9 months ago

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


HUMANS plus INKY FRI, FEB 9 CAPITAL BALLROOM Typhoon - Offerings LA VIDA LOCAL HOMEGROWN VANCOUVER MUSIC RELEASES U.S. Girls - In A Poem Unlimited Including a short clip of her decimated voice stating the obvious, Remy follows this with the most harmonious and easy going, alpha wave infused “Rosebud,” and curtails this immediately with the wailing “Incidental Boogie” — opened up by words on abandonment. The groove never lets up, and Remy’s natural lean towards reinterpretation and repetition is exploited in great combination with varying rhythms and constantly engaging material. Closing with “Time,” Remy picks up some massive speed for her final piece. “There is no time” she repeats as she delves into over seven-minutes of guitar and sax solos. She eases in and out but never slows down, and things quickly get jumbled together, layers pile onto a solid groove. The instruments seemingly improvise their own end while the albums’ many elements ring on and shake it off. • Arielle Lessard JENN GRANT plus MICK FLANNERY SAT, FEB 10 CAPITAL BALLROOM BELLE GAME plus GUESTS SAT, FEB 10 | LUCKY SONREAL plus GUESTS SAT, FEB 17 CAPITAL BALLROOM Autogramm Jessica Don’t Like Rock ‘N’ Roll Party Product Records Call me crazy, but I’m pretty sure the A-side from this new trio of newwave mojo workers is about a girl I knew back in the rock’n’roll hey-day of the Pic Pub party scene - a feminine force of nature who exuded energy at every show that was outrageous and contagious all at once. When the scene died away, I’m sure many were left wondering what happened to “the spandex and creeper queen”? Well apparently, “she still thinks the clothes are cool, but must have better things to do,” laments our lead vocalist as the silky synths, throbbing bass and “so-dead-on-you’d-thinkthey-were-digital” drums set the AM radio tone of growing older and leaving your past (perhaps regrettably) behind. If you miss bands like Redd Planet and the like, then you’ll need to pick up this single. • Bryce Dunn Elan Noon Have a Spirit Filled Field Mates Records Indulge in a Wes Anderson inspired daydream with Victoria-based Elan Noon’s newest release. Have a Spirit Filled is a captivating lo-fi pop album with experimental touches and intricate lyrics. “Blue” is a Simon and Garfunkel and Nick Drake hybrid with acoustic finger picking and ambient electric guitar licks. From the perkier “False Idols (ft. Suz)” with its punchy beats, to the reflective instrumental “Please Hold,” each song is its own experience. Have a Spirit Filled is consistently engrossing. • Lauren Donnelly Colour Tongues EP Independent Math rock – often held in derision by some music critics and detractors, but loved dearly by its converts. On their debut EP, Vancouver fourpiece Colour Tongues navigate an earnest, pleasant technical route that methodically touches most of the bases associated with the genre. Prominent mathy indie bands such as Minus The Bear and This Town Needs Guns make for clear influences across the four tracks. The instrumentation, catchy and upbeat, boasts the requisite playing ability and the songwriting is consistent throughout. While the production on the EP occasionally doesn’t do the band’s tight, lush melodies full justice, the release itself is a quick, wholly enjoyable listen. • Willem Thomas Corner Boys Just Don’t Care Drunken Sailor Records The Corner Boys are a good-time gang you wanna get with on their gate-crashing debut. First off, unabashed Undertones riffs tangle with the tough turf-sound of 53rd & 3rd on “Just Don’t Care”. Next, they offer a Jilted John-esque ode to Patrick McGoohan’s secret agent-thriller-turnedsurrealist drama The Prisoner on “Be Seeing You” and then finish off with “Joke (Of The Neighbourhood)” that is anything but, hitting the sweet spot between the Real Kids and the Rich Kids - all ringing chords, snappy bass and driving drums to get the toes tapping and hands clapping. More of this please and make it quick. • Bryce Dunn Matt Stern Magic Independent Montreal transplant Matt Stern is bringing his musical “Je ne sais quoi” to the West Coast with his new album Magic. The celebratory pop sound is a good fit for Stern. Exuberant horns pair with understated vocals and dance-worthy beats on tracks “You’re Magic” and “Chance to Live.” “You’re an Animal,” “Keeps Me Awake,” and “Taking Us Over” slow things down. They’re delicately sexy with driving rhythms and sweet lyrical quirk. The orchestral touches are the album’s strength. Stern is finding his stride as an artist and it makes for a celebratory sound that’s magnifique. • Lauren Donnelly 32 February 2018

LIVE August Burns Red w/ Ocean Grove, Erra, Born of Osiris Vogue Theatre January 19, 2018 7PM at the Vogue on a Friday, with the line-up curled around the corner of Granville and Smithe, the sky split open like a circle-pit. Drenched hoodies and black umbrellas augmented the texture of a night that started melodic and culminated in an onslaught of top-tier metalcore. Aussie blokes, Ocean Grove, broke the stage in around 7:30 and won over a small crowd with most still stuck in lines at merch-tables. Erra materialized next in a haze of smokey blue and effortlessly drifted through a set equal parts melody, equal-parts steel-splitting heaviness. Born of Osiris followed with a 40-minute set that never slowed, never found a comfortable spot and stayed there. Yung Leang Vogue Theatre January 24, 2018 Photo by Zee Khan Moments before August Burns Red arrived, the pit inhaled, became the eye of the downpour at the doorstep, and with bodies already traumatized we momentarily rehabilitated, then erupted in flame for an hour-long interminable mosh-pit. ABR moved through an instrumentally unmatched setlist with black-bearded, black-toqued, Jake Luhrs, at the helm hitting each catapulting scream. Though predominantly Phantom Anthem-inspired, the set seemed a heartfelt culmination of everything the band has achieved in the last 15 years while, at the same time, evidencing their storm has only just begun. • Brendan Lee Photo by Timothy Nguyen There was something different about the redhaired kid, bathed in white light, pouring out his soul at the Vogue Theatre during Yung Lean’s latest Vancouver appearance. In a genre saturated with a thousand Lil’ “everything’s” obsessed with money, drugs, and champagne on airplanes, Stockholm Sweden’s Yung Lean stood out with a set of songs that grew all over you, felt constantly propelled by the positivity in his body language and an electronic ambience that filled every inch of the place. Lean’s music falls under strange subgenres like ‘Cloudrap’ and ‘Sad Rap,’ and the ambiguity of his style feels spot on. Although, at times, Lean’s beats had the floor more trap-trampoline than concrete, the set had an overall mellowness at its center, the type of music you lean way back, close tired eyes and bob heads to. Again, as the final few songs blurred in and out of each other, it was clear the crowd was witnessing something different. That feeling may have stemmed from the rebirth of a polluted genre injected with life again. May have been indefinable. Whatever that something might have been, if you were there that night, whatever the reason, you wouldn’t dare look away. • Brendan Lee Photo by Aishath Boskma Meshuggah The Commodore Ballroom January 23, 2018 It’s been nearly six years since Meshuggah last played Vancouver. And judging by the huge amount of fans wandering around outside of the Commodore before the show, it was long overdue. Being their first date of a short run (the “Not Much of a Tour 2018” up and down the west coast), the band was in full force as they launched off their set with the dissonant “Clockworks,” drummer Tomas Haake’s hectic polyrhythms kicking off the set like a starting gun. A notable absence was that of guitarist Fredrik Thordendal who is currently on hiatus, replaced during this tour by Scar Symmetry’s Per Nillson. Despite generally coming from different stylistic background, Nillson is an incredibly skilled guitarist in his own right. Meshuggah powered through their set, keeping the energy high with “Born in Dissonance,” another track from their most recent album, The Violent Sleep of Reason. Jens Kidman’s vocals reached new heights on “Do Not Look Down,” while lighting tech Edvard Hansson showed off why he’s considered the band’s sixth member with his manually triggered light show. The band segued into the slowly-melting riffs of “Straws Pulled at Random,” followed by fan-favorite “Bleed” - the song that introduced a lot of younger fans to Meshuggah and socalled math metal. The lights went out, but Meshuggah came back quickly to finish off with the high-octane “Demiurge,” rounding off the setlist. It’s a complete brainscrambling experience seeing a band like Meshuggah live, but that just so happens to be the perfect equation for the ultimate math metal experience. • Ana Krunic February 2018 33

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