Beatroute Magazine BC Print Edition November 2017

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BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics.

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











BeatRoute Magazine



Naomi Zhang

Front Cover Photo

Marlene Marino

Front Cover Design

Randy Gibson


Bailey Barnson • Sarah Bauer • Jonny

Bones • Seth Cudney • Quan Yin

Divination • Mike Dunn• Kennedy Enns

• Slone Fox • Colin Gallant • Jovana

Golubovic • Michael Grondin • Greg

Grose • Kathryn Helmore • Max Hill •

Alex Hudson • Sarah Jamieson • Jeevin

Johal • Karolina Kapusta • Charlotte

Karp • Ana Krunic • Arielle Lessard •

Sarah Mac • Paul Mcaleer • Brendan

Morley • Andrew R. Mott • Zoei Nijjar

• Adesuwa Okoyomon • Emma Sloan •

Stepan Soroka • Vanessa Tam • Willem

Thomas • Brayden Turenne • Alec

Warkentin • Mat Wilkins • Jordan Yeager




Robert Anderson • Nedda Asfari •

Peter Battistoni • Bryce Hunnersen

• Bill Crisafi • Elissa Crowe • Tj Dawe

• Itai Erdal • Cody Fennell • Greg

Gallinger • Maria Jose • Dahila Katz

• Anita Lewis • Connor Mccracken •

Nelson Mouellic • Darrole Palmer • Jaik

Puppyteeth • Daniel Rampulla • Rachel

Robinson • Shimon Karmel • Raymund

Shum • Landon Speers • Jake Stark •

Steven Taylor • Matthew Zinke



Glenn Alderson


Jashua Grafstein


Alan Ranta


Graeme Wiggins

Managing Editor

Jennie Orton


Yasmine Shemesh

Local Music

James Olson

The skinny

Johnny Papan

04 HI, HOW ARE YOU? 19







- with Rachel Fox





- Bells & Whistles

- Black Lodge

- Degrassi

- Let It Be



- Chad Vangaalen

- Mogwai

- Shout Out Louds

- Alex Clare

- Noah Gundersen

- Bridal Party

- ISCM World New Music Days

- Youngblood

- Storc






- A Perfect Circle

- Death From Above


- North of America

- Belphegor

- Origin


- Shigeto

- Clubland

- Lil Debbie


- Bodied

- Call Me by Your Name


- Gord Downie

- Bell witch

- Casper

- Cut Worms

- Kllo

- Marilyn Manson

- Melkbelly


- Teen Daze

- Trivium

- Wolf Parade


Glenn Alderson


Photo by Marc Rimmer


Gold Distribution (Vancouver)

Mark Goodwin Farfields (Victoria)


Galen Robinson-Exo


Hogan Short


202-2405 Hastings St. E

Vancouver BC Canada

V5K 1Y8 •

©BEATROUTE Magazine 2017. All rights reserved.

Reproduction of the contents is strictly prohibited.

Chad VanGaalen - Page 14

November 2017 3



The Rio Theatre is a magical

independent hub for film, music

and culture in the Vancouver arts

community and this month they

are celebrating the fourth annual

Rio Grind Film Festival. Genre film

festivals happen around the world

— Fantasia in Montreal, Sitges

in Spain, Fantastic Fest in Austin,

Beyond Fest in LA, Morbido in

Mexico — and they all shine a light

on eclectic, arthouse fare that often

gets overlooked by contemporary

fests, not to mention theatrically.

The Grind Film Fest is the Rio’s toast

to those films and the spirit of those

fests, albeit on a smaller scale.

From cult-classics to contemporary

thrillers, Rachel Fox, Senior

Programmer at the Rio Theatre

has put in a great deal of time and

energy to curating an action packed

weekend of cinematic genius.

“This is our fourth year doing

the fest, and probably our most

interesting lineup thus far,” Fox says.

“It’s a fun excuse to play some really

solid titles that may not otherwise

get big screen time.”

Fox encourages moviegoers to

make a day of it, take in multiple

films and just get your grind on. Of

course, this is all made even easier

to do with the adult beverages and

tasty snacks that the Rio serves up at

their concession.

We caught up with Fox to chat

about the Grind Film Festival and

what it’s like working at one of

Vancouver’s only independent art


How did the Rio Grind Film Festival

come to be?

Rachel Fox: I knew Corinne (Lea, Rio

owner) and we were friendly. I was

at the time writing for local blogs in

Vancouver about city life, film, etc.

The conversation about film festivals

and specifically genre fests grew from

there and it was like, “Well, we have

this amazing art-deco venue that

needs to get programmed at our

fingertips - let’s get this done and

make the kind of event that happens

everywhere else except Vancouver.”

Genre film festivals are celebrated

all over the world, what is the focus

of the Rio’s Grind Film Fest that

makes it unique?

RF: Everything at the Rio is a labour

of love. We’re not a non-profit and

we don’t have any funding. We do

this because we want to, and because

we earnestly believe people in this

city want and need events like this.

And also, filmmakers recognize that

we’re kinda off-grid, and they want

their films to reach an audience

too. We’re an outlet for that. We

always strive to provide a communal

experience in a city that is becoming

ever-more challenging for regular

people to enjoy. We’re a respite from

the chaos. (Or we are the chaos, who

knows?) Also, who doesn’t like to

get day drunk with friends and watch

some highly curated, kick-ass movies

on a big screen you’ll probably never

see again? We make that magic, baby.

The focus of this festival is on

features and short films that

are traditionally overlooked by

the regular festival circuit. Can

you please explain why that is


RF: It’s about variety and a dedicated

audience of movie-lovers looking

for a great cinematic experience.

Film festivals are a business, first and

foremost. Not every movie can make

the “cut,” and often times, really

solid or worthy films miss being seen

entirely. It’s frustrating. I have known

countless really great, deserving

films go under the radar for stupid

reasons having to do with timing,

distribution mishaps, and armchair

decision-makers at the top who pull

the strings and who probably never

actually go to the movies. Fuck all

that. Let’s shine a light on some gems

and bang the drum for people who

strive to make art.

What are some of the challenges

you’re faced with when curating an

event like this?

RF: Dealing with armchair decisionmakers

who are less concerned with

actually “supporting” their product

and more concerned with their own

egos? OR something. Usually it’s a

timing thing - movies I’d really like to

screen aren’t always “available.” That

being said I’ve had amazing luck with

films. Bodied is, hands down, the

biggest and highest-profile film we’ve

ever had in the Fest. Joseph Kahn

(director) and I had a relatively short

conversation on the phone and he’s a

maverick, a total bad-ass. He was like,

“Fuck it, let’s do this, I wanna bring

Bodied to Vancouver.” He was on

the same page as me about getting

the right audience in front of films,

about celebrating worthy cinema

with the audience that wants to

consume it. That’s the energy I want

to see happen. When he agreed to

do it I thought I was going to cry and

unicorns would fall from the ceiling.

Massive respect to him.

If you don’t like blood, guts and

horror, is there still something for

those with weak stomachs at this


RF: For sure! Blood, guts, and horror

is just a part of what goes on here.

We’re about a-ha moments. (Which

sometimes are bloody, sure.)

What are some other films you

are excited about bringing to

festivalgoers this year?

RF: Bodied, for sure. Top Knot

Detective is insanely laugh-out-loud

funny; it’s a love-letter to Asian

cinema that needs to be seen to

be believed. Issa Lopez’ Tigers Are

Not Afraid is probably the most

important work of fantasy-horror

this year, easily one of the most

surprising, special and poignant. And

Let The Corpses Tan is so goddamn

stylish. Also: Secret Screening!

Are there any other cool things

on the horizon for the Rio that we

should be looking out for?

RF: Our calendar is constantly

changing... We’re like the Potpourri

category on Jeopardy.

The Rio Grind Film Festival takes place

November 16 to 19. For more info visit

Rachel Fox is the senior programmer at the Rio Theatre.

Photo by Glenn Alderson


November 2017


Eastside Flea Only Drunks and Children Polygon Gallery Beanstock Coffee Festival Spirit of Canada


November 3, 17 at Ellis Building

The Eastside Flea has two evening

markets planned for November, just

in time to get your holiday shopping

done early. Join them on November

3 for the biggest ICONS Vintage

Market yet, where you’ll find a carefully

curated selection of handpicked vintage

clothing, records, housewares and

more. Then celebrate the fact that the

Flea will be open every weekend for a

month straight at their Holiday Kickoff

Party on November 17.



November 11 – December 2

at Firehall Arts Centre

Indigenous playwright Drew

Hayden Taylor revisits a painful

chapter in Canadian history —

the “Sixties Scoop,” where Indigenous

children were forcibly sent to live

with non-Indigenous families —

with this production that touches

on abandonment, identity, and



Open November 11 at 101 Carrie

Cates Court, North Vancouver

After 40 years, the Presentation House

Gallery has re-opened its doors at

the waterfront foot of Lonsdale as

the Polygon Gallery. The space will

exist as a non-collecting Canadian

public art gallery, with an emphasis on

photography and media-based works.


November 26 at Railtown Warehouse

Celebrating local, independent roasters,

Vancouver’s very first coffee festival will

feature faves like Pallet Coffee Roasters,

an espresso bar, education centre, and

special bites to accompany your joe.


November 22 at Vogue Theatre

Korean hip-hop artist Swings is set

to bring his new label, Just Music, to

Vancouver on the We Effect Tour. The

highly anticipated show, which also

marks Blueprint’s first involvement with

K-Pop, will feature some heavyweights

in the Korean hip-hop scene like C

Jamm, Ossun, and Genius Nochang.



On now until February 4, 2018 at the

Vancouver Art Gallery

Gordon Smith began producing his

black paintings — symbolic, personal,

sometimes painful abstractions — in

the nineties, marking a departure from

his large body of landscape work. In

these pieces, the influential Canadian

painter further explores the notion of

depicting an experience rather than a

simple illustration.

FUSE: A Conjuring

November 10 at Vancouver Art


The worlds of art, music, and dance

all collide at this evening of art.

Channeling themes of ritual and

alchemy, FUSE features a set from

musicians of the electronic label

Genero; a projection presentation from

local artist Erika Lövgren Holt; and

movement from dancers Rianne Svelnis

and Kelly McInnes.


November 16 - 17 at Harbour Event


Local and international designers

bring their best ideas to the table with

conceptual dining installations. Craft

cocktails and cuisine add to what

promises to be two innovative evenings

that also celebrate the event’s 5th



November 19 at Commodore


Jim Byrnes, Alan Doyle, Colin James,

Ed Robertson, and Jim Cuddy are just

a handful of the Canadian musicians

performing at this benefit concert for

John Mann, the frontman of legendary

Vancouver folk-rock band Spirit of

the West, who was diagnosed with

Alzheimer’s in 2014.

Caravans: International

Indigenous Arts Fair

November 30 - December 3

The Downtown Eastside Centre for the

Arts (DECA) is kicking off the holiday

season with Vancouver’s first-ever

Caravans: International Indigenous Arts

Fair from Nov. 30 to Dec. 3. The event

showcases art from different cultures

with the goal of promoting Indigenous

art, especially work created by residents

of the downtown eastside.

November 2017 5





Getting your monthly fix of culture can be expensive, especially in

a city like Vancouver. If you don’t want to spend the big bucks on

museum tickets or stand in never-ending lines on street festivals, the

options are usually limited. But in November, there’s a solution: head


For the past 21 years, art-lovers and art-curious are encouraged

to venture into the area bounded by Columbia Street and Victoria

Drive, north of 1st Avenue, to celebrate the city’s vibrant creative

community during the Eastside Culture Crawl — an annual four-day

arts festival.

The two-decade-old event started with a group of artists, in

Strathcona, that wished to facilitate a deeper relationship with

the community. Esther Rausenberg, the Executive Director for the

Eastside Culture Crawl, remembers: “In many ways, we started off

as several artists’ buildings that wanted an opportunity to connect

the public with our art. We wanted them to see the process of the

art-making, so people could get an understanding of how a piece of

art develops and evolves.” This year, 30,000 visitors are expected to

engage with painters, sculptors, potters, photographers, glassblowers,

furniture designers, and much more.

This year’s edition of the Eastside Culture Crawl will run from

November 16 to 19 in studios, homes, and garages, showcasing the

work of over 500 artists — from recent-graduates to internationally

established ones. The exchange between makers is another positive

aspect of the event: “The Culture Crawl is a great opportunity for

young and emerging artists to connect with more established ones

and who have been around for a long time. They can get advice

regarding how to make their studio look, how to price their work, and

how to present themselves,” says Rausenberg.




Vancouver was founded on alcohol.

Boom. I said it.

It’s not exactly a secret — more a fact that

everyone has chosen to forget and one that’s

continually being unearthed by Vancouverspecialist

and cool-historian-guy, Aaron


“The general perception of Vancouver

has only recently morphed into images of a

pretty girl running down a condo-lined street

to her Yoga class while trying not to spill her

designer coffee, but there’s a deeper, darker

Vancouver — not just the squalor of Hastings

Street,” says Chapman.

Chapman has been writing about


Vancouver for around 15 years and is a

human-repository of all things shocking,

amazing, and just plain cool: did you

know Louis Armstrong was denied a hotel

room downtown? The Guinness family

helped build the Lions Gate Bridge? The

Commodore Ballroom’s dance floor literally

had jitterbugging in the ‘30s and ‘40s? And

Howard Hughes (super-eccentric airplane

guy who bottled his own pee) stayed at the

Westin Bayshore, didn’t leave his room for six

months, and you can now stay in the Howard

Hughes Suite for a measly $2,500 per-night?

“There are stories shocking, surprising,

hilarious, and unbelievable in Vancouver’s

The Culture Crawl celebrates the city’s vibrant creative.

Attendees can also look forward to a series of workshops and

demonstrations to further expand their knowledge of the art-making

process. Crawlers will have the opportunity to learn about chainsaw

carving, photo transfer, stained glass, ceramics, and wax carving. The

invitation is extended to all: “This is an environment that, to many

people, is quite comfortable in terms of their first entrance into the

visual arts,” Rausenberg concludes. Newcomers and old hogs — all

are welcome.

The Eastside Culture Crawl will take place from November 16 – 19.

photo by Xicotencatl

Photo by Ideet Sharon-Martin

past (and present) that get overlooked by the

way real estate agents want to sell a bright,

shimmering town,” Chapman adds. “My

Vancouver starts at sundown, and the history

of Vancouver after dark has some stories

people just wouldn’t believe.”

You can learn about these things (and

oh so much more) from Chapman himself

on November 16 at Vancouver After

Dark, held at Vancouver Lookout. He’ll be

pointing out the places he’s talking about,

reading excerpts from his books Live at the

Commodore and Liquor, Lust, and T=the

Law, and showing a range of exclusive posters

and photographs from those eras.

“A lot of people just have a clean image of

Vancouver, which goes hand in hand with

what we used to be given as a Chamber of

Commerce view of what created the city —

sanitized ideas of what defined Vancouver

and how the town came to be,” Chapman

says. “In reality, this town was built on beerswilling

tough people and lawbreakers — and

tough people who beat up the lawbreakers.”

Vancouver After Dark takes place on

November 16 at Vancouver Lookout. Bookings





Vulnerability and social media are two things that do not often

intertwine. Accustomed to the filtered perfection of my Instagram,

Facebook, Twitter, and Snapchat feeds, it is rare to see a post that

does not showcase an airbrushed version of real life. However,

early this October, I was lucky enough be reminded of the power

that social media truly holds. This power ignited from the #MeToo

hashtag that spread around my newsfeed,and pretty much the

entire world.

Sparked by a tweet from actress Alyssa Milano attempting to

highlight the gravity of sexual harassment and assault, the hashtag

was adopted by fellow celebrities and quickly blew up. It has since

been used by over 1.7 million people from 85 countries, each

offering support and personal encounters to raise awareness.

The movement shocked me in two ways. Firstly, as a young

woman, educated and experienced in the universal issues of sexual

assault, I was still shocked at the sheer number of #MeToo posts. It

felt as though every girl or woman I knew had something to share.

While proud of their courage to step forward, it was heartbreaking

to see story after story, most of which I was hearing about for the

first time. The second thing that shocked me was the delicacy and

vulnerability of the posts in my stream. I was not used to dealing

with such fragile material on social media and I was nervous for how

it would be handled. The airbrushing filter was nowhere to be seen

and for a short period of time, life got real.

Doing some research on the hashtag, I found that while it was

popularized by Milano, it was actually created over 10 years ago by

activist Tarana Burke to highlight assault against young women of

colour. In her story, Burke explains that when a young girl entrusted

her with her own disturbing story of sexual abuse, Burke did not

want to hear the details and instead assigned her to another

counselor. She heartbreakingly adds, “I watched [the girl] put her

mask back on and go back into the world like she was all alone and I

couldn’t even bring myself to whisper…me too.”

The guilt in her lack of courage at the time fueled the movement.

Her quest to encourage all women to “empower through empathy”

highlights the importance that shared experience has in ridding

victims of sexual abuse from feeling shame and isolation.

This led me to realize that the goal of the movement

wasn’t to assess each and every case, but rather to loudly and

unapologetically establish a community based on mutual

experience and understanding. As an English Literature student, my

instinct is always to dissect the actual words of a statement. The

phrase “Me Too” establishes an awareness that one is not alone.

Therefore, there is always a sense of “other” when posting your own

#MeToo story. As the movement grows in the most public sphere

possible — social media — it is hopeful that the fear and shame

that create a culture of holding in experiences of sexual abuse can

gradually come to an end. Sometimes a sense of community is all

someone needs to feel like they can be vulnerable. It is always easier

to say “Me Too” than to simply say “Me.”

November 2017

Charles Gaines Numbers and Trees XL, Set 8 (2015)

black and white photograph, acrylic on plexiglass | 3 panels, each: 96 x 42 x 5 3/4 in (244 x 107 x 15 cm)

Rennie Museum | 51 East Pender St | Vancouver

Greta Gerwig (right) on the set of Lady Bird with Saoirse Ronan.


At only 34 years of age, Greta Gerwig already feels like a

veteran of the film industry, having been nominated for

Golden Globe Awards for both acting and screenwriting. She

is also a successful producer and has just made her first solo

venture into the director’s chair with her new script, Lady

Bird. The immensely talented artist has consistently been

a strong female voice in a male dominated industry. Lady

Bird, already in every major award conversation, is Gerwig

through and through. The film is an honest and moving

coming-of-age story set in the early 2000s that celebrates

the millennial generation in a refreshing light. These are not

just whiny and entitled brats (they’re still there) but kids

who dared to dream big because they could. They aren’t

simply expecting opportunity, but because of their parent’s

sacrifices have the option to actually ask for more. Greta

Gerwig is the result of dreaming for more by participating

in the creation of bold, stark and honest films like Lady Bird,

Frances Ha and Mistress America. She is a leading voice for

our generation and continues to be a voice that we love to

listen to.

Greta Gerwig spoke candidly with BeatRoute about

her new film, her career and her personal journey as an

artist with a unique voice in Hollywood. There are many

similarities between Gerwig’s high school years and Lady

Bird’s (Saoirse Ronan). However, despite the fact that they

both attended Catholic School, both desperately want to

flee to New York and are both from Sacramento, CA, the

film was not exactly autobiographical. “I knew I wanted to

make a movie about home. Home only comes into focus as

you’re leaving. I also wanted to shoot a whole movie that

took place there. I was not Lady Bird; I was nothing like Lady

Bird. I was a rule follower, a teacher pleaser. I had a lot of

trouble rocking the boat and I wanted very much to fit in. I

think writing this is an exploration I didn’t have access to as a

teenager,” she says.

Coming-of-age films address the exploration into

adulthood, but where Gerwig has crafted something wholly

unique is the reflection on what the idea of home really

The Generational Voice of

Greta Gerwig

photos by Elevation Pictures

“I think what’s amazing about this moment is

there isn’t this feeling of being the only one in

the room where a lot of females before me felt.”

means once you’ve left it behind. Not only do we reflect

on our own ideas of what home means to us, but we also

remember that time in our lives at the turn of the century. “I

wanted it to be set in a post 9/11 world, in a period when we

were getting into the wars in Iraq and Afghanistan. All these

things were happening so close to home and so far away at

the same time. Personal history happens in two different

categories. It gave me the ability to talk about what we are

doing now — the erosion of the middle class, shifting of

global policy — and also I don’t want to shoot smartphones,

they aren’t cinematic. You can’t include movies about

teenagers now without Snapchat.”

Since her directorial debut with 2008’s Nights and

Weekends, Gerwig has had enormous success in other roles

in the film industry. She has starred in Oscar nominated

films (Jackie, 20th Century Women), as well as written

Golden Globe nominated scripts, which she also stars in

(Frances Ha). Making career moves is always a risk, especially

when you are swimming in success, but Gerwig saw her Lady

Bird script as an opportunity to do just that.

“I always wanted to write and direct but I didn’t go to

film school. I learned on the job, I learned how films are put

together, in front and behind the camera. As I started to

develop as a person with a cinematic voice I knew the kind

of films I wanted to tell. To move into highly scripted stories

that don’t rely on improvisation with actors who were

trained and skilled and create character for themselves. As I

co-wrote with Noah Baumbach, I developed this voice and

this style, and working on Lady Bird I thought ‘I have always

wanted to direct’…I thought this is the moment.”

With each project Greta Gerwig created, it became

more apparent just how unique her cinematic voice was.

Her fingerprints are all over her work, so much so that

she helped create an entirely new style of filmmaking.

Mumblecore is a sub-genre of indie filmmaking that focuses

heavily on naturalistic acting and the conversations within

a less plot driven narrative. As the genre evolved, so did

Gerwig’s work. The hilarious and heartbreaking dialoguedriven

Lady Bird is a clear testament to her time making

mumblecore and indie films. “I loved the community that I

met, I learned so much from them. Initially I had always been

quite a language driven person as a filmmaker, and visual

person. I just started to desire to get back to something that

was paced and planned. You don’t have to be one thing or

make one kind of movie. I hope to make films when I’m 70

and I hope to grow and change as a director.”

To the viewer, Lady Bird might be a perfect representation

of the combustibility of mother/daughter relationships.

Maybe it reminds you of the disillusionment we all felt

after 9/11. Or perhaps Lady Bird just reminds you of how

you felt the first time going home wasn’t really going home

anymore. With heart shattering moments that are always

quickly replaced with hilarity, this film is an expertly crafted

balancing act for today’s twenty-something generation. “I

just want people to see the film. It will make people feel

warm, connected, less alone…call their mothers, fathers,

sons, daughters, friends, connect them back to their own

lives. Cinema is a deeply empathetic art form and this movie

has the ability to hopefully make that happen.”

Greta Gerwig continues to be a pillar of feminism in a

male dominated industry. Gender pay gaps, commonplace

sexual harassment, absence of quality roles - these issues

are at least now finally being addressed thanks to talented

voices like hers. She is a part of a growing number of

talented female filmmakers finally getting the chance to have

their own voice. There is a tide turning and Greta Gerwig, by

virtue of her work, has made herself a clear and confident

voice to represent that generation.

“I think what’s amazing about this moment is there isn’t

this feeling of being the only one in the room where a lot

of females before me felt…Nora Ephron, Kathryn Bigelow…

there was just none. At all these different film festivals,

there’s just such a community. I’ve worked with Rebecca

Miller…there’s Dees Rees for Mudbound, Angelina Jolie

directing First they Killed my Father. It feels like there’s a lot

less scarcity.”

Greta Gerwig is one of the defining voices for our

generation. She is just happy that finally so many more of

those voices are being heard. “They have to let us in because

there are just too damn many of us.”

Lady Bird opens in theatres November 24.

November 2017 9





































Photo by Thomas Bullock

Bells & Whistles, the cool new kid in Fraserhood.

The sports bar can sometimes be a necessary

evil. You want to watch a game with friends; you

get there, the food is underwhelming. It’s dark;

they have one of those terrible Budweiser goal

lamps that goes off every time a goal is scored.

And that’s before we even get to talking about

the neon or the terrible beer selection. Bells and

Whistles, the new beer-focused restaurant by

Gooseneck Hospitality (Josh Pape, James Iranzad,

and Nick Miller) of Wildebeest fame, is set to

change that with a bright, open design; strong,

eclectic beer selection, and classic looking menu.

“James, Josh and myself always wanted to create

an environment that we always wanted to be in,

whether it’s in the afternoon, or evening,” explains

Miller. “Someplace we can take our families.

A place for the community. What we serve as

food is what we like to eat on a regular basis.” A

strong beer list was also important, and a natural

outgrowth of what they were doing previously.

“We started a pretty progressive beer program at

Wildebeest and eventually that came to outgrow

that restaurant. So that’s part of why decided to

go with a beer focused menu here.”

The food, which Miller describes as “Classic

American Roadside,” is burger oriented, though

it boasts a solid salad and appetizer selection

as well. The milky buns they use for their

burgers help illustrate their personal take on the

standards: “We have a custom bun which I’m

most excited about. A milk bun is based off of

Japanese milk bread which is a bit sweet. You add

milk powder which adds lactose, so much like

you have a milk stout it gives it a bit of sweetness.

We obviously intend our buns to be a little

squishy, but not too bready. It’s a little dense.”

They also carry soft-serve ice cream (“It never

comes in frozen and it contains real milk and

eggs. A lot of people use the powdered substitute

which is delicious but ours is a little richer. In the

tradition of American frozen custard.”) which,

when coupled with the 29-seat patio they hope

to have ready for the spring, will make it a go-to

spot for the summer.

Miller says “when it comes to the restaurant

it’s really beer first, food second, sports third.”

To that end, while TVs are not omnipresent they

have one large TV in each section, a far cry from

the regular sport bar smattering. The décor also

moves away from the kitschy sports bar classic

to a more modern look with some local art, and

even some hanging plants. It seems tailor-made

for the hip, young community developing in the

Fraserhood neighborhood.

Bells and Whistles is located at 3296 Fraser Street.











16 -











































“It’s pretty hard to translate Twin Peaks into a restaurant, especially when it’s a

vegetarian one,” says Claire Wyrostok, co-owner of Black Lodge. Wyrostok and

her partner Brad MacKinnon recently opened their second location in Mount

Pleasant, further embracing the weird and wonderful world of the restaurant

industry with a Lynchian twist. They have been serving up Pacific Northwest

style fare for the last four years and have built for themselves a sort of cult

following. Peakers, or peak freaks, regularly visit Black Lodge on their circuit

around all the Twin Peaks destinations.

The new Black Lodge location is considerably larger than the original spot

further up Kingsway near Fraser Street. The dining room has cozy cabin booths

and is perfect for groups who may have just come back from throwing a frisbee

around at Dude Chilling Park, just one block away. The building is more than

one hundred years old and is complete with an ornate plaster ceiling and ochre

floors. The walls are decorated with campy memorabilia from guests and staff.

Black Lodge’s impressive collection is also peppered with garage sale finds and

odd-shop treasures. The new restaurant is years in the making and it certainly

captures the spooky spirit of the Cascade mountain range.

The new menu features a few new appetizers and some of them are not what

they seem. One of their more creative creations is a vegan chicken drumstick

made with Seitan. The fake fowl is served with vegan aioli and is shockingly

similar to the real thing. They also have a great pulled “Pork” poutine with

the tempting option to upgrade from fries to Tatertots. As protagonist Dale

Cooper would say, “Nothing beats the taste sensation when maple syrup

collides with fake ham!” Black Lodge tactfully creates vegetarian bar food while

staying true to the theme of the show. They have gone to great measure to pay

homage wherever they can, and it makes for a very unique dining experience.

To tie everything together, they have crafted a new cocktail list with the help

of James Grant of the restaurant Woodwork in Edmonton. Black Lodge has

a knockout beer selection with five rotating brews on tap. Their cherry pie is

vegan friendly and will leave you wanting more.

Black Lodge couldn’t have opened at a better time. In May of this year

Showtime released the long awaited reboot of the quirky mystery drama Twin

Peaks. The new location could attribute much of its success to David Lynch’s

new work, but it’s apparent the community that they have created has been

behind them every step of the way. Black Lodge has an inclusive and welcoming

atmosphere that keeps guests coming back again and again.

If you enjoy punk rock music, vegetables, and ’90s television, It’s a damn fine

night out in Mount Pleasant.

The new Black Lodge location can be found at 317 East Broadway in Vancouver.

Photo by Zee Khan

Claire Wyrostok and Brad MacKinnon have created a Twin Peaks oasis.

November 2017





t’s 1992. The class of Degrassi High has finally

graduated and is making the most of the summer

before September comes and the newest chapter of

their lives begins. Joey Jeremiah has been particularly

busy: juggling a relationship with longtime love,

Caitlin Ryan, and a hot fling with Tessa Campanelli.

It all comes to a head, though, at a party. “Joey

Jeremiah spends his summer dating Caitlin and

fucking Tessa!” Archie “Snake” Simpson blurts out.

Joey turns his head to see Caitlin standing right

there. She’s furious.

The infamous scene (and also the first f-word

broadcast on national television) is from School’s

Out!, the movie finale of Degrassi High. Now, 25

years later, school is back in session. It has also

been 30 since Degrassi Junior High, the second

series of the iconic Canadian franchise, premiered

on CBC in 1987. Joey, Caitlin, Snake, and Tessa —

Pat Mastroianni, Stacie Mistysyn, Stefan Brogren,

and Kirsten Bourne, respectively — have been

celebrating the milestone with a reunion tour

around the country and appearances at comic

cons like Fan Expo Vancouver, where they’ll be in

November. Right now, they’re in London, Ontario at

London Comic Con.

“Pat and I realized we hadn’t seen each other

in probably 10 years,” says Brogren, who has

continued to portray his character on later iterations

of Degrassi, including the Next Generation and

Next Class. “It’s like a day hadn’t gone by. Just that

familiarity and we have that connection between

the show and stuff. And it’s the same with the girls,

the same with Stacie and — I mean, Kirsti we hadn’t

seen in 25 years.”

“It’s nice to be able to share that again, talk,

reminisce,” Mistysyn adds. “We have great fans, doing

these. Like, let me tell you: some of the stories they

tell us are so empowering.”

Degrassi has made a huge impact on Canadian

pop culture, largely for how it wasn’t afraid to

explore real issues like teen pregnancy, mental illness,

and HIV. Not to mention the painfully accurate way

it depicted teenagers: acne, awkwardness, and all. “I

think the truth is the show is very universal,” Brogren

says. “And the fan base is all over the world.”

That the actors were the same ages as their

characters also contributes to Degrassi’s enduring

authenticity. When doing read-throughs of the

script, they were even encouraged to discuss what

felt was genuine and what didn’t. “Our writers on the

show, I know way back when, were always listening,”

Brogren says. “Now it’s a little bit easier because

you can just go on social media and see what teens

are talking about, but back in the day, the writers

would listen to us. They would steal ideas from us


One storyline borrowed from Mistysyn, when her

parents were going through a divorce. “The producer

did ask me, she said, ‘we’re going to do an episode

about this where Caitlin’s parents are thinking about

getting a divorce. How do you feel about that?’

because I was still going through that at the time,”

Mistysyn remembers. “My parents actually did get

divorced and Caitlin’s decided to stay together,

which was an interesting twist to it.”

Of course, noticeably missing is Neil Hope, who

portrayed Wheels. He passed away in 2007. While it’s

bittersweet, Mastroianni says the reunion has also

been a wonderful means to celebrate and remember


Memories are flooding back to everyone. The gang

grew up together. They’re like family. Plus, Degrassi

was an experience that will connect them forever. It’s

a special kind of bond that never really fades away.

Fan Expo Vancouver runs from November 10 to 12 at

the Vancouver Convention Centre.






Degrassi provided a television experience that never really fades away.

November 2017 11





Despite the existence of a few teenagers who live to cause

aneurysms in the brains of lifelong fans by claiming to not know

who they are (“who is that old guy singing with Kanye?”), the

Beatles have been resonating like the reverb laden piano note at

the end of “A Day in the Life” since 1960. Their large and beloved

catalogue lends itself well to spanning musical celebrations and Let

it Be is one of these.

The tribute show takes the audience through the story of the

Beatles time as a band, using the prolific discography that itself is

full of theatrics and stories. Recently, the show’s producers have

decided to offer a second act that is ripped directly from the diaries

of all Beatlemaniacs.

Act two features a hypothetical reunion show where the latter

year Beatles get together to play a set of hits from their mutual

solo careers. A night of watching four of the most legendary rock

musicians play each other’s classics is an idea undeniably delectable

to all of us who were robbed of it by George Harrison’s cancer and

the trigger finger of Mark David Chapman.

Musical Director Daniel Weiss has toured the show all over the

world and credits the quality of the music itself with allowing the

Fab Four to continue to fill seats and playlists.

“I think it’s just some of the best pop music songwriting that has

ever been created. It’s very quirky and creative and it’s got sounds

that make it never seem dated,” Weiss says.“I saw a 10-year-old boy

in the front row a few nights ago mouthing the words and singing

along to all the songs. He seemed to know the whole catalogue.”

I guess there’s hope yet.

Let it Be takes place at Queen Elizabeth Theatre on November 8.

Let It Be celebrates all of your wildest Beatles fantasies.


November 2017





Online dating is de riguer at this point. And while

the concept has been mined for comedy in stand

up shows (local favourite, Tinder Tales for example)

and the occasional sitcom episode, few have really

taken a deep dive into the lifestyle and really

given it an extended look. A new web series from

filmmaker Brianne Nord-Stewart called The Dangers

Of Online Dating aims to give it that look.

The dark comedy follows the life a 24-year-old

sexual health nurse (Paula Burrows) as she tries to

get back in to the dating pool after a long break,

navigating the online dating waters. The idea was

developed from her own experiences, something

she was initially reluctant to do.

“As you can imagine, I was online dating for a

couple of years, on and off. I was using Plenty of Fish

and all these things and a friend was like, ‘You need

to write a show about this.’ And I was like, that’s

stupid, I’m not writing about my life. Then I went on

a date where a large tattoo was revealed to me and I

was like, this is not real life, this is a show.”

The added complication of the main character

being a sexual health nurse also comes from

close to home. “My sister is a nurse and works in

women’s sexual health, so safe sex is engrained in

my mind, and awkward conversations about sex

and sexuality,” she explains. “I thought it was a good

conflict for somebody going out online dating

and trying to get laid and being worried about the


Given the sexual nature of the show, it seems

delightfully appropriate that the launch party

(featuring a screening) will be at the Penthouse

Nightclub. As she adds, “I’m excited to set up our

style and brand of comedic safe sex practices in an

entertainment club. We’ll see what happens!”

The Dangers of Online Dating launch party is on

November 23 at the Penthouse Nightclub. It will also

be available on YouTube.

Web series from filmmaker Brianne Nord-Stewart delves into the intricacies of online dating.

November 2017 13





Chad VanGaalen’s myriad artistic vision is

manifested in his music and visual art. Residing

in Calgary, Alberta, he is a multi-instrumentalist

who plays and produces all the music he

records. His recently released sixth album, Light

Information, is an immersive musical experience.

His label Flemish Eye describes his music

as “living maps in songs, drawings, modified

instruments, animations and performances

- shifting forms pointing to another

world.” VanGaalen’s albums are universes unto

themselves. He says, “My alternate worlds [are]

just an expanded universe of the 1970s heavy

metal science fiction culture. I’m trying the best

I can to bring my childhood inspirations to life

through my own animations.”

Since the release of his first album, Infiniheart,

VanGaalen says, “My studio has changed, my

mind has changed, my gear has changed.”

Across his discography he says, “Each album

will have a similarity because it’s my work but

what I sing about will change.” Whether creating

music or visual art VanGaalen says, “Everything

connects because it’s created from my mind.”

This is especially apparent in the animation

he did for “Pine and Clover,” in which the two

main characters transform together in a show

intimacy or perhaps solidarity. Though the

sounds and images initially seem as thought

they are in stark contrast, the visual shifts are in

keeping with the tonal variation within the song.

While his arts work in tandem, he says they

all require different approaches. “[In] music it’s

more difficult to convey the end product quickly

because the nature of the medium needs to

be assembled more delicately and takes much

more time to achieve the end result. There are

more moving parts to making a song [whereas]

I can draw an image pretty much right away and

you can see the end result much faster.” Moving


Photo by Marc Rimmer

Chad VanGaalen creates a universe unto himself with his latest release, Light Information.

parts is an apt description for VanGaalen’s song

composition. How he begins his composition

process “is different for every song,” though he

admits his voice is the instrument with which he

is most comfortable.

Throughout his six albums VanGaalen

delves into themes of “feeling integrated with

nature.” He asks, “What is natural? Why?” and

explores these concepts on tracks like sunny,

jangling “Golden Oceans.” On “Host Body,” he

couples spaced out synth with a science fiction

narrative. Lead single “Old Heads” is about

technological obsolescence with an upbeat

melody and reverberating vocals at odds with

the disconcerting image of replacing old heads

with new ones. As rich as the narratives and

imagery on Light Information are, VanGaalen

calls atmospheric instrumental “Pre-Piano / 770”

his favourite track and style of song to create.

Rather than create narrative through direct

lyricism, he tells an evocative story through

tolling bells and dissonant synthesizers.

VanGaalen is touring throughout Europe in

October, with a Vancouver stop in November

to open his North American tour. At this stage

in his career he says, “Live shows are great.

I feel totally comfortable and free on stage,

finally.” Though he plays all the instruments on

his albums, he plays live with a full band. He

says of his band, “These are the same friends I

have been playing with for over a decade, they

tour with me and are some of the best people

I know.” After more than a decade of touring,

his live shows still engage his audiences. On his

albums and in his live shows and visual art, the

alternate universe VanGaalen creates continues

to captivate.

Chad VanGaalen performs at the Biltmore

Cabaret (Vancouver) on November 9.




Mogwai, Glasgow Scotland’s art-rock institution

and masters of post-rock, have released Every

Country’s Son, the newest album in their 20-year


BeatRoute had a chance to interview Stuart

Braithwaite, lead singer and guitarist for the

storied band, about his music.

“It’s got a lot of different styles of song

— electronic, rock, pop — it’s a culmination of

everything we’ve kind of worked on up to this

point,” says Braithwaite when asked to describe

the record in terms of the band’s lengthy history.

Mogwai have had many descriptors affixed to

their signature contrasting sounds, from towering

intensity to pastoral introspection, synth-rock

minimalism, DNA-detonating volume, distilled

to concise gracious elegance, hymnal trancerock,

and transcendental euphoria. The band has

the capacity to take listeners to a dramatically

different head and heart space. Of this,

Braithwaite says, “Music is just a really personal

experience. How people react to our music is up

to them. We’re just hopeful that people enjoy it.

We want people to be happy they’ve taken the

time to listen to what we’ve done.”

Dave Friedman, psych-rock luminary,

produced the album. He has helped them to

create a structural soundscape built from stark

foundations; from a gentle, twinkling, synth-rock

spectre to a solid, blown-out, skyward-thrusting

obelisk. So in a way, Mogwai is taking their place

alongside the many bands now producing psychrock.

“I think that psych-rock is constantly evolving.

It’s a way more popular style of music than I

imagined it would be at this point. There are

loads of good bands and records being made. It’s

nice to be a part of that.”

Their single, “Party In the Dark,” though still

art-pop, sounds like more accessible than some of

the more laborious twenty-minute-long exertions

the band is known for. The song, which echoes

New Order and the Flaming Lips, has Braithwaite

declaring he’s “directionless and innocent,

searching for another piece of mind,” maybe a

common sentiment held by people now.

“It was just one of the faster songs we were

working on when we started working on the

record. It sort of had the pop sensibility. It’s good

to have Dave working on that kind of song,” he


The album was written in a turbulent and

intense period, artistically, socially and politically.

Mogwai have been quoted as saying they used it

as a shield. Asked if this created a more agitated

record, Braithwaite responds, “It was an agitated

existence but the record itself was a lot of fun to

make and we have enjoyed bringing the songs

and going out to tour was loads of fun. It has a

sort of serene quality, which you can definitely


One of the qualities the band hopes the music

has is that it’s reality changing. “I hope so,” says

Braithwaite. “I think certain music has a magic

to it.” Of their tour, he says, “We’re right in the

middle of a European tour that’s going really well.

Old songs and new songs too.” Asked what his

favourite Velvet Underground album and effects

pedal are, Braithwaite responds,” Probably White

Light White Heat and the Big Muff - I’m really

fond of the classic fuzz.” Asked if he listens to

Briano Eno, Braithwaite responds, “Yeah - I listen

to Brian Eno almost daily.”

Mogwai performs November 25 at the

Commodore Ballroom (Vancouver)

Mogwai have mastered the art of structural soundscapes on Every Country’s Son.

Photo by Brian Sweeney

November 2017





Ease My Mind marks the Shout Out Louds’ fifth

full-length album in a career that has spanned

more than 15 years. Lead singer Alex Olenius

reflects on the group’s longevity and suggests

that perhaps the Shout Out Louds’ smaller

stature is what kept them ambitious. For groups

overwhelmed with the pressure of massive

overnight success, he recalls that after a couple

albums, “It didn’t feel as if they had the hunger.”

By contrast, “We haven’t got jaded yet. Maybe

because we haven’t gotten that big yet.”

After spending two years in the studio

producing their last album—the sleek, synthdriven

Optica—the band opted for a fresh, lessmeticulous

approach when crafting Ease My Mind.

They left Stockholm and withdrew to a quiet

corner of the urban hinterland—a gray, “depressive

place” resembling a “New Jersey factory area” as

Olenius describes it—and holed up in a tiny, tworoom

studio. Despite the melancholic locale, the

studio’s atmosphere was one of revelry, and the

recording process felt decidedly looser and more

fun, full of beer-fueled jams and parties. After years

pursuing various side projects and spending time

with family, the intimate retreat was a welcome

reunion, and the album came together quickly.

“It was actually the fastest recording process from

start to finish,” Olenius says.

That relaxed approach also helped the band create

a warmer, more organic sound they’ve termed

“sunset rock”: sunny, yet nostalgic, the way dusk

is beautiful, but also a poignant farewell. Ease

My Mind is, as the title suggests, is something of

an exercise in escapism, a reaction to the oftdisorienting

state of the world in 2017, and the

accompanying yearning for the familiar.

“The world is pretty dystopic,” Olenius says.

Accordingly, throughout the album, the past

provides a refuge from the present, with lyrics

ruminating on fond memories, from the lifedefining

moments in “Paola”—a song about

Olenius and keyboardist Bebban Stenborg meeting

as teenagers—to the Proustian details of “White

Suzuki,” which recalls drives in a long-since-sold

car. “It’s about a state of mind where you just sort

of glide through life, almost numb. You’re looking

for that numb feeling. It doesn’t have to do with

alcohol or drugs, it’s just looking for that sedated

world to be in,” he says.

The result is an album that sounds expansive and

spacious, even anthemic at times, evocative of the

cavernous atmospherics of War on Drugs. That

dreamy, narcotized feeling transports the listener

to the sunset rock headspace—a “place of ease”

as Olenius calls it—the sanctum within that offers

equanimity in the face of modern tumult. Wistful,

spacy, and thoroughly chill, Ease My Mind is the

perfect album with which to curl up and retreat


Shout Out Louds perform on November 12 at Venue

Nightclub (Vancouver).

Photo by Emma Svensson

Stockholm’s Shout Out Louds opted for a less meticulous approach when crafting Ease My Mind.

November 2017 15








Don’t you hate it when you’re walking down

an alley in a city in the middle of your tour in

support of your third successful album, and a

stranger mistakes you for Jonny Depp? Who

hasn’t been there? Am I right?

Alright, so none of us have been there.

Probably because we don’t own the looks,

style or vocals that Noah Gundersen humbly

possesses. Evolution has blessed this man over

and over again. You can almost follow the ebbs

and flows of his career through his album art.

Babies, snow-covered rooftops, a black and

white side-profile and his most recent LP, White

Noise – a boa constrictor wrapped around a

flower pot.

So, what’s changed? Gundersen seems to

have found comfort in his art, in himself. “No

one really knows what the f*ck they are doing.

Music is the only thing I ever really wanted to

do. Ultimately, when you make something and

put it out into the world, it’s not really yours

anymore; in kind of the best way. I feel like I can

listen to (White Noise) now and appreciate it for

what it is, instead of being nit-picky. Knowing

that we spent so much time on it alleviates the

second-guessing and fears we had about it in

the past.”

If you’ve followed Gundersen’s career at all,

you’d know this album is a far-cry from his silky

singer-songwriter roots. He admits to being

ultra-competitive, although the growth and

maturity that emanates from White Noise stems

more from never really fitting in to any category

and observing the weird and entertaining world

outside. “This is an industry full of lost-boys.

There is a form of healthy-competition that

happens within music scenes where people

push each other to grow. If I have a friend that

puts out a great record that’s really kick-ass, I say

‘okay I’ve got to make something better than

this,’ though I want everyone to succeed.”

Having gained a solid pair of legs the day it

was released, White Noise has now been out

for a month and tracks like “Bad Desire,” “The

Sound” and “After All” have been satiating the

ears of anyone with a taste for painfully honest

lyrics, moving-melodies and an active-awareness

for the unnerving place we call home. With a

writing process that involves long-bike rides

around lakes, copious amounts of coffee, and

dangerous levels of self-exploration in a city

known for being grey – White Noise will knock

you off your feet, pick you back up, console you,

and offer you a temporary retreat from reality

– completely worth the $15 you’d otherwise

spend riding your bike around the Lake to get


Noah Gundersen performs at the Imperial on

November 12.

Photo by Dan Medhurst

Alex Clare finds a unique place for himself somewhere in between roots and electronic music.

Anyone remember Internet Explorer? You know,

the browser everyone used to use before Apple

and Google took over the world. The only browser

there was, essentially. Alright, now flashback six

years to 2011. You’re up late one night surfing

cable; Netflix didn’t exist yet, follow me here – you

land on a banging tune -- forget the commercial

-- that prompts you and about 41 million other

people to google “explorer commercial song.” And

the rest is essentially history.

Well, for Alex Clare at least, and the DJ booths

of every alternative radio station around North

America. At the time, 26-year-old Clare had set

fire to the barrier between his traditional British

singer/songwriter roots and the ever-so-lovely

electronic scene we all remember well from 2011

– almost “dubstep” if you will – with the release

of his debut album, produced by Mike Spencer

and Major Lazer, The Lateness of the Hour, and his

world-wide hit “Too Close.”

Dig any deeper into Clare’s past and you’ll

soon realize this man has dedicated his life to

much more than just music. He is also a devoted

family man, a baal teshuva to Orthodox Judaism

and a Brit Award nominated songwriter. In fact,

he and his family now live in the holy city of

Jerusalem, which provided a sturdy foundation

in the construction of his most recent album, Tail

Of Lions. “Certainly the environment you live in

sets the tone for everyday life and the way you


focus. It’s the center of the world. I’ve lived in

Jerusalem for two years now after going on a really

regular basis. It’s an incredible place and my words

wouldn’t begin to do the eternal city justice.”

Tail of Lions brings that same raspy, upbeat,

transitional vibe to the game that we remember

from Clare’s early work. When asked what has

kept him going throughout his career, he credits

his fans. “Every time I walk on a stage and there’s a

room full of people singing my music back at me,

it seems worth it. Every moment someone tells me

that my songs helped them move forward in life

from the negativity that was holding them back –

that for me is incredibly special.”

Listen to any of the tracks on Tail of Lions and

you’ll begin to realize Clare’s life is framed around

realness, love, and sincerity. Three things he had

trouble finding in a record label, leading him to

release his newest album without the help of his

prior label; a bold move for any artist. Alex and I

finished up with a bit of advice for any upcoming

artists. “Make a difference. It doesn’t matter what

your medium, where you’re a singer/songwriter

or a worker in a hardware store. Don’t let other

people or your vocation define you, just be the

best brother, sister, father, mother, husband, wife

that you can be.”

Alex Clare performs at the Imperial (Vancouver) on

November 9.

Noah Gunderson is making all the right sounds with his new album, White Noise.

November 2017





Bridal Party are unlike anything in the local music scene. Granted,

they are from across the water. The Victoria-based group balances

between a vintage and modern sound, fusing plush jazz stylings

with playful indie-pop. Somewhere between the hooks of Hall and

Oates and the ambience of Broken Social Scene lies Bridal Party. Each

soul-drenched track is instantly captivating with exquisite chords and

undeniable groove. Sensitively and proficiently performed, each player

Bridal Party show unbridled talent on new EP.

compliments each other like curtains to a rug of a luxurious boudoir.

Bridal Party consists of vocalist/guitarist Suzannah Raudaschi,

guitarist/vocalist Joseph Leroux, drummer Adrian Heim, keyboardist

Sean Kennedy, and bassist Lee Gauthier. Recorded at Tugboat Studios,

the band employed a more collaborative writing approach on their

latest EP, Negative Space, than on previous releases. “This is the most

cohesive thing we’ve ever done,” says Leroux, “It feels like the beginning

of something bigger.” Still taking on the bulk of the writing, Leroux

and Raudaschi now present their material to the band deliberately

unfinished, allowing room for synergy. “When you have [a song]

written on guitar for one person, it’s hard to distribute that and make

it sound like a song for a five-piece band,” explains Leroux, “Everyone’s

writing in a more similar sound now. We now know what we want to

sound like.”

Inspiration for Negative Space came largely from coping with the

difficulties of human relationships or, as Leroux puts it, “trying to be

a good and kind person in an increasingly strange world.” Pleasantly

obscure lyrics depict bittersweet themes and everyday interactions.

Citing TOPS and Homeshake as musical influences, Bridal Party is

equally inspired by their robust local music scene. “Victoria is so lush

and diverse for how small and isolated of a place it is,” says Leroux. “It’s

a blessing.”

The band left their island city this summer to embark on a cross-

Canada tour, honing their live set while enchanting anyone within earshot.

“You spend most of your time in car, you don’t know where you

are,” says Leroux as I wonder if he will use the rhyme for a future lyric,

“in the evening you get to play your songs and it becomes grounding.”

“It becomes not a routine,” chimes Raudaschi. “But second nature.”

With only a couple EPs under their belts, Bridal Party are proving to

be serious songwriters and a memorable new act.

Bridal Party perform at the Waldorf on November 11.




The year is 1923 and Austrian composer

Arnold Schoenberg, along with his students

Alban Berg and Anton Webern, have created

a method of musical composition that

has effectively flipped the entire world on

its head. The music flies in the face of its

melodic, classically-influenced predecessors,

with complex and challenging notation and

theory like nothing the world has ever heard

before. But what do these three humans and

their art have to do with the World New

Music Days? Well, they started it.

“Schoenberg wanted to find a way to bring

peace through music… He made this very

intellectually challenging music with the

idea of getting rid of the kind of hierarchies

we know of” says David Pay, current artistic

director of the International Society of

Contemporary Music (ISCM) World New

Music Days, now in its 94th year.

This philosophy thrives through the

festival’s performances each year. Composers

from 50 countries around the world are asked

to submit six of their compositions to the

ISCM a year before the festival. From here

they are selected, not by a committee or

Photo by Elijah Schultz

panel, but by the host nation’s participating

ensembles themselves. Not a hierarchy in


Music that is submitted to and played

at the festival will be naturally varied by

virtue of its worldliness, but simultaneously

carries on Schoenberg’s tradition of “stuff

that went weird in the Twenties” according

to Pay. Besides breathtaking concerts played

by traditional ensembles of diverse sizes and

configurations, performances will also include

an improvised adaptation of audience-led

“graphic scores,” a composition played on an

amplified household sewing machine, and

other events that stretch the boundaries of

contemporary music in delightfully creative


With more than 90 participating

composers, 30+ events and around 20

ensembles, the breadth of the festival is

vast. Those curious about this exceptional

experience can visit the ISCM World New

Music Days 2017 website for full concert

listings and descriptions.

ISCM World New Music Days runs from

November 2 to 8 at multiple venues around


ISCM offers a rare experience for contemporary classical enthusiasts.




Anything goes for Alexis Youngblood when she’s onstage.

Alexis Youngblood bounces into the coffee shop an hour

late, all apologies and smiles. The lead singer of Vancouver

pop outfit, Youngblood, she has just returned home from her

second European tour and immediately has plunged back into

the recording studio for some pretty long days. “No rest in

between, really,” she says. “My manager phoned and we were

like in the next morning.” Even exhausted, she exudes energy

and passion. When asked if her daily life is anything like her

onstage persona, she laughs. “Pretty much, just way more

obnoxious! Anything goes up there!”

According to Youngblood the Europe tour was a success

— sold out shows in old historic venues, rockstar VIP

treatment behind the scenes and audiences eager to show

their appreciation and respect of the arts and live music. She

gushes about their fan’s reaction, “I wish some of the North

American crowds would react more like how the Europeans

celebrate live music and don’t just go to shows with a reserved

kind of ‘sit back and watch’ mentality.”

Youngblood definitely knows a thing or two about getting

the crowd involved with her interactive performance style and

is looking forward to again having the crowd in the palm of her

hand. Energetic and cheeky, Youngblood keeps you guessing

as to what’s coming next onstage, and sometimes, even she

doesn’t know. “Keep ‘em guessing, right?” With new music not

officially to be released until “spring...ish of 2018,” we’ll have

to rely on some of the earlier hits like the Bond-theme-esque

“Easy Nothing” or the band’s most recent bi-lingual single,

“Laisse Tomber les Filles,” either of which could have rolled off

a ‘60’s jukebox.

Youngblood’s website claims they are “what the ’60s thought

the future would sound like.” When asked if maybe she was

born in the wrong era, she laughs, “Realistically, if you look at

what was going on in the ’60s, I would have had a hard time

being a woman in both the music industry and in society in

general. So much has changed for the good now but I would

have had a lot of issues with civil rights, women’s rights...but

the style and music and art were just so amazing and, yeah,

I take a lot of that with me into my music and life.” For a

modern rock band, that can be a very cool thing, both visually

and musically.

Youngblood perform at the Biltmore Cabaret on Nov. 25.

November 2017 17





The latest offering from storc heaves and pulsates with a disturbing depth.

Photo by Ryan Walter Wagner

It’s almost as though storc (small ‘s’) vocalist Luke

Meat was sick of the Steve Albini and Jesus Lizard

references being thrown around at different

bands and decided to take matters into his own

hands. This month his band is delivering a raw,

un-hinged, abrasive proto-punk baby into the

arms of fans of Jesus Lizard and Dead Kennedys.

Backed by a crew of some of Vancouver’s best

musicians, Mr. Meat delivers a tour de force in

just under half an hour; a raucous and explosive

curveball that ranges from the aforementioned

Dead Kennedys to Husker Du to local stalwart

Chi Pig (SNFU). His vocals are tense, funny and

occasionally terrifying, from bullhorn-ready

hollering to howls of anguish if the song calls for


The band’s self-titled debut was recorded and

engineered by Josh Stevenson at Otic Sound, liveoff-the-floor

over the course of eight hours and

it shows. Furiously paced and jam packed with

goodies, including a little acoustic guitar on “Can

You Hear It?” (I could), a thrashy ode to Lance

Mountain, and a pscyh-shoegaze masterpiece to

close it all off. The standout track is “One Woman

Two Eyes.” Allen Forrester’s Les Paul crunches out

a hypnotic minute-long intro riff as drummer

Ben Frith and bassist Matthew Lyons plod along

punctuated by Luke Meat’s didactic chanting,

building into a lascivious crescendo. Also, sick

Kate Bush reference.

Masters of the short song, storc provide a

brisk jaunt through the annals of post-punk.

Self-described human guitarist extraordinaire,

Allen Forrester rebuts: “I like to think that we’ve

mastered all songs and mostly play short ones. I

also like to give myself most of the credit.” Here

is just a quick glimpse of the irreverent attitude

of the band. Elsewhere, the creepy closing lines

of “King of Face,” the side-two opener, is another:

“Things always look better in the morning after

a few drinks / You and I can speak for hours and

talk about nothing / Exchange pleasantries like

“what”? What did that mean? What? Why did you

say that? What? Where are you going my dear?”

Despite taking only eight hours to record, the

album heaves and pulsates with a disturbing

depth; a rocky chasm filled with moss and bat

droppings; wet basalt catching misted shafts of

light; the smell of dank regolith; the house of a

singular redolent troll.

Storc will be celebrating the release of their new LP

on November 18 at SBC Café with BRASS, Hedks

and Womankind.




Cast away in a dimly lit apartment in the slums of

Montreal, Kevin Keegan sat awake in the midnight hours

scaling the neck of his black Gibson Les Paul, buoyant

amidst a growing sea of beer cans. As his fingers fluttered

across the frets of the mighty axe, Keegan summoned the

powers of both Metal Gods and Demons alike, using their

tutelage to form the skeletons of what would eventually

manifest into Dead Quiet’s debut album. Though it

wasn’t until Keegan moved to Vancouver in 2013 that

these songs would finally see the light of day.

“In Montreal it was always very hard to find the right

guys to play with,” Keegan states. “Here I can throw a

fucking rock, blindfolded, and hit a great drummer or a

great bass or guitar player.” Keegan found Brock Macinnis,

Jason Dana, Mike Grossnickle and Justin Hagberg,

officially bringing Dead Quiet into corporeal existence.

This year the group finished recording Grand Rites, the

follow up to their debut album. The songwriting process

would be more collaborative this time around.

“[Dead Quiet] is an established band,” says Keegan. “So

as I was writing these new songs, I was working through

them with [the guys.]”

The album itself will be released as a double LP, dense

with lush instrumentation and rich storytelling, but its

length doesn’t suggest that its concept is oversaturated.

“Songs on the record happen to be six to eight minutes

because that’s how long they need to breathe,” explains


Keegan. “I want to take you on a journey.”

With Grand Rites officially complete, Dead Quiet

recently signed with Toronto based label Artoffact, to

help distribute the album. Predominantly specializing in

industrial and electronic artists, Dead Quiet are one of

the few Doom/Stoner bands signed to the label, but this

doesn’t scare them. “[Dead Quiet] isn’t just in a sea of

other metal bands, so our sound will totally stand out on

this roster.”

Despite all the traction that Dead Quiet is gaining, a

few members remain involved in other musical projects

including Anciients and Hashteroid. As stoked as Keegan

is on these bands, it sometimes causes him anxiety.

He professes: “I’m very sensitive to whatever [the band]

wants to do, but it does scare me. I hope in a sense they

prioritize Dead Quiet.” Keegan continues. “I’ll cross that

bridge if I get to it, but it’s always a looming fear.”

Aside from being the maestro of Dead Quiet, Keegan

is also an actor and filmmaker, currently gearing up

to co-direct and act in a music video for the album’s

first single “Dear Demon,” further indulging his love of

storytelling. Always learning and working to expand his

creative endeavours, Keegan endearingly confesses, “it’s

something I need to do as a performer. It’s just so very


Dead Quiet plays the Rickshaw Theatre on November 17.

Photo by By Asia Fairbanks

Dead Quiet set to release their heavy new record this month on Artoffact Records.

November 2017




Photo by Tim Cadiente

APC recently broke their decade long silence with “The Doomed.”

When A Perfect Circle was first revealed,

fans were in awe of the star-studded

yet unimaginable lineup, collecting

members of some of history’s most

notable rock-groups. Billy Howerdel, the

key instrumental composer for the band,

originated the group with his at-the-time

roommate, Tool frontman Maynard

James Keenan. He further added to the

group with a revolving door of members

from bands such as Queens of the Stone

Age, Primus, Failure, Devo, Nine Inch

Nails and Marilyn Manson. James Iha of

Smashing Pumpkins-fame is still with the


It’s been 13 long years since the release

of A Perfect Circle’s last record eMOTIVE.

During the time between Keenan has

been putting focus on Tool and Puscifer

while Howerdel has ventured into

film-scoring, recently composing for the

independent feature D-Love. Snippets

of music made but not used in this film

would be shown to Keenan and soon

turn into A Perfect Circle’s recently

released track, “The Doomed,” breaking

the group’s decade-long silence.

“I had just started writing little cues,

little pieces of things that weren’t

specifically attached to any scene. ‘The

Doomed’ came from that,” Howerdel

explains. “I put it into a folder for

Maynard to listen to along with other

song ideas. Just a couple snippets of

cinematic things to show him where

my head was at, not necessarily to have

that be a song but to show what kind of

colours I had in mind. He liked it.“

“The Doomed” is a hard hitting

and speculatively political track with

cinematic influence. Though Howerdel

admits he doesn’t read too deeply into

Keenan’s lyrics and instead expresses

his emotion through the instrumental

portion of the band, when asked, he did

agree that the world is not in a great


“Everything seems a lot fucked up,”

Howerdel states. “There’s a cheapening

of morality and truth and there’s a lot of

us-against-them movements. That’s the

darkest part I think that we’re amongst

or in right now.” Howerdel continues: “I

think that’s a big problem with humans

in general, we push things away that are

uncomfortable, we dwell in a dark way

and go in a dark path with the emotions

that are handed to us.”

Alongside “The Doomed,” Howerdel

names two other tracks that A Perfect

Circle will be circulating during their

upcoming tour: “Hourglass” and

“Feathers.” With that said, it’s been

announced that the band will be soon

releasing a new album.

“The record will be coming out second

quarter of 2018 and we are well past the

midway mark. [Working on the record]

is what I’ve been doing 14 hours a day,

seven days a week for the foreseeable

past. I am more than ever excited to

share it.”

A Perfect Circle perform at the Pacific

Coliseum on November 30.




Since returning to the Canadian rock scene in 2014 with their second

album The Physical World, Death From Above has been busy making

up for lost time. Even as we talk on the phone, bassist Jesse F. Keeler

can’t help but tinker with his new instrument.

“Roland gave me a synthesizer. I’ve been waiting for it for a month and

a half,” he says giddily.

New gear isn’t the only thing DFA has to be excited about. Their

latest record Outrage! Is Now dropped in September and they’ve

already road tested many of the new tracks. Keeler says fans can expect

a good mix of fresh cuts and old favorites when they tour North

America this fall.

“We’ve got the record with the stuff that needs to get played. We’ve

been playing a bunch of the new songs already. We’ll probably play

more than half the record. It’s tough when you’ve got this many songs

now, you gotta start making tough decisions.”

Outrage! Is Now is a tight collection of songs filled with fuzzy bass riffs

and heart pounding drums. Songs like “Nomads”, “Never Swim Alone”,

and “Holy Books” are destined to grab listeners with their punchy,

overdriven melodies and fist-pumping fast tempos. But there are also

hints of experimentation on the record, like the catchy piano hook that

drives first single “Freeze Me”. Keeler says the reaction to the album has

been fantastic so far.

“I didn’t expect it to be so positive, but I never do,” he says. “You

hope, but you don’t know. It’s been awesome. I couldn’t really ask for

anything more. There’s been a lot of great stuff said to us and about us.”

“Freeze Me” has quickly become a force on Canadian radio with

frequent airplay across alternative, rock, and pop formats. The piano

part of the song has actually been in Keeler’s back pocket for a while

but he only recently sent it to bandmate Sebastien Grainger (Vocals/

Drums) for consideration.

“To be precise, in 2012 I had that piano idea. It was just a matter

of trying to decide when to use it, but I never thought it would be

appropriate. But as it turns out, I sent it to Seb and he was into it. We

would have never made ‘Freeze Me’ if we hadn’t made ‘Trainwreck’

before that because that showed us that we could have piano on the

stage sound wise; triggering things with a sampler opened up the

whole world.”

Keeler says there’s less scrutiny regarding the band’s sound in general

and that nowadays they feel free to create whatever kind of music they


“The simplest way to explain it is that from the beginning with our

band, we always had, I don’t want to say pressure, but an interest in us

adding more shit all the time,” he explains.

“You know, I guess from a lack of confidence in the context of not

having as many instruments. And over the years that pressure is gone

and we’ve clearly established that we can be fuckin’ louder and more

full than a seven piece band if we want to. So no one asks us that shit

anymore and we’re not thinking that way.”

Despite an almost 10 year gap between their first and second

albums, Death From Above has continued to rock hard and tour

relentlessly since The Physical World came out. Can we expect to hear

more from DFA in the near future? Keeler believes so.

“I hope so. I don’t like taking breaks for that long. I don’t know if

it helps. Oh yeah, I mean at this point, at a certain point, you kind of

accept that this is what I do and I’m not going to start from scratch

again at this point in my life, I don’t think.”

Death From Above will play at the Commodore Ballroom Nov. 21.

DFA keep their heads straight through the chaos.

November 2017 19




Gwar has never not lost their faith in humanity.

GWAR is a metal outfit like no other. The ’90s saw these alien shockrockers

survey the cosmos, leaving their home planet of Scumdogia

to bring chaos to planet Earth, quickly becoming one of the most

popular bands in the galaxy. Their comedically delivered punkinfused

heavy metal style has made GWAR a staple piece of 90s popculture,

landing them guest spots on popular television talk-shows

including Jerry Springer and Joan Rivers. On October 20, GWAR

released the Blood of Gods, the first album to feature Pagan-esque

axe-wielder Blothar the Berzerker on vocal duties.

“The title is a reference to Oderus Urungus and losing Oderus by

the Blood of Gods. It’s also a reference to GWAR’s eternal struggle,”

Blothar explains. A new beginning for the group, this is GWAR’s first

release since the devastating, untimely death of the band’s universally

influential original vocalist Oderus Urungus.

“We are involved in a conflict, fight and struggle to survive. In very

real terms there has been loss of life in this band. We’ve struggled

with that and tried to get through it. We have gotten through it.

Doing GWAR and being GWAR has come at a cost. It’s a cost that at

times is very difficult to bare. Those notions are on the record.”

Aside from the band’s coping with loss, GWAR also puts focus on

the current state of Planet Earth and how they’re becoming fed up

with it’s plummeting conditions. This is especially expressed on the

album’s first single, “Fuck This Place.”

“It means exactly what it says, ‘fuck this place.’ We’re on the Planet

Earth, we’ve been here for a long time and we’re trying to get off,”

Blothar states: “Humanity has always been doomed, it’s easy to tell

by the way that humans treat themselves in the world that they live

in. What they really desire to be is a flaming pile of fuck-to-death

garbage. That’s what humans want to be, that’s what they want Earth

to be. Humanity behaves as if they want destruction, they kill each

other all the time. That’s been the challenge for GWAR.”

With each passing day, violence and other forms of human abuse

is spread like wildfire on news outlets and social media. At the very

same time, it seems as though we are becoming numbed to these

tragic behaviours, as if posting a Facebook status to acknowledge

these occurrences are enough, letting things dissolve within a few

days, moving on as if it never happened.

“What drives GWAR’s artistic output is the very old fascinations

that humans have had with death and with sex. Entertainment

for the longest time has been based around these things.” Blothar

continues: “It used to be novel for someone to cut off a head as part

of an entertaining show but now you can watch television and see

real decapitations. There are cities where women are literally enslaved

and traded like merchandise. Human life is cheap, that’s simply a

fact. There’s still time for humanity to realize the error of their ways,

but I am extremely skeptical that anything like that is ever going to


Blothar concludes: “The Blood of Gods is a mature record in some

ways. Lyrically there’s a narrative that threads throughout the album

about how humanity has reached a point where GWAR literally

cannot keep up with it anymore. There’s so many horrible things

going on, so much death, so much destruction, how can GWAR

compete? It really articulates that this is a time of change for the

band and that we’re still moving forward and sticking around. That’s

what the record is about really.”

GWAR perform at the Commodore Ballroom (Vancouver) on

November 13.


November 2017




It’s a good time to be a music fan with a fondness for the ’90s. Not

only does all of the music from said era tend to be readily available on

various streaming services, but a lot of the bands — even smaller ones

— are back with reunion shows and tours. One such band is Halifax’s

beloved post-punk/indie rock band North of America who are hitting

the road again for a tour to commemorate their 20th anniversary.

“We’re just getting into our 20th year now,” explains guitarist

Mark Mullane, “Even when we did the 10 year anniversary shows we

thought that was going to be it. I guess it’s a testament to the songs

that we’re still able to play them and people want to come out and

see us. And a testament to the fact that we’re all friends after this long

period of time.”

They haven’t let the fact that the band’s members all live in different

cities across Canada, or the fact that they haven’t released an album

since 2003 deter them. As Mullane puts it “There’s no time expiry on

this band anymore. Our last record was released in 2003. No one is

expecting us to do anything so we don’t have to do anything. We can

play as many shows as we want. For the 20th we thought we should

do something.”

For the band, the tour isn’t about promotion, it’s more about the

enjoyment of things; and there’s a freedom from constraints that tie

active bands down.

“We wouldn’t be doing it if it weren’t for the pure joy and fun of it.

There’s no money to be made here. No fame we’re trying to latch

onto. Just play some shows, see our friends, both in the band and

those seeing us play. If we can just keep playing shows so be it, that’s

great.” Mullane suggests the possibility of new music, though nothing

official: “If we want to make music that’d be great too. There’s no

pressure. At the same time I know I still have gas in the tank and the

other guys play music, and there’s five of us so it wouldn’t take much

Halifax’s North of America are back, celebrating 20 years.

to do a record.”

Until that possibility materializes, they’ll just have fun along the way.

“It’s a nice excuse to go away in November and see our old friends we

haven’t seen in a long time. And an excuse to play loud rock music.”

North of America perform November 9 at 333.




When speaking of the machine-gun speed, mathematically

precise but still brutal auditory assault that is modern technical

death metal, you can’t get very far without mentioning Kansasbased

Origin. They’ve laid a lot of ground for tech-death with

every album and their discography is a bit of a timeline of the

evolution of the genre since releasing their self-titled debut in

2000. Picking up where the more brutal tech sound of the ’90s

left off (think Gorguts’ Erosion of Sanity) and all the way up to

this year’s Unparalleled Universe, you can hear Origin sharpening

their aesthetic to a fine point and bringing us the more modern

sound we hear today. The common thread running through

all of their work being that virtuosic speed-arpeggios as riffs

and gravity blasts combined with their misanthropic and sci-fi

inspired themes.

Origin’s newest release, Unparalleled Universe, sees the almost

prog influence that has shone through their last couple of

albums peek its head out even more. “We’re trying to slow things

down at times to kind of deepen the plot of the album. We’re

on album number seven now and I don’t want to write the same

music, play the same music. I guess you can say we’re kind of

incorporating all of the styles we’ve done over the years, that we

are a ‘mature’ band now, where the seasoning is starting to blend

well,” says Ryan. “Sometimes I worry about whether we’re getting

wimpier, that we’re watering it down or if people are just more

accepting of our music... You know, death metal is supposed to

be terrifying, you’re supposed to be scared of it. So, I still hope for

that effect.”

Origin perform at the Rickshaw (Vancouver) on November 15.




Photo by Seth Siro Anton

Belphegor won’t let the deranged minds get them down.

If you’ve ever had the chance to see Austria’s Belphegor perform live,

you know it’s not something you easily forget. It’s a perverse and

blasphemy-ridden tour-de-force, but it doesn’t really feel like they’re

“putting on a show” for the audience. Everything from their aesthetic,

to their particular kind of blackened death metal, to the blood that

soaks anyone within a few rows from the stage, comes together quite


Speaking with the man behind all of this, guitarist and frontman

Helmuth Lehner, confirms the suspicion that this stuff isn’t really a

façade that goes down after the show is over. To him, and anyone in

the audience, the shows are a ritual.

“A Belphegor ritual is like letting demons out to dance. We do

everything authentically: the blood is real, the bones [are real], the

feeling is real, the intensity is real. It’s a ritual more so than a typical

metal concert,” Lehner explains. “As soon as I hear the intro, smell the

incense, my mind switches to another zone or reality and I descend

into another realm.”

They’ve been through some trials over the years - the worst of it

being when Lehner nearly dying after coming down with Typhoid

Fever from drinking tainted water while on tour in South America.

More recently, last year he was attacked by an orthodox Christian

activist at an airport in Russia. The band’s themes include a lot of

eroticism and deeply held anti-religious sentiment, which has given

them a lot of trouble when it comes to censorship.

“I don’t see us as a victim,” says Lehner. “[It’s the] opposite, the world

saw how dangerous these people are and how hypocritically they

act. If they get power, every non-conforming book, all that is art and

freedom of speech will burn again. Under all circumstances we have to

avoid people like that getting in power. I mean Belphegor is not just a

band, it’s a legacy and a way of life. I made a ‘pactum in aeternum.’ We

can’t let these deranged minds get us down.”

Belphegor perform at the Rickshaw (Vancouver) on November 28.

Origin still have every intention of scaring you.

November 2017 21










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There’s a bubble tea store on Commercial Drive that has “fuck rain” written in huge

letters on their wall. If you don’t like rain, you are living in the wrong city. Go to any

of these shows and you’re gonna get wet or get sweaty, likely both. Do it. It’s good

for the skin, and keeps Vancouver green. Why else are you living here?


Nov. 17 @ Fortune

The time to buy into San Francisco producer Charlie Yin is now. He’s been slaying

outlets like the Boiler Room and Low End Theory with his bedroom dream-poptinged

future R&B stylings. His latest album, Too Real, saw him sign to Ninja Tune

sub-label Counter Records, and feels like the one to blow his name up. Follow your

doctor’s order; get lots of Giraffage.

Desert Dwellers

Nov. 18 @ Imperial

Shigeto’s exploration through rhythm within electronic music has proven a worthy endeavor.

Amani Friend and Treavor Moontribe hail from the arid regions of New Mexico

and California, but their trippy, cerebral psy-dub sound is every bit as worldly

as Shpongle, with whom they have toured extensively. If you’ve never been to

Shambhala before, you can open a direct channel to the Grove stage here.


Sometimes it’s necessary for one to temporarily depart

from their roots in order to develop a true appreciation

for them. For Michigan’s Zachary Saginaw, a.k.a. Shigeto,

The New Monday is a representation of exactly that.

“Before I was searching for meaning,” reflects Saginaw

from his home-base in Detroit. “What’s changed is my

process in accepting myself as artist and accepting the

flow of whatever comes out of me.”

For the last nine years, since his first release in 2008,

Saginaw has gone deep into the realms of instrumental

downtempo and trip-hop, a sound reminiscent of

early Warp Records and Ninja Tune, yet through his

own lens as a drummer trained in the art of jazz. His

exploration through experimental nuances and rhythm

within electronic music has proven a worthy endeavor,

leading him to develop his own distinct sound of layered

percussion and trippy melodies.

However, The New Monday has been a new direction

for Saginaw, and a reestablishment into his own

community. Coming full circle has allowed him to

reexamine his musical foundations and fully immerse

himself into Detroit’s nightlife and culture, yet through

mature eyes and an experienced outlook. What has

resulted is an album which is more focused on the

dancefloor, bringing its listeners into the various clubs

within Detroit’s underground. The title of the album

itself a reference to his own regular event within the city.

“It is a play off the name of a weekly night that I have

in Detroit,” says Saginaw. “Initially I didn’t know what

to call this record, but as I was writing music for it and

curating the track list, I realized that the music was

[like the] stuff that I had been playing every week while

DJing… It’s a palate of sounds of Detroit, Michiganinspired

music through my eyes. I might sound manic,

like, ‘Oh, there’s this techno track, and there’s this jazz

ballad, and there’s this rap song,’ but what’s connecting

it is [that they are all] influences of mine from here [in

Detroit] and growing up [in Ann Arbor]. This record is

like my ode to Michigan, just being back here and being

an actual part of the community.”

Detroit’s music history is well-known for its richness

and complexity. Dire political circumstances have

historically driven its populous to deal with their

hardships through art. Expressing their frustration

while keeping themselves busy has given life to

groundbreaking genres and styles of electronic sound.

For Saginaw, being a part of the scene on the groundlevel

has given him a new-found respect and feelings

of solidarity for those who have chosen to continue

producing music, despite all odds.

“For the people that are from here, and have been

here, life is a struggle, and within that struggle, you have

to create your own world and your own reality. The

demand for that need to create your reality is greater. I

think within that, the DYI attitude and the possibilities

are just so much bigger with the DYI mentality here,”

explains Saginaw. “There are more quality independent

record labels running in Detroit and in the Michigan

area than there are places to buy groceries. There is a

concentration of people that love music, make it, and

then put it out themselves no matter what. Half of them

are not on social media.”

The relationship between art and politics is no doubt

a fascinating one. When times get tough, the human

race will naturally band together, resulting in innovative

ideas and creativity. 2017 has been no exception to this

unspoken rule.

“Whether it was conscious or not, many of us all over

the world, artistically active people or not, political

people or not, we all got more of the sense that we

have to do something, whether it was for others or for

ourselves,” he ponders. “I think it also brought a sense of

solidarity for people to start coming together and start

breaking down these racist and sexist barriers. When the

sense of urgency is at an all-time high, it brings a sense of

motivation, and inspiration, and solidarity.”

This November, Saginaw makes his return to

Vancouver, and he’s bringing his fresh approach and new

experiments in sound with him.

“If you like King Tubby, or like really dubbed out

psychedelic psych-rock, you’re going to like this.”

Shigeto plays the Imperial on November 18.

Hilltop Hoods

Nov. 18 @ Vogue

When you think about the modern giants of hip-hop, you probably don’t think

Adelaide, South Australia. Yet, that’s where the Hilltop Hoods started their skyward

climb. This outfit has had five number of their albums go number one in Australia

since 2006. They got skills.

Princess Nokia

Nov. 23 @ Celebrities

The hip-hop stage name of Destiny Frasqueri, Princess Nokia has been practically

unavoidable in music circles over the past few months, and with good cause. Her

hard-hitting flows are so frank, funny, and female-positive they could blow the dick

off Gucci Mane.

Bleep Bloop

Dec. 01 @ Celebrities

His name is Bleep Bloop. Say it aloud: Bleep Bloop. That’s all you need to know

you’re going to buy a ticket. The fact that this DJ Shadow protégé produces a dank

ass bass blitzkrieg onstage is just icing on the cake.

Princess Nokia

November 2017 23





Speaking with Grant Eadie, a.k.a. Manatee

Commune, the first word that comes to mind

is enthusiasm. He just got back to Bellingham

after a two-month musicians’ residency in

Detroit, and he’s buzzing about the “ridiculous”

amount of music he created during his time

there, while gutted he can’t put any of it in his

fans’ hands until January. It’s clear he doesn’t

like standing still.

Since 2016, Eadie has released a full-length

album and two EPs, the most recent being a

collection of B-sides titled Unmastered, which

he released for free in August. In the past yearand-a-half,

his music has developed from a side

project into a full-time career, and he’s relished

the adjustment to the frenetic pace of touring.

“It’s the most stimulating thing you could

possibly do with your time,” he says. “I think

that’s really good for me because my mind is

always kind of bustling around.”

Eadie started making music soon after he got

his first laptop, at age 18. He fell in love with

groups like Ratatat, Gold Panda, and Floating

Points, and began creating “glitchy, minimalist

stuff.” His first release gained traction around

Bellingham, spreading by word-of-mouth and

earning radio play. Soon he was booking shows

around the city as Manatee Commune (a name

that he admits regretting, but has since made

his peace with).

That was nearly six years ago. Since then,

Eadie’s music has matured into a distinctive

brand of bubbly, bright, laid-back dance music,

inspired by his connection with the wilderness

of the Pacific Northwest.

“When I started the project,” he recalls,

“the intention was to create something

that reflected how I felt being in the natural

environment around Washington.”

Taking a field recorder into the woods, he

literally used the forest as his instrument,

creating a huge bank of samples that form

the subtle thematic through line of his music:

cheery synths weave atop the percussion of

tree branches, while birdsong flutters in and

out of the mix.

In conversation, Eadie’s energy is infectious.

He’s pumped to be touring the west coast

this fall, eager to unveil a live show that he’s

been meticulously crafting for most of the

past year. On top of pulling duty as a multiinstrumentalist

during his sets (he plays guitar,

violin, and percussion in addition to working

the console), Eadie has designed all of the

concert visuals himself.

“I wanted to create something that was

a mixture of the artwork I’d been creating

and my musicianship, but then also create

something people could just straight-up smash

their faces to and just have a great time,” he


The next four months will be increasingly

hectic for Eadie as he tours, prepares to release

fresh material in early 2018, then begins touring

again, and it’s clear the prospect excites him.

His enthusiasm for pace gives him something

like the air of a mad scientist, happiest when

consumed by his work.

“I think I’m making the best music I’ve ever

made in my life in the last couple months,” he

proclaims. “It’s everything I’ve wanted to do for

so long.”

Manatee Commune performs at the Biltmore

Cabaret (Vancouver) on November 19.

Grant Eadie has evolved his music from a side project.




H.E.R. grew up with music in her family and is ready to share hers with the world.

Cultivating and maintaining a public persona is a core

element of modern life. In an ever-expanding sea of

personal information, it’s become the norm to share

our lives with friends, family and complete strangers.

It’s hard not to feel like we know people we’ve never

met, whether they’re an ex’s new fling or an awardwinning

artist. That’s why singer-songwriter H.E.R.

strips her persona down to the basics, keeping her

identity anonymous and letting the music speak for


“People pay more attention to the music and pay

more attention to the message [this way],” she says.

“It’s not necessarily that they appreciate it more,

because there’s so much good music out there and the

face doesn’t matter, but I think they hear it differently

the first time and accept it differently. I don’t like that

people think I’m hiding, when I’m more so just trying

to focus on the music and take the attention away

from a face or an association.”

Music is not just a career path for H.E.R. It’s

engrained within her identity. It’s who she is. Not only

does she write and sing, but she also plays piano, bass,

drums and guitar. You can hear her gentle chords laced

throughout both Vol. 1 and Vol. 2, and her live shows

feature instrumentation as well.

“Music has always been in me, since I was born,”

she says. “Literally, my father is a musician and had a

couple bands, and he used to play in our living room.

His instruments were always in my house. I’m half

Filipino, and my mom loves karaoke. So I just was

always into ballads and a lot of old school music was

playing in the house. So my whole life, really, since I

was a baby, I’ve been singing.”

Because music is so personal to the artist, her songs

are intimate and vulnerable, offering glimpses into

her mindset and lived experiences. Her first EP, Vol. 1,

was a melancholic exploration into finding yourself

after heartbreak, and Vol. 2 is a confident, optimistic

continuation, “just a little happier.”

“I was honestly a little afraid to release music,” she

says. “I think, as an artist, you tell all your stories, and

you put yourself out there. It’s kind of a vulnerable

thing to do. And it’s just kind of scary thinking about

how people are going to accept your story. I didn’t

know what to expect. I was feeling a lot of things, but

now I’m very, very grateful for how things are going

and how people are loving the music. It’s been kind of

surreal to me, and still is sometimes.”

Her rise to fame might seem sudden, but in reality,

at 20 years old, she’s spent much of her formative years

in the studio surrounded by artists whose dedication

she observed and drew inspiration from. The lyrics,

instrumentation and production value on both Vol.

1 and Vol. 2 are indicative of countless hours spent

refining her sound.

“I write everything,” she says. “It’s all my story. I love

to just have conversations and I love to just sit down

and talk about life. Those are the best songs – just very

honest. So I like to just vibe and not worry so much

about making a great song, but telling a great story.”

H.E.R. plays at Fortune Sound Club on November 30.

November 2017 25





Bodied embodies the raw intensity of battle rap.

Alex Larsen, or Kid Twist, competed in the World Rap

Championship’s in 2007 and won the inaugural King of the

Dot Championship in his hometown of Toronto. To a rapper,

that’s as good as it gets - unless you are eventually asked to

pen a film script because of those talents. That is exactly what

happened to Alex when the eventual director of BODIED,

Joseph Kahn, reached out to him. “It wasn’t a script that I had

been working on. Joseph reached out to me about working

together. He’s been a fan of battle rap for a long time and

he’s really plugged into the scene. He found out I was a writer

because someone had actually used it against me in a battle


Larsen worked out the script as a writer with a wealth of

knowledge of battle rapping, while Kahn co-wrote the script

with him, helping to achieve the desired narrative. Once they

had a script and began filming, Larsen believes some notes

were generously handed down for the making of the film by

producer of the film, hip-hop legend Eminem. “Joseph has had

a great relationship with Eminem a long time. I get the feeling

when (Kahn) was showing Eminem drafts as we were writing

it…Joseph would give me certain notes and now that I think

about it, I bet they were actually coming from Eminem.”

There is a refusal to do any sort of cut to the film, which

generally means the filmmakers are holding out to maintain

the integrity of their original creative vision. “The difficulty

of making a battle rap movie is the content is unacceptable

in society. In this arena where you’ve agreed to say the worst

things, it creates a different culture. We didn’t want to sanitize

that or run away.” There are agreed upon lines that people

cross in battle rap. BODIED is true to the battle rap scene

in every offensively genius punch line. Ironically, it’s these

boundaries being pushed that makes the film so difficult for

studios to market BODIED. “We wanted to dive in head first

in the dirt and explore. Is there too much free speech? Is there

a line to what you can’t say? That becomes the central theme

of the movie.”

Bodied premieres as part of the Rio Grind Film Festival

November 16 to 19 at the Rio Theatre.




Luca Guadagnino’s Call Me by Your Name is about seventeen year

old Elio (Timothée Chalamet, Homeland) who lazily spends his days

casually transcribing music, or meandering through the sun drenched

Italian countryside. Elio’s simple life becomes complicated when

his father/professor’s American research assistant, Oliver (Armie

Hammer, The Social Network) arrives. Oliver is effortlessly charming

and, for unknown reasons, appears to be a thorn in Elio’s side. This

strange animosity exists because of how Oliver makes Elio feel. Elio is

in love with Oliver and this tension exists because true love creates

something impossible to explain. This patiently crafted, slow burning

film perfectly captures the essence of a summer love, to beautiful and

cinematic effect.

Call Me by Your Name’s ability to expertly balance its narrative

with complex themes and characters is first shown when Oliver has a

conversation with the professor about the origin of the word “apricot”.

This one scene shows Oliver’s confidence and charm and Elio’s

unsuccessful resistance to it. The professor educates the room on how

the word “apricot” came to be known as it is today. This exemplifies

the father’s brilliance and his excitement for knowledge. We see

them being served fresh apricot juice by the mother of the house,

an example of their family dynamic and their wealth. Oliver then

brilliantly tells the professor that normally his logic would be correct

but in the instance of the word “apricot” he is mistaken. He proceeds

to brilliantly dissect the true origin of the word for this particular fruit.

This is a window for the audience to see Oliver as Elio does, infatuating

and impressive. Elio cannot help contain his excitement over Oliver

and we understand why he feels it. When the professor wryly smiles

and anoints Oliver, we see that Oliver is different than the assistants

that have come before him. Call Me by Your Name is built on those

subtleties making this such an unforgettable and ethereal story of love.

“Nature has cunning ways of finding our weakest spot” is a line

of wisdom spoken to Elio from his father in one of many tragically

beautiful scenes. Call Me by Your Name has its own cunning ways of

finding our weakest spots.

Call Me By Your Name opens November 24.

Call Me By Your Name is a poetic film built on subtleties.










November 2017


Gord Downie

Introduce Yerself

Arts & Crafts

For the larger part of his storied career with The

Tragically Hip, Gord Downie spent his time telling

stories belonging to other people. From “Wheat

Kings,” all the way to last year’s Secret Path, Downie

himself took a backseat to a cast of characters

steeped in Canadian lore.

Introduce Yerself, Downie’s posthumous 23-song

double album, serves as an introduction of sorts

to a Canadian legend that has kept much of his

life private. Instead of telling other people’s stories,

Downie is finally telling his own.

Downie’s best lyrics were always written to be

humanizing at the same time as myth-making. On

Introduce Yerself, he does the same thing to the

people in his own life, writing plaintively about the

people and places he cared most about.

Most of the songs here are about small moments

like on “Spoon” and “Bedtime,” both stories about

Downie marveling at his children. Or like on “You

Me and the B’s,” about his love of the Boston Bruins

that he shared with his brother. Every piece of

Introduce Yerself feels like it has been scaled back

to not seem self-indulgent. This is not Downie’s

sweeping goodbye opus, but instead a quiet farewell

to the people he cared about most.

In a press release accompanying the album,

Downie said that the words contained on the album

were written before any music was made. “A lot

of these I wrote the words in advance like poems.

I’d get one or two a day and then I’d have to stop.

Because that’s about all… the soul or whatever,

would give up. And then, so with music, it becomes

pretty easy.”

Indeed, the music here, produced mostly by Downie

and Broken Social Scene’s Kevin Drew, takes a

backseat to the lyrics, but it’s hardly a complaint.

The album is much less poetic than much of

Downie’s past work, but it only serves to demystify

the singer. These are some of the most affecting

songs Downie ever put to tape, recorded swiftly

over two four-day sessions in January 2016 and

February 2017, with the finished album often

reflecting first takes.

Accompanied mostly by sparse piano, acoustic

guitar and drums, it never sounds like Downie is

searching for the right words. Instead, he opts for

an Sun Kil Moon-esque retelling of stories, fitting

awkward, matter-of-fact lyrics into beautiful vocal


Much like Downie’s career, Introduce Yerself is a

varied listen, swinging from upbeat reminiscing to

mournful rumination over its runtime. Standout

track “Love Over Money” is a short song about

Downie’s bandmates in The Tragically Hip and

their rise from playing small gigs in Kingston, ON

to playing for the Queen of England. Elsewhere, “A

Better End” sonically picks up where 2016’s Secret

Path left off, powered by throbbing percussion and

spacious reverb.

Thematically, Downie continues his crusade for

“a Canada we should have never called Canada” on

“The North,” a devastating account of the ravages of

colonialism in the Arctic. It’s quintessential Downie

that even on his final album, he still spends most

of the time thinking about anyone but himself.

His final advice for the “boys in the north,” and

presumably listeners is to “turn our faces to the

sun and get whatever warmth there is.” It’s hard to

imagine leaving a legendary career off on a better

note than that.

• Jamie McNamara

• Illustration by Greg Doble

November 2017 27

Casper Skulls - Mercy Works Cut Worms - Alien Sunset Bell Witch - Mirror Reaper The Front Bottoms - Going Grey

Casper Skulls

Mercy Works

Buzz Records

Combining shoegaze-adjacent sonics and

percussive cacophony, the debut LP from Toronto’s

Casper Skulls is filled with a positive energy

under its nihilist visage. However, for an album

categorized as post-punk, it’s surprisingly tame

in regards to the archetypal abrasive approach of

less-talented bands.

The closest they get to falling into the pattern

of the current musical trend is on “Primeval,” an

echoing shimmer of a track that hints at a fullnoise

collapse before tapering off. For the most

part, however, Mercy Works forgoes buying into

the flavour-of-the-month genre-trap.

Tracks like “I Stared At ‘Moses and the Burning

Bush’” and “What’s That Good For” have a sort-of

lackadaisical approach to the early-wave alt-rock

bent, and “Glories” (easily the biggest standout

of the album) features just enough sing-alongprepped

lyricism and quiet-loud-quiet build-ups to

set you up for the hazy closer “Faded Sound.”

The only real qualm to be had with Mercy

Works, while perfectly packaged in its own right,

is an omnipresent one in many rock-y, guitar-y

albums: slightly more experimentation to keep it

demanding constant attention.

What Casper Skulls have with Mercy Works is a

deftly-crafted and undoubtedly strong debut,

one that’s definitely worth a listen, if only to show

that the two-pronged vocal thing can work when

executed properly.

It’s also a testament that nihilism doesn’t have to

be all angles and irregularities. One can approach

the melancholy of a meaningless world in different

ways. Mercy works, and so does Casper Skulls.

• Alec Warkentin

Cut Worms

Alien Sunset


Shaded and sharpened in retro-rock fashion, Cut

Worms’ debut EP, Alien Sunset, is a compelling

study in executing stylistic songwriting without

sacrificing substance.

The alias of Chicago-via-New York transplant

Max Clarke, Cut Worms exists sonically

somewhere in the mid-20th Century, not far

from the soundscapes of Buddy Holly or early

Beach Boys. Alien Sunset, maintaining the unique

sound crafted by Clarke, moves dynamically and

structurally with grace through its 26-minute

runtime, consistently feeling warm and inviting,

but also, tastefully foggy throughout the six tracks.

Sparkling picked notes dance on “Like Going

Down Sideways,” momentarily taking a backseat as

layered vocals swell with harmonic precision in a

haunting dynamic shift early on. “A Curious Man”

offers a repetitious, hypnotic riff as Clarke’s reverbheavy

layered vocals cry out lines. “Please, please

remember me / in the tall grass by the twisted

tree,” Clarke pleas in the opening lines, before

reinforcing with “please don’t forget.”

More stripped down and open, “Widow’s

Window” stands out amongst the tracks on Alien

Sunset. A simplistic acoustic offering, the track

could pass as a modern folk classic, possibly best

performed unamplified and in an open setting.

On tape, however, Clarke is able to maintain

the energy of the track, creating a captivating

experience in the bare surroundings.

Cut Worms’ first effort succeeds in delivering

a short burst of stylistic songs while avoiding any

sense of cheap novelty, creating an intriguing and

enduring listen throughout.

• Nathan Kunz

Bell Witch

Mirror Reaper

Profound Lore

To keep thoughts on the new Bell Witch album

brief, it’s essential to state this before anything else:

Mirror Reaper is far and away one of the strongest

“heavy” albums to come out in 2017, due primarily

to its astoundingly ambitious structure and

absolutely staggering, monolithic nature.

The album consists of a singular 83-minute track

that manages to not only hold its own with this

ambitious concept, but topple a vast majority of

other likeminded albums released this year.

The album feels like a lifetime’s worth of

content; the sheer emotional weight of the album

is something few artists manage to encapsulate

with an entire career writing and making music.

Observing the ocean worth of material and

emotional force the album encapsulates makes

even the 83-minutes seem short for the sensation

they are expressing.

The atmosphere on Mirror Reaper is so thick it

practically makes the air in any room the album

is being played in feel weighted and difficult to

move through, as if the listeners are suspended

underwater; A water that instead of suffocating its

audience, nourishes them with a heavy emotional

fulfillment the weight of an anvil. Bell Witch’s most

recent is easily the strongest in their catalogue

and an absolute essential for anyone who is in the

mood to plug themselves into something powerful

and otherworldly.

• Greg Grose

The Front Bottoms

Going Grey

Fueled by Ramen

Throughout their discography, The Front Bottoms

have given us a consistent mix of melancholic rock

ballads with heavy acoustic guitar and backed

up with, powerful, relatable stories, sung from

the perspective of a sympathetic friend. They

performed their self-published albums (I Hate My

Friends, My Grandma vs. Pneumonia) with fun,

optimistic passion. The two that followed, (The

Front Bottoms, Talon of the Hawk) released under

Bar/None Records, solidified their place in the

punk/folk/rock scene.

Back on Top marked the switch to Fueled by

Ramen as a label, and what some would consider

the beginning of the end for TFB. With the release

of Going Grey, The Front Bottoms have done

almost exactly as the title suggests. The album is

for the most part, a foggy, slushy mess. It opens

up with the track “You Used To Say (Holy Fuck),”

a dramatic track overly saturated with ambient

noise, low kick drums, and juvenile synth melodies.

The vocals are still there, and some of the riffs

are catchy and original, but it’s all masked in this

cloud of smoke, that remains for the majority of

the album. The album does have some diamonds

in the rough, such as “Bae,” a simple, yet very

Platinum Era (’96-’09)



10:30pm - 19+

2755 Prince Edward Street





10:30pm - 19+


November 2017

Four days of the best

of genre cinema

fantasy, horror, thrillers, drama,

action, sci-fi, shorts, docs and more!

Day and Full Festival Passes available at

Get your Grind on, Vancouver!


1660 E.Broadway @ Commercial Drive 604.878.3456

Thursday November 16

Takashi Miike's BLADE OF THE IMMORTAL (Japan)

TOP KNOT DETECTIVE (Australia / Japan)

Friday November 17


LET THE CORPSES TAN (Belgium / France)


Saturday November 18



Sunday November 19


BODIED (USA - Filmmakers in Attendance!)

*And more! Full calendar at

Chastity - Chains EP Kllo - Backwater Marilyn Manson - Heaven Upside Down Melkbelly - Nothing Valley

re-playable track with an upbeat drumline and

happy harmonious backup vocals. My time

spent listening to the album three, or four times,

devolved into listening to the best couple tracks

the album has to offer, and skipping the rest. It’s

a very disconnected experience, and losing that

relatable friendliness that completely immersed

you in previous albums is a devastating loss for

their aesthetic.

• Keeghan Rouleau


Chains EP

Royal Mountain Records

CHASTITY channel a filthy reflection of suburban

dread in this pointed and aggressive five-song

release, a perfect soundtrack for a late-night, rage

filled walk through your childhood neighborhood.

Having witnessed CHASTITY at Sled Island,

and at the Great Hall in Toronto, they are a no

gimmick, no bullshit band that never hesitate to

slip into complete chaos while also staying in total


The intensity of frontman Brandon Williams’

vocals are the perfect driver of the crunchiest of

bass tones and these splinter-sharp guitar blasts.

This EP has nuances of the slimiest grunge and

punk of the early ‘90s with slight tinges of doom

and at times, an almost spoken word feel to the

raging vocals.

In just over 13 minutes, CHASTITY say everything

they need to, exploring all the emotions that

follow existential dread and delivering them to you

like a quick punch to eye.

However, within all the angst, all the isolation,

all the hate, CHASTITY find the time to squeeze

in these subtle melodies that carry each song to

strange uplifting places here and there.

So, if you want a quick and dirty manifesto on how

shitty life can be, the Chains EP is right up your


• Michael Grondin



Ghostly International

Kllo is the electronic pop project of Melbourne

cousins Chloe Kaul and Simon Lam. Backwater,

their debut album for esteemed electronic music

label Ghostly International is an immaculately

produced ode to UK Garage and 2 Step.

Kaul’s voice is a highlight across the album’s 12

tracks, lending an airy touch to Lam’s aqueous

productions. Synth-heavy songs like “Last Yearn”

steal the show, combining Jamie XX-indebted

jackin’ drum productions with washed out synths

and Kaul’s breathy tenor.

Elsewhere, tracks like “Downfall” and “Virtue” are

radio ready anthems, combining Craig David and

Rhye into one cohesive sound. It can feel like Kaul

and Lam focus more on the “vibe” than the actual

music in the latter half of the album, but it’s hardly

enough to call Backwater anything less than a


• Jamie McNamara

November 2017 31



OCS - Memory of A Cut Off Head Teen Daze - Themes for a New Earth Wolf Parade - Cry Cry Cry

















Marilyn Manson

Heaven Upside Down

Loma Vista

Heaven Upside Down is shock rock industrialists

Marilyn Manson’s tenth studio album. Manson

certainly lives up to the shock aspect of his

performance with this album. They’ve added some

terrible hip-hop beats to “SAY10” and “Blood

Honey;” eventually it dissipates into his old school

industrial, almost grunge-y style, but they shouldn’t

be there anyways.

It’s not just the beats that come off awkwardly

here either. Manson is known for being a smart

lyricist renowned for being clever and repetitive, but

his lyrics are often more laughable on this album.

With his continuous counting from one to ten in

“Revelation #12,” you’ll never forget that Manson

knows how to count to ten; or the entirety that is

“JE$U$ CRI$I$,” all of the lyrics are terrible. Once

you get passed the horrendous beats and hilarious

lyrics, the album has some solid points to it.

Manson’s second single, “KILL4ME” is easily the

best song on the album, it’s incredibly catchy which

is about half of what Manson is known for. The title

track is musically lacking: the beat is catchy, but

otherwise it’s nothing to brag about and certainly

not good enough to name an album after. If you’re

looking for Manson’s old, killer song-style, you’ve

come to the wrong album.

• Bailey Barnson


Nothing Valley

Wax Nine Records

With their debut album Nothing Valley, Chicago

band Melkbelly have created perhaps the most

cacophonous rock record of the year. It’s also one

of the best debuts of the year, deftly combining

math-y garage elements with riot grrrl-esque rock.

“Kid Kreative” is the most straightforward of the

songs on Nothing Valley; a straight-up garage rock

smash-and-grab built on a catchy guitar hook and

lead singer Miranda Winters’ charismatic vocal

delivery. In a recent Stereogum piece, Winters

described the track as being about “… having your

aesthetic hijacked by someone else. Specifically, as a

woman that plays rock ‘n’ roll, having your aesthetic

hijacked by a man and them easily capitalizing on


Luckily for Melkbelly, their aesthetic here is purely

their own. The following track “R.O.R.O.B.” features

a noise breakdown that feels like something out of

a hardcore track. The song after that is a winding

indie track that sounds like a Speedy Ortiz song

put through a meat grinder. From there, the album

remains wildly divergent from anything else on the

indie scene right now. Overall, Nothing Valley is an

essential listen for anyone who ever thought that

guitar music could ever die.

• Jamie McNamara


Memory of A Cut Off Head


Leave it to John Dwyer to change things up

just when everything was starting to sound

comfortable. Going from Thee Oh Sees, to Oh

Sees, to OCS in the span of a year, the notoriously

productive garage rock legend ditches the prog

headiness of August’s Orc for the freak folk sound

of his earliest work on Memory of a Cut Off Head


Despite a return to the acoustic adventures of a

band now five-or-so iterations removed from this

current lineup, MOACOH is a surprisingly efficient

melding of Oh Sees prog-indebted jams and OCS’

original psych country ramblings. The songs here

are quintessential Dwyer, featuring winding guitar

lines and odd song structures. This is folk music

filtered through a kaleidoscopic acid haze. Gone are

the dueling drummers and krautrock pulse of the

last few Oh Sees records, replaced by reedy violin

and a jester’s wit. Still, even without the propulsive

guitar riffs and high-tempos of Dwyer’s last few

projects, MOACOH still retains a few jam impulses.

With its plinky harpsichord, standout track “The

Remote Viewer” feels like a medieval fair rendition

of a track from 2016’s A Weird Exits. It features one

of the most straightforward choruses in the Dwyer

catalog and it’s absolutely addictive after a few

listens. That goes for much of MOACOH; it won’t

sink its hooks into you immediately. Given time,

however, these psychedelic excursions will unfurl

and wrap their tendrils around you.

• Jamie McNamara

Teen Daze

Themes For A New Earth


Releasing his second project of the year, Jamison

Isaak’s Themes For A New Earth is an enjoyable

collection of instrumental tracks with a singular

tone. The album was recorded at the same time

as Themes For A Dying Earth, but lacks the vocal

contributions of its predecessor. New Earth feels

like a collection of outtakes as opposed to a fullfledged

companion album. To Isaak, there’s a similar

theme to both being reborn and dying, as the two

projects sound nearly indistinguishable in terms of

production. However, Teen Daze establishes a tone

that is potent and vibrant like the colours of fall.

Isaak previously enlisted guests like S. Carey of Bon

Iver for his last album, but the soundscapes of New

Earth hold their own without any features.

The project is soothing, capturing the grandiosity

of nature in both instrumental-heavy tracks and

ambient compositions. It sounds like it could

be the soundtrack to an 8-bit videogame where

exploration and adventure is at the forefront. True

to the album cover, it deconstructs the beauty of

staring out into the ocean and watching waves

crash along the coastline, evoking a wide array of

emotions such as serenity, melancholy, and hope.

While New Earth is solid from front to back, mixing

tracks with Dying Earth enriches the concept.

There’s no correct combination, as Teen Daze has

masterfully allowed the decision to be dictated by

the listener.

• Paul McAleer

Wolf Parade

Cry Cry Cry

Sub Pop

Gone for six years and gracefully back again,

Montreal’s Wolf Parade have returned to the fold

draped in a sound that’s easily their most lush and

polished yet.

Carried by the sardonic vocals of frontman

Spencer Krug, Cry Cry Cry straddles the line

between goofiness and utmost sincerity,

encapsulating a flair for the dramatic that may

be the lynch-pin for new initiates to the band’s


This is most prevalent on opener “Lazarus

Online,” where heavy piano meshes with Krug’s

wavering baritone around lyrics such as: “Lazarus

online/ I received your message/ You’re a fan of

mine, your name’s Rebecca, and you’ve decided not

to die.”

Apart from the sensational theatrics, however,

Cry Cry Cry is actually a pretty solid album overall.

Tracks like the quasi-ballad “Baby Blue” and the

post-punk-revivalist-chic “Am I an Alien Here”

more than make up for the tedious pitter-patter of

weaker cuts like “Valley Boy” and “Who Are Ya.”

Another important consideration for Cry Cry

Cry is that it was produced with enough upbeat

moments to counterbalance some of the more

extravagant, and the finished product not only runs

clean — it’s an album that you can play start to

finish without fighting the urge to skip through.

• Alec Warkentin


November 2017





Séance Records

The word “eschaton” describes what will be when God ceases

to reign over humanity, the chaotic earth before the end of the

world. Kafirun captures that sound in swirling madness on their

first full-length. “Omega Serpent” gets the album kicking with

flurried, depressive riffs, while “Divine Providence” follows quite

naturally with a more morose pace. The last half of the album is

really the sweet spot, fast but hypnotic all the same. The deeper,

chanted vocal segments suit the music perfectly and really add

to the miasma of the album. However, the wailed vocals are a bit

distracting as they are supposed to convey pain and suffering, but

fall a bit flat here and just seem a bit too silly to have the desired

effect. Ultimately, the vocals don’t detract from the album enough

to take away from the fact that this is solid black metal. Kafirun’s

next offering is already eagerly awaited.

• Ana Krunic



Fundamental Illness

In less than a year, post-punk three-piece Puritans are back with

their second EP, Autonomy. Featuring four tight tracks that pack

punch and polish, Puritans have clearly uncovered satisfying


Opening with an absolute earworm, “Perimeter” starts strong

with a steady cross-stick drumming and an atmospheric guitar

line. Unlike on their previous release, Swerving Lines, frontman

Cameron Davenport tiptoes his way onto the track, revealing a

dynamic vocal delivery. It doesn’t last long, but his soft singing

adds weight to the ungodly growl he unleashes later in the song.

Bringing it home on “Weaker Weapon,” Puritans roll right over

our eardrums with fuzzy guitar effects and a bruising beat. Before

losing his voice completely, Davenport eases into another gentle

croon, capping off the EP in the same way it started.

Full of heavy hooks and awesome instrumentation, Autonomy

is everything one could want from a sophomore record.

Considering the strides they’ve made in just under a year, here’s

hoping Puritans can make use of their momentum.

• Sam Hawkins


Positive Mental Energy


Victoria based rockers Sure are shaking up the punk scene this

autumn with the release of their second album, Positive Mental

Energy. Self-described as “bratty and straightforwardly poetic,”

Sure marry the old-school classicism of The Ramones and the

Sex Pistols with a modern synergy that is as unpretentious as it is

unabashedly fun.

With the opening track, “Dog Pit” drawing the curtain back on

the album, Sure makes damn—well, sure—that audiences know

that they’re in for a head-banging good time from the get-go.

With tasty guitar licks, hair-tossing beats, and vocals that scrape

their way up the gentle side of punk, Sure nails a boyish vibe that

will make waves with any audience.

• Emma Sloan

The Pack AD


Cadence Music

Standing out as a two-piece rock outfit can be tough but the

seventh album by these Vancouver veterans’ shows that it can

be done. Dollhouse takes roaring riffs, catchy hooks and marries

them to powerful vocals with lyrics that really capture the

uncomfortable feeling of the here and now. There are stompers

here but the Pack AD show that they can slow it down on the

smoky “Because of You” and reverb soaked, mournful closer “I

Tried” for a nice change of pace without losing their edge.

• Graeme Wiggins

Project Pablo

Hope You’re Well


Now based in Montreal, producer Project Pablo has been gaining

traction since 2014 and laid down another mark in music with the

release of Hope You’re Well via Ninja Tune’s Technicolour imprint.

Opening with “Is It Dry,” the Vancouver native leads you through

the four track EP leaning heavy on melody while still giving off

that big room vibe.

Keeping with the mindset of a little less hook, Hope You’re Well

flirts with listener’s senses while ensuring it leaves an impression

on the bodies reached, especially on closer “Oh Fer Sure” – pure


Project Pablo is a new breed bringing a sought after and

recognizable flare to a mainstay sound in an always evolving

electronic music environment.

• Jamie Goyman

Phono Pony

Death By Blowfish


Featuring prickly vocals reminiscent of Mother Mother’s Ryan

Guldemond and enough bar band riffs to warrant the price of

admission, Phono Pony’s Death by Blowfish is an enjoyable listen,

if a little on the simple and straightforward side. The choruses are

catchy, the guitars are crunchy, and the rhythm section is tight.

If you’re not moved by alternative rock this isn’t going to change

your mind, but for the converted it’s just what the doctor ordered.

Standouts include “Tattoo of My Face” and “Take It From Me.”

• Max Hill

November 2017 33




This month, the Golden Pig gifts us with business skills and acumen,

as well as creative flair. Look forward to social activities of all kinds,

indulgences in fine foods, and enjoying the fruits of your labours

with friends, family, and neighbours. Generosity finally makes an

appearance after what might’ve been a frugal or otherwise skimpy

year. Giving and receiving, the Rabbit and Sheep celebrate; the Snake

should not gamble, the Ox and Rat feel all the feelings, and the

Monkey learns the hard way. As we move toward the wet winter

months ahead, the sharpness of metal shifts and we can look forward

to the long-awaited wisdom that is gleaned from the underlying

lessons of the year.

Rabbit (Pisces): Give your time freely, while creating healthy

boundaries. Limits help with time management as you focus on what

matters most to you and prevent others from slowing or rushing

your natural pace.

Dragon (Aries): Aptitude and talent inspire creativity now. You can

learn now by watching, experimenting, and seeking out friends who

align you with the people and places you desire connection with.

Snake (Taurus): An eye for an eye is not always the way — even

though give and take are important, you may be asked to give freely

now without much in return. Can you see how a small gift today can

yield great rewards tomorrow?

Horse (Gemini): Don’t worry about what other people are doing,

saying, or posting. Your path is your only concern and to walk it,

you’ll need to keep your eye on your target. Distractions hinder your

progress so stay focused.

Sheep (Cancer): Intention is powerful and each thought you have

in your head puts something out in the world. If people could hear

your thoughts, do you think they would act differently? Share your

feelings to open the lines of communication and help everyone


Monkey (Leo): If you’re going to make an omelette, you’ll need to

break a few eggs. Be patient with others as they may take more time

to see it your way. Your clever and quick mind is steps ahead, so be

kind to soften what might feel like a hard blow to the ego.

Rooster (Virgo): The worst is now behind you and you are

surmounting the difficulties of the year. How can you apply what

you’ve learned about yourself into your future planning?

Dog (Libra): Although it’s hard for you to ignore a cry for help, make

sure that those you are assisting or supporting are deserving of your

efforts. If you cannot meet another in a balanced way, don’t hesitate

to step back or step off.

Pig (Scorpio): Your enthusiasm may come across now as being overeager,

over-indulgent, or over the top! Use creativity as your outlet

and look for ways to collaborate with others. It’s okay to say no now,

but why not just say yes instead?

Rat (Sagittarius): Your self-criticism could undermine your selfesteem.

Listen to the clarity and wisdom of those around you to give

genuine insight into who you are becoming. Are congratulations or

self-correction in order?

Ox (Capricorn): The wisdom you possess is one of your gifts, Ox.

Lead by example and show others how to be stable, hard working

and fun loving all at the same time.

Tiger (Aquarius): If you’re at the end of your rope it might be time to

call it quits, but that doesn’t make you a quitter. Look to the past for

evidence that this change has been a long time coming and you’ve

been waiting for it. Seize the day.

Susan Horning is a Feng Shui Consultant and Bazi Astrologist living and

working in East Vancouver. Find out more about her at


November 2017

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