that’s about it! It feels strong.”<br />
With lots of voices and instruments filling the<br />
room in a live off-the-floor approach, Amy Helm’s<br />
new album is aiming to capture the togetherness and<br />
community of her spirited live shows.<br />
Amy Helm performs at the WISE Hall on <strong>September</strong> 17<br />
(Vancouver), the Hume Hotel on <strong>September</strong> 20 (Nelson),<br />
Festival Hall on <strong>September</strong> 21 (Calgary), and the<br />
New Moon Folk Club on <strong>September</strong> 22 (Edmonton).<br />
There’s a learning curve to marketing yourself, especially when you started before the Internet.<br />
photo: Chris Sturwold<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 39
SHRAPNEL<br />
DIVINITY<br />
longstanding Calgary act unveils full-length offering<br />
by Sarah Kitteringham<br />
Calgary’s longest running metal band is Divinity.<br />
photo: Kirk Duncan<br />
In terms of longevity, Calgary has no longer<br />
living metal act than Divinity (though<br />
props go out to Forbidden Dimension,<br />
who hold that title in punk realms). Formed<br />
in the summer of 1997, they’ve outlasted<br />
every act to emerge from the city with their<br />
technically proficient, emotive melodic<br />
death metal. Created by vocalist Sean<br />
Jenkins and guitarist James Duncan, they’ve<br />
endured the rigmarole of the music industry<br />
to emerge as proudly independent, and<br />
that’s just fine by them.<br />
“Since we’ve been pushing the same band<br />
for 20 years now, there has been all kinds of<br />
ups and downs and everything in between,”<br />
begins Sean Jenkins, the vocalist and designer<br />
for the band (the band also contains<br />
a second vocalist, their former bassist Jeff<br />
Waite). Jenkins formed the project with<br />
Duncan just out of high school; both have<br />
been part of the project ever since.<br />
“In the first 15 years of it, we were very<br />
hungry for success. Honestly it was never<br />
‘full-time’ because we’ve always had day jobs<br />
and other commitments but we did manage<br />
to put in a full-time effort. We would practice<br />
three to four times a week for three to<br />
four hours a time for years and years and<br />
this was a major reason why we were able to<br />
achieve the things we did. We released our<br />
first full-length album [2007’s Allegory] in<br />
2006 independently and within six months<br />
of that release we were signed to Nuclear<br />
Blast. This wasn’t by chance!”<br />
The band followed up the release with a<br />
slot on 2008’s Summer Slaughter. Candlelight<br />
Records later picked up the band for<br />
their second offering, 2010’s The Singularity.<br />
“The thing with getting signed is… is it’s<br />
extremely hard staying signed. We found<br />
that there [was] all kinds of opportunities<br />
coming about once [we were] signed, but it<br />
SHRAPNEL<br />
didn’t mean all the expenses and costs were<br />
easily taken care of. We simply could not<br />
sustain that kind of a situation and it created<br />
all kinds of turmoil within the band.”<br />
Rather than remain on the industry<br />
wheel, Divinity struck out on their own to<br />
get back to doing what they enjoy: making<br />
tunes at an unrushed pace. The result was a<br />
series of EPs, including The Immortalist - Pt.<br />
1 - Awestruck (2013), The Immortalist - Pt.<br />
2 - Momentum (2016) and The Immortalist<br />
- Pt. 3 - Conqueror (<strong>2017</strong>), earlier this year.<br />
Now those three releases are compiled into<br />
a full-length dubbed The Immortalist, which<br />
is available on CD and digital download. Despite<br />
each EP being a stand-alone piece, as a<br />
whole they make a cohesive statement.<br />
“The trilogy EP concept was something<br />
we came up with in 2011 after things fizzled<br />
out with Candlelight Records in 2010. We<br />
thought it would be a good way to release<br />
new music more often than a creating a<br />
full-length album all in one shot,” explains<br />
Jenkins of the unusual release strategy.<br />
“This was also because we decided at that<br />
time to no longer pursue major labels or any<br />
labels for that matter… We realized that being<br />
independent was what worked best for us.”<br />
Their style of very technical melodic<br />
death metal is extremely clean and organized,<br />
and has changed little in the past<br />
decade – with the exception of how it’s<br />
produced.<br />
“We have definitely gone on a huge musical<br />
journey creating these EPs and the final<br />
all-in-one full-length. Each EP would exponentially<br />
improve upon the last in regards to<br />
song writing and recording production, because<br />
we had decided to take on more and<br />
more aspects of production, except the final<br />
mixing and mastering,” explains Jenkins.<br />
“However, we would also make sure there<br />
was cohesion between the EPs because we<br />
knew it would all come together as a fulllength.<br />
The biggest connection between it<br />
all is the lyrics are all built around a sci-fi<br />
concept story of a character who figures out<br />
how to become immortal. So each song talks<br />
about a specific part of the concept story.”<br />
Musically, the album highlight just might<br />
be “Hallowed Earth,” as it slows down the<br />
onslaught and features a substantial dose<br />
of melody. Reminiscent of Strapping Young<br />
Lad’s opus “Love?”, it showcases a different<br />
side of Divinity.<br />
“I’m glad you hear the Strapping Young<br />
Lad influence! [They] and Soilwork are<br />
our biggest influences for sure. I am going<br />
back and forth on the songs “D.M.T.” and<br />
“Conqueror” as to which one best showcases<br />
our new album. I have to say “D.M.T.”<br />
is something very special to us because we<br />
managed to get guest vocals from Björn<br />
“Speed” Strid of Soilwork on that song,<br />
along with Jeff and I doing vocals too. It was<br />
all recorded in different stages but to hear<br />
the final song with all of us playing along<br />
with Bjorn is just fucking awesome!”<br />
Now on the cusp of their Calgary release<br />
party, the unit known as Divinity is better<br />
than ever.<br />
“Five years ago or so, we decided that we<br />
were happiest as an independent band doing<br />
our thing completely on our own terms.<br />
This brought out our original love of simply<br />
playing heavy metal.”<br />
Divinity will perform at their album release<br />
party at Mercury Room with Expain, Immunize,<br />
and Skepsis on <strong>September</strong> 22 (Edmonton)<br />
and at Distortion on <strong>September</strong> 23 (Calgary)<br />
alongside Expain, Plaguebringer, and Sonder.<br />
You can listen to their album online at www.<br />
divinity.ca<br />
This Month<br />
In METAL<br />
Kick off your month with some heavy metal! On Saturday,<br />
<strong>September</strong> 2, head to Vern’s in Calgary for Vancouver<br />
based techy grind/deathcore act Angelmaker,<br />
who are performing alongside citymates Torrefy. Also on the<br />
bill is Edmonton act Protosequence and Calgary acts Train<br />
Bigger Monkeys and ChaosBeing.<br />
On Sunday, <strong>September</strong> 10, head to Broken City in Calgary to<br />
see another Vancouver based act. This time around it’s Neck of<br />
the Woods, who are touring their newest album The Passenger.<br />
They’ll be performing with grindsters Exit Strategy, deathcore<br />
act Plaguebringer, and Chained by Mind.<br />
The following weekend, Vern’s in Calgary will be hosting<br />
a black metal show featuring Edmonton’s own Idolatry,<br />
Vile Insignia, Scythra, Arctos, and Black Sacrament. Tickets<br />
are only $13 at the door, bring your ID and don’t forget<br />
yer corpsepaint.<br />
Edmonton’s finest Canadian gig goes down on Friday,<br />
<strong>September</strong> 22 when Calgary’s own WAKE heads North to play<br />
with their pals in Begrime Exemious and Paroxysm, who are<br />
celebrating their album release party (read about the crust<br />
album in the Edmonton Extra section). Show is at the Starlite<br />
Room, tickets are $10 in advance.<br />
Check out a fantastic bill at month end when Scandinavian<br />
melodic death metal warriors Dark Tranquility<br />
touch down at Dickens Pub in Calgary on <strong>September</strong> 25<br />
with their buds in Warbringer and Striker. That same<br />
bill hits Park Theatre on <strong>September</strong> 23 (Winnipeg), The<br />
Exchange on <strong>September</strong> 24 (Regina), The Starlite Room on<br />
<strong>September</strong> 26 (Edmonton), and the Rickshaw Theatre on<br />
<strong>September</strong> 28 (Vancouver). Unfortunately, despite many<br />
attempts, we couldn’t get the band on the horn to discuss<br />
it in further detail, but rest assured you’ll have a neck<br />
snapping time!<br />
• Sarah Kitteringham<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 41
YAWNING MAN<br />
and the never-ending battle with boredom<br />
Conjuring epic multihued shamanic yarns.<br />
Waging a never-ending war on<br />
boredom, the lumbering Californian<br />
desert rock entity known as<br />
Yawning Man dates back to the golden era<br />
of the psych-rock fringe when the likes of<br />
Brant Bjork, John Garcia and Josh Homme<br />
caught wind of their free-wheeling space<br />
rock ways. From pulling off clandestine generator<br />
parties for a few friends the desert<br />
back in the mid-80s to performing in front<br />
of thousands of devoted fans at venues<br />
around the globe, founding guitarist Gary<br />
Arce has never forgotten the desolate internal<br />
and external landscapes that informed<br />
his early years.<br />
“I actually lived at the Salton Sea, and believe<br />
me, the Salton Sea is not that romantic!”<br />
Arce recalls with a chuckle.<br />
“I used to live near there, I grew up in the<br />
Palm Desert also known as the Low Desert.<br />
The place is a running joke with locals; cuz<br />
tourists would go there and find just a toxic<br />
puddle with dead fish on the shore everywhere.<br />
I just remember going there and<br />
walking along the shore thousands of dead<br />
fish and meth heads walking streets like the<br />
walking dead. In between where I lived and<br />
Mexican border there was this weird culture<br />
of illegal immigrants mixed with meth heads<br />
mixed with dead fish.”<br />
These days Arce is looking forward to<br />
hopping the border together with the band’s<br />
original bassist Mario Lalli and their 2014<br />
addition known as drummer Bill Stinson, as<br />
Yawning Man prepares to bring their ponderous<br />
machinations to Canada for the second<br />
time in recent memory. Having fallen under<br />
the thrall of the land of ice and snow at last<br />
April’s 420 Music and Arts Festival in Calgary,<br />
the sidewinding trio is set for autumnal return,<br />
but this time as headliners.<br />
“I’ve toured all over the world and I love<br />
Canada. It’s so beautiful and breathtaking<br />
and the people are super sweet and it’s just<br />
a rad place. This tour we really wanted to<br />
go back there, so we asked the agency for<br />
that to happen. This time we’re going as a<br />
headlining band and it’s our first time going<br />
out on our own!”<br />
Hard to believe for a band that’s had such a<br />
lengthy and influential run. Although admittedly<br />
inconsistent, Yawning Man’s discography<br />
has attracted ample attention and garnered<br />
them many comparisons to other so-called<br />
stoner rock acts, although he understandably<br />
shirks that unimaginative label.<br />
“I’m excited and I’m just hoping that people<br />
come out to see us, because we get type-cast<br />
into this weird metal-desert-rock thing like Kyuss<br />
and all those bands. And yeah, we’re from<br />
the same town as Kyuss and we’re friends with<br />
all those bands, but we are nothing like Kyuss.<br />
And I think hopefully people will start to<br />
realize that we are our own band.<br />
We’ve never followed trends. Never tried to<br />
be metal or this or that. We’ve just done our<br />
own thing.”<br />
Sighting the work-ethic and nonconformity<br />
of his favourite punk acts for a point of reference<br />
amidst the ever-shifting sands of public<br />
opinion, construction-worker-by-day Arce’s<br />
primal howl dredges up the heart of darkness<br />
from the bottom of the Salton Sea.<br />
“Music for me is like another job; I do have<br />
a hardcore job. I do concrete and construction<br />
and I have to have a side of me where I’m<br />
mellow and I do love ambient dark music. I’ve<br />
always found something in it that’s mysterious<br />
and innocent. I’ve always been into that kind<br />
of sound.”<br />
by Christine Leonard<br />
Known for his ability to take a simple<br />
musical phrase and spin it out into an epic<br />
multihued shamanic yarn, Arce has come<br />
to realize the importance of channeling his<br />
creative impulses into increasingly defined<br />
forms. Edging away from amorphous compositions<br />
like those found on their foundational<br />
albums Rock Formations (2005) and<br />
Vista Point (2007), the threesome’s newest<br />
constructs refer to a predetermined set of<br />
musical blue<strong>print</strong>s.<br />
“I started all these projects,” Arce explains.<br />
“I’d call up all these friends and go ‘Hey,<br />
dudes let’s drink beer and jam!’ We’d take<br />
best of improvised jams and make a record.<br />
It got to the point where all of the recordings<br />
I was doing were all fuckin’ jammie with<br />
no song structure and that started to get<br />
boring for me. I was under the gun and I just<br />
stopped. I told myself Yawning Man was one<br />
band where I couldn’t afford that attitude of<br />
just working off-the-cuff. Mario has moved<br />
and now he lives right near me, so we have<br />
closed the distance. We’re starting to get<br />
focused and write more structured songs,<br />
coming up with riffs and going back and<br />
forth and playing it until we both think it’s<br />
cool enough to keep.”<br />
He concludes honestly, “I’m kind of a dick<br />
about the beats being a certain way. I always<br />
tell our drummer ‘Don’t play a silly four-four<br />
beat. Give me something different that fits,<br />
don’t play a dumbass rock beat over again!’<br />
cuz I’ll get bored and once I get bored I get<br />
lazy and lose interest.”<br />
Yawning Man performs at the Palomino<br />
Smokehouse & Bar on <strong>September</strong> 21 (Calgary)<br />
and at the Starlite Room <strong>September</strong> 23<br />
(Edmonton).<br />
MAGLOR<br />
answers the call of the forest by Sarah Kitteringham<br />
After two of three members relocated to Canmore, it took<br />
former Calgary act Maglor an ungodly amount of time to<br />
release their second album Asunder. Not that it’s out of the<br />
ordinary for the atmospheric black metal trio: everything they’ve<br />
done has taken an ungodly amount of time, but the result is always<br />
worth the wait.<br />
“We do often have a difficult time trying to decide exactly what style<br />
our music is. We’ve never really tried to specifically fit into any one<br />
particular genre,” explains multi-instrumentalist and vocalist Beren Tol<br />
Galen. Every member of the band uses a pseudonym; all members are<br />
multi-instrumentalists.<br />
“That said, we definitely draw inspiration from metal projects such as<br />
Moonsorrow, Summoning, Enslaved, Wardruna... to name a few. Alongside<br />
this, we are often heavily influenced by many soundtrack composers<br />
as well: [American film, game and television composer] Jeremy Soule,<br />
[American film score composer] James Horner, and [Japanese video<br />
game composer] Nobuo Uematsu, among others. We’ve had our music<br />
described as heathen folk metal, atmospheric black metal, and even<br />
blackened folk metal.”<br />
After forming in 2002 and functioning under the name Haven, the<br />
band reassessed and renamed after “one of the seven sons of Fëanor,”<br />
within J.R.R Tolkien’s collection The Silmarillion. They eventually released<br />
2012’s Call of the Forest, delivering a layered and expansive sound<br />
marked by cold tremolo picking, battering drums, hypnotic crooning<br />
and chanting then shrieking vocals, alongside floating keyboard lines.<br />
This approach is continued on Asunder.<br />
“We tried to write the album with the idea that it is one, singular tale;<br />
separated into chapters, each with a different sense or feel,” says Tol<br />
Galen. “We try to create a sound born from realms unknown; of ages<br />
long forgot.”<br />
The album spans five tracks, taking the listener on an eerie, varied<br />
journey that sounds best when blasted loud on its gorgeous 12-inch<br />
format. The package visually utilizes a mountainous theme that spreads<br />
across the cover and insert.<br />
“For Asunder we decided to press vinyl as well as again releasing CDs.<br />
We are all avid record collectors and really enjoy having an album on<br />
vinyl format. The sound and feel, as well as full art and jacket is a really<br />
nice package to have as far as physical formats go,” explains Tol Galen.<br />
Both <strong>edition</strong>s are available now.<br />
Asunder is now available on vinyl from Sounds of the Land Records. Visit<br />
https://maglor.bandcamp.com/ to purchase a copy or stream the album.<br />
42 | SEPTEMBER <strong>2017</strong> • BEATROUTE SHRAPNEL
musicreviews<br />
Chad VanGaalen<br />
Light Information<br />
Flemish Eye Records<br />
Without a doubt, alienation and disassociation are at the core of Chad VanGaalen’s bizarre and beautiful indie rock.<br />
Since his early days as a street busker in Calgary’s core, VanGaalen has been nebulous and moody, effortlessly shape<br />
shifting between genres and styles. While previous works have always retained his singularly odd and utterly ramshackle<br />
style, they’ve also flirted with country (Shrink Dust), blipping electronica (Diaper Island and Soft Airplane),<br />
alternative folk (Infiniheart and Skelliconnection) and experimental techno (his 2015 collaboration with Seth Smith,<br />
Seed of Dorozon). Albums are further heightened with the bizarre bleeps and bonks of homemade instruments,<br />
delightful contraptions that are best enjoyed when witnessed in a live setting alongside VanGaalen’s disarming animations.<br />
On sixth solo studio album Light Information, VanGaalen has somewhat reverted to the stylistic proceedings of his<br />
earlier days. The result is a record that’s startlingly in line with both 2006’s Skelliconnection and 2008’s follow-up Soft<br />
Airplane. The result is an album that’s startlingly in line with both 2006’s Skelliconnection and 2008’s follow-up Soft<br />
Airplane. Opener “Mind Hijackers Curse” kicks off the proceedings, with Chad’s slightly layered, reverberating vocals<br />
making an almost immediate appearance. The drums are clattering and understated, and the vague and hard-to-pinpoint<br />
background instrumentation evokes a plinking, plunking sound that wouldn’t be out of place in a sci-fi movie.<br />
Of course, this is right in line with his previous output: he has long been fascinated by the subject, most notably materializing<br />
in his 2015 short film ‘Tarboz,’ which tells the story of an intergalactic space traveller. If you’ve yet to witness it,<br />
think the animation style of Adult Swim’s disturbing Superjail!, as utilized by Wes Anderson. It’s a wonder to behold.<br />
“Prep Piano and 770” is the first jarring track of the record, flirting with the same noise that made his side project<br />
Black Mold damn near unlistenable for anyone disinterested in the genre. While menacing keys bleep and bop, cascading<br />
keys set the tone for follow-up track “Host Body.” The lyrics are the strongest of the release, as Chad forebodingly<br />
croons, “I’ll be the host body yes, for the parasitic demons. They can eat me from the inside out, I already hear<br />
them chewing.” Herein, the similarity to Soft Airplane’s “Poisonous Heads” is obvious: the song is stark, and slightly<br />
bouncy, spinning foreboding tales of the future.<br />
Later on, “Old Heads” is upbeat and joyous jangly pop. In particular, the chorus is infectious and sung high– “WHO<br />
IS THE OPERATOR, KEEPING ALL MY CELLS TOGETHER?!” – and is sure to incite a future sing-along at gigs. Later on,<br />
“Faces Lit” has a similar vibe with its a sway inducing style. “Pine And Clover” evokes the yowl of Neil Young with its<br />
layered style and lazy, folkish guitars.<br />
After nearly two decades of making music, VanGaalen’s ruminations have grown more contemplative, yet remain<br />
consistently dark. Long associated with the archetype of a man-child (a moniker Chad himself has used) for his<br />
forays into implausible fantasy territory, his lyrics skirt between out-of-this-world and highly relatable. “Broken Bell”<br />
illustrates this.<br />
I sit and do a drawing<br />
A portrait of my dad<br />
I should really visit him<br />
Before he is dead<br />
Cause we are getting old<br />
Our cells just won’t divide like their told<br />
I’m not really good<br />
At this kind of thing<br />
Should I take the advice of the graffiti on the wall, telling me to go suck it?<br />
Or should I listen to the voices ringing in my head, like a broken bell?<br />
Family is a recurrent theme, particularly now that VanGaalen is a proud father. Relevant to that point, it sounds<br />
like there is a distorted, childish croon in opener “Mind Hijacker’s Curse” (though on the former, it might just be the<br />
Korg 770 monosynth he fixed up for the release). Childish sounds appear again, but this time much clearer, in closer<br />
“Static Shape.” Evidently, the backing vocals are provided by his daughter Pip and Ezzy. In the closing song, the effect of<br />
modulated childish noise is pleasant, particularly in conjunction with the jaunty keyboards.<br />
Although it’s not out of character, when the last 30 seconds or so of “Static Shape” end in noise territory that is<br />
unpleasantly jarring and squealing, it does not benefit the album. It’s likely the intention to be confrontational this<br />
way directly after the album’s sweetest moments, but it seems unnecessary. Fittingly, Soft Airplane ended in a similar<br />
fashion with a full noise track dubbed “Frozen Energon,” though that track was far longer with a better sonic arc.<br />
All told, Light Information offers nothing particularly new in the Chad VanGaalen universe; it remains a wonderful<br />
addition to his catalog that’s likely to dominate the earshot! charts for months and be nominated for a Polaris Prize.<br />
In short, VanGaalen is well on his way to being the type of musician we remember in decades to come, courtesy of his<br />
bizarre bent on Canadiana.<br />
• Sarah Kitteringham<br />
Illustration by Emile Compion<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 45
Alvvays<br />
Antisocialites<br />
Polyvinyl Record Co.<br />
When Alvvays burst onto the scene, it was a perfect conduit between<br />
stadium pop-rock and the grimey and brittle toned indie<br />
darlings of the mid-10’s. Equal parts Beach House, Mac Demarco,<br />
and Tegan and Sara, rounded off with a refined coat of ‘80s<br />
synth shimmer. They had a lot going for them, even outside of<br />
the fact that frontwoman Molly Rankin is one of those Rankins,<br />
and is thus East Coast royalty. After a disappointing, but necessary,<br />
relocation from PEI to Toronto, their self-titled debut<br />
pushed about as far as a Canadian indie could. The record is an<br />
absolute single machine, with catchy pop hook after catchy pop<br />
hook. The guitars are brittle, the reverb is dense, the synths are<br />
smooth, and Rankin’s electric silver hair sparkles almost as much<br />
as her luminous vocals. This band was the full package.<br />
It’s only been three years, but those songs are burnt into the<br />
speakers of every coffee house in Canada, thus, it’s about time<br />
for a few new ones. Hence, Antisocialites: an extremely polished<br />
sophomore release that hits fast, but arcs strongly.<br />
It’s a much stronger front-to-back listen than its forebear, but<br />
the trade-off is that there are markedly fewer shimmering hooks.<br />
For each fluttery and beautiful pop anthem like “Dreams Tonite”<br />
there is a stuttering and unfamiliar indie exercise like “Hey.” The<br />
rougher tracks are by no means inaccessible, but rather just<br />
divergent enough to add shape to the album.<br />
The least comfortable songs are the most interesting on the<br />
record. Things slow down in the second half, with the sparkly<br />
clean tonality giving way to some careful grit in the low end of<br />
the mix. Of note is the beautiful and restrained closer “Forget<br />
About Life,” with its rolling percussion, off-time guitar chords,<br />
and intermittent discordant noises, echoing the lifestyle of disarray<br />
the song half-heartedly celebrates. “Already Gone” is perhaps<br />
the most melancholic tracks on the record, a starry-eyed song<br />
with a slowly building wall of noisy harmony.<br />
The second half is tremendous, but is made all the stronger<br />
in conversation with the whopping one-two-three punch of “In<br />
Undertow,” “Dreams Tonite,” and “Plimsoll Punks,” the brightest<br />
and biggest songs on the record, not coincidentally the first<br />
three songs released. It’s hard to say that the biggest moments<br />
on Antisocialites top the pop genius of their debut, but they<br />
certainly come close, and the album experience is strong enough<br />
to keep neo-millenials running in slow motion through urban<br />
sidestreets to these songs for years to come.<br />
• Liam Prost<br />
46 | SEPTEMBER <strong>2017</strong> • BEATROUTE<br />
The National<br />
Sleep Well Beast<br />
4AD<br />
For all intents and purposes, the ever-growing acclaim surrounding Cincinnati<br />
commiserators The National can be attested to anything but a<br />
brimming and constant need for experimentation — but their latest<br />
album, Sleep Well Beast, finds the group revelling more outwardly than<br />
ever before.<br />
Following the success of their last release Trouble Will Find Me,<br />
the past four years have found each respective member of the band<br />
focusing primarily on side-projects, individually fracturing into various<br />
collaborations with other artists such as Sufjan Stevens, Jonny Greenwood,<br />
and Brent Knopf.<br />
But the burning question for one of the biggest bands in indie-rock,<br />
a group known for their overt dedication to grandiose subtlety, latent<br />
slow-burn tracks that bleed familiarity with permeating emotional<br />
dread, and wickedly-talented composition that grows in the mind like<br />
ivy, is always How? How could they possibly continue their consistent<br />
stream of quality albums, each more acclaimed than the last?<br />
The answer to this question is found in Sleep Well Beast, an album<br />
constructed with familiar framework—down-tempo malaise and<br />
rollicking percussion—a house built on a tried-and-true foundation,<br />
rooms filled with self-referential lyrics and sad-sack moroseness, but<br />
this time decorated with left-turn flair: bristling guitar solos (“The<br />
System Only Dreams in Total Darkness”), oscillating synth-work (“Walk<br />
It Back”), and unbridled urgency (“Turtleneck”).<br />
Sleep Well Beast also marks one of the most sonically-rich albums<br />
in The National’s near-impeccable discography, with each moment<br />
featuring minute sounds and ambience in an aural experience that only<br />
serves to compliment the honeyed baritone of vocalist Matt Berninger.<br />
Drummer Bryan Devendorf’s percussion is, as always, on point (“Day<br />
I Die”), and the influence from guitarist/keyboardist Bryce Dessner’s<br />
work on the solar-system-inspired album Planetarium shines through<br />
the glitchy keys on tracks like “Empire Line” and “I’ll Still Destroy You.”<br />
There is also a structural contrast from the The National’s previous<br />
two releases Trouble Will Find Me (2013) and High Violet (2010),<br />
which were carried on a fluid wave of emotional resonance, each track<br />
flowing into one another very simply and delicately. Sleep Well Beast,<br />
while retaining some fluidity, is more of a callback to the shifting tonal<br />
structures of Alligator (2005) and Boxer (2007), and manages to do so<br />
without seeming regressive in its execution.<br />
While Sleep Well Beast may not probe any new territory thematically,<br />
primarily focusing on the dissolution of relationships and friendships,<br />
ruminating in the melancholic way that only Berninger’s lyricism can,<br />
the album still manages to hit the emotional high-points that the longtime<br />
National fans hunger for (“Nobody Else Will Be There,” “Carin at<br />
the Liquor Store”).<br />
If anything, Sleep Well Beast can be considered the first album by<br />
The National that isn’t a grower — it comes out full force, showcasing<br />
the best parts of a band full of talented performers who know their<br />
strengths, playing music together in utter synergy.<br />
• Alec Warkentin<br />
Faith Healer<br />
Try ;-)<br />
Mint Records<br />
Jessica Jalbert, indie paladin of acid dream-in-denim psych pop,<br />
has been writing so many pleasant earworms over the years it’s<br />
really quite exciting to think about what the future holds: not<br />
just for her personally, but the crew of Edmonton musicians<br />
who tour and perform with her. Looking back since her first<br />
proper solo LP over half a decade ago, fans and those in the<br />
know should see that the humbly talented songwriter/guitarist<br />
can craft a damn good pop song. “Paris Green” from her solo release,<br />
Brother Loyola, “I Wish That I” from art-punk supergroup<br />
Tee-Tahs and “Acid” or “Universe (Whatever ‘Till You’re Dead)”<br />
from the lauded 2015 Faith Healer release Cosmic Troubles:<br />
there’s a reason why these songs could be the soundtrack to<br />
you and your pals making all the right questionable late-night<br />
summertime decisions.<br />
A big part of this is Jalbert’s kismet partnership with producer<br />
Rene “Renny” Wilson, a virtuosic multi-instrumentalist and<br />
sentient crushed velvet suit playing a vintage Hammond. Try<br />
;-) is their second Faith Healer release, and sonically there’s a<br />
pretty linear connection between this new record and Cosmic<br />
Troubles: pleasantly washed-out production, delicate layers of<br />
‘60s and ‘70s keys and guitars and effortless vocals that question<br />
and search.<br />
While the album is a tight nine tracks, you can still hear the<br />
evolution and experimentation sprinkled in every new song. A<br />
piano fill or third guitar lick may only be a few bars long, but<br />
it’s in those moments you can really hear Jalbert and Wilson’s<br />
cosmic growth (the fading outro to the title track is a great<br />
example). “Light of Loving,” an absolute journey that starts off<br />
with a subtle 13th Floor Elevators riff, slow burns into over five<br />
minutes of percussive cruise, fuzz and speaking-panning organ.<br />
The starts, stops tones and changes on “Might As Well” sounds<br />
like Ardent Records in ‘70s Memphis. “2nd Time” vibes like an<br />
outdoor folk music festival, especially with those downhome<br />
piano tickles and rare acoustic guitar (!) solo, while “Sufferin’<br />
Creature” probably wouldn’t sound too out of place on Velvet<br />
Underground’s Loaded.<br />
Try ;-) feels like self-exploration and reflection on expectation<br />
versus reality. Whether it’s for fun, for love or for reasons<br />
unknown, we all sometimes do crazy, inexplicable shit. And<br />
you know what, that’s fine. As French writer Sidonie-Gabrielle<br />
Colette once said, “You will do foolish things, but do them with<br />
enthusiasm.”<br />
• Jared Maleski
Belle Game<br />
Fear Nothing<br />
Arts & Crafts<br />
offer the listener a powerful album that never<br />
suffocates or remains static.<br />
• Nathan Kunz<br />
Brand New<br />
Through sonic walls of booming rhythms and<br />
strung-out synth lines, Vancouver crush pop<br />
group Belle Game create a unique and dynamic<br />
experience throughout their sophomore LP, Fear<br />
Nothing.<br />
Led by vocalist Andrea Lo, the band manages<br />
to pack the 10-song album with full and precise<br />
arrangements from track to track. Subtle guitar<br />
lines and acoustic drums scattered amongst<br />
songs create natural elements without taking<br />
away from the pop sensibilities put in place by<br />
wavering synthesizers and striking keys. Though<br />
rarely sparse or static in arrangement, Belle<br />
Game does a great job of never suffocating the<br />
listener with sound, as instrumentals remain<br />
organized throughout.<br />
Performances by Lo on Fear Nothing are<br />
consistently tasteful, often acting as a strong<br />
addition to the regimented tirade of instrumentation,<br />
though at times punching through<br />
to become a focal point. As synths sizzle and<br />
steady bass drum hits gallop into existence on<br />
the opening track “Shine,” Lo’s vocals seem to<br />
command the soundscape as they appear before<br />
the wall of sound. On the standout track “Bring<br />
Me,” Lo belts the opening lines as keys punch<br />
her performance home with striking effectiveness.<br />
Fear Nothing remains consistently strong<br />
thanks to precise walls of instrumentation and<br />
captivating vocal performances by Lo. By blending<br />
natural and electronic elements, Belle Game<br />
Brand New<br />
Science Fiction<br />
Procrastinate! Music Traitors<br />
For the first time in eight years, Brand New has<br />
finally released a new album. The band rose to<br />
superstar status in the world of nostalgic emo<br />
bands, dominating the minds of high school<br />
kids through a formidable mix of melodramatic<br />
lyrics and vengeful guitars. Brand New fans are<br />
extremely passionate and patient for good reason,<br />
as the band always delivers on songs with<br />
the potential to become immortal and sacred.<br />
However, the band’s past three albums have set<br />
the bar high and Science Fiction falls short for<br />
the amount of time it took to create.<br />
When fans say they love the album, but<br />
believe another album is on the way, something<br />
is wrong. Science Fiction is a solid offering<br />
with some of the best tracks the band has ever<br />
recorded, but there are too many flaws for an<br />
album that’s taken this long. In fact, a few songs<br />
suffer from a stretched out length like album<br />
opener “Lit Me Up“ and “Batter Up,” two tracks<br />
with underwhelming song progression compared<br />
to other longer tracks like “Same Logic/<br />
Teeth.” The worst song “Could Never Be Heaven”<br />
features an acoustic melody that doesn’t suit<br />
Jesse Lacey’s vocals, failing to rival other softer<br />
Brand New classics. Even then, the album’s lows<br />
aren’t much to complain about. From Nirvana<br />
to Modest Mouse, the band does justice to their<br />
influences without ever compromising their<br />
own identity. It’s hard not to wish for more of<br />
The Devil and God Raging Inside Me on this<br />
album, but Science Fiction offers a satisfying<br />
conclusion to a legacy that has affected thousands<br />
and will affect generations to come.<br />
• Paul McAleer<br />
Death From Above<br />
Outrage! Is Now<br />
Dine Alone Records<br />
In the current music industry landscape, three<br />
years can feel like a damn long time.<br />
It’s hard to say that Death From Above (1979)<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 47
Julie & The Wrong Guys<br />
are a legacy act, but Outrage! Is Now does its<br />
damndest to make the case, ultimately feeling<br />
less like DFA and more DOA.<br />
The Torontonian duo once known for deftly<br />
blending hard rock with proto-EDM return on<br />
the scene feeling like stale egalitarians preaching<br />
a “both sides are just as bad” apathetic message<br />
full of year-old cliché and rote, riff-rocky<br />
tunes. Instead of offering any semblance of<br />
thought-provoking lyrics, Outrage! stays on<br />
the sideline, instead pointing out the painfully<br />
obvious trends that anyone with an internet<br />
connection already knew.<br />
The most egregious lyric lies in “Freeze Me,”<br />
with Sebastien Grainger pondering “are we<br />
outside the safe spaces of love?” It reads like a<br />
cynical mockery of safe space initiatives that<br />
help minorities feel at home in scenes that often<br />
feel hostile to their very existence.<br />
Overall, Outrage! is a special kind of middling.<br />
Not outright terrible, but so mediocre<br />
that it makes you question if the band has always<br />
been this ok. Fond memories of the band’s<br />
past albums dissipate, leaving only a cloudy<br />
image of a band that once felt revolutionary<br />
dirtying that air with a gaseous explosion of<br />
radio rock gone awry.<br />
• Jamie McNamara<br />
Everything Everything<br />
A Fever Dream<br />
RCA<br />
A Fever Dream is the fourth album from<br />
Everything Everything, a four-piece band from<br />
Manchester who derived their name from the<br />
first words on Radiohead’s Kid A. They stretch<br />
and pull at the fabric of pop with each release,<br />
seeing how far they can go before the whole<br />
thing tears apart. No matter how indiscernible<br />
the end results are from the source material,<br />
the music commands the senses like a puppeteer<br />
changing your mood with the pull of a<br />
finger. That’s what Radiohead and Everything<br />
Everything have in common despite heading in<br />
different sonic directions.<br />
Each of the band’s past releases have been<br />
well received by both fans and critics, but A<br />
Fever Dream is easily their most complete full<br />
length yet. The album embraces simplicity in<br />
the eye of an electronic hurricane. The storm<br />
is full of noise – trees crashing into houses,<br />
power lines exploding, and rain flooding the<br />
streets, but there’s always a sliver of a blue sky<br />
the distance. The simple melodies provide the<br />
backbone and the storm is whatever the band<br />
decides to break it with, including the erratic<br />
and emotionally crushing nature of Jonathan<br />
Higgs’ vocals. The energy is unlike any album<br />
released this year.<br />
From the crashing cymbals in the latter<br />
half of the title track to the urgent chorus of<br />
“Good Shot, Good Soldier,” the album is full of<br />
euphoric moments surrounded by meaning.<br />
A Fever Dream is made for dancing, created in<br />
the same vein as “Idioteque” off Kid A, but the<br />
subject matter speaks about modern injustices.<br />
The record can fall on both sides of the spectrum,<br />
helplessly disengaged and unrealistically<br />
optimistic, but the band knows unity is the only<br />
solution. In that regard, dancing is one way of<br />
achieving Everything Everything’s goal.<br />
• Paul McAleer<br />
Goldtop<br />
You Possess Me<br />
Independent<br />
Too often, indie pop tends toward the simple,<br />
with the “millennial whoop” standing in for actual<br />
lyrical content in the choruses of otherwise<br />
catchy and infectious tunes.<br />
Thus the relief in hearing You Possess Me, by<br />
Edmonton duo Goldtop. Alice Kos and Everett<br />
LeRoi are crafting thoughtful, well-arranged<br />
songs with lyrical and melodic choruses that<br />
refuse to dumb down emotion to mere wailing<br />
over simple changes. The title track leads off<br />
with a beat that has a similar tone to The<br />
Ronettes’ classic “Be My Baby,” buoying the<br />
wobbling tremolo rhythm guitar, while Kos and<br />
LeRoi harmonize throughout the length of the<br />
number, which is rare and lends the song a laid<br />
back Everly Brothers vibe. “Even Tonight” is a<br />
warm classic pop ballad reminiscent of Jackson<br />
Browne, with some mid-’60s Beatles shining<br />
through in the arrangement, before Kos takes<br />
the lead on the licorice power pop of “Rip It<br />
Off.” You Possess Me makes solid use of programmed<br />
beats in a number of songs, but still<br />
feels natural and intimate.<br />
Goldtop are working with a lot of space and<br />
taste on You Possess Me, although they veer in<br />
a number of stylistic directions, including some<br />
interesting atmospheric alt-country cuts, never<br />
quite settling on one particular sound. Those<br />
turns are a good thing over the course of an album,<br />
but the most interesting moments on You<br />
Possess Me touch on the Brill Building/power<br />
pop/indie rock combination, a unique synthesis<br />
of styles that bring out the best in Goldtop’s<br />
catchy hooks and melodies.<br />
• Mike Dunn<br />
Emily Haines & The Soft Skeleton<br />
Choir of the Mind<br />
Last Gang Records<br />
Over 10 years after releasing her first solo<br />
endeavour, Knives Don’t Have Your Back, Emily<br />
Haines is back with Choir of The Mind. The album<br />
once again centers around her piano playing<br />
and poetic prose style, but here her vocals<br />
are used to create venerable layers of instrumentation.<br />
Where Haines’ project previously focused<br />
on the misery that comes with loss, she’s more<br />
hopeful here, exploring the inner recesses of her<br />
mind and the strengths of femininity.<br />
For Haines, feminine strength comes from<br />
softness. On “Strangle All Romance” she is<br />
ghostly and rough; vocal reverberations through<br />
a mountain valley. It’s deeply personal, her<br />
equivalent of flexing a muscle. She sings: “Love<br />
is my labour of life/ we’ll tear it up.” The song<br />
transitions into “Wounded,” where she acknowledges<br />
the repercussions of her open heart.<br />
“Statuette” galvanizes on these themes<br />
further, examining the traditional hierarchy<br />
between men and women in relation to social<br />
power. Haines replicates these roles to place<br />
her at the feet of a male contemporary, who<br />
has the creed and material possessions to “buy<br />
any girl in the world.” The backing beat mimics<br />
the worst type of elevator music, adding to the<br />
sleaze of her counterpart.<br />
The standout is the title track, “Choir of the<br />
Mind.” It’s as if the artist has voiced all of the<br />
concurrent thoughts within her head to create a<br />
deconstructed monologue atop her own meditative<br />
lullaby. It’s poetic, melodic, and painfully<br />
introspective.<br />
Haines has a way of evoking drama through<br />
her pace, which is often her biggest asset. Some<br />
may be turned off by the downtempo scenes<br />
she creates, but for a reflective listener, it’s an<br />
exercise in meditation.<br />
• Trent Warner<br />
Julie & The Wrong Guys<br />
Julie & The Wrong Guys<br />
Dine Alone<br />
By masterfully creating a union of delicacy and<br />
aggression, Julie & The Wrong Guys concoct<br />
a powerfully potent mixture on their debut<br />
self-titled LP.<br />
Over the distorted riffs of Eamon McGrath<br />
and a thumping rhythm section courtesy of<br />
Mike Schwarzer and Mike Peters of Cancer Bats,<br />
Canadian indie legend Julie Doiron (formerly<br />
of Sub Pop heroes Eric’s Trip) delivers vocal<br />
performances tuned to each track individually.<br />
On lead single “You Wanted What I Wanted,”<br />
Doiron strikes with urgently strained lines<br />
between screeching guitar licks at the chorus,<br />
then drops into a laid back tone as notes are<br />
softly and precisely picked through the verses.<br />
Later, on “Tracing my own Lines,” Doiron sings<br />
with a soft fragility over an open, breathing<br />
instrumental track of steady bass drum strikes<br />
and chugging guitar, accented occasionally with<br />
shaking thunderous strums.<br />
The band’s power throughout the 10-track LP<br />
lays not in an expected display of volume, but<br />
rather their keen sense of effective strikes and<br />
heavy tones. McGrath’s twisting western-tinged<br />
guitar lines on “Farther from You” beautifully<br />
contrast a darker driving rhythm section,<br />
eventually tying together at the refrain with<br />
explosive effectiveness.<br />
Acting as a modern day odd couple, Julie &<br />
The Wrong Guys blend elements from across the<br />
spectrum beautifully and to great effect, making<br />
their debut powerfully raw and unpredictable<br />
from start to finish.<br />
• Nathan Kunz<br />
Lascar<br />
Saudade<br />
Independent<br />
With Lascar’s sophomore outing, there has been<br />
a very noteworthy development on the sonic<br />
tone that made the Chilean band popular with<br />
their first release, 2016’s Absence. Lascar makes<br />
atmospheric black metal that is full of melancholy<br />
and longing, and the tone of the album is<br />
nothing short of beautiful.<br />
There is a lot to like about this band, but the<br />
unfortunate news is that what is being evoked<br />
is nothing that hasn’t been said before by other<br />
bands. The melodies played are beautiful in<br />
their own right, but the songs stagnate towards<br />
the end as the ideas are not varied or developed<br />
upon to justify the long track lengths. Even<br />
when the band is playing a beautiful melody or<br />
adding a new idea, it doesn’t seem as honed or<br />
well executed as successful bands in this style of<br />
music such as Alcest or Coldworld. On Saudade,<br />
Lascar has still yet to show a sound or style that<br />
is uniquely its own, and sets itself apart from the<br />
other bands who have succeeded at this style<br />
of music. Even when the album is at its best<br />
moments, it’s unfortunately something that has<br />
been heard and done before, and therefore becomes<br />
hard to recommend to anyone who isn’t<br />
an avid fan of this style of music. It’s certainly<br />
not a bad release, but the project still has yet to<br />
come into its own and therefore it becomes an<br />
easy album to forget about after a listen or two.<br />
• Greg Grose<br />
Milo<br />
Who Told You to Think??!!?!?!?!<br />
Ruby Yacht / The Order Label<br />
Milo (née Roy Ferreira) has been a bubbling<br />
name in the art rap scene for a while. Formerly<br />
of the now defunct Hellfyre Club, the Wisconsin-bred<br />
rapper learned the ropes from artists<br />
like Busdriver (who guests with a freestyle),<br />
Nocando and Open Mike Eagle.<br />
Following up 2015’s very solid So The Flies<br />
Don’t Come is Milo’s latest release, the exceptionally<br />
punctuated Who Told You to Think??!!?!?<br />
!?!. It’s by far his most cohesive work yet, starting<br />
life as a cloudy, jazzy beat tape reminiscent of<br />
Madlib. It’s a new approach for Milo, considering<br />
he’s most known for his Wikipedia-required<br />
reference-heavy verses. Like he says on track<br />
“the young man has a point (nurture),” his<br />
vocabulary pays his rent.<br />
48 | SEPTEMBER <strong>2017</strong> • BEATROUTE
That vocabulary consists of references to beat<br />
poets, role playing games, cartoons, philosophy,<br />
and everything in between. He uses these to<br />
comment on the state of rap, love, society or<br />
mortality. A lesser artist, including the Milo of<br />
the past, may have struggled to pull these seemingly<br />
disparate ideas together into a structured<br />
whole, but Who Told You To Think??!!?!?!?! marks<br />
a definite evolution for him, one which serves as<br />
a frequent source of pride for him on the record.<br />
And he should be proud. Who Told You To<br />
Think??!!?!?!?! is the beautiful and flowing piece<br />
of artistry that we’ve all been waiting for.<br />
• Cole Parker<br />
Nosaj Thing<br />
Parallels<br />
Innovative Leisure<br />
Two years after having his gear and archives stolen<br />
while touring through Houston, Nosaj Thing<br />
has released his fourth studio album, Parallels.<br />
The 10-track album opens up with “Nowhere,” a<br />
song that starts with the sense of the confusing<br />
echo of reboot and then launches into melodic<br />
waves a la Philip Glass; tense, shifting in tonality,<br />
and laced with a strange undercurrent. Shocked<br />
by a muffled vocal sample that states the album’s<br />
title, the track breaks tack and drifts to its<br />
finale. Awakened by a warm and grimy bass line<br />
“All Points Back To U,” featuring Steve Spacek,<br />
folds the listener into layers of sound that<br />
reverberate back to the roots of Nosaj Thing’s<br />
style on 2009’s Drift, but with an elevated sense<br />
of space. Spacek’s vocals provide a sense of<br />
forced reflection that Nosaj Thing’s usual pure<br />
instrumentation simply cannot. “Get Like”<br />
glaringly defines the oscillating conceptual line<br />
of emotional flux that has now fully permeated<br />
Nosaj Thing’s evolving musical style. Deep in<br />
the warm, heavy bass there’s a spirit of courage<br />
and aspiration pushing to overcome the pull<br />
of depression. “Way We Were” featuring Zuri<br />
Marley picks the record back up and infuses<br />
an air of R&B that’s soothes with the desire of<br />
possibility. Marley’s resonant colour uplifts just<br />
enough to shine some light without breaking<br />
the album’s dark through line. “IGYC” pulls the<br />
listener back into a refractory cave atmosphere,<br />
a chamber of reflected sound, glittering, strange<br />
and fading without consideration. “Sister” finds<br />
the end of the record with swells of hope and a<br />
rough hewn bass drum that drive with strength<br />
out of a valley of confused darkness, and yet the<br />
very last sound is still jilted.<br />
• Andrew R. Mott<br />
No Use For A Name<br />
Rarities Vol. 1: The Covers<br />
Fat Wreck Chords<br />
For fans of the skate punk quartet, No Use For<br />
A Name, the last five years have been difficult.<br />
The unexpected passing of frontman Tony Sly<br />
in 2012 brought the band to halt and left fans<br />
wondering what the future would hold for<br />
NUFAN.<br />
Rarities Vol. 1: The Covers is the first new release<br />
since 2008’s final studio album, Feel Good<br />
Record of the Year. Although these tracks aren’t<br />
originals, they still manage to fill a void left by<br />
NUFAN’s absence.<br />
Throughout their 20-year career, NUFAN lent<br />
their talents to many compilations; including<br />
both covers and original hits. Fat Wreck Chords<br />
combed through countless recordings and compiled<br />
a compilation of only non-album covers,<br />
combining a wide variety of unreleased gems<br />
from NUFAN’s time at the label. Included on<br />
Rarities Vol. 1 are songs ranging from punk rock<br />
legends D.I. and The Pogues, to more classic<br />
artists like Depeche Mode and Cheap Trick.<br />
Queens of the Stone Age<br />
Their take on each track is as No Use as you’re<br />
going to get; each song performed in perfect<br />
NUFAN style with Sly’s distinctive vocals echoing<br />
alongside. And because it’s NUFAN, a couple<br />
of your favourite T.V. theme songs too – you’ll<br />
love them.<br />
In respect to the five-year anniversary of Sly’s<br />
passing just this past July, many fans will be embracing<br />
this record as soon as they get the chance.<br />
• Sarah Mac<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 49
Tricky<br />
Queens of the Stone Age<br />
Villains<br />
Matador Records<br />
Perhaps Queens of the Stone Age frontman Josh<br />
Homme’s most underrated talent is his ability<br />
to make anything that he works on sound like<br />
a QOTSA record, no matter the personnel involved.<br />
That’s been true for the past six QOTSA<br />
albums, and even with pop producer Mark<br />
Ronson, it’s true for Villains.<br />
While bringing Ronson, whose past credits include<br />
Amy Winehouse and Bruno Mars, aboard<br />
may seem like a leftfield move, the results are<br />
almost disappointingly similar to 2015’s …Like<br />
Clockwork, because, after all, to quote Josh<br />
Homme himself on “Make It Wit Chu,” “Sometimes<br />
the same is different, but mostly it’s the<br />
same.”<br />
Villains explodes out of the gate with “Feet<br />
Don’t Fail Me,” a desert-noir foot stomper that<br />
blends Ronson’s penchant for pop-funk with<br />
QOTSA’s bong-ripping stoner rock. It’s not the<br />
last time that blend of influences pays off well:<br />
“The Evil Has Landed,” “Hideaway,” and “Un-Reborn<br />
Again” all exude pomp and swagger while<br />
still sounding like textbook QOTSA.<br />
Album highlight “Domesticated Animals” is a<br />
chugging, mixed-meter melee that builds to one<br />
of the best rock choruses in recent memory and<br />
a thrilling conclusion that finds bassist Michael<br />
Schuman unleashing a bloodcurdling yell not<br />
heard on a QOSTA album since Songs for the<br />
Deaf.<br />
It doesn’t reinvent the wheel, but throughout<br />
its runtime, Villains serves to cement QOSTA’s<br />
reputation as one of the most consistently enjoyable<br />
bands in modern rock music.<br />
• Jamie McNamara<br />
RALEIGH<br />
Powerhouse Bloom<br />
Independent<br />
RALEIGH kind of rips. Powerhouse Bloom opens<br />
with a short hit of percussion, followed by a<br />
glimmering guitar voicing. What follows is a<br />
meditative intro, a slow drum pattern, a bubbling<br />
bass line, and a warm cello set the scene.<br />
It isn’t until the first chorus, where a legitimate<br />
guitar riff cuts through the bustling mix, where<br />
it becomes clear that this is a bigger and more<br />
mature RALEIGH than Sun Grenades and Grenadine<br />
Skies.<br />
It’s their third full-length release of bumpy<br />
dream pop, but this time with sharper edges,<br />
and a keen ear for pacing. RALEIGH has always<br />
played with quick starts and stops, and stabbing<br />
transitions, but mostly within the spectrum of<br />
playfulness. Powerhouse Bloom cuts parts in<br />
and out with precision, and with a completeness<br />
of vision. The experimental but deliberate<br />
studio production work here invites a tonal and<br />
musical cohesiveness, filling in dead space with<br />
ambient sounds and long reverb trails, and adding<br />
texture with a grimey compression or phaser<br />
on the vocals.<br />
There is so much viscera and effect to<br />
Powerhouse Bloom, it reeks of deliberation and<br />
experimentation like we’ve come to expect from<br />
RALEIGH, but with a force and dynamism that<br />
transcends anything that’s come before.<br />
• Liam Prost<br />
the record to all-night dance party proportion.<br />
The production is crisp, layered, full of tight,<br />
hard hitting drums, unique sonic samples and<br />
never ending drive. It’s easy to imagine that in a<br />
decade or two from now that any track on this<br />
album will push the volume up and soak a sun<br />
filled drive with joyful nostalgia.<br />
• Andrew R. Mott<br />
Tchornobog<br />
Tchornobog<br />
I, Voidhanger Records<br />
The murky, churning waters of the debut Tchornobog<br />
album are not waters to be traversed<br />
lightly. The riffs and production are clouded<br />
in a thick haze, where the music can be heard,<br />
but the delivery of the riffs sounds booming,<br />
cavernous and epic. The listening experience<br />
of the album is one that feels akin to being lost<br />
in a vast underground cavern, hearing sounds<br />
moving through the blackness but not quite<br />
being able to parse where they are coming from.<br />
The album sounds dissonant, hostile, and full of<br />
ideas.<br />
Even as far as simple metal structure goes,<br />
the guitar playing is always strong and always<br />
driving but never flashy; things drift from<br />
moving at breakneck speeds to crunching to a<br />
halt and moving into slower, heavier passages.<br />
The way the songs are structured allows for a<br />
huge wealth of ideas to be displayed over the<br />
course of their epic runtimes, featuring both<br />
heavy, memorable riffs and quieter moments<br />
featuring saxophone and piano from time to<br />
time as well. One negative that the album has is<br />
that there seems to be little consistency through<br />
any of the its four tracks. Although the album is<br />
very consistent in tone, once the band finishes<br />
playing a riff, they seem more or less done with<br />
it. The album cycles ideas so many times over<br />
the course of any of its songs that there seems<br />
to be little reason the album couldn’t have been<br />
one giant piece of music. That being said, all the<br />
ideas presented on the album work very well,<br />
and Tchornobog’s debut is easily one of the<br />
strongest and most memorably alternative pieces<br />
of extreme metal to be released this year.<br />
• Greg Grose<br />
The Royal Foundry<br />
Lost in Your Head<br />
Independent<br />
Tricky<br />
Ununiform<br />
False Idols/!k7 Music<br />
After putting out numerous singles and getting<br />
heavy rotation on the terrestrial airwaves, the<br />
quartet known as The Royal Foundry has finally<br />
released its breakout album, Lost In Your Head.<br />
First coming onto the Edmonton music scene<br />
in 2013 as a newly-married alternative folk<br />
duo, Jared Salte and Bethany Schumacher have<br />
completely reinvented themselves with a solid<br />
and well-defined electro-pop sound. Drawing<br />
inspiration from the latest trends as well as<br />
movements from ‘90s Brit pop and ‘70s progressive<br />
rock, Salte and Schumacher dive deep into<br />
the exploration of love and relationship on a<br />
13-track explosion of youthful expression and<br />
experimentation.<br />
Salte’s vocals hold the consistent lead on<br />
the record while Schumacher provides a subtle<br />
harmonic reinforcement that sits just right<br />
in the mix. Sprinkled like candy throughout<br />
the LP, Schumacher’s timbre takes the fore in<br />
anthemic elements that elevate the intensity of<br />
I wonder, when you’re a dozen albums into a<br />
storied career in the trip-hop game, is there still<br />
enough creative gas in the tank? Apparently so,<br />
if your name is Adrian Thaws.<br />
The iconoclastic beat-maker and producer<br />
still has a lot of issues to get off his chest and<br />
he has some top-notch talent to help him out.<br />
Biding his time between grime-swathed and<br />
trap-infused tracks such as “Same As It Ever<br />
Was, “It’s Your Day,” and “Bang Boogie” (with<br />
Russian hip hop homie Scriptonite), the master<br />
of melancholy plays it cool. Elsewhere, Tricky<br />
glides around genres from some signature R&B<br />
sultriness from the likes of labelmate Francesca<br />
Belmonte (“New Stole”), to the slashing guitar<br />
fuelled electro-banger of “Dark Days” (featuring<br />
rising dub-pop princess Mina Rose), to a breathy<br />
and sparse cover of Hole’s “Doll Parts” (from<br />
avant-garde artist and former AA-model Avalon<br />
Lurks). Of course, no Tricky oeuvre is complete<br />
without a contribution from his most influen-<br />
50 | SEPTEMBER <strong>2017</strong> • BEATROUTE
tial muse Martina Topley-Bird; her smoky haze<br />
of a voice blankets the last track on the album<br />
“When We Die,” while the brooding Dark Prince<br />
spits out bars asking all the important questions<br />
about where we go when the afterlife is upon us.<br />
Thirteen appears to be a lucky number after all<br />
and for fans of the genre this is your good luck<br />
charm.<br />
• Bryce Dunn<br />
Wand<br />
Plum<br />
Drag City Records<br />
California’s Wand comes from a different time,<br />
staying true to their classic rock influences with<br />
each release through avoiding the cheap tricks<br />
the modern age offers. Plum marks a shift for<br />
Wand as it’s their first album featuring new<br />
guitarist Robbie Cody and keyboardist Sofia<br />
Arreguin, adding to the existing three members.<br />
Instead of frontman Cody Hanson bringing most<br />
of the material to the table, the songwriting<br />
process transformed into a collaborative environment<br />
relying on chemistry and improvisation<br />
from each member of the group.<br />
The end result isn’t a shocking or sudden<br />
departure from Wand’s earlier work, but that’s<br />
fine because the music stays true to the type<br />
of record that’s timeless. Without the internet,<br />
it would be hard to say if Plum came out<br />
four years ago or 40. The record opens with<br />
“Setting,” beginning with a high-pitched drone<br />
like a time machine ready to go off. The title<br />
track follows with a focus on keys even though<br />
the rest of the album puts guitar riffs and solos<br />
at the forefront. The vocals from Hanson are<br />
reserved and soothing even at points when<br />
the instrumentation demands more. It works<br />
for the most part, but it’s hard not to want<br />
Hanson to unleash emotions that derail the<br />
psychedelic spectrum.<br />
The album is full of standout tracks, including<br />
closer “Driving,” a song featuring Hanson at his<br />
most versatile, and “The Trap,” a slow burning<br />
heartbreaker reminiscent of Wilco’s Summerteeth<br />
in tone. Plum explores a handful of<br />
ideas throughout the album, offering something<br />
for every type of rock fan to enjoy, while solidifying<br />
each member as equally important to the<br />
band’s overarching success.<br />
• Paul McAleer<br />
Wintersun<br />
The Forest Seasons<br />
Nuclear Blast Records<br />
<strong>2017</strong> has been a big year for Jari Mäenpää.<br />
With Wintersun’s late July release The Forest<br />
Seasons, something has shifted in the tone of<br />
the band. The album still channels the epic fantasy<br />
bombast of their earlier works, but the musicianship<br />
and songwriting displays a maturity<br />
not shown in earlier work. Rather than starting<br />
out at the speed of sound, the compositions on<br />
The Forest Seasons begin with a simple idea, and<br />
continue to slowly and gradually develop upon<br />
it over the course of 10 minutes until the track<br />
draws to a close. Songs move steadily and progress<br />
in a way that manages to fit plenty of ideas<br />
without feeling crowded, muddled, or overcomplicated.<br />
Melodies and motifs drift in and out of<br />
the composition, taking you from quiet acoustic<br />
moments to thunderous crescendos without<br />
disconnecting from each other.<br />
Considering the album only features four<br />
songs, The Forest Seasons is an incredibly varied<br />
record, as each song feels separate and different<br />
from one another, but all intensely varied and<br />
containing an entire world of detail within their<br />
10 minute spans. In this way, the album strongly<br />
Wintersun<br />
succeeds. Wintersun set out to convey an entire<br />
season with each track on this album, and the<br />
album follows through with this vision. The<br />
compositions are well thought out and excellently<br />
executed, and because of this, the album<br />
becomes a must listen for any power metal fan<br />
who wants excellent songwriting with a little<br />
high fantasy cheese on the side.<br />
• Greg Grose<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 51
STRANGELY BEAUTIFUL<br />
Momentous allusions to a disastrous outcome. Predictions have come and gone,<br />
the end is almost here. Welcome to CIRCUS OF THE STRANGELY BEAUTIFUL:<br />
FERAL APOCALYPSE. Tribes from all walks of performance and across Alberta are<br />
making the journey to the last standing building, the Distortion, in what was the city of<br />
Calgary. The annual show is the best kept underground secret in the province.<br />
Producer Harley Page started the event to help local performers, artist, and vendors<br />
network, connect and showcase their amazing talents all in one night.<br />
Atmosphere is the core of the show, and in one day the cast and crew change Distortion<br />
into the apocalypse. Guests are strongly encouraged to dress up for their chance<br />
to win great prizes in the costume contest such as a Big Rock Brewery Tour, and at the<br />
always free carny games. Take pictures with old and new friends in the life size bird cage<br />
photo booth complete with a swing and carcasses. Sample the customized food menu<br />
and drinks and of course check out all the stage show craziness.<br />
This year Edmonton’s Waking Mayhem brings their trash-metal to town, and as usual<br />
local clothing designer, Sheppish Contour, brings her magic. Also featuring Alberta’s<br />
outstanding talents: Circus of Hell, Visha Loo, Fatt Matt, Lindsay Marie and Chelsea<br />
Nightingale. Along with tribe leaders: Tiffany Tailfeathers, Elizabeth Kay, Bitch Sassidy, Dani<br />
Spades, Rica Shae, Tannus Betzler, Lady O, Emcee Mr. Adelaide and DJ Clay Stitches.<br />
Can they all come to a revelation? Which tribe will stand tall and which will fall? You are<br />
all invited to come and witness the Strangely Beautiful. Friday, Sept. 22 doors at 8:30,<br />
$13 presale/ $18 door/ $20 no costume. Distortion Nightclub on Macleod Trail.<br />
BEATROUTE • SEPTEMBER <strong>2017</strong> | 53
SAVAGE LOVE<br />
stranger things<br />
I’m a lady considering taking on a foot fetishist as a slave. He would do<br />
chores around my house, including cleaning and laundry, and give foot<br />
rubs and pedicures in exchange for getting to worship and jack off to my<br />
model-perfect feet when I’ve decided he’s earned it. Am I morally obligated<br />
to tell my roommates? Technically the guy would be in their common<br />
space too. I will fully vet him with references and meet him in a neutral<br />
location at least once—and anything else you might suggest I do for security’s<br />
sake. Though my roommates are not what you would call conservative,<br />
I’m not sure they’d understand this kind of arrangement. I would have my<br />
slave come over when no one is around, and then my roommates could<br />
come home to a sparkly clean common area! My slave would never have<br />
access to their personal spaces, nor would I leave him alone in any area of<br />
our home until a strong bond of trust had been established. No harm, no<br />
foul? Or am I crossing a line?<br />
–Man Into Cleaning A Shared Apartment<br />
A friend in Berlin has a similar arrangement. This guy comes over to<br />
clean his apartment once a week and—if my friend thinks he’s done<br />
a good enough job—my friend rewards him with a knee to the balls.<br />
It’s a good deal for both parties: My vanilla-but-kink-adjacent friend<br />
gets a sparkly clean apartment (which he loves but doesn’t want to<br />
do himself), this guy gets his balls busted on a regular basis (which he<br />
loves but can’t do himself). But my friend lives alone, MICASA, and<br />
that makes all the difference. Or does it?<br />
Time for some playing-games-with-foot-fetishists theory: If you<br />
were having sex with a boyfriend in the common areas of your<br />
apartment when your roommates weren’t home—let’s say your<br />
boyfriend (or even some rando) wanted to fuck you on the kitchen<br />
floor—you wouldn’t be morally obligated to text your roommates<br />
and ask their permission. But we’re not talking about a normal guy<br />
here or normal sex—we’re talking about a fetishist who wants to<br />
be your slave. Does that make a difference? It might to people who<br />
regard kinksters as dangerous sex maniacs, MICASA, but a kinky<br />
guy isn’t any more or less dangerous than a vanilla guy. And a kinky<br />
guy you’ve gone to the trouble to vet—by getting his real name and<br />
contact info, by meeting in public at least once, by asking for and<br />
following up with references—presents less of a threat to you and<br />
your roommates than some presumed-to-be-vanilla rando one of<br />
you brought home from a bar at 2 a.m.<br />
Strip away the sensational elements—his thing for feet, his desire<br />
to be your chore slave, the mental image of him jacking off all over<br />
your toes—and what are we left with? A friends-with-benefits<br />
arrangement. A sparkly clean apartment benefits you (and your<br />
roommates); the opportunity to worship your feet benefits him. This<br />
guy would be a semi-regular sex partner of yours, MICASA, and while<br />
the sex you’re having may not be conventional, the sex you have in<br />
your apartment—including the sex you might have in the common<br />
areas when no one is at home—is ultimately none of your roommates’<br />
business.<br />
That said, MICASA, unless or until all your roommates know what’s up,<br />
I don’t think you should ever allow this guy to be alone in your apartment.<br />
My girlfriend drunkenly confessed to me that she used to pee on her ex. I’m<br />
not sure what to do with this info.<br />
–Dude’s Relationship In Peril<br />
Did she ask you to do something with this info? Did your girlfriend say,<br />
“Hey, I used to pee on my ex—now go make me a dream-catcher with<br />
that news, would you?” Your GF got a little kinky with an ex, most likely<br />
at the ex’s request, and so what? If piss isn’t something you’re into, DRIP,<br />
don’t obsess on the distressing-to-you details and focus instead on the big<br />
picture: You’ve got an adventurous GF. Congrats. If she doesn’t have an<br />
equally adventurous BF, here’s hoping she finds one.<br />
My 7-year-old son started getting really into gauze, splints, and bandages<br />
when he was 3, and by the time he was 4, it became clearly sexualized.<br />
He gets a boner when he plays “broken bone” or just looks at bandages,<br />
and he has expressed how much he loves to touch his penis when he<br />
does this. My husband and I (both happily vanilla) have been accepting<br />
and casual about this. We’ve provided him with a stash of “supplies,”<br />
taught him the concept of privacy and alone time, and frequently remind<br />
him to never wrap bandages around his head or neck. Is it normal to be<br />
so kinky at such a young age? I know kinks generally develop from childhood<br />
associations. When he was 2, he had surgery to correct a common<br />
issue on his groin. Might that have sparked this? I want my son to grow<br />
up with a healthy and positive sexuality. Are we doing him a favor or<br />
a disservice by supplying him with materials, freedom, and privacy to<br />
engage in a kink so young?<br />
–Boy Always Needing “Doctoring” And Getting Edgier<br />
Your son’s behavior isn’t that abnormal, BANDAGE. It’s standard for kids,<br />
even very young kids, to touch their genitals—in public, where it can<br />
be a problem, or in private, where it should never be a problem. And<br />
lord knows kids obsess about the strangest shit. (What is the deal with<br />
dinosaurs, anyway?) Right now your son is obsessed with bandages and<br />
splints and gauze, his interests aren’t purely intellectual, and it’s easy to<br />
see a possible link between his experience with bandages and gauze in his<br />
swimsuit area and his obsession.<br />
None of this means your son is definitely going to be kinky when he<br />
grows up, BANDAGE—not that there’s anything wrong with being kinky<br />
when you grow up. There are lots of happy, healthy kinksters out there,<br />
and your kid could be one of them when he grows up. But it’s too early to<br />
tell, and so long as his interests aren’t complicating his life (he’s not behaving<br />
inappropriately with friends or at school), your son’s whatever-this-is<br />
will become less of your concern over time and ultimately it will be none of<br />
your business.<br />
In the meantime, you don’t wanna slap a “so kinky” label on a 7-yearold.<br />
(If he were to overhear you using that term to describe him, does he<br />
have the computer skills to google it himself?) But you’re doing everything<br />
right otherwise. You aren’t shaming your son, you aren’t making bandages<br />
and gauze and splints more alluring by denying him access to them, you<br />
are teaching him important lessons about privacy and what needs to be<br />
reserved for “alone time.”<br />
You ask if it’s normal to be “so kinky” (a phrase we shall both retire, at<br />
least when referring to your son, after today) at such a young age. Probably<br />
not—but so what? According to science, most adults have paraphilias, aka<br />
“non-normative sexual desires and interests.” That means kinks are normal—at<br />
least for grown-ups—so even if your son isn’t normal now, BAN-<br />
DAGE, he’ll be normal someday. Most happy, healthy, well-adjusted adult<br />
kinksters can point to things in their childhood that seemed to foreshadow<br />
their adult interests in bandages/bondage/balloons/whatever. Author,<br />
journalist, and spanking fetishist Jillian Keenan (Sex with Shakespeare) was<br />
fascinated by spanking when she was your son’s age; Keenan likes to say<br />
she was conscious of her kink orientation before she knew anything about<br />
her sexual orientation. So while your son’s behavior may not be “normal”<br />
for a kid who grows up to be vanilla, it would be “normal” for someone<br />
who grows up to be kinky.<br />
On the Lovecast,<br />
Dan and Jesse Bering chat<br />
about your father’s penis:<br />
savagelovecast.com.<br />
mail@savagelove.net<br />
@fakedansavage on Twitter<br />
ITMFA.org<br />
by Dan Savage<br />
54 | SEPTEMBER <strong>2017</strong> • BEATROUTE