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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

The Go! Team -

The Go! Team - SEMICIRCLE The Sumner Brothers - To Elliot - In Remembrance Of Wolf Tune-Yards - I can feel you creep into my private life Bob’s timbre will sound immediately familiar, its tenderness belied by a gruff, aged tone, the kind of vocal people often call that of “an old soul.” The Sumner Brothers are one of Western Canada’s best underground roots acts, and their taste in quality songs is evident on To Elliot - In Remembrance Of Wolf. It’s easy enough to play covers everyone has heard; when an artist digs a little deeper and shows their audience something farther removed from expectation, the listener gets to experience a piece of the artist’s inspiration. • Mike Dunn Tune-Yards I can feel you creep into my private life 4AD It’s abrupt how little abruptness there is in the latest release from Tune-Yards. The rhythmic attack and staccato catch-and-release structure of the weird-pop outfits previous releases were career defining. I can feel you creep into my private life brings enormous simplicity to the rhythms, but the off-kilter melodies and nasal delivery from frontwoman Merrill Garbus become even more prescient to the project as a result. Most tracks are anchored by simple four-beats and structured like electronic music, specifically techno, but occasionally even features drop-like movements that echo dance music. This is most notable in the singles like “Look at Your Hands.” Other tracks feature a more deliberate instrumental build up that resembles LCD Soundsystem. The effectiveness of the record is mostly due to the sheer textural variety, combined with the huge personality of Garbus’ voice and lyrics. Garbus writes a lot about her social position on the record, both in her vulnerability as a woman in the public eye, which is echoed in the title of the record (and is spoken aloud several times during the record), and also in her self-consciousness about her white privilege. This is spoken to most directly in the first-person-sung “Colonizer.” Garbus’ own political self-awareness is a testament to the tonal variety that has defined her career. Tune-Yards routinely uses ethnically tinged instrumentation, but no song or even musical movement is distinctly drawn from any particular culture to even consider it appropriative. I can feel you creep into my private life is a weird, woke, and ultimately wonderful piece of work. • Liam Prost Typhoon Offerings Roll Call Records With the release of Offerings, Portland based Typhoon once again attracts listeners to delve into the emotion and passion of front man Kyle Morton. Offerings is the fourth studio album for the band and the sound differs significantly from White Lighter, the last studio album by indie symphonic collective. A much more distorted and frantic sound, Offerings fails to capture the listener’s full attention throughout and seems disjointed in the story it is meant to tell. The albums structure seems off, starting with “Wake,” a frantic song that is off-putting to the listener; however, it is followed by “Rorschach,” which for fans of Typhoon will be a welcome return to form. The album ends with the nearly 13-minute epic “Sleep” which draws comparisons to the 2009 release of Hospice by Brooklyn-based band The Antlers. This epic is the strongest song on the album and showcases Morton’s storytelling as well as the larger orchestral quality that is Typhoon. • Andrew Bardsley U.S. Girls In A Poem Unlimited 4AD Often described as idiosyncratic, Meg Remy of U.S. Girls has now made a decade of creative work and used fuel from her 2016 Juno Nomination for Alternative Album of the Year to build an inquisitive, well-produced and bizarre portrait of a disenchanted yet disarming reality in In a Poem Unlimited. Never without hook and never without its draws from pop to magnet listeners in, Remy twists expectation on itself to create completely danceable and somewhat perplexing disco-loaded schemes. Remy’s blunt use of repetition, computerized undertones, and sometimes breathy, sometimes undulating pitched vocals, never quite suit the traditional confines of pop and add to an inner richness that frames something illusive. Remy uses quaking siren-like guitar and saxophone lines that are catchy and captivating; breathing a modern air into their reverb and fully capitalizing on their strength in songs like “Velvet For Sale” and “Rage of Plastics.” What Remy does excessively well, it seems, is splice discordant, no-wave reactionary elements with more reliable basics of pop and disco. The album elaborates but doesn’t overcomplicate some intoxicating boogie while keeping with real emotion. Platinum Era (’96-’09) HiP HOP + R&B EVERY FRIDAY 10:30pm - 19+ 2755 Prince Edward Street biltmorecabaret.com HOUSE JAMS FOR THE YOUNG, RESTLESS & BORED CAN I LIVE + GUESTS EVERY SATURDAY NIGHT 10:30pm - 19+ February 2018 31

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