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BeatRoute Magazine BC Print Edition February 2018

BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics. Currently BeatRoute’s AB edition is distributed in Calgary, Edmonton (by S*A*R*G*E), Banff and Canmore. The BC edition is distributed in Vancouver, Victoria and Nanaimo. BeatRoute (AB) Mission PO 23045 Calgary, AB T2S 3A8 E. editor@beatroute.ca BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120

1 Mr. Boom Bap presents

1 Mr. Boom Bap presents Boogie Nights 2 The Railway Stage presents Rock N’ Roll Winter Classics 3 Blues Brunch 1-4 Saturday Sessions 4:30-7:30 Modern Day Poets 9-late 4 Super Bowl LII 5 The Take Back DJs Khingz, Mic Flont & Guests 6 Happy Hour $ 3 Beer til 5pm 7 Happy Hour $ 3 Beer til 5pm 8 Live Acts Canada & Live Agency present Walter The 17th ep release show 9 The Live Agency presents Aviator Shades w. guests 10 Blues Brunch 1-4 Saturday Sessions 4:30-7:30 Stella Soul w. guests 9-late 11 Open Mic Night 12 The Take Back DJs Khingz, Mic Flont & Guests 13 Cookies hosted by Dust & Karmella w. guest Merrie Cherrie 14 Happy Hour $ 3 Beer til 5pm 15 Mr. Boom Bap presents Boogie Nights 16 Live Agency & Live Acts Canada present The Segues w. guests 17 Blues Brunch 1-4 Saturday Sessions 4:30-7:30 The Fallaways 9-late 18 Live Agency & Live Acts Canada present Wil 19 The Take Back DJs Khingz, Mic Flont & Guests 20 Happy Hour $ 3 Beer til 5pm 21 Live Agency presents Whitney Rose 22 Mr. Boom Bap presents Boogie Nights 23 Toddcast Podcast presents La Chinga w. We Hunt Buffalo & The Thick Of It 24 Blues Brunch 1-4 Saturday Sessions 4:30-7:30 Emily In The Headlights 9-late 25 Live Agency & Live Acts Canada present Phenix Warren w. guests 26 The Take Back DJs Khingz, Mic Flont & Guests 27 28 Happy Hour $ 3 Beer til 5pm Happy Hour $ 3 Beer til 5pm

DESTROYER THE DIFFERENCE BETWEEN DEPRESSIVE AND MELANCHOLIC SARAH BAUER Dan Bejar continues working on the new Oliver Twist with his latest saga, ken. BAHAMAS MAKING MODERN SONGS FROM THE EARTH FRANKIE RYOTT It’s only taken Dan Bejar 12 records and 20 some-odd years of playing music as Destroyer to make something his 17-year-old self would approve of. ken (Merge Records) is gloomy, synthheady and short in play time, just like the stuff Bejar devoured in the late eighties, “the era when I got really crazy about music,” he says from the streets of Chicago on his call with BeatRoute. To make ken (which takes its name from the working title of the Suede ballad “The Wild Ones”), Bejar had to get uncomfortable, working within the prison of writing songs on guitar, which is something he hadn’t attempted in over ten years. “There’s something about the tightness of the craft [of writing on guitar] that hadn’t really been interesting to me on the previous two records [Kaputt and Poison Season], and probably is something I won’t do again for a while,” Bejar says. From the confines of guitar chords came 11 depressive ditties taking stock of derangement, malaise and overconsumption in a too-close-for-comfort physical landscape. The lyrical aura on ken is pointed yet elusive, relatable but not quite topical. Bejar brought Destroyer drummer and Black Mountain member Joshua Wells on as producer, to a stunningly accurate effect for evoking his chosen decade. Songs like “Rome” and “Tinseltown Swimming in Blood” groove with the body-pulsing movement of an imagined dance scene out of Casino or Heat, with drenched percussion and deep, driving synth. “It’s been really fun to lay into these songs,” Bejar says, having been on tour for ken for a couple of weeks at the time MUSIC the interview was recorded. “I wasn’t really sure how the band would take to them and attack them because they’re kind of robotic in their way and icier than what we’re used to doing onstage.” Instead, Destroyer makes it “really noisy and really loud,” punctuating the crisp and close-up lyrics on high-drama doozies like “Le Regle Du Jeu” (yes, that’s a Renoir film reference), and “Ivory Coast”. Phoneys, corrupters and “dear young revolutionary capitalists,” (“Sky’s Grey”) saturate Bejar’s macabre landscape on ken, so the odd moment of optimism renders its listener deranged in desperation for more. “Sometimes in the world you’re very alive,” Bejar intones on “Sometimes in the World”, emphasizing, “You’re nuts and bolts and electrocutions. You’re antidotes, you’re solutions.” Even manufactured goodness is a bitter laugh on ken, which Bejar describes as “depressive” in comparison to the otherwise “melancholic” themes he’s explored as Destroyer otherwise. Wherever it comes from, depressive or melancholic, it’s not always something Bejar recognizes in himself. “I never sit down and pick up a pen and go, ‘OK, it’s time for me to write a song now,’” says Bejar. The imagery and “shreds of a melody,” descends without warning, leaving Bejar to his devices to report it in music. To some that might seem scary, but not to Bejar. “That’s how I get my kicks,” he says. We’ve all got to get our kicks somehow. Destroyer plays the Commodore Ballroom February 9. After a demanding few years touring the world and sharing his light, Afie Jurvanen, aka Bahamas, is back in beige and ready to share his fourth album, Earthtones, with the world. The Toronto-based singer-songwriter last appeared on the musical radar in 2014 with his critically acclaimed LP “Bahamas is Afie,” an album that not only took home Juno awards for songwriter of the year and alternative adult album of the year, but also solidified Bahamas’ momentous presence in the indie-folk realm. Despite this success, Jurvanen struggled to find which direction to head in next, until long-term manager and confidante Robbie Lackritz suggested he collaborate with contemporary RnB icon D’Angelo’s rhythm section: Pino Palladino (bass) and James Gadson (drums). This partnership reignited Jurvanen’s creative flames, pushing the indie-folk heavyweight towards creating an album that truly represents what Bahamas is all about. “This album is heavy. I think it is the most direct and to-the-point album I have made so far, both lyrically and musically. There’s no studio trickery. The songs are a performance, the vocals are loud and I’m not trying to hide behind anything. I’m singing about my brother, my wife, my kids, my life and the world I live in. I wanted to make something modern, contemporary and relevant to 2018 and the time we live in,” Jurvanen explains. This desire to make modern songs “from the earth for the earth” came from Jurvanen’s appreciation of the fluidity and creative diversity hip-hop and RnB artists have within their albums. “Rnb and hip-hop artists are able to sing about the modern world; they can create dance songs, sing, and rap. You can listen to a Drake or Kanye West album and there are all different kinds of music on there that can change each day you listen to it. I like the idea of that, that we can do anything we want because, at the end of the day, music is art before it is a product to sell. D’angelo’s records have that quality, and when working with Pino and James I never wanted to talk about what we were doing, I just wanted to allow them to be themselves, to enjoy our musical conversation and see what we could come up with. I think it’s a lot more interesting to make music together when you’re on the edge of your seat waiting to hear what the other is going to do next, that produces something more exciting,” says Jurvanen. There is no doubt that Earthtones is something to be excited about. The eleven-track album provides listeners with a compilation of delicate but diverse tracks balanced with Jurvanen’s signature vocals. Earthtones is bluesy, melodic, well crafted, and expertly intricate in all the right moments. From the wading guitar riffs of “Alone” to the tropical twists of “Way with Words,” the combination of D’Angelo’s rhythm section and his own road band has allowed Jurvanen to create an album that dives into a dimension of its own; one without definition and the constraint of genre boundaries and this is just his beginning. “I was playing music long before anybody cared about my music. And I’ll be playing music long afterwards. The cool thing is my musical mind is with me wherever I go. For instance I wrote ‘Bad Boys Need Love Too’ tapping my steering wheel sitting in traffic. I think it’s important to have no expectations, because when you have no expectations, well, anything is possible and you can go beyond what you think is possible. That was definitely a revelation to me on this album and I’m excited for all the music that’s to come from here on out.” Bahamas performs at the Queen Elizabeth Theatre on March 1. After a four-year hiatus, Bahamas is back with his fourth album, Earthtones. February 2018 17

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