BeatRoute Magazine BC Print Edition April 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
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
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TRIM SIZE: 10.25"W x 11.5" H, RIGHT HAND PAGE
april‘18<br />
PUBLISHER<br />
<strong>BeatRoute</strong> <strong>Magazine</strong><br />
LAYOUT<br />
& PRODUCTION MANAGER<br />
Naomi Zhang<br />
FRONT COVER ILLUSTRATION<br />
Peter Ricq<br />
FRONT COVER DESIGN<br />
Randy Gibson<br />
INTERN<br />
Jessie Foster<br />
CONTRIBUTING WRITERS<br />
Beth D’Aoust • Adam Dean • Lauren<br />
Donnelly • Jarrett Edmund • Jessie Foster<br />
• Jovana Golubovic • Cathal Gunning<br />
• Trevor Hatter • Zach Johnson • Noor<br />
Khwaja • Ana Krunic • Brendan Lee •<br />
Axel Matfin • Hollie McGowan • Maggie<br />
McPhee • Jamila Pomeroy • Dan Potter •<br />
Molly Randhawa • Tory Rosso • Frankie<br />
Ryott • B. Simm • Willem Thomas • Cole<br />
Young<br />
CONTRIBUTING<br />
PHOTOGRAPHERS &<br />
ILLUSTRATORS<br />
Robert Anderson • Nedda Asfari •<br />
Peter Battistoni • Bryce Hunnersen •<br />
Bill Crisafi • Elissa Crowe • Tj Dawe • Itai<br />
Erdal • Cody Fennell • Greg Gallinger •<br />
Maria Jose • Dahila Katz • Anita Lewis •<br />
Connor Mccracken • Nelson Mouellic •<br />
Darrole Palmer • Jaik Puppyteeth • Daniel<br />
Rampulla • Rachel Robinson • Shimon<br />
Karmel • Raymund Shum • Landon<br />
Speers • Jake Stark • Steven Taylor •<br />
Matthew Zinke<br />
ADVERTISING INQUIRIES<br />
Managing Editor<br />
Jordan Yeager<br />
jordan@beatroute.ca<br />
Local Music<br />
James Olson<br />
james.olson@beatroute.ca<br />
The Skinny<br />
Johnny Papan<br />
johnny@beatroute.ca<br />
Comedy<br />
Graeme Wiggins<br />
graeme@beatroute.ca<br />
Editor-In-Chief<br />
Glenn Alderson<br />
glenn@beatroute.ca<br />
City<br />
Yasmine Shemesh<br />
yasmine@beatroute.ca<br />
BPM<br />
Alan Ranta<br />
alan@beatroute.ca<br />
Live Reviews<br />
Darrole Palmer<br />
darrole@beatroute.ca<br />
Film<br />
Hogan Short<br />
hogan@beatroute.ca<br />
04<br />
05<br />
06<br />
10<br />
12<br />
14<br />
15<br />
HI, HOW ARE YOU?<br />
- With the Herbal Chef<br />
PULSE - CITY BRIEFS!<br />
CITY<br />
- Record Store Day<br />
- Vancouver Tattoo Show<br />
- The Blue Hour<br />
- Mr. Burns<br />
THE PLIGHT OF THE<br />
NEIGHBOURHOOD<br />
POOL HALL<br />
<strong>2018</strong> Behind the 8-Ball Redux<br />
GRASSIFIEDS<br />
- Dispensary Guide<br />
- 420 Events<br />
FOOD & DRINK<br />
- Electric Bicycle Brewery<br />
- Blue Heron Creamery<br />
- Bottoms Up w/ Emily<br />
Shelle<br />
COMEDY<br />
- Hari Kondobolu<br />
- Corner Gas<br />
16<br />
18<br />
21<br />
25<br />
26<br />
29<br />
34<br />
MUSIC<br />
- Phoebe Bridgers<br />
- The Neighbourhood<br />
- Wild Child<br />
BPM<br />
- Eli Escobar<br />
- Jean-Michel Jarre<br />
- Bishop Briggs<br />
- Prado<br />
THE SKINNY<br />
- Iron Kingdom<br />
- You Big Idiot<br />
- Neck Of The Woods<br />
- Brass<br />
- Heron<br />
COVER - GAME<br />
OVER, MAN<br />
FILM<br />
- Isle of Dogs<br />
REVIEWS<br />
- Jack White<br />
- Amen Dunes<br />
- Guided by Voices<br />
HOROSCOPES<br />
Glenn Alderson<br />
glenn@beatroute.ca<br />
778-888-1120<br />
DISTRIBUTION<br />
Gold Distribution (Vancouver)<br />
Mark Goodwin Farfields (Victoria)<br />
Web<br />
Jashua Grafstein<br />
jash@beatroute.ca<br />
Social Media<br />
Mat Wilkins<br />
mat@beatroute.ca<br />
BEATROUTE MAGAZINE<br />
202-2405 Hastings St. E<br />
Vancouver <strong>BC</strong> Canada<br />
V5K 1Y8<br />
editor@beatroute.ca • beatroute.ca<br />
©BEATROUTE <strong>Magazine</strong> <strong>2018</strong>. All rights reserved.<br />
Reproduction of the contents is strictly prohibited.<br />
<strong>April</strong> <strong>2018</strong> 3
WITH THE HERBAL CHEF, CHRISTOPHER SAYEGH<br />
LAUREN DONNELLY<br />
World-renowned chef Christopher Sayegh<br />
brings the high to haute cuisine this month<br />
with a pop-up feast for the senses. Let him<br />
prime your palette for 4/20 with his pioneering<br />
take on cannabis-complemented cuisine. For<br />
two nights only, <strong>April</strong> 6 and 7, at a top-secret<br />
location, Sayegh will guide Vancouver diners<br />
through a multicourse experience combining<br />
local ingredients with THC and CBD extracts. And<br />
this isn’t your average edible experience. Chef<br />
Sayegh is a Michelin-trained chef whose eightcourse<br />
tasting menu is a true adventure down the<br />
rabbit hole. Sayegh’s done his research, putting his<br />
background in science to good use. He’s studied<br />
the endocannabinoid system, extraction methods,<br />
and vetted sources to make sure the dining<br />
experience is meaningful to guests looking to<br />
heighten their dining with light doses of cannabis.<br />
Featuring locally-sourced ingredients — including<br />
wares from local partners like the Quarry and<br />
Aura Cannabis –– the emphasis is on quality and<br />
community. Sayegh’s soiree aims to destigmatize<br />
cannabis by fusing fine dining with local wine<br />
pairings, music, and stimulating conversation –– is<br />
this heaven? We spoke to the Herbal Chef to find<br />
out what makes Mary Jane such a great dinner<br />
guest.<br />
BR: What’s the biggest misconception about<br />
cannabis-infused cuisine?<br />
CS: That it’s either a gimmick or it’s easy. It’s<br />
neither. Cooking with cannabis is definitively<br />
harder than cooking without it. The logistics alone<br />
create another layer of hardship on top of running<br />
a restaurant. <br />
BR: You say you want people to experience food,<br />
not just eat it. How does cannabis enrich the<br />
dining experience?<br />
CS: Cannabis is a sensory enhancer. So while<br />
we send out our timed and specifically dosed<br />
menu we can see diners embark on and enjoy<br />
the culinary journey we have set forth. It helps<br />
enrich the smells, the flavours, the atmosphere and<br />
the overall energy of the meal. It’s a new way to<br />
experience fine dining.<br />
BR: How do art and music add to the dining<br />
experience?<br />
CS: Because cannabis enhances the senses, it’s<br />
important to have art and music that create<br />
a distinct atmosphere as well as stimulate<br />
conversation based around the composition. It<br />
elevates the dining experience.<br />
CS: Oh boy... back when I was first starting<br />
out it was very difficult to get lab tests for the<br />
concentrates which is not how I like to do things.<br />
Long story short, I was bamboozled by the person<br />
I was purchasing the extract from, because it<br />
was more potent than what they said. I ate a<br />
small amount of the edibles I made with it and<br />
completely lost it for the next eight hours. In fact<br />
the only reason I think it lasted eight hours instead<br />
of two days was because I threw up everything a<br />
couple hours later. I was so high I couldn’t focus on<br />
anything but trying not to toss my cookies. There’s<br />
quite a bit more to this story, but I’ll leave it at<br />
this…don’t fuck around with edibles if you don’t<br />
know the potency.<br />
BR: What’s your favourite music to listen to<br />
while cooking?<br />
CS: The genre depends on how much work is left<br />
to do. If we have a ton of catching up to do, I need<br />
a pump up –– hip-hop and rap, something along<br />
the lines of Kendrick Lamar, Childish Gambino,<br />
or Logic. If we’re on track with our prep and are<br />
smooth sailing I enjoy listening to something chill<br />
–– Masego, FKJ, Mura Masa. If I have no worries at<br />
all (like I’m cooking for friends/family) I enjoy some<br />
Frank Sinatra.<br />
BR: Favourite music to listen to while smoking?<br />
(Do you smoke?)<br />
CS: I love to smoke and usually prefer a joint.<br />
I do not, however, smoke while I’m cooking or<br />
allow any of my staff to as we need full focus to<br />
execute our dinners. While I smoke I like to listen<br />
to a combination of the above with some classical<br />
music. <br />
BR: The Pharcyde’s “Pack the Pipe” or Cypress<br />
Hill’s “Hits from the Bong”?<br />
CS: If I had to choose out of only these two, I’d<br />
say Cypress Hill’s Hits from the Bong. We actually<br />
catered a Cypress Hill party on a rooftop venue<br />
called Green St a while back. <br />
BR: Tell us a bit about this dinner, what can<br />
Vancouver expect from the experience?<br />
CS: Vancouver can expect a culinary showcase first<br />
and foremost. Made with ingredients that we go<br />
out and source ourselves either by hand from the<br />
ground, off our fishing poles or from the farmers<br />
themselves. They can expect a subtle shift in their<br />
perception as the dinner continues. Guests will<br />
go from an excited anticipation to a euphoric<br />
sensation before finishing the evening in blissful<br />
relaxation. As their moods shift, the food and the<br />
music will help their heightened senses get the<br />
most out of the experience.<br />
Chef Sayegh hosts two pop-up dinners in Vancouver<br />
on <strong>April</strong> 6 and 7, and space is limited. The dinners<br />
begin at 7 p.m., and their location will be revealed<br />
just prior to the event. Tickets cost $200 (including<br />
gratuity and a gift bag). Enquire about tickets here:<br />
herbalchefvan@gmail.com and find out more about<br />
the Herbal Chef at http://theherbalchef.com/<br />
4<br />
BR: Remember that cop who called 911 when<br />
he ate too many edibles? Have you ever had any<br />
bad experiences while experimenting? <br />
Chef Christopher Sayegh serves up a feast for the senses, priming your palette for 4/20.<br />
<strong>April</strong> <strong>2018</strong>
CITY BRIEFS!<br />
<strong>BC</strong> Distilled Métis Mutt The Railway Stage & Beer Café Verboden Festival World Ski and Snowboard Festival<br />
ART! VANCOUVER<br />
APRIL 19-22 AT VANCOUVER<br />
CONVENTION CENTRE<br />
This annual fair features artists, art<br />
workshops, panel discussions, and<br />
more. Now in its fourth edition, Art!<br />
Vancouver aims to promote the<br />
international art scene in Western<br />
Canada. Look for works by artists<br />
like Sudan photographer Nihal Omer<br />
alongside local talent like landscape<br />
painter Jenna Robinson.<br />
INCITE: CRAFTING CREATIVE NON-<br />
FICTION<br />
APRIL 11 AT VANCOUVER PUBLIC<br />
LIBRARY<br />
In this free event presented by the<br />
Vancouver Writers Fest, four female<br />
writers from diverse backgrounds<br />
discuss how they’ve used the nonfiction<br />
genre to spur discussions on<br />
today’s issues. The evening features<br />
Room <strong>Magazine</strong> managing editor<br />
Chelene Knight, former This <strong>Magazine</strong><br />
editor Lauren McKeon, feminist activist<br />
Judy Rebick, and Globe and Mail<br />
columnist Elizabeth Renzetti.<br />
THE GATEWAY SHOW<br />
APRIL 20 AT RICKSHAW THEATRE<br />
Celebrate 4/20 with stand-up<br />
comedians Ivan Decker (Just for<br />
Laughs), Maggie Maye (Conan), Myles<br />
Webber (MTV), and Sophie Buddle<br />
(Kevin Hart’s LOL), as they attempt to<br />
tell their best jokes after smoking way<br />
too much weed.<br />
BRICKCAN <strong>2018</strong> PUBLIC LEGO<br />
EXHIBITION<br />
APRIL 21-22 AT RIVER ROCK<br />
CASINO<br />
The largest public exhibition of<br />
LEGO in <strong>BC</strong> is back. Stop by the River<br />
Rock Casino to check out hundreds<br />
of amazing models built by LEGO<br />
enthusiasts from all over the world.<br />
THE RAILWAY STAGE & BEER CAFÉ<br />
CELEBRATES 85TH ANNIVERSARY<br />
APRIL 6-8 AT THE RAILWAY STAGE<br />
& BEER CAFÉ<br />
Since it originally opened in 1932<br />
as a private club for CPR workers,<br />
the Railway has been a Vancouver<br />
mainstay for live music. The iconic,<br />
historic venue is celebrating its<br />
milestone 85th birthday with — what<br />
else? — a weekend full of music,<br />
with performances from local bands<br />
including Hey Ocean! and Said The<br />
Whale.<br />
<strong>BC</strong> DISTILLED<br />
APRIL 14 AT CROATIAN CULTURAL<br />
CENTRE<br />
The largest spirits event in the country<br />
for local makers celebrates its fifth<br />
annual edition on <strong>April</strong> 14. Featuring<br />
40 distilleries from around the<br />
province, including Deep Cove Brewers,<br />
Odd Society, and Tumbleweed Craft<br />
Distillery, the event also includes bites<br />
from Forage and Juniper.<br />
VERBODEN FESTIVAL<br />
APRIL 13-15 AT THE WALDORF, 333,<br />
AND THE ASTORIA<br />
Vancouver’s only darkwave music<br />
festival will feature more than 30 artists<br />
from all around the world. Glasgow’s<br />
Soft Riot and Seattle’s Charlatan will<br />
perform alongside local bands like<br />
ACTORS, Spectres, and Ghost Twin.<br />
The festival is completely DIY and<br />
community-run.<br />
MÉTIS MUTT<br />
APRIL 25-MAY 5 AT FIREHALL ARTS<br />
Sheldon Elter writes and stars in<br />
this recounting of his difficult<br />
childhood, having grown up in an<br />
abusive household while experiencing<br />
discrimination because of his culture.<br />
Elter combines stand-up comedy,<br />
original music, and multi-character<br />
vignettes to explore who he is and<br />
what’s important to him.<br />
WORLD SKI AND SNOWBOARD<br />
FESTIVAL<br />
APRIL 10-15 IN WHISTLER<br />
In this jam-packed weekend, North<br />
America’s largest festival of snow<br />
sports, music, and art celebrates<br />
the finals of the Monster Energy<br />
Boarderstyle World Championships,<br />
hosts the annual OLYMPUS 72hr<br />
Filmmaker Showdown, and provides a<br />
platform for local artists to showcase<br />
their work. There will also be live<br />
performances from A Tribe Called<br />
Red and DJ Jazzy Jeff, as well as parties<br />
throughout Whistler Village.<br />
<strong>April</strong> <strong>2018</strong> 5
CITY<br />
RECORD STORE DAY<br />
IN SUPPORT OF OUR LOCAL, INDEPENDENT MUSIC SHOPS<br />
Red Cat Records has been voted one of the top independent record stores in Canada.<br />
HOLLIE MCGOWAN<br />
For music lovers, there’s nothing quite like the<br />
thrill of buying music that has been pressed<br />
onto vinyl. This <strong>April</strong> 21, independent record<br />
stores all over Vancouver will once again be<br />
bustling with vinyl aficionados chasing the<br />
excitement. Before the hustle begins, we caught<br />
up with some of the city’s main hot spots for<br />
record shopping to talk about surviving in the<br />
digital era, this year’s special releases, and the<br />
advent of the 11th annual Record Store Day.<br />
RED CAT RECORDS<br />
Voted one of the top 10 independent record<br />
stores in Canada and now with two locations,<br />
one on Main Street and the other in Hastings-<br />
Sunrise, Red Cat has plenty for the vinyl seeker’s<br />
soul.<br />
What does it take for a record store to<br />
survive today?<br />
Dave Gowans, Red Cat Records: Being open to<br />
carrying every type of music.<br />
What is the first record you sold at the shop?<br />
If I can remember correctly, the first CD we sold<br />
would have been a Junior Wells CD.<br />
Recommendations on what to buy on record<br />
store day?<br />
Spacemen 3 re-issues, A Wire 7-inch box set,<br />
and there’s some rare David Bowie stuff that<br />
looks interesting.<br />
NEPTOON RECORDS<br />
Vancouver’s oldest record store, Neptoon is a<br />
staple within the city. There’s also plenty of CDs,<br />
concert posters, and memorabilia in addition to<br />
all their new and used records.<br />
6<br />
What does it take for a record store to<br />
survive today?<br />
Ben Firth, Neptoon Records: It would be very<br />
tough to start a store now. I think all the stores<br />
in Vancouver are known well enough that we’re<br />
all pretty established and people will come to<br />
us.<br />
What is the first record you sold at the shop?<br />
I can’t remember. I’ve been working here since I<br />
was a little kid. My dad opened the store in ’81,<br />
and I was born in ’87.<br />
Recommendations on what to buy on record<br />
store day?<br />
I’m really excited about the deluxe version of<br />
the Baby Huey record. It’s an amazing ’70s soul<br />
funk record.<br />
AUDIOPILE RECORDS<br />
Audiopile is one of the main spots to hit<br />
up when out hunting for new and/or used<br />
records, cassettes, and CDs on Commercial<br />
Drive. Established in 2001, Audiopile has a wide<br />
selection for everyone.<br />
What does it take for a record store to<br />
survive today?<br />
Mark Richardson, Audiopile Records: I think<br />
a knowledgeable, approachable staff is key.<br />
A lot of people come into physical stores for<br />
the interaction, which you just can’t get when<br />
you’re buying records online.<br />
What is the first record you sold at the shop?<br />
This is what the owner [Geoff Barton] passed<br />
on to me: “New Bomb Turks, At Rope’s End. It<br />
was before I even opened the doors. A delivery<br />
guy heard me playing it, asked about it, and I<br />
sold it to him.”<br />
Recommendations on what to buy on record<br />
store day?<br />
Shiho Yabuki, The Body Is A Message of the<br />
Universe.<br />
DANDELION RECORDS AND<br />
EMPORIUM<br />
Dandelion Records and Emporium is a unique<br />
little store located on Main Street, just north of<br />
Broadway. In addition to rare and special finds<br />
on vinyl, Dandelion also sells handcrafted items<br />
such as greeting cards and kitchenware.<br />
What does it take for a record store to<br />
survive today?<br />
Jeff Knowlton and Laura Frederick,<br />
Dandelion Records and Emporium: I think<br />
being flexible and having a store with records<br />
as well as gifts works well for us. We also have a<br />
great community and a lot of support from our<br />
customers so that really helps too.<br />
HIGHLIFE RECORDS<br />
Highlife is another important focal point for<br />
music shopping on Commercial Drive. Not<br />
only is there plenty of music to purchase on<br />
both vinyl and CD, they also sell DVDs, concert<br />
tickets, books, and musical instruments.<br />
What does it take for a record store to<br />
survive today?<br />
Kevin Finseth, Highlife Records: For Highlife,<br />
survival required a strong belief in the value<br />
of what we do, showing up for work, creating<br />
a strongly curated selection, [and] paying<br />
attention to the folks who come in the store.<br />
What is the first record you sold at the shop?<br />
Muddy Waters, The Real Folk Blues.<br />
BEAT STREET RECORDS<br />
What was once a shop dedicated to selling<br />
items such as skateboards and clothing<br />
eventually became dominated by records.<br />
With now over 50,000 new and used records in<br />
stock, it still maintains the sale of urban lifestyle<br />
goods on the side such as graffiti art supplies, DJ<br />
equipment, and more.<br />
What does it take for a record store to<br />
survive today?<br />
Avi Shack, Beat Street Records: Being a part<br />
of the community that supports us. Great<br />
customer support. Bringing in records that<br />
make people happy.<br />
What is the first record you sold at the shop?<br />
I wish I knew. 22 years is a long time ago. I still<br />
have the first $2 bill that was spent here though.<br />
Recommendations on what to buy on record<br />
store day?<br />
So many releases to choose from. Demon<br />
Fuzz, Czarface, and Too Short are some of our<br />
favourites.<br />
Record Store Day is on <strong>April</strong> 21.<br />
VANCOUVER TATTOO<br />
AND CULTURE SHOW<br />
FRESH INK, FUN TIMES<br />
HOGAN SHORT<br />
The Vancouver Tattoo and Culture Show is back at the<br />
Vancouver Convention Centre, starting on <strong>April</strong> 20 and<br />
running through the weekend.<br />
“If you’re new to tattooing, this gives you an<br />
opportunity to see the entire gamut of styles, as well as<br />
the individual style of each artist,” says event organizer<br />
Tim Lajambe. “If you are an avid tattoo collector, it<br />
gives you an opportunity to be tattooed from artists all<br />
around the world.”<br />
So why go to a convention over simply walking into a<br />
shop and booking an appointment?<br />
“To see, meet, and support local artists!” enthuses<br />
Moorea Hum-Spensley, who tattoos out of a private<br />
studio in Vancouver. “It’s a great opportunity to buy<br />
prints or other artwork. You can also get tattooed by<br />
artists who are usually booked up months in advance.”<br />
With over 200 artists and their portfolios present, it’s<br />
easy to find a style that suits your vision. Local artist Kyle<br />
Hoffarth has some tips for anyone worried they might be<br />
overwhelmed or underprepared.<br />
“Number one: bring cash,” he says. “Tattooers aren’t<br />
typically tech-savvy business people, so we deal with<br />
cash only. Also, the convention is a great place to get<br />
some really unique artwork. Many artists will have oneoff<br />
drawings and flash to choose from. Take advantage<br />
of the convention to get something truly unique and<br />
original.”<br />
Even if you’re not sure you want a tattoo, Lajambe<br />
says there are plenty of other things to enjoy at the show.<br />
“We have tattoo contests, aerial performers, taiko<br />
drummers, lion dancers, and the list goes on. This year<br />
specifically we are trying to incorporate more culture<br />
from the different countries of the origins of tattooing.”<br />
So why not get a fresh tattoo this 4/20? Whatever<br />
your hopes or hesitations, expect a fun and inclusive<br />
environment that is, at the very least, a unique way to<br />
spend your weekend.<br />
Vancouver Tattoo and Culture Show runs from <strong>April</strong> 20-22<br />
at the Vancouver Convention Centre.<br />
<strong>April</strong> <strong>2018</strong>
THE KILLERS • FLORENCE + THE MACHINE<br />
IN COLLABORATION WITH
Richard Jackson, Pump Pee Doo (2004 - 2005) fibreglass, pumps, buckets, acrylic paint, MDO<br />
132 x 240 x 240 inches (335 x 609 x 609 cm)<br />
Rennie Museum | 51 East Pender St | Vancouver
THE BLUE HOUR<br />
FEATURE EXHIBITION AT CAPTURE PHOTOGRAPHY FESTIVAL CONSIDERS THE CONCEPT OF TIME<br />
NOOR KHWAJA<br />
Joi T. Arcand’s inspires the discussion of the “invisibility of Indigeneity” at Capture Festival.<br />
The Contemporary Art Gallery’s exhibition, The<br />
Blue Hour, opens to the public from <strong>April</strong> 6 until<br />
June 24 as the headliner for the annual Capture<br />
Photography Festival. This exhibition features<br />
five different artists who each use photography<br />
in their own way to complicate the imagined<br />
timeline of the photographic image. While each<br />
individual artist’s work speaks outwardly to larger<br />
political, environmental, and visual dilemmas,<br />
MR. BURNS<br />
THE SIMPSONS-INSPIRED PLAY EXPLORES THE SIGNIFICANCE OF STORIES<br />
AXEL MATFIN<br />
The stories that we tell and hear have an immense impact on our society<br />
and culture. From binge-watching a new show to downloading a book<br />
directly to the palm of our hand, we as humans have greater access to story,<br />
in all its mediums, than ever before. But what if that all went away? What<br />
if we were plunged into a dark age where all the stories and parables of our<br />
modern era disappeared? What if we were left with only the memories of<br />
our most impactful narratives? What would our narratives become? How<br />
would our stories change, and how would that define our culture? What<br />
happens to the copyright of a story in a world without law? Do stories<br />
belong to anyone? This <strong>April</strong>, Vancouver’s Little Mountain Lion Theatre<br />
Productions will engage with these questions in their performance of Mr.<br />
Burns: A Post-Electric Play.<br />
their combined presentations allow them to<br />
challenge our definitions of the characteristics of<br />
photography.<br />
Speaking with the show’s curator, Kimberly<br />
Phillips, it is clear that the intent behind The Blue<br />
Hour is to spark a conversation.<br />
“When something starts to kind of trouble our<br />
perceptions about a medium or a discipline or<br />
an object, that’s when I tend to become excited,”<br />
Photo by Duy Nguyen<br />
Mr. Burns: A Post-Electric Play goes beyond Springfield city limits.<br />
Photo by Joi T. Arcand<br />
Phillips explains. This exhibition does just that.<br />
Our daily interactions with photography allow<br />
us to “presume we have control,” and think of<br />
photography “as something that brings clarity,<br />
that locks a moment down, and that is evidence<br />
of something that happened.” The exhibition<br />
attempts to skew this perception and invites us<br />
to view the photograph as “the way the world<br />
reveals itself to us, not an index of the world,”<br />
especially in relation to time. Photographs do not<br />
have to reveal a moment in the past, but rather<br />
can interrupt an idea of the present and the<br />
future as well.<br />
The title of the exhibition, The Blue Hour, is<br />
drawn from the writings of contributing artist<br />
Colin Miner, and helps to introduce the repeated<br />
interruptions of time in the work of the displayed<br />
artists. Phillips explains that the term technically<br />
references “a time of day at twilight, where<br />
it’s not quite day and it’s not quite night.” You<br />
can’t tell “if time is moving ahead or backwards.<br />
It’s a moment where time is suspended.” This<br />
ambiguity in our often linear ideas of time is<br />
what the exhibition hopes to create.<br />
The Blue Hour runs from <strong>April</strong> 6-June 24 at the<br />
Contemporary Art Gallery as part of Capture<br />
Photography Festival.<br />
Written by American playwright Anne Washburn, Mr. Burns premiered<br />
May 2012 in Washington, D.C. and was met with reviews that galvanized<br />
it as a staple of modern experimental theatre. The play focuses on the<br />
survivors of a world-ending disaster as they gather around a campfire for<br />
the verbal re-telling of the now-classic Simpsons episode “Cape Feare.”<br />
For the second act, the play jumps ahead seven years, when these same<br />
survivors have formed a theatre troupe which travels the remains of the<br />
world performing television episodes, complete with commercials. In the<br />
third act, time jumps 75 years into a future still reeling from the fall of<br />
civilization where the theatre troupe has expanded their interpretation of<br />
TV lore into a full-on musical cabaret that reflects the new society.<br />
Mr. Burns is fertile ground for the talents of director Madelyn Osbourne<br />
who, along with her team of designers and actors, has been preparing for<br />
opening night since late 2017. The evolving post-apocalyptic world of<br />
Mr. Burns provides ample room for a radical assembly of costumes, stage<br />
design, and character evolution that has Osbourne deeply engaged with the<br />
process of the production. She communicates with her team by connecting<br />
with their feelings.<br />
A key figure beside Osbourne is her composer and musical director<br />
Katerina Gimon who, after months of divining inspiration from Gilbert and<br />
Sullivan, as well as from the original 1962 Cape Fear film, has created a truly<br />
original score.<br />
“I was going through wormholes of pop culture,” states Gimon when<br />
asked about her process on writing the original music. “A lot of this was<br />
already quite set,” – some songs are built into the show – “but the hardest<br />
thing was trying to find the moments where I could bring back certain<br />
melodies or melodic ideas so the structure would work for the actors and<br />
the audience.”<br />
Mr. Burns: A Post-Electric Play runs from <strong>April</strong> 3-21 at Studio 1398.<br />
BOOK REVIEW:<br />
DELUSIONS OF<br />
GRANDEUR<br />
SHORT STORIES SHARE RELATABLE<br />
ACCOUNT OF YOUNG, CANADIAN<br />
EXPERIENCE<br />
LAUREN DONNELLY<br />
CITY<br />
Imagine if your conversations with your best friend<br />
were published as short stories. The breakups, the<br />
random musings, the chance encounters on transit.<br />
Delusions of Grandeur is just that. Janet Ford and<br />
Carmen Leah are Canadian artists and best friends<br />
who live on opposite sides of the country. Ford<br />
writes from Vancouver about her experiences with<br />
addiction and mental illness, and from Toronto,<br />
Leah reflects on the consequences of mundane<br />
moments in everyday life.<br />
Ford’s characters speak from the depths of<br />
addiction and mental illness while Leah’s characters<br />
grapple with how to live with them. Juxtaposed,<br />
their stories tell both sides of the story. The result<br />
is a relatable, albeit dishevelled, account of young<br />
Canadian life.<br />
These characters are anti-heroes and -heroines,<br />
and though it isn’t uplifting material, it’s<br />
unapologetically honest – that’s what makes it<br />
so good. The collection tells stories of everyday<br />
cowardice and brief sparks of bravery.<br />
Ford’s “Sober” is a microcosm of the cycle<br />
of addiction. Waking up next to an enabling<br />
partner, last night’s makeup etched under her<br />
eyes, the heroine decides to make a change. And<br />
she’s determined that this time, it’ll stick. Ford<br />
unflinchingly describes how low rock bottom<br />
needs to be to make sobriety tempting. In Leah’s<br />
“Hospitals,” Claire’s dealing with the symptoms<br />
of her MS, her friend Sam is suicidal, her other<br />
friend has overdosed, and her boyfriend is abusive.<br />
Surrounded by other people’s misery, she learns<br />
that “things [get] better. But first they [get] worse.”<br />
Nestled against each other, Ford’s and Leah’s<br />
stories dialogue with one another. One asks a<br />
question and the story that follows responds. But<br />
like any good conversation between friends, the<br />
exchanges are complementary, proving that we’re<br />
never alone in our illusions of self-importance, no<br />
matter how different our individual failings.<br />
Pick up a copy of Delusions of Grandeur at The Paper<br />
Hound or Lucky’s Comics.<br />
Illustration by Carmen Leah<br />
<strong>April</strong> <strong>2018</strong> 9
Photo by Edemiria Schmitz Hsiao<br />
<strong>2018</strong> Behind the Eight Ball Redux<br />
THE PLIGHT OF OUR<br />
NEIGHBOURHOOD POOL<br />
By Jovana<br />
Golubovic<br />
In the shadowy corners of the hall amass the players,<br />
circling their tables with the stealth of a wildcat. They enter the<br />
spotlight of hanging lamps to aim, shoot, and retreat again into<br />
darkness. Bets are made and corners are called amid murmur and<br />
the clinging of glasses. Tiny explosions sound in loose succession like<br />
striped and solid-colored fireworks.<br />
For some, the art of strategy draws them in, for others it’s the<br />
opportunity to socialize. With modern billiards dating back to the<br />
early 1900s, the game carries a timeless appeal. Yet there has long<br />
been speculation that it would not continue into the brave new<br />
world. An article in Vancouver <strong>Magazine</strong> published in 1979 mourned<br />
the plight of the neighborhood pool hall, and <strong>BeatRoute</strong> addresses<br />
the same matter in today’s article, forty years later. However you look<br />
at it, billiards is a game reminiscent of another time and perhaps of<br />
another kind of people. A bygone era before Netflix provided endless<br />
entertainment at the click of a button, before technology consumed<br />
human minds. I visited some of Vancouver’s most established pool<br />
halls to investigate why pool, which may be in a steady decline even<br />
as one of the world’s most popular games, is alive and well in the<br />
hearts of many.<br />
Bruno comes to the East End Pool Hall in Hastings Sunrise every<br />
day, though he doesn’t even like pool. He comes in to play cards<br />
with Mike, who has owned the place with his brother Luigi for 37<br />
years. The Italian immigrant friends met near the pool hall at what<br />
was once Cafe Mario, but has since been replaced with a Portuguese<br />
restaurant. Always playing the Italian card game, Scopa, East End<br />
Billiards becomes an extension of their cultural dwelling. They never<br />
play for money, only for coffee, perhaps repelled by the original<br />
owner’s lewd reputation as a gambler. Mike always wins. He expertly<br />
whips up a cappuccino at the espresso machine on the corner of the<br />
bar.<br />
Mike attests that East End Billiards has seen no trouble since he<br />
and Luigi took over. However, the pool hall, which once went by<br />
a different name, comes with an edgy past. Mike and Luigi are the<br />
fourth owners it has seen. The first owner, one of two to be named<br />
Joe, is rumored to have had a gambling habit, quickly turning his<br />
second-floor games venue into an illicit hideaway. Story goes that<br />
one night, two people jumped out the window to evade the cops<br />
following a fight with Joe. Their legs were broken by the fall.<br />
Upon my visit, I saw a safe and inviting space, showing that<br />
Mike and Luigi, who were avid pool players back in Italy, had done<br />
wonders with the place. A billiards-themed mural draws your eye to<br />
the venue, which would otherwise be considered discreet. The mural<br />
is truly a relic of the past for someone is pictured smoking indoors.<br />
An ascending staircase upon entering gives the pool hall a secret<br />
clubhouse aesthetic. To one side of my table, a group of middleaged<br />
men in their 30s and 40s are speaking a language I wanted to<br />
believe was Italian, but which, upon further eavesdropping, was<br />
unquestionably Spanish. To the other side, a couple of college-aged<br />
boys take turns shooting, animated in conversation. When asked<br />
Photo by Rachael Moreland<br />
10<br />
<strong>April</strong> <strong>2018</strong>
what draws them to this particular pool hall, the younger<br />
gentlemen expressed enchantment with the old-world<br />
charms of the owners, which won them over after they<br />
initially sought out the place for its location. The older<br />
gentlemen got straight to the point, offering no more<br />
information than, “I like the pool. I like the table.” “Light My<br />
Fire” by the Doors played three times in my 45-minute visit.<br />
A huge departure from the cozy, personable east-side<br />
hall, Commodore Lanes and Billiards is a busy beast and<br />
the staircase, this time, descends. Commodore is known as<br />
the longest-standing pool hall in Vancouver, established in<br />
1928, although it technically only introduced billiards in the<br />
mid 80’s. It is also the largest, boasting twenty tables. Every<br />
day is a party on Granville Street, Vancouver’s designated<br />
entertainment district, and this is reflected by the amount of<br />
tourists the iconic games hall attracts. Tourist from England,<br />
Switzerland, and China make up my adjacent tables, all<br />
happy-go-lucky during a stopover on a night on the town.<br />
“People come in for a good time,” says T.J., a manager who<br />
informed me that business is reliably steady, and if anything<br />
was swinging wildly, it was the bowling business.<br />
T.J. emphasizes that Commodore Lanes does not endorse<br />
leagues: an attempt to keep pool for the people. League<br />
players can be demanding, not to mention secretive. It is<br />
not uncommon for them to request empty buffer tables<br />
surrounding theirs so that none may spy on their methods.<br />
Historical memorabilia decorates the walls of Commodore<br />
Lanes & Billiards as top 40 blasts from the speakers.<br />
Fresh from the sensory overload of downtown, I ease<br />
my way onto the checkered floor of Guys & Dolls Billiards<br />
on Main Street. The bartender seems vaguely amused and<br />
largely confused by the outgoing gentleman seated at the<br />
bar. I interrupt to ask her if I may interview her briefly about<br />
the pool hall.<br />
“You’re better off asking Don,” she gestures towards the<br />
man on the barstool, “he comes in here every day.”<br />
As a former employee and apparent pool enthusiast, it is<br />
surprising that Don was dismissive of the game. He prefers<br />
nine ball. “You lose by accident in eight ball; you win by<br />
accident in nine ball,” he advises.<br />
Big on leagues, which are largely comprised of families,<br />
Guys & Dolls strives to be inclusive to all people, an<br />
interestingly different approach than that of Commodore.<br />
This main street venue is a more than a pool hall; it’s a<br />
hangout, a part of the community. It is a drop-in centre for<br />
pool players, or just anyone. “[The owners] help out people<br />
who are homeless; nice guys who are down on their luck.<br />
They let them sit down on a couch and fall asleep. Let them<br />
be out of the rain,” the ex-employee tells me and I believe<br />
him when he exclaims that the owner, Kelsey, is “a hell of a<br />
nice guy!”<br />
Don complains that there are barely any pool halls left,<br />
“There used to be like 20,” he says. “Now there are five.”<br />
Finally, somebody affirms what I set out to write. Supply<br />
and demand is what he attributes to this massacre, and it<br />
would justify why the management at the other pool halls<br />
haven’t noticed dips in business. With less pool halls in town,<br />
players are forced to keep to only a few halls. But why is the<br />
demand dropping? I initially thought that pool might not<br />
be accessible to young people, the next generation of pool<br />
players, due to Vancouver’s archaic liquor laws. Yet all three<br />
of the pool halls I visited allowed minors. Perhaps it’s the very<br />
nature of the game that is becoming unattractive to people<br />
today.<br />
The social aspect may be too much for an increasingly<br />
introverted society. People today prefer texts over phone<br />
calls, disassociated interaction over real life. The amount of<br />
skill required and the potential for mastery makes it a game<br />
akin to chess, another excellent and locally unpopular game.<br />
Are people today too blasé to bother with steep learning<br />
curves? We must step up to the challenge, keep our minds<br />
sharp and keep pool thriving in the few venues it has left to<br />
thrive. I am more than amused when Don pull out a flipphone.<br />
This guy gets it.<br />
Photo by Rachael Moreland<br />
Photo by Yuta Kato<br />
Photo by Edemiria Schmitz Hsiao<br />
Photo by Edemiria Schmitz Hsiao<br />
<strong>April</strong> <strong>2018</strong> 11
GRASSIFIEDS<br />
Photo by Jessie Foster<br />
4/20 CALENDAR<br />
JESSIE FOSTER<br />
They say it all started with a group of high school kids<br />
smoking pot beside a wall on <strong>April</strong> 20, in 1971. Since<br />
then, the 420 ritual was adopted by the Grateful Dead,<br />
spread across the country and embedded deeply<br />
into North American culture. Now there are global<br />
celebrations in almost every corner of our planet. Here<br />
are some of the greenest ganja festivities of <strong>2018</strong>.<br />
Vancouver 420 , Sunset Beach, <strong>April</strong> 20<br />
JESSIE FOSTER<br />
BEATROUTE’S<br />
VANCOUVER DISPENSARY GUIDE<br />
After the notoriously messy event held last year<br />
at Sunset Beach, the city has decided to go ahead<br />
anyways and host the 24th annual 420 celebration.<br />
They are expecting more than 100,000 people to join<br />
the peaceful protest in the war against cannabis and<br />
rejoice in weed culture. Finish off the afternoon with a<br />
trip to the farmers market.<br />
Five Alarm Funk, Commodore Ballroom,<br />
<strong>April</strong> 20<br />
Vancouver’s Five Alarm Funk will be playing their 420<br />
show at the Commodore. The eight-person group are<br />
promised to be nothing short of funky on their North<br />
American tour. Get your tickets early for this <strong>2018</strong><br />
Juno Nominated band.<br />
Aniya Jacob at the Village Bloomery is all about natural organic vibes.<br />
Vancouver is considered to be the Amsterdam<br />
of Canada. No wonder why with hundreds of<br />
dispensaries budding up around the city and<br />
headshops embracing for legalization. Here’s a<br />
sneak peak of <strong>BeatRoute</strong>’s favourite dispensaries<br />
the city has to offer.<br />
Village Bloomery<br />
1540 West 2nd Ave, The Waterfall<br />
Building #206<br />
Walking up to the shop is described as magical,<br />
with sights such as glass galleries, natural<br />
courtyard and waterfalls. It’s got a great seated<br />
area out front with a very natural organic feel.<br />
Even has reading material inside if you’re looking<br />
for a place to spend the afternoon.<br />
BONUS POINTS: Highly relaxing<br />
Karuna Health Foundation<br />
4510 Victoria Dr.<br />
Karuna goes above and beyond your regular<br />
corner store dispensary. As a tasty bonus they<br />
offer frozen smoothies, ice cream, coffees and<br />
slurpees for their sweetest customers. They offer<br />
over 90 strains and 50 extracts with anything<br />
from skin creams and bath bombs to Phoenix<br />
tears.<br />
BONUS POINTS: Tinctures, tears and treats<br />
Green Panda<br />
1707 Robson St.<br />
The Green Panda is known to attract all sorts of<br />
international attention for their stellar and loyal<br />
customer service. They offer joints for just a<br />
handful of dollars as well as spaces to roll before<br />
12<br />
you head out. They’ve got stickers, free shirts<br />
and an all-around down to earth atmosphere.<br />
BONUS POINTS: Bud referral program<br />
CannaClinic<br />
2223 Commercial Dr.<br />
Cannaclinics offers smoke-free forms of medical<br />
cannabis such as ingestible tablets, extracts,<br />
edible oils and butters, suppositories, oils for<br />
vaporizers and topical products. Cannaclinics<br />
is “Canada’s Most Reliable Medical Cannabis<br />
Dispensary.”<br />
BONUS POINTS: Doctor-like professionalism<br />
RedMed<br />
231 Abbott St.<br />
Building relationships, being approachable<br />
and offering a fully laid-back vibe is what sets<br />
RedMed apart from the rest. Absolutely no<br />
white lights or sterile ambience in this grassroots<br />
facility. Come here if you like a wide range of<br />
flowers, anywhere from 25-40 strains at a time!<br />
BONUS POINTS: Owned by Canadian rap legend,<br />
Red1!<br />
Buddha Barn<br />
2179 W 4th Ave.<br />
The Buddha Barn not only heals with nature’s<br />
safest medicine, they hold yoga nidra, yoga and<br />
meditation classes to develop body, mind and<br />
soul. True to their name, they give back to the<br />
community by supporting abused women and<br />
children around Canada.<br />
BONUS POINTS: Yoga classes<br />
Wealth Shop<br />
4545 W 10th Ave.<br />
These pioneers foster a community hub where<br />
cannabis can collide with design, culture and<br />
innovation for an exceptionally lush experience.<br />
Vancouver’s first licensed cannabis dispensary hits<br />
it out of the park when it comes to emulsifying<br />
stereotypes in the growing industry.<br />
BONUS POINTS: Empowers positivity<br />
Eggscana<br />
2303 E Hastings St.<br />
Just like a good chicken, they never stop laying<br />
down quality products. They work around the<br />
clock to acquire new strains, product lines and<br />
looking at Cannabis in a fresh new way.<br />
BONUS POINTS: Happy birthday gram<br />
Leaves Of Zazie<br />
109 E Broadway<br />
Leaves of Zazie donates back to the community<br />
with $1 of their charity strand going towards<br />
Paws for Hope Animal Foundation. They carry<br />
bunches of non-marijuana products which have<br />
unique strengths in healing ailments.<br />
BONUS POINTS: Paws for Hope<br />
Lotusland Cannabis Club<br />
3474 W Broadway.<br />
Huge flowers of pure joy. Lotusland boasts<br />
eight different locations across Vancouver and<br />
Victoria and carry a wide selection of highgrade<br />
medicinal marijuana products including<br />
concentrates, edibles and so much more.<br />
BONUS POINTS: Medical marijuana flowers<br />
Cannabis Cuisine Fine Dining Series, Venue<br />
TBA, <strong>April</strong> 20-22<br />
Chef Travis Petersen of The Nomadcook and Chef<br />
Evan Elman of Dinner In The Sky come together to<br />
whip up a six course THC-infused menu at this pop up<br />
restaurant downtown Vancouver. Book in advance for<br />
a fully loaded brunch or scrumptious dinner for the<br />
420 weekend.<br />
Grassroots Expo, U<strong>BC</strong> Robson Square,<br />
<strong>April</strong> 7-8<br />
A fully immersive experience for Vancouver’s<br />
“cannabis curious,” this conference will feature<br />
panellists, doctors, exhibitors, job fairs, education<br />
areas, a lounge and a stage with world-class speakers.<br />
Photo by Jessie Foster<br />
<strong>April</strong> <strong>2018</strong>
1<br />
Happy Hour<br />
$<br />
3 Beer til 5pm<br />
2<br />
The Stew<br />
Local Jam Night<br />
w. guest DJs<br />
3<br />
The Live Agency<br />
presents<br />
The Lazys<br />
w. The Fallaways<br />
4<br />
Happy Hour<br />
$<br />
3 Beer til 5pm<br />
5<br />
THE RAILWAY<br />
85 YEAR<br />
Anniversary<br />
Weekend 6 th -8 th<br />
6<br />
The Railway<br />
85YR weekend w.<br />
Friction Project<br />
7<br />
The Railway 85YR<br />
Blues Brunch 1-4<br />
Saturday Sessions<br />
4:30-6:30<br />
Said The Whale<br />
8<br />
The Railway<br />
85YR weekend w.<br />
Hey Ocean!<br />
9<br />
The Stew<br />
Local Jam Night<br />
w. guest DJs<br />
10<br />
The Railway<br />
Stage presents<br />
Drag Club<br />
w. hosts Karmella<br />
Barr & Dust<br />
11<br />
Live Acts & Live<br />
Agency presents<br />
Railway Rhymes<br />
w. Don Castro &<br />
guests<br />
12<br />
The Live Agency<br />
presents<br />
FKB<br />
w. Written Years<br />
& Trope<br />
13<br />
Live Acts & Live<br />
Agency presents<br />
Luki Fero<br />
w. Quantum Council<br />
& more<br />
14<br />
Blues Brunch 1-4<br />
Saturday Sessions<br />
4:30-7:30<br />
Live Acts pres.<br />
Air Stranger<br />
15<br />
Live Acts pres.<br />
Jenny Banai<br />
w. Bad Strangers,<br />
Harlequin Gold, &<br />
Poor Nameless Boy<br />
16<br />
The Stew<br />
Local Jam Night<br />
w. guest DJs<br />
17<br />
Happy Hour<br />
$<br />
3 Beer til 5pm<br />
18<br />
Happy Hour<br />
$<br />
3 Beer til 5pm<br />
19<br />
Live Acts & Live<br />
Agency presents<br />
If Not, Winter<br />
w. Belcarra, Fionn<br />
& Abraham<br />
20<br />
Live Acts & Live<br />
Agency presents<br />
Slevyn<br />
w. Sly Detrick &<br />
more<br />
21<br />
Blues Brunch 1-4<br />
Saturday Sessions<br />
4:30-7:30<br />
Live Agency pres.<br />
Matt Hoyles<br />
22<br />
Happy Hour<br />
$<br />
3 Beer til 5pm<br />
23<br />
The Stew<br />
Local Jam Night<br />
w. guest DJs<br />
24<br />
Happy Hour<br />
$<br />
3 Beer til 5pm<br />
25<br />
Happy Hour<br />
$<br />
3 Beer til 5pm<br />
26<br />
Live Acts & Live<br />
Agency presents<br />
Railway Rhymes<br />
w. Big Ctity Dreams<br />
& Mic Dreams<br />
27<br />
Toddcast Podcast<br />
presents<br />
Owlface<br />
w. Hale Road &<br />
Bobby’s Cane<br />
28<br />
Blues Brunch 1-4<br />
Saturday Sessions<br />
4:30-7:30<br />
S&S & Railway pres.<br />
Pink Mexico<br />
29<br />
Happy Hour<br />
$<br />
3 Beer til 5pm<br />
30<br />
The Stew<br />
Local Jam Night<br />
w. guest band
FOOD & DRINK<br />
ELECTRIC BICYCLE<br />
BREWERY CREEK’S NEWEST, FRESHEST ADDITION<br />
WILLEM THOMAS<br />
Craft beer and building, Electric Bicycle is the newest kid on the hop block.<br />
If the beer gods are willing, Brewery Creek<br />
shall continue to rise. The area – running<br />
from False Creek up towards Broadway – has<br />
a brewing history dating back to the late<br />
1800s. Perhaps their eye-popping mural has<br />
already caught your attention, but Electric<br />
Bicycle is the newest, weirdest kid on the<br />
hop block. Located mere doors down from<br />
veterans R&B Brewing (“We’ve been paying<br />
their mortgage going there so often while<br />
getting ready to open,” says head brewer<br />
Paddy Russell), Electric’s Bicycle’s training<br />
wheels are ready to come off: their beers start<br />
BLUE HERON CREAMERY<br />
INNOVATION SPURS THE EVOLUTION OF VEGAN CHEESE<br />
FRANKIE RYOTT<br />
Whether you’re vegan or not, the question<br />
on everyone’s lips is often: “What about<br />
cheese?” With plant-based, dairy-free diets<br />
quickly rising in popularity worldwide, cheese<br />
is often the last excuse and the hardest<br />
food to replace. Colin Medhurst and Karen<br />
McAthy of Blue Heron Creamery are happy<br />
to provide the answer with their range of<br />
plant-based, dairy-free, vegan products.<br />
A born and raised Vancouverite, Medhurst<br />
has an extensive background in plant-based<br />
food, having been one half of Feed Life, a<br />
business focused on making plant-based<br />
living more achievable. After the passing<br />
of his wife and business partner, Eden,<br />
Everyone’s got a friend in cheeses at the Blue Heron Creamery.<br />
14<br />
rolling out in early <strong>April</strong>.<br />
When speaking to the minds behind<br />
Electric Bicycle and visiting the almost-done<br />
taproom, it’s clear they’re trying to create<br />
an establishment altogether different from<br />
conventional thoughts of what a Vancouver<br />
craft brewery should be. Perhaps it’s the<br />
aesthetic (try to picture a circus-themed<br />
antique oddities shop crossed with a 1930s<br />
barbershop), or the excitement of those<br />
involved to do essentially whatever they<br />
want, unrestricted by over-planning or<br />
sales-figures. While some <strong>BC</strong> tasting rooms<br />
Medhurst strove to keep her legacy alive. The<br />
universe provided McAthy, former executive<br />
chef, author of The Art of Plant-Based<br />
Cheesemaking, and a pioneer in her craft.<br />
The two combined forces to create a business<br />
with the mission of exploring the diversity of<br />
vegan cheese. In turn, they have managed to<br />
swiftly enter a niche that is quickly becoming<br />
a market dominator.<br />
The most significant detail that sets Blue<br />
Heron Creamery well above the ranks of<br />
standard non-dairy cheese is their key focus<br />
on maintaining the art of cheesemaking.<br />
This includes having a precise focus on the<br />
methodology involved, including the use of<br />
Photo by Colin Medhurst<br />
prefer a utilitarian approach to design that<br />
often results in boring drinking spaces,<br />
Electric Bicycle realizes you can bring people<br />
in for the beer and give them a fun, unique<br />
experience at the same time.<br />
For owner Elliot McKerr and his partners,<br />
the concept and end product didn’t appear<br />
overnight.<br />
“It’s been a trial-by-fire build-out,” he says.<br />
Forgoing the route of hiring designers and<br />
contractors, they chose to do everything<br />
themselves. “The theme came together<br />
through this being a fun, organic building<br />
experience, with everyone trading ideas and<br />
making it up as we went.”<br />
“Craft beer and craft building,” adds Leigh<br />
Matkovitch, who heads Electric Bicycle’s<br />
marketing and media efforts.<br />
In a space that used to house a literal<br />
electric bicycle producer, a wholly original<br />
brewery has taken up residence. Expect six<br />
beers for onsite imbibing and growler fills<br />
at open, with guest taps, an expansion to<br />
eight taps, and community collaboration<br />
brews through their “Think Tank” program to<br />
follow shortly after.<br />
Electric Bicycle Brewing is located at 20 East<br />
4th Avenue.<br />
active cultures, washing, flipping, turning,<br />
and the aging stages that are keys of the craft.<br />
“Karen has the ability to really push the<br />
current advance of cheesemaking with<br />
plant-based mediums,” says Medhurst. “She<br />
has taken culturing, aging, and afromaging<br />
techniques, applied different methodologies,<br />
and still managed to keep those timehonoured<br />
traditions alive.”<br />
“I would love to see cultured vegan cheese<br />
and the methodologies evolving around it as<br />
an evolution of the cheesemaking craft,” says<br />
McAthy.<br />
This attention to detail and craft<br />
alongside hours of hand peeling almonds<br />
and monitoring cultures undoubtedly shines<br />
through in their final products, which include<br />
mouth-watering herb and garlic cumulus<br />
cheese, addictive almond ricotta, saporous<br />
almond bocconcini and more. Even the most<br />
adamant of dairy cheese advocates would<br />
find them hard to fault. But they don’t stop<br />
at just cheese – Blue Heron also offers a<br />
wide range of butters, spreads, platters, and<br />
catering packages, all of which make it the<br />
perfect addition to the quickly transforming<br />
vegan hub that is Main Street.<br />
Blue Heron Creamery is located on 2410 Main St.<br />
BOTTOMS UP<br />
WITH EMILY SHELLE AT THE RAILWAY STAGE & BEER CAFÉ<br />
HOW DID YOU START BARTENDING?<br />
I was living in an old mining town in Australia called<br />
Beechworth, working as an au pair and on the hunt for a<br />
second job. I applied at a local hotel called Tanswell’s. It was<br />
an old gold rush era pub from the late 1800s. Apparently Ned<br />
Kelly used to ride his horse through the tavern doors, right up<br />
to the counter.<br />
HOW LONG HAVE YOU WORKED AT THE<br />
RAILWAY?<br />
I’ve been coming in for years, but about three months ago I got<br />
home from travelling through Asia and vowed to get a job in a<br />
live music venue. Lucky for me, the Donnelly Group got back<br />
to me right away.<br />
BEST THING ABOUT YOUR JOB.<br />
The people I work with. It’s rare in this industry to have a crew<br />
that is so compatible. Doug Meaker (bar manager) and Chad<br />
Cole (owner, GM) have done an amazing job. I especially love<br />
working in the back bar, a hidden Vancouver gem. When it’s<br />
slow I can shoot pool with regulars, try some of our many<br />
delicious craft beers and engross myself in people’s stories of<br />
Railway. It’s incredible working in a place with so much history.<br />
FAVORITE DRINK TO MAKE?<br />
Old Fashioned. It’s also my favorite drink to drink so I get<br />
excited whenever I get to make one.<br />
GO TO ON AN OFF NIGHT?<br />
I love Uncle Abe’s and The Narrow. The music they play and<br />
the cocktails they serve are right up my alley.<br />
THE GREATEST NIGHT YOU’VE EVER HAD AT<br />
WORK?<br />
For me there hasn’t been just one. It’s the gigs that bring in the<br />
best clientele that are winners. When the band is good, the<br />
night is good.<br />
WORST?<br />
I mean, even the worst shifts at Railway are still fun ones.<br />
I honestly can’t think of a night where I’ve been truly<br />
miserable. If I hate the band, get swarmed with 17 martinis at<br />
once or get several customers who forgot their deodorant, I<br />
am still having a laugh.<br />
The Railway S<strong>BC</strong> is located at 579 Dunsmuir Street<br />
Photo by Zee Khan<br />
<strong>April</strong> <strong>2018</strong>
HARI KONDABOLU<br />
USING SOCIAL ACTIVISM TO BREAK THE MONOTONY<br />
BETH D’AOUST<br />
Photo by Mindy Tucker<br />
Hari Kondabolu uses comedy to inspire social change from within.<br />
Hari Kondabolu has made a name for himself in the space where<br />
comedic and political spheres intersect, offering impassioned<br />
insights on current affairs and social justice issues through a<br />
uniquely humorous lens. Kondabolu speaks from a measured,<br />
compassionate, well-rounded perspective, likely a product of his<br />
upbringing in the vibrant borough of Queens, New York. Having<br />
spent the majority of his adult life straddling the comedy stage,<br />
academia, and human rights campaigns, Kondabolu has crafted<br />
a keen ability to use humour to advance dialogues surrounding<br />
controversial and often uncomfortable topics.<br />
Kondabolu has long been outspoken on the topic of gun<br />
violence in America. Several years ago, he performed a satirical bit<br />
likening a hypothetical “open-carry chainsaw lobby” to campaigns<br />
supporting open-carry firearm legislation in the U.S. Thus, on<br />
the topic of the #NeverAgain movement, led by the teens who<br />
survived the recent mass shooting at Marjory Stoneman Douglas<br />
High School in Parkland, Florida, Kondabolu has much to say when<br />
asked whether or not he feels this response has the potential to<br />
affect lasting change: “Oh God, yes. It’s a national mobilization of<br />
young people. And they’ve all taken a certain personal approach to<br />
this. This isn’t a topic they just care about. This is their lives and the<br />
lives of their friends, family. This is deep. And we’ve never seen that.<br />
With the children in Sandy Hook, you would think that would have<br />
been rock bottom, right? But there wasn’t mobilization after. There<br />
have been so many more shootings since then.”<br />
“These kids in Florida are a very special group of young people,”<br />
he continues. “It’s almost like it happened in a place with was<br />
the right mix of people with passion, righteous indignation, and<br />
the desire to put this issue and the country before anything else.<br />
COMEDY<br />
There’s something about an individual who’s willing to break the<br />
monotony. This could be any other news cycle: another shooting,<br />
and you move onto the next thing. [Emma Gonzalez] and her<br />
classmates stand out. They’re the difference. Just in the same way as<br />
the images of the little girl, naked and running from the napalm [in<br />
Vietnam] – these are things that shocked the system. They broke<br />
the monotony of the day to day.”<br />
Kondabolu qualifies that he doesn’t expect to see legislative<br />
change until the influence of the movement causes elections<br />
to be lost, rendering gun lobbyist money immaterial. He does,<br />
however, view the recent defeat of two NRA-backed politicians,<br />
Roy Moore and Rick Saccone, as evidence of changing tides. So<br />
while he remains hopeful for change, Kondabolu continues to use<br />
multiple platforms – from standup to social media – to urge the<br />
public against desensitization in the midst of media saturation.<br />
Kondabolu cautions that, in this current climate, “there’s so much<br />
media, and because you can see the most horrific things online,<br />
we’ve lost some of that [ability to shock people into action]. I think<br />
part of it is to just remember our humanity. There’s something<br />
about seeing strangers as part of this larger community and being<br />
connected to you. We’re all human. I think we can never lose the<br />
ability to see ourselves in other people and see their pain in our<br />
pain.”<br />
With the pursuit of introspection, unity, and recognition of<br />
our common humanity underscoring his body of work, Hari<br />
Kondabolu encourages us to reach across the aisle in a continuous<br />
quest for understanding.<br />
Hari Kondabolu performs at the Commodore Ballroom on <strong>April</strong> 28.<br />
CORNER GAS<br />
COMEDIAN BRENT BUTT BREAKS DOWN THE SHOW’S ANIMATED REBOOT<br />
JOHNNY PAPAN<br />
Corner Gas was one of the most beloved sitcoms<br />
born of Canadian soil. Set in a gas station in<br />
the fictional town of Dog River, Saskatchewan,<br />
comedian Brent Butt created a group of lovable<br />
characters portrayed by actors with excellent<br />
on-screen chemistry. Corner Gas was a perfect<br />
pseudo-nonsensical storm that captivated<br />
audiences for six seasons, unexpectedly garnering<br />
over 70 award nominations, six Gemini wins, and<br />
its own highly successful movie. Now, Butt and<br />
his quirky friends will further evolve the show by<br />
exploring the unlimited possibilities of animation.<br />
In the episode “Squatch Your Language,”<br />
it’s clear that Corner Gas has already taken full<br />
advantage of the fantastical freedoms animation<br />
offers. Within the first five minutes, you witness<br />
a mythically brutal fight break out between a<br />
sasquatch and a unicorn. The fun doesn’t stop<br />
there – Butt claims the animated pilot episode,<br />
“Bone Dry,” sees the gas station put in a postapocalyptic,<br />
Mad Max-style scenario.<br />
“That’s the type of thing that there’s no way we<br />
could have done in the real world, but we can do<br />
that in animation,” says Butt. “We can put a gas<br />
station in the middle of the desert instead of rural<br />
Canada. We can create 40 dune buggies rolling<br />
over a hill. We always let our imaginations go, but<br />
we had to bring things back to Earth a bit more<br />
often in the old days. Now we can put Wanda and<br />
Hank in outer space and do what we want to do.”<br />
Although the visuals are different, the comedic<br />
style and character interactions are familiar. It’s<br />
easy to forget you’re watching something different<br />
– the flow of the new series is that smooth and<br />
recognizable.<br />
“Norm Hiscock, who also wrote on King of the<br />
Hill, was one of the first people I talked to when<br />
we were thinking of doing this,” he says. “I asked<br />
him: ‘If we were to do this as an animated show,<br />
what should we do to change the script?’ He said,<br />
‘Nothing, just keep writing more scripts. This<br />
is the perfect show to animate.’ That’s how we<br />
approached it. It’s still interesting people saying<br />
funny things.”<br />
Fans will be ecstatic to know that the original<br />
cast is kept intact, with the exception of Janet<br />
Wright, who passed away in 2016; the role of<br />
Emma Leroy is now voiced by Corrine Koslo.<br />
The option to record dialogue separately is a<br />
convenient option in the animated world, but Butt<br />
preferred to have its cast record lines together to<br />
maintain their fluid chemistry and bounce off each<br />
other. With half the cast living in Vancouver and<br />
half in Toronto, everyone is patched together to<br />
work in real time, even if they’re in different cities.<br />
“You can’t really overstate the importance of the<br />
Just when you thought our friends from Dog River couldn’t get any more cartoony...<br />
chemistry this cast has, and how it plays into the<br />
success of the show. That’s the kind of lightning in<br />
a bottle you only cross once in a lifetime if you’re<br />
lucky.”<br />
When it comes to why the show has grown to<br />
the heights it has, Butt concludes: “I think there<br />
was an authenticity to Corner Gas that people<br />
responded to. We weren’t trying to sell anything.<br />
We first went into it thinking, ‘Well, the network<br />
made a mistake, we’ve somehow convinced<br />
them to shoot 13 episodes over the summer, but<br />
nobody’s gonna watch it.’ So we just made a show<br />
that we liked.”<br />
Corner Gas: The Animated Series premieres <strong>April</strong><br />
2 on Comedy Central.<br />
<strong>April</strong> <strong>2018</strong> 15
MUSIC<br />
PHOEBE BRIDGERS<br />
EMBRACING VULNERABILITY AND COMING OUT AS PRO-SEXT<br />
GRAEME WIGGINS<br />
Photo by Frank Ockenfels<br />
Phoebe Bridgers finds a balance of intensity and sincerity on Stranger In The Alps.<br />
Singer-songwriter Phoebe Bridgers’ latest album,<br />
Stranger in the Alps, strikes a rare balance. The<br />
Los Angeles based artist has created an emotional<br />
collection of songs that speak from the heart while<br />
maintaining a sense of humour to make it a relatable<br />
experience for all.<br />
“I’m trying to find the balance between being<br />
sincere and not being too intense,” Bridgers explains.<br />
“Letting people know that I’m serious about what<br />
I’m saying. I don’t want to italicize the subtext. It’s<br />
just life. I want to say it how it is and not make it too<br />
intense. With my songs I try to write like I’m talking to<br />
someone.”<br />
When one does write very relatable emotional<br />
music, fans can get pretty intense. This is a concern<br />
Bridgers shares with some of her prominent musical<br />
friends: Connor Oberst, Ryan Adams, and Julien<br />
Baker. Bridgers takes that responsibility seriously but<br />
her down-to-earth persona captures a slightly more<br />
diverse crowd. As she puts it, “I do have intense fans<br />
but I also have women who are really like me. Who<br />
kind of talk like a surfer. “Dude your record is sick!”<br />
There’s a Venn diagram between how intense they are<br />
versus their bro-y attitude.”<br />
It also helps that she talks about relatable things,<br />
fairly frankly. The idea of the vulnerability that arises<br />
from sent sexts comes up on her song “Demi Moore.”<br />
Make no mistake however, she’s definitely not against<br />
the idea: “Oh I’m so pro sexting. I could talk about<br />
this for so long. I’m so pro sexting because, especially<br />
for young people. TMI I lost my virginity on high<br />
school campus and I wasn’t allowed to sext or allowed<br />
to have boys over. Or girls. I wasn’t allowed to have<br />
girls sleep in my bed because my parents knew I was<br />
bisexual. I felt this weird shame about it,” she says.<br />
“I don’t know one full grown adult who didn’t have<br />
some sort of movie theatre experience in their early<br />
teens. It’s the same thing, only safer. And there’s more<br />
consent.”<br />
Bridgers deals with serious issues in her songwriting<br />
and sometimes that means getting people out of<br />
their seats at shows can be difficult. In some cities<br />
that meant covering Sheryl Crow’s “If It Makes You<br />
Happy,” which was a crowd pleaser. It also involved<br />
confetti filled balloons when performing “Scott St.”<br />
For Vancouver, she has a secret weapon: “You can<br />
look forward to an emo cover of Japandroids. I fucking<br />
love Japandroids so much and always try to cover a<br />
Japandroids song in Vancouver. When I was opening<br />
for people that’s how I won over Vancouver.”<br />
Phoebe Bridgers performs <strong>April</strong> 24 at the Cobalt.<br />
16<br />
<strong>April</strong> <strong>2018</strong>
THE NEIGHBOURHOOD<br />
TRANSMITTING BIG CITY SOUNDS WITH SENSITIVITY<br />
ADAM DEANE<br />
WILD CHILD<br />
THE EVOLUTION OF AUTHENTIC EXPECTATIONS<br />
ZACH JOHNSON<br />
Photo by Adam Alessi<br />
The Neighbourhood have a lot of love to give.<br />
Every once in awhile you come across a band that<br />
slithers into your headphones and projects an<br />
alternate vision of reality for a day. Los Angelesbased<br />
band The Neighbourhood happens to be<br />
one that can do just this with their atmospheric,<br />
sensitive and soul-encompassing sound that<br />
transcends all corners of a city, reminding you there<br />
The Austin-based seven-piece indie folk band Wild<br />
Child is on a continuous journey of authenticity<br />
in their artistic expression. The two primary<br />
songwriters, Alexander Beggins and Kelsey Wilson,<br />
originally met in a different band prior to forming<br />
Wild Child in 2010. Throughout the past eight years<br />
the band has released four full length albums, their<br />
most recent being Expectations, a fully realized<br />
collection of bombastic indie pop.<br />
“I don’t think we’ve made a conscious effort to<br />
evolve our sound,” Beggins explains. “We’ve never<br />
wanted to make the same record twice, but we<br />
are consciously trying to find a way to change [our<br />
sound] and we have a big pool of inspiration.”<br />
Regardless of Wild Child’s mindset, their 2011<br />
debut, Pillow Talk, took off thanks to their songwriting<br />
talent. “All those songs did really well on<br />
Hype Machine online for some reason and we were<br />
all like ‘shit, I guess we’re doing that now,’” jokes<br />
Wilson.<br />
Shortly after Wild Child’s first album, their<br />
carefree approach to song writing stopped. “Wild<br />
Child started strictly for fun: zero expectations, zero<br />
drive to be or do anything. It all kind of accidently<br />
fell into our lap, with music that we wouldn’t have<br />
ever set out to make initially. We started playing<br />
[Pillow Talk] on the road and realized we didn’t like<br />
playing quiet ukulele stuff in loud open bars and<br />
that wasn’t us,” Wilson asserts.<br />
Fast-forward to the present day and Wild Child<br />
is more driven, ambitious and passionate than<br />
ever. The band has gone above and beyond to<br />
create their best record to date with Expectations.<br />
The nine song LP released this past February was<br />
recorded in both North America and Europe in<br />
collaboration with some well-known producers<br />
and musicians including Chris Walla (Death Cab for<br />
Cutie), Scott McMicken (Dr. Dog), Matthew Logan<br />
Vasquez (Delta Spirit) and Chris Boosahda (Shakey<br />
Graves). Expectations is a cohesive and well-written<br />
album that resonates with Wild Child fans for its<br />
relatable content.<br />
“I think Expectations is best explained by the<br />
title,” says Beggins. “There is the duality of the<br />
statement like expectations of who we want to<br />
be, and where we want to be, and who we’re with<br />
and what relationships we’re involved in, all of us.<br />
Expectations is how I feel about the expectations<br />
is love in the world.<br />
<strong>BeatRoute</strong> caught bassist Mikey Margott at his<br />
favourite sandwich spot and trapped him down for<br />
a few minutes on the day of The Neighbourhood’s<br />
new self-titled sophomore album release.<br />
The conversation started on an incredibly<br />
light note with Soulja Boy’s “Kiss Me Through<br />
The Phone” being the MOH while waiting for the<br />
publicist to patch through the call. And just like<br />
Soulja Boy, The Neighbourhood boast millions<br />
of monthly listeners on Spotify, currently sitting<br />
around the 5 million mark at 406th in the world.<br />
Margott and the band moved into the<br />
production of their new album with a well-deserved<br />
confidence that has taken five years to build.<br />
With the release of two EPs, Hard and To Imagine<br />
in the last six months, they’ve been meshing the<br />
familiar sounds that created their name with a new<br />
synthetic vibe, which at times combines violin,<br />
autotuned clips of frontman Jesse Rutherford’s<br />
vocals, and chimes over boombastic hip-hop-esque<br />
beats.<br />
On top of the tracks that had been pre-released,<br />
their single “Too Serious” was what Margott<br />
called a new fan-favorite with a complete stringarrangement<br />
being utilized as another leap into<br />
unexplored territory for the band. As if that weren’t<br />
enough, they scooped Tommy Wiseau to play<br />
a futuristic bounty hunter of sorts in their 80’s<br />
inspired video for the hit-track “Scary Love.”<br />
“He was a total sweetheart. You always have your<br />
expectations of how much ego is going to come<br />
into play, and he was just totally down to work,<br />
never complained.”<br />
When asked what’s ahead for Margott and the<br />
band, he illustrated that the band will always be<br />
priority number one, though we can expect more<br />
from Margott and possibly other members of the<br />
band on an individual level.<br />
“For me, I think it’s really important to do side<br />
projects. As much as The Neighbourhood is equally<br />
as much my baby as it is everyone else’s, we are a<br />
true band and it’s not run by one person. We all<br />
work together. As beautiful as that is, it doesn’t<br />
allow me to get my own artistic craft completely<br />
out by myself. Within the next two years, there will<br />
be a side project coming out.”<br />
The Neighbourhood performs at the Vogue Theatre<br />
on <strong>April</strong> 10.<br />
Wild Child’s album, Expectations, is so great they might as well be Gwyneth Paltrow.<br />
Photo by Sean Daigle<br />
we have set for ourselves.”<br />
Like Pillow Talk and its successor albums,<br />
Expectations is another successful representation<br />
of the band’s authentic expression. Wild Child has<br />
captured the mindset of its members, infused some<br />
diverse producers and musical styles, and created<br />
an album through incredible effort that continues<br />
to build on the impressive repertoire it has already<br />
produced.<br />
Wild Child have grown up significantly<br />
throughout their eight years as a band, but one<br />
element is constant: Wild Child has, is, and will<br />
continue to be authentic to their music and<br />
message.<br />
Wild Child perform at the Fox Cabaret on <strong>April</strong> 26.<br />
MUSIC<br />
FEATURED CONCERTS<br />
VICTORIA, <strong>BC</strong><br />
MOONTRICKS<br />
PLUS BOUSADA AND XAVIER<br />
CAPITAL BALLROOM // SATURDAY, APRIL 14<br />
SLOAN “12” TOUR<br />
CAPITAL BALLROOM // THURSDAY, APRIL 19<br />
FIVE ALARM FUNK<br />
PLUS GUESTS<br />
CAPITAL BALLROOM // SATURDAY, APRIL 28<br />
FRAZEY FORD<br />
PLUS GUESTS<br />
CAPITAL BALLROOM // SUNDAY, APRIL 29<br />
FOR FULL CONCERT LISTINGS & TO PURCHASE<br />
TICKETS, PLEASE VISIT:<br />
WWW.ATOMIQUEPRODUCTIONS.COM<br />
FACEBOOK /ATOMIQUEPRODUCTIONS TWITTER @ATOMIQUEEVENTS<br />
<strong>April</strong> <strong>2018</strong> 17
BPM<br />
ELI ESCOBAR<br />
EVERYONE TO THE DANCEFLOOR AND OUT ON THE STREETS<br />
HOLLIE MCGOWAN<br />
Photo by Kenny Rodriguez<br />
Eli Escobar looks back to political reactionary music of the ’70s on his latest release, Shout.<br />
In November of 2016, the election of U.S. President<br />
Donald Trump created a ripple of fear, anger, and<br />
resentment felt throughout the world. Among<br />
those who were deeply troubled by the election<br />
was renowned New York DJ and disco house<br />
producer, Eli Escobar. He did what any good<br />
artist would do during such a tumultuous period,<br />
which was to turn to his creative outlets to release<br />
emotion and voice concern regarding the grim and<br />
unstable political climate.<br />
“I was feeling a lot of pain, anger and confusion,<br />
and the best way I knew how to deal with it was to<br />
make music,” reflects Escobar.<br />
There exists a long history between music and<br />
politics, which has resulted in masterpieces that<br />
have transcended the years with messages of<br />
peace, love, and harmony over powers that seek to<br />
divide cultures and breed hatred, each generation<br />
echoing the words of their creative ancestors. For<br />
Escobar, the 1970s in particular were a goldmine<br />
of politically charged music, strong messages<br />
presented in the most beautifully composed<br />
tracks.<br />
“I’m very influenced by the music of the ‘70s,”<br />
Escobar says. “During that time, artists were really<br />
talking about the problems of the world, the inner<br />
cities, war, social and racial injustice. We haven’t<br />
seen another era in music so focused on mirroring<br />
the outside world since, and [Marvin Gaye’s]<br />
What’s Going On was probably the first high<br />
profile album of that decade which really set the<br />
whole thing in motion. I did not set out to emulate<br />
this period or make political statement with [my<br />
<strong>2018</strong> album Shout], but what I did do was make<br />
music directly influenced by modern day America.”<br />
Shout tracks like “Nightmare Rag,” “The People,”<br />
and “Goin’ On?” clearly illustrate Escobar’s<br />
sentiments regarding the current state of affairs.<br />
On “The People,” lyrics explicitly address the<br />
POTUS, making a call for justice as a solid house<br />
beat enters the track and carries the rest of<br />
the tune forward. The album itself is filled with<br />
dancefloor worthy tracks that leave one feeling<br />
just as excited about the rhythm as they do about<br />
being politically engaged.<br />
“I feel a solidarity with all of the nightlife scene<br />
here in New York,” tells Escobar. “I believe most<br />
everyone here wants to be on the right side of<br />
history, and that’s one of the beautiful things about<br />
nightlife and dance music. People who believe in<br />
equality for all tend to come together on the dance<br />
floor!”<br />
Eli Escobar performs at Open Studios on <strong>April</strong> 13.<br />
18<br />
<strong>April</strong> <strong>2018</strong>
JEAN-MICHEL JARRE<br />
BRINGING A COACHELLA-SIZED SPECTACLE TO THE NORTH<br />
ALAN RANTA<br />
CLUBLAND<br />
MARCH <strong>2018</strong>: GOU-GE YOUR EARS<br />
ALAN RANTA<br />
BPM<br />
Photo by Erik Voake<br />
I miss drugs before fentanyl. It was really something to come of age back<br />
when a pill cost $25, and felt good. I wouldn’t touch the stuff now, and<br />
I don’t. It was getting cheaper and shittier before it became commonly<br />
lethal. Sorry, kids, but you missed it. Your only hope is to convince the<br />
Liberals to get behind decriminalizing all drugs. It’s the lesser of two evils.<br />
Making it harder to get the stuff we want (that doesn’t hurt anybody<br />
else) only gets us a whole lot more stuff that we don’t want, which<br />
makes everything harder for everyone. That said, if you go to all of these<br />
shows sober, you’ll win a prize.<br />
The Residents<br />
<strong>April</strong> 11 @ Imperial<br />
What is it? I don’t know. It’s the kind of thing that may seem relatively<br />
normal in a dream, but then when you wake up and think about it, it<br />
chills you to your core. This is what a pirate may call “bizarrrrrrrrre.”<br />
Jean-Michel Jarre is heralded as one of the most important names in electronic music with a keytar collection to back it up.<br />
There is no need to go to Coachella this year. The best is coming<br />
to us. Yes, French electronic legend Jean-Michel Jarre is bringing<br />
his unparalleled spectacle to Vancouver, and there isn’t a shred of<br />
hyperbole in assigning this guy the legend tag.<br />
Granted, Jarre came in a couple years after the likes of than<br />
Jean Jacques Perrey and Wendy Carlos, but he quickly planted<br />
his flag as one of the most important names in electronic music<br />
history. He went on to sell over 80 million albums worldwide, with<br />
his landmark 1976 album Oxygène selling over 12 million copies<br />
alone, an album that became a cornerstone for the progression<br />
of ambient music. Meanwhile, the magnitude of his live shows<br />
have made it into the record books multiple times, starting with a<br />
1979 Bastille Day performance for a then-unprecedented million<br />
celebrators in Paris and culminating with the 850th birthday of<br />
Moscow, where he played for an astronomical 3.5 million people.<br />
“If I had to keep one moment, I think that would be the<br />
concert I’d done in Houston for the 25th anniversary of NASA,”<br />
Jarre reminisces about his 1986 stateside performance. “Gathering<br />
1.3 million people is still in the Guinness Book of Records for the<br />
largest audience in the United States. An astronaut was supposed<br />
to play live in the timelessness of space, but, unfortunately, it<br />
was Ron McNair, and he died in the Challenger crash. Of course,<br />
the concert became a tribute for the astronauts, and something<br />
special in my life until today.”<br />
Despite his many impressive achievements, Jarre never rested<br />
on his laurels. Ever since his early days studying elements of<br />
musique concrete with its pioneer Pierre Schaeffer and the power<br />
of the synthesizer with Karlheinz Stockhausen in the late ‘60s,<br />
he has produced a steady stream of work, dropping new albums<br />
every few years or so, including two spiritual sequels to Oxygène<br />
that were each spaced out by twenty years. He keeps the passion<br />
alive listening to classical, jazz, hip-hop, and punk, but especially<br />
today’s younger electronic acts, as demonstrated by his two-part<br />
collaborative Electronica releases, which featured the likes of<br />
Gesaffelstein, Little Boots, Sebastien Tellier and Siriusmo, and his<br />
2013 DJ mix for contemporary eclectic electronic label InFiné,<br />
simply titled InFiné by JMJ.<br />
“I always think that I’m a beginner,” Jarre remarks. “For<br />
instance, I’m going to play Vancouver for the first time. It’s a great<br />
excitement. It’s a very special city, a unique atmosphere. We have<br />
this image all over the world that Canada is so cold and full of<br />
snow, but Vancouver is exactly the reverse. Also, these days, the<br />
fact you have such a big Chinese community makes Vancouver<br />
an international hub. I’m so happy to share with the Vancouver<br />
audience one of the most sophisticated projects I’ve ever<br />
achieved, both on a musical point of view and on a visual point of<br />
view: 3-D without glasses, total immersion in terms of visuals, and<br />
also my music since Oxygène to the most recent work.”<br />
Obviously, Jarre is no beginner to live performance, and this<br />
show promises to present an unforgettable and unparalleled<br />
experience, carefully crafted by the great mind himself.<br />
“I’ve always been involved in the design of my shows, and this<br />
time, I really wanted to recreate visually what I’m doing musically,<br />
by creating architecture of sounds, creating perspectives, and<br />
giving that impact and giving that effect on the visual point of<br />
view,” Jarre enthuses. “So I conceived the stage design with giant<br />
slide LED screen panels, semi-transparent, and that gives fairly<br />
spectacular 3-D effects around the three of us, surrounded by 60<br />
instruments from the first analog synthesizers to the very up-todate<br />
touch screens and digital equipment, so it’s a fairly unique<br />
and ambitious project.”<br />
While the show has been constantly tweaked by Jarre since<br />
he hit Toronto and Montréal in early 2017, his piece with NSA<br />
whistleblower Edward Snowden will still feature prominently.<br />
Jarre travelled to Russia to record with Snowden for a track on<br />
Electronica 2 - The Heart of Noise, as his sacrifice reminded Jarre<br />
of his mother, who was part of the French resistance in 1941. If<br />
anything, the track is even more relevant now than when it was<br />
recorded.<br />
“Promoting the values of Snowden, which are actually more<br />
and more up-to-date when you see what’s going on with<br />
Facebook and the leaks all over the world, we need to protect our<br />
privacy,” Jarre declares, “And we need to protect people helping<br />
us to discover how our privacy can be in danger.”<br />
So, come to pay homage to a master of his kind, come for the<br />
spectacle, come for the knowledge… No matter what draws you<br />
here, you will leave with far more value than your ticket costs.<br />
Jean-Michel Jarre performs at the Queen Elizabeth Theatre on<br />
<strong>April</strong> 17.<br />
Peggy Gou<br />
Apr 14 @ Celebrities UG<br />
South Korea-born, Berlin-based Ninja Tune-signee Peggy Gou is being<br />
promoted as a “polymathic electronic music producer, DJ, model, pianist<br />
and designer.” She’s a veritable renaissance woman. Expectedly eclectic,<br />
her quirky, pop-laced kinetic mutantronica beats claim influence from<br />
the likes of J Dilla, Patrick Cowley, Yellow Magic Orchestra and DJ<br />
Sotofett. She could be the next TOKiMONSTA. See her now before she<br />
blows up.<br />
Carpenter Brut<br />
<strong>April</strong> 17 @ Imperial<br />
Holy nightmare of John Carpenter, does this band push the upper limits<br />
of cheesy ‘80s synth-rock, drenched in the hard driving soundtracks of<br />
classic period horror/thriller films. Hang on tight.<br />
Sequential Circus 22 feat. 1800 Haight Street, Amos<br />
Hertzman, DJ Lace & more<br />
Apr 21 @ Open Studios<br />
The good folks at Sequential Circus have kindly serviced greater<br />
Vancouver with the choicest cutting-edge curations in local multimedia,<br />
live-PA electronic music for over a decade now. There are five quality<br />
acts on this bill, headlined by <strong>BeatRoute</strong> favorites 1800 Haight Street,<br />
with mind-bending visuals by Dermot Glennon, acrobatics by AcroYoga,<br />
and an aerial hoop performance by Selene.<br />
Injury Reserve<br />
May 01 @ Fortune Sound<br />
This up-and-coming Arizona alt-rap trio drops self-aware, high energy<br />
rhymes over slick, banging beats. This particular gig, touted as “A<br />
Traveling Party/Art Installation,” is part of their ongoing Arena Tour,<br />
despite the fact it’s going down at Fortune Sound, but the Funktion-One<br />
sound system there is better than an arena anyway, so it’s for the best.<br />
Photo by Jungwook Mok<br />
Peggy Gou<br />
<strong>April</strong> <strong>2018</strong> 19
BPM<br />
BISHOP BRIGGS<br />
GRAPHIC NOVELS, THE OC AND A CHURCH OF SCARS<br />
ADAM DEANE<br />
PRADO<br />
MAKING WAY FOR THE WEIRDOS<br />
JORDAN YEAGER<br />
Photo by Jabari Jacobs<br />
A star on the rise, Bishop Briggs grew up obsessed with American culture and karaoke.<br />
To put it lightly Bishop Briggs (aka Sarah Mclaughlin)<br />
does not do anything half-assed. In truth, after<br />
hearing tracks like “River, ” “Wild Horses” and her<br />
most recent release “White Flag,” you’ll begin to<br />
understand why she has repeatedly graced the<br />
Billboard 100 charts and smashed Twitter’s Emerging<br />
Artist charts while performing alongside bands like<br />
Kaleo and Alt-J. The traditional pop-electronic genre<br />
label is immediately discarded once her cathartic<br />
vibe meets her unavoidably relatable and honest<br />
vocals and lyrics.<br />
Having caught up with BB precisely one month<br />
before the 4/20 release of her debut album, Church<br />
of Scars, following her SXSW performances,<br />
peculiarly, her spirit was incredibly high. If her energy<br />
was any more animated, she’d have to take up an<br />
acting role in anime. Speaking of which, Briggs let us<br />
in on a few of her other artistic vents.<br />
“Darker poetry is always my go-to. Even if I’m<br />
having a good day I like to write poetry to remind<br />
me of who I am at my core. I am a big diary-writer,<br />
and that involves a ton of graphic novel vibes; I draw,<br />
I do speech bubbles, the whole thing. I started to<br />
get drawn to tattoos as a way of therapy, which my<br />
mum was very upset about. I started to see a distinct<br />
correlation between getting the tattoos and feeling<br />
as though I got closure on events or experiences.<br />
And then as time progressed, I feel like my tattoos<br />
grow with me.”<br />
At 25, the London-born, Hong Kong and Tokyo<br />
raised singer has already graced soundtracks of<br />
multiple blockbusters, she’s collaborated with bands<br />
like Cold War Kids and more recently, she forged<br />
next to Dan Reynolds (vocalist of Imagine Dragons)<br />
for her newest track “Lion” off of her upcoming<br />
release.<br />
“If you can imagine (no pun intended) being in<br />
a vocal booth standing next to him, it’s just the<br />
strength of his voice,” she says. “You don’t hear<br />
tracks where he’s just singing acapella. It makes you<br />
a superfan.”<br />
When questioned about her unconventional<br />
upbringing, Briggs credits her childhood as the spark<br />
of her love for all things music and culture.<br />
“I didn’t really realize that it was an unusual<br />
upbringing until I moved to the States at 18. At that<br />
point I was like, oh it is strange to go to karaoke bars<br />
every couple of days after school. For me, it was all<br />
I’d ever known. I went to an international school and<br />
was pretty obsessed with American culture, so by the<br />
time I moved to the States I was ready to become a<br />
character from The OC.”<br />
Bishop Briggs will begin her first headlining tour<br />
in Vancouver at the Commodore with her debut<br />
album, Church of Scars, set to release the week prior<br />
to the show. If you’re a fan of hard-hitting vocals,<br />
deep bass, high-energy and big hearts; you should<br />
catch this one. Otherwise, stay home and watch<br />
reruns of The OC or something.<br />
Bishop Briggs performs <strong>April</strong> 27 at the Commodore<br />
Ballroom.<br />
Photo by Zee Khan<br />
Benita Prado’s energy is infectious – when she<br />
talks, you want to listen. The 19-year-old hip<br />
hop artist has quickly carved a place for herself<br />
in Vancouver’s music scene, challenging existing<br />
structures and revolutionizing the game. Listening<br />
to her, it’s clear Prado knows what she wants and<br />
how she’s going to get there; she’s been crafting,<br />
refining, and redefining her sound since her mom<br />
gifted her a guitar at age 13.<br />
“My mom gave me the guitar and she was like,<br />
‘Here, I want you to learn some Rolling Stones on<br />
this,’” laughs Prado. “I was like, ‘Uh, I don’t fuck<br />
with that.’ So I just started writing my own stuff,<br />
just stupid little teenage heartbreak stuff. And<br />
from there I started going onto SoundCloud and<br />
Twitter and branching myself out that way.”<br />
Before making a name for herself in the public<br />
sphere, Prado was a ghostwriter for big-name<br />
rappers when she was just 15. She’s used the<br />
following four years wisely, learning the game from<br />
the inside out – there’s no better way to overthrow<br />
the system than from within it.<br />
“I came out the womb looking like I was 12, so<br />
I deadass just finessed people,” she says, laughing<br />
after a comparison to Maeby Bluth from Arrested<br />
Development’s stint in the film industry. “I was 15,<br />
like, ‘Yeah, I’m 19, and I know how to do this.’ I still<br />
20<br />
do it, but it makes it harder to focus on my own<br />
career. I was always the behind-the-scenes type<br />
person and now I’m in the fuckin’ foreground.”<br />
If you have the dedication, the vision, and the<br />
talent, you will succeed, and Prado’s mission is<br />
to be the living proof. When asked about the<br />
purpose of her art and what she hopes to achieve,<br />
she responds with a laugh: “Maybe like… world<br />
domination?”<br />
“I hope people see themselves [in my music],”<br />
she says. “[In my songs], I let myself be the worst<br />
version of myself for, like, two minutes. Everyone<br />
needs an outlet for that shit. So I just want them to<br />
take away the vulnerability, and accepting that not<br />
everybody has to be a positive person – you just<br />
have to be a person. Have that balance. Sometimes<br />
I feel like a dark ass bitch. But it’s like, just live your<br />
life. You don’t have to be positive all the time. I was<br />
an emo ass kid. I was deadass emo as fuck from<br />
grades five to 10. Now I’m getting back into it; I<br />
have all the My Chemical Romance albums.”<br />
Ultimately, Prado makes music for the people<br />
who have been in her shoes, living in their feelings<br />
without public figures to look up to.<br />
“Have you ever seen the Vine of that little emo<br />
black kid who does screamo in front of mirrors?”<br />
asks Prado. “He’s literally the best Viner. People<br />
Prado is poppin’ off with the release of her new mixtape, Yung Depression.<br />
always make fun of him. I make music for those<br />
people, and I want those people to have an outlet,<br />
and women of colour to have an outlet. All the<br />
people that don’t feel like they fit into a SZA or a<br />
Beyoncé – that super feminine, hyper-beauty type<br />
thing. It’s all centred around men, and I don’t have<br />
time for that. Centre around yourself! Be proud of<br />
your ugliness.”<br />
“I want to be the person people look up to for<br />
that kind of shit,” she continues. “But at the same<br />
time, I’m human, I make mistakes. So I try to keep<br />
it real while creating a movement for black little<br />
weirdo kids like me. Cause there’s all these white<br />
little weirdo heroes and I’m like, where’s the one<br />
for the black kids? Being black in Vancouver, and<br />
being Aboriginal, I have all these odds against me,<br />
but you’ve got to just show up like, yeah, I’m here,<br />
I’m this bitch right here. And it’s pretty much just<br />
constantly being yourself and really just going for<br />
it. Be a bad bitch.”<br />
Prado’s new mixtape is due out <strong>April</strong> <strong>2018</strong>.<br />
<strong>April</strong> <strong>2018</strong>
IRON KINGDOM<br />
HEAVY METAL TRADITIONALISTS SET TO OPEN THE GATES OF ETERNITY<br />
ANA KRUNIC<br />
New Wave of Traditional Heavy Metal band looks to rebirth a classic sound.<br />
Many a fledgling metalhead got their start in the<br />
fundamentals of the genre through bands like Iron<br />
Maiden, seeing Eddie’s snarled face on a t-shirt,<br />
or maybe hearing Judas Priest’s “Painkiller” at a<br />
party. Not to mention the large percentage of us<br />
that have drunkenly sung along to our fair share of<br />
Manowar songs in our youth (and, hell, to this very<br />
day!). Raucous, often theatrical, but still accessible,<br />
traditional heavy metal has survived past the ‘70s<br />
and ‘80s to enjoy a massive resurgence in recent<br />
years, bringing us the New Wave of Traditional<br />
Heavy Metal (NWOTHM). In Canada alone, we’ve<br />
seen Cauldron, Skull Fist, and Striker succeed<br />
internationally, and now the lower mainland has<br />
its own contender in Surrey’s Iron Kingdom.<br />
Formed in 2011, Iron Kingdom’s melody-heavy,<br />
fantastically-themed songwriting hits all the marks<br />
you’d want in a NWOTHM group, a move away<br />
from the ever-growing doom and death metal<br />
heaviness of the past couple decades, and a move<br />
back towards the roots of the genre.<br />
“A big part of what saw [frontman] Chris and<br />
I get together in high school was a genuine love<br />
for the ‘70s and ‘80s when it came to music and<br />
aesthetics,” says founding member and bassist<br />
Leighton Holmes. “In the early days, blissfully<br />
unaware of what was going on around us, we<br />
dreamt of a resurgence of the glory days of metal<br />
– a return to how it was before the race to the<br />
bottom, before everyone tried to really outdo<br />
each other in terms of heaviness. I like some of<br />
the extreme genres of metal, but I really love the<br />
musicianship, storytelling, and song craft of the<br />
NWOBHM bands and power metal bands that<br />
followed suit. For us, it’s all about making the<br />
music we want to hear as diehard metalheads.”<br />
They’ve enjoyed a pretty heavy touring schedule<br />
since the release of their 2011 debut, Curse of the<br />
Voodoo Queen. They’ve hit North America, Brazil<br />
and Europe in the past few years, with no plans to<br />
sit around anytime soon. Iron Kingdom returns<br />
to the local stage to headline the first night of<br />
Hyperspace Metalfest, sharing the weekend with<br />
a slew of western Canadian and American heavy/<br />
power metal acts.<br />
“In honour of the fifth anniversary of [our<br />
second LP] Gates of Eternity, we’re going to<br />
be performing the whole album front to back,<br />
and I’m incredibly pumped to see how people<br />
respond,” says Holmes. “It’s been pretty awesome<br />
rehearsing this set because it’s really given me that<br />
opportunity to think about the songs, specifically<br />
the lyrics, with a completely different frame of<br />
reference after five years.”<br />
Since they plan on staying relatively local this<br />
year to lay the groundwork for their next album,<br />
Holmes says that playing a local festival like<br />
Hyperspace Metalfest is an opportunity to look<br />
back on the material that saw them on their first<br />
major tours while still marching onward.<br />
“We’re really excited to share this album with<br />
the people who have supported us from the<br />
beginning, as well as people who may be seeing<br />
us for the first time. We’re really looking forward<br />
to Hyperspace – we get to do what we love with a<br />
bunch of friends all sharing in the great gift called<br />
metal.”<br />
Iron Kingdom headlines day one of Hyperspace<br />
Metal Festival at the Rickshaw Theatre on <strong>April</strong> 13.<br />
<strong>April</strong> <strong>2018</strong> 21
YOU BIG IDIOT<br />
DON’T GET MAD, GET HILARIOUS<br />
COLE YOUNG<br />
You Big Idiot serve up a tasty dose of comedy with their pop punk on Mega Donair.<br />
“Every time we go to some Music <strong>BC</strong> workshop<br />
they always say ‘you need to look like you belong<br />
together,’” says Shafer Carson about why You Big<br />
Photo by Trav Anema<br />
Idiot always play in costume. “So we just took that<br />
to the extreme.”<br />
You Big Idiot, which consists of Carson (Vocals,<br />
Bass), Colin Pearson (Vocals, “Easy” Guitar), Chris<br />
Hogan (“Hard” Guitar), Kurt Anderson (Guitar)<br />
and Steve Pearson (Drums), is a fun punk band<br />
that’s made a big splash in the Vancouver local<br />
music scene. They choose to use comedy as a way<br />
to express themselves, peeling away from the usual<br />
more serious attitude you might get from their<br />
scene counterparts.<br />
“We all came from angrier punk bands,” Pearson<br />
explains. “I don’t know if our name was meant to<br />
be angry or not but we’ve evolved into a comedy<br />
band anyway and I like that. I like getting mad but<br />
comedy is such a more fun way to get mad.” You<br />
can tell by the album, this band of friends and<br />
brothers like to laugh. Mega Donair is the name<br />
of their sophomore release and it boasts subtle<br />
comedic references to everything from Seinfeld to<br />
the Barenaked Ladies.<br />
Mega Donair was self recorded and mixed by<br />
Shafer in a studio the band made in the Pearson’s<br />
family home basement. Although it’s a homemade<br />
album, you’d never guess it. They spent two years<br />
perfecting each track and it shows. The album was<br />
also mastered at the legendary Blasting Room in<br />
Colorado to give it that final spit shine.<br />
The album is packed full of fast, fun songs, most<br />
of which are at over 200 BPM. “Usually he or I write<br />
a song,” Shafer says, nodding to Colin. “And that’s<br />
like chord structure and lyrics, then we’ll all jam it<br />
out together.” They’re also quick to acknowledge<br />
that everyone contributes to the songwriting.<br />
While discussing the pro’s of playing in a band with<br />
old friends for so long Shafer says, “It’s always tight,<br />
you can take breaks and the groove is still there.”<br />
One of the mega standout moments on Mega<br />
Donair is the incredible jazz jam as the outro to<br />
the track “Selfie.” It takes you from feeling like<br />
you’re at a crazy show at Pub 340 to suddenly an<br />
old smoky jazz bar. It’s a unique and beautiful end<br />
to the song. All of the parts where recorded by<br />
the talented Kristy-Lee Audette, Shafer explains<br />
the recording process. “I kept sending her into<br />
the booth with different instruments, trumpet,<br />
trombone, glockenspiel etc. I never played her<br />
anything we had previously done so she just did<br />
track after track and I mixed it all together later.”<br />
At the end of the day You Big Idiot are some<br />
cool guys playing music for all the right reasons.<br />
They take their craft seriously without taking<br />
themselves too seriously, a nice change of pace in<br />
this day and age.<br />
Mega Donair is available <strong>April</strong> 20. You Big Idiot<br />
performs <strong>April</strong> 27 at S<strong>BC</strong> Café.<br />
22<br />
<strong>April</strong> <strong>2018</strong>
NECK OF THE WOODS<br />
AN EMOTIONAL TRIBUTE FALLS VICTIM TO DECEIT<br />
Neck Of The Woods refuse to let a photo scandal get in the way of their greatness.<br />
JOHNNY PAPAN<br />
Neck of the Woods are a progressive death metal<br />
quintet from Vancouver, British Columbia. For<br />
the last five years, they have been destructing<br />
stages of all grandeur, spreading their macabremeets-machine<br />
gun sound throughout the lower<br />
mainland, performing alongside notable artists<br />
including Converge, Every Time I Die, The Devin<br />
Townsend Project, The Faceless, Misery Signals,<br />
and many more. In September 2017, Neck of the<br />
Woods released their sophomore record, The<br />
Passenger, an album with a deep-rooted emotional<br />
connection.<br />
“Lyrically, I tend to speak of personal struggles<br />
and development,” explains lead vocalist Jeff<br />
Radomsky. “In the Passenger, the bulk of the lyrics<br />
are directed towards extending support to my<br />
sister who suffers from brain cancer. A good chunk<br />
of the lyrics were written in the waiting room<br />
during her craniotomy.”<br />
Neck of the Woods are an extremely heavy<br />
band who were stricken under the weight of an<br />
even heavier reality. Though the soundscape of<br />
the group is inflamed with aggression, Radomsky<br />
clarifies that together, the group reached deep<br />
within their darkness to find a shining light for his<br />
Photo by Shimon Karmel<br />
sister, Sarah.<br />
“All the songs that draw attention to her<br />
torturous battle with this disease are uplifting,<br />
positive statements of support, a reminder that<br />
she can beat it,” he says. “The other guys in the<br />
band all harbour personal relationships with her as<br />
well: she’s come on tours with us, she illustrates a<br />
bunch of our merch, often works our merch booth<br />
at shows, and has bent over backwards to help us.<br />
The Passenger was for her.”<br />
Though it’s inevitable that any band would<br />
be more than ecstatic to reveal their latest work<br />
to the world, especially one so vulnerable in<br />
expression, Radomsky admits there’s a whole<br />
other side to this story involving lies, deceit and<br />
deception. The band has held this tale in secrecy<br />
until now.<br />
Christopher McKenney is a surrealist<br />
photographer from Pennsylvania. One of his<br />
images recently graced the cover of the upcoming<br />
album, In Becoming A Ghost, by tech-death band<br />
The Faceless.<br />
“I found McKenney through Instagram years<br />
ago,” Radomsky explains. “I had been a big fan<br />
of his work for quite some time. I purchased a<br />
few framed prints of his photography for my<br />
apartment over the years and interacted with him<br />
via Instagram prior to purchasing the photo for<br />
our record cover.”<br />
The photo in question was one of McKenney’s<br />
pieces entitled “Them.” This was the initial shot<br />
meant to cover the Passenger.<br />
“The dark subject matter paired with an<br />
unsettling surreal aspect grabbed my attention<br />
immediately,” says the vocalist. “I’m a big fan of<br />
surrealist art, be it photography, illustration or<br />
painting. If it’s weird and dark, I’m usually into it.<br />
When I first laid eyes on the piece, I was struck like<br />
a deer in the headlights. It spoke to me. I could<br />
hear the subject of the photo crying out like a<br />
banshee in the night; I could feel its pain and knew<br />
it was level to mine. I felt it encompassed the<br />
themes of the lyrical content, sound and overall<br />
feeling of the record so well that we had to use it.”<br />
In preparation for the record’s release, the band<br />
contacted McKenney and eventually purchased<br />
the rights to use his image as their album cover for<br />
$400 USD. Things seemed to be going smoothly<br />
for the band. That is, until they caught wind of an<br />
Australian shoegaze band called Vagrond, who<br />
used the exact same image as the cover for their<br />
2014 album Regret.<br />
“I stumbled upon an article about Chris’<br />
photography,” explains the lead vocalist and<br />
instrumentalist for Vagrond, who performs under<br />
the name Atheos. “I hadn’t previously seen his<br />
work, but as soon as I saw the photo in question I<br />
felt it was a perfect image to represent our album.<br />
I sent an email to Chris asking if he sold his images<br />
for album cover use and if that particular image<br />
was available. He told me that the image had<br />
not previously been used and was available to<br />
purchase. We bought the image and he said it was<br />
ours exclusively. The album was released digitally<br />
in December 2014 and physically, on CD and vinyl,<br />
in mid-2015.”<br />
When Neck of the Woods and Vagrond<br />
discovered their shared artwork, the Vancouver<br />
band’s picture-perfect album promotion was<br />
distraught. Neck of the Woods brought the<br />
artwork-epidemic to the photographer’s attention.<br />
McKenney allegedly stated that Vagrond had used<br />
the photo without his permission and he knew<br />
nothing about this.<br />
Atheos says otherwise: “Jeff and myself shared<br />
our emails showing that we both had bought<br />
exclusive rights to the image, and it was therefore<br />
Chris’ mistake that the image had been sold twice.”<br />
When Radomsky confronted McKenney after<br />
exchanging emails and receipts with Atheos,<br />
both bands would soon lose all contact with the<br />
photographer.<br />
“Because I used Neck of the Woods as an outlet<br />
to deal with my sister’s condition, McKenney’s<br />
actions struck me like a knife in the chest,”<br />
Radomsky reveals. “I had a strong connection with<br />
the piece we had bought from him. When he took<br />
our money and ran, I felt like he took more than<br />
mere dollars. I felt he robbed me of a piece of my<br />
outlet.”<br />
With only a few days to remedy the situation,<br />
Radomsky partnered with Kevin Moore of Soft<br />
Surrogate Design to reimagine The Passenger’s<br />
cover image. After reviewing hundreds of photos,<br />
illustrations, and paintings from artists around<br />
the world, they decided they would have to create<br />
something original. They took to the woods with<br />
borrowed camera gear, limited supplies, and a few<br />
friends. Chasing the setting sun, the pair managed<br />
to get the shot they wanted with only minutes to<br />
spare. Overnight, Moore reworked an entirely new<br />
layout for the record, produced all-new marketing<br />
graphics, and created an animated video for the<br />
next single. The record, with its new cover, was<br />
released a few weeks later.<br />
“Ultimately we’re much, much happier with our<br />
cover,” he says. “It’s a more accurate portrayal of<br />
the record in every respect, right down to the little<br />
details. I feel the whole experience sprouted a few<br />
grey hairs on my head, but it taught me a lesson<br />
I needed to learn: it’s always worth trying to do it<br />
yourself. Restrictions breed creativity.”<br />
Christopher McKenney was contacted via email<br />
and did not respond.<br />
Neck of the Woods plays the Astoria on <strong>April</strong> 6.<br />
<strong>April</strong> <strong>2018</strong> 23
MUSIC<br />
BRASS<br />
DISHING OUT THE GOLD STANDARD IN HOUSE PARTY PUNK<br />
MAT WILKINS<br />
Photo by Mike Tan<br />
Brass provide high-octane thrills on For Everyone.<br />
“Have a good time, so everybody around you<br />
can have a good time.” This, according to vocalist<br />
Devon Motz, is the fundamental concept that<br />
guides Vancouver punk band BRASS, whose<br />
music and performances are packed to the brim<br />
with a special brand of energy that’s delightfully<br />
involving: the kind of energy that makes you feel<br />
like the music wouldn’t be what it is without the<br />
community that gathers around it.<br />
“It needs to be relatable, catchy, and heavy<br />
all at the same time,” explains Motz when<br />
discussing the band’s distinctive sound, which<br />
consists of blistering riffs, high-octane rhythms,<br />
and roaring vocals. Each song off of their first<br />
full-length, No Soap Radio, acts as a sort of<br />
sonic firework, exploding with that intoxicating,<br />
quintessentially punk power that’s over almost<br />
as quickly as it began. With 10 songs and a total<br />
runtime of about 17 minutes, the album doesn’t<br />
beat around the bush. “A four-minute song could<br />
be a minute-and-a-half song when you get rid of<br />
everything that’s boring.”<br />
Yet despite their length and relative rowdiness,<br />
each BRASS song contains a healthy dose of<br />
lyrical depth, dealing with subjects like mental<br />
health and substance abuse. According to Motz,<br />
the brutally honest (and often self-deprecating)<br />
lyricism in their work ties into their veiled<br />
philosophy on musical honesty and community<br />
involvement.<br />
“I think bad feelings are worth celebrating,<br />
because they’re fucking feelings, man,” he says.<br />
“[Writing] a catchy song about being depressed<br />
is better than being depressed.”<br />
Their next album, For Everyone, will veer<br />
away from this path, touching on relatable<br />
topics outside of the lyrical self-loathing found<br />
throughout their debut LP. For Everyone is set to<br />
live up to its namesake, with a huge breadth of<br />
subject matter and riffs written for audiences to<br />
“let loose, be safe, inclusive, and have fun.”<br />
BRASS is a band that adheres to the gold<br />
standards of identity, involvement, and energy.<br />
They write songs and play shows meant to lift<br />
people up out of their seats and out of their<br />
stupors, and will continue to do so all over our<br />
city and beyond – so long as we keep dancing.<br />
BRASS play their For Everyone album release<br />
show <strong>April</strong> 7 at The Cobalt.<br />
HERON<br />
SLOWLY CLAWING YOUR FACE OFF<br />
JAMILA POMEROY<br />
Stepping into the jam space of Vancouver doom<br />
metal band Heron, there is laughter, talk of album<br />
art by macabre artist Cryptworm, and a slight<br />
skunky haze. This atmosphere is beyond fitting for a<br />
genre which is often visually represented with dark<br />
psychedelic art and imagery of cannabis culture.<br />
While the four-piece has been prominent in the<br />
scene, their forthcoming release, A Low Winter Sun,<br />
will be their first full-length album.<br />
A Low Winter Sun is not your typical doom<br />
metal album, as the band has incorporated<br />
elements of thrash, sludge, and post-metal into<br />
their sound. The band recorded the album locally at<br />
Rain City Recorders, with producer Jesse Gander (3<br />
Inches of Blood, Bison <strong>BC</strong>, White Lung).<br />
“We’ve been building on this record for about<br />
two years now, explains vocalist Jamie Stilborn. “It’s<br />
not a concept album, but we’ve tried playing the<br />
songs in different orders and it fucks us up. It just<br />
feels right to be played and listened to in the order<br />
[that the songs] are in.”<br />
Stilborn tends to write lyrics centered on esoteric<br />
and existential concepts with inspiration drawn<br />
from film and philosophy, tackling heavy subjects<br />
with optimism and positivity. This approach<br />
perhaps sets them apart from many bands in the<br />
doom metal scene, who often drift lyrically towards<br />
dark themes with nihilistic viewpoints. While<br />
their music never features clean vocals, Stilborn<br />
aims to use vocals as an instrument of their own.<br />
Sonically their heavy, bass-driven sound blends<br />
beautifully with their spacey and unconventional<br />
song structures, sounding comparatively to bands<br />
like Sleep and YOB. This is some serious melt your<br />
face off music.<br />
Heron has shared the stage with big names in<br />
doom and sludge metal, including High on Fire and<br />
Pallbearer.<br />
“I think that was probably my biggest<br />
accomplishment, opening for High on Fire,” says<br />
guitarist Scott Bartlett. “I’m a huge fan of Matt Pike,<br />
High on Fire, and Sleep, so it was pretty incredible.<br />
The band acknowledges there is a deep sense<br />
of community and connection within the doom<br />
scene, in comparison to other sub-genres of metal.<br />
Heron emphasize their excitement in continuing<br />
to play with the bands they have connected with,<br />
spanning across the country and down the West<br />
Coast.<br />
“There is a really good vibe happening right now<br />
with the band,” says Bartlett. “We keep pushing<br />
forward. That’s really the bottom line for us. As<br />
long as we are having fun and making good music, I<br />
think we are doing things right.”<br />
Heron play the Astoria on <strong>April</strong> 17.<br />
Photo by Milton Stille<br />
Scott Bartlett, Jamie Stilborn, Ross Redeker, and Bina Mendozza bring crushing doom riffage while<br />
tackling deep lyrical themes.<br />
24<br />
<strong>April</strong> <strong>2018</strong>
HOGAN SHORT<br />
Almost exactly a year ago, the beloved show<br />
from Comedy Central, Workaholics, concluded<br />
with its seventh season. Workaholics was more<br />
than just a stoner comedy about three dimwitted<br />
telemarketing bros with a complete lack<br />
of self-awareness; the show brought quick-witted<br />
sketch-style comedy to the mundane lifestyles<br />
of underachievers who just want to have fun.<br />
Workaholics was beloved by girls and guys alike,<br />
whether they were in their teens, 20s, 30s, or even<br />
50s. So when it was announced that the gang of<br />
Adam (Adam DeVine), Ders (Anders Holm), and<br />
Blake (Blake Anderson) would be back barely<br />
a year later with a Netflix film playing another<br />
trio of idiots, people let high hopes grow. If you<br />
were a fan of Workaholics, then their new film,<br />
Game Over, Man! (a play on Bill Paxton’s famous<br />
line from Aliens), is exactly what you have been<br />
missing. The film is Kyle Newacheck’s first featurelength<br />
credit as a director, who also co-created<br />
Workaholics and directed most of its episodes.<br />
The premise of Game Over, Man! is simple: three<br />
underachieving, unintelligent housekeepers at<br />
a luxury hotel must stay alive and save the day<br />
when they get caught up in a hostage takeover.<br />
Newacheck, DeVine, Holm, and Anderson work<br />
together to collaborate on ideas.<br />
“We all worked on it,” says Newacheck. “Anders<br />
is the writer, but we all work as a team when<br />
developing. That mushrooms episode from<br />
Workaholics was really great and inspired by Die<br />
Hard. Collectively, Die Hard is our favourite movie.<br />
So we said ‘Let’s make a Die Hard movie and<br />
make it funny.’ The stakes are really high and it’s<br />
life and death and you have these three stooges<br />
running around. Other producers came on, like<br />
Seth Rogen, and they have experience making<br />
these movies. They helped us with our emotional<br />
line with the three guys, they cleaned it up, added<br />
a few jokes. The four of us would take notes and<br />
then, as a director, that’s where I come in to figure<br />
out how we actually do this.”<br />
Writing a film and getting it into production is<br />
always difficult enough, but this group’s style of<br />
comedy relies on being instinctually funny. Like<br />
Workaholics before it, Game Over, Man!’s laughs<br />
rely heavily on improv, and that requires a director<br />
who knows how to best capture spontaneity. This<br />
group has been working together for so long that<br />
the jokes and lines delivered throughout Game<br />
Over, Man! never feel forced and always elicit big<br />
laughs from its three stars.<br />
“You don’t get that natural connection without<br />
improv and multiple cameras capturing it,” he<br />
says. “Back in the day, I just moved the camera<br />
while they improvised. It’s at the core of who we<br />
are. You can have scenes on the page and then<br />
the emotion isn’t necessarily there. When you<br />
put real friendship behind it, then you can start<br />
improvising the jokes.”<br />
Since Game Over, Man! is set in a luxury hotel, it<br />
makes sense that there would be some celebrities<br />
staying there. This plot device is perfect for the<br />
inclusion of some unpredictable cameos, and<br />
casting celebrities to come together for a quick<br />
scene to play themselves is an interesting task.<br />
“You would be happy to know that Shaggy<br />
was in from day one,” Newacheck laughs. “Poor<br />
Anders, he wrote and rewrote that script like<br />
eight times. Every single time, Shaggy has been<br />
in it, singing at gunpoint. It was relevant and<br />
perfect. He flew over from Jamaica. As soon as his<br />
headshot came up, everyone else started coming<br />
in, too. People like Steve-O, they just came out<br />
because they were fans.”<br />
One thing fans know for sure about DeVine<br />
is that he is never afraid to take it all the way;<br />
DeVine seems to be the one most drawn to<br />
making a complete fool of himself for the sake of<br />
the scene. In Game Over, Man!, he goes where too<br />
few men have gone on film. His character not only<br />
goes full frontal, but close up and at every angle.<br />
“Adam is just the guy who will do that,” says<br />
Newacheck. “I lived with him for seven years, and<br />
let’s just say he’s never been shy about his dick. It’s<br />
not a surprise to me at all that he would take it<br />
there. He is known to do that. It was a closed set. I<br />
was sitting there behind the camera right behind<br />
him and speaking quietly and seriously saying,<br />
very literally, okay, now loosen up.”<br />
Newacheck’s character on Workaholics, Karl,<br />
was such a fan favourite that he could easily be<br />
the fourth member of their quartet. But while<br />
fans might hope for Newacheck to make an<br />
appearance in the film, for this project, he decided<br />
to stay in the director’s chair.<br />
“I never considered putting myself in the film,<br />
but everyone else did,” he says. “For this one, there<br />
just wasn’t a role. Karl – that was me. I was so into<br />
it and I loved it. For this, I wanted to establish<br />
myself as a director.”<br />
If you are someone who has never seen<br />
Workaholics, then Game Over, Man! is a great<br />
introduction to the group. If you love Workaholics<br />
and have seen every episode six times, depressed<br />
that no new episodes are coming, then consider<br />
this film a welcome reprieve. If you hate<br />
Workaholics, then this movie probably isn’t for<br />
you.<br />
Game Over, Man! is available on Netflix now, right<br />
on time for 4/20.<br />
<strong>April</strong> <strong>2018</strong> 25
FILM<br />
ISLE OF DOGS<br />
WES ANDERSON’S PUP-MOTION FAILS TO RAISE THE WOOF<br />
MAGGIE MCPHEE<br />
THIS MONTH IN FILM<br />
BRENDAN LEE<br />
You Were Never Really Here – <strong>April</strong> 6<br />
A man, a hammer, and a girl he never imagined he’d have the heart to<br />
care for. Winner of Best Actor and Best Screenplay awards at the 2017<br />
Cannes Film Festival, Joaquin Phoenix’s performance promises a gutpunch<br />
to the psyche.<br />
A Quiet Place – <strong>April</strong> 6<br />
The louder the scream, the better the chance they’ll find you. John<br />
Krasinski and partner in crime, Emily Blunt, tackle the horror genre<br />
with a unique twist that could very well lead us all to a land of silent<br />
nightmares.<br />
Indian Horse – <strong>April</strong> 13<br />
An adaptation of the late Richard Wagamese’s great Canadian novel,<br />
Indian Horse follows a young Indigenous boy in 1970s Canada. From<br />
hopeful beginnings as a talented ice hockey player, the boy grows up to<br />
face the harsh realities of holding on to identity in a world that’s trying<br />
to rinse it out of you.<br />
Super Troopers 2 – <strong>April</strong> 20<br />
The Broken Lizard comedy group is back, 17 years after the<br />
unconventional state troopers first pranked, drank, and smoked their<br />
way into everyone’s hearts. With the return of the original cast, the<br />
sequel promises to be undeniably unwholesome in all the right ways.<br />
A lot of old dogs and a even few new tricks apparently isn’t enough to keep Isle Of Dogs out of the doghouse.<br />
Isle of Dogs raises the bar for contemporary American<br />
animations. Wes Anderson approached his stop-motion fable<br />
with the same attention to detail and craftsmanship as the great<br />
Hayao Miyazaki, elevating him as America’s auteur animator<br />
equivalent. A team of 27 animators laboured endlessly to imbue<br />
their puppets with life, emotion, and vitality. They handcrafted<br />
every object and assigned specialists for emotional nuance,<br />
action scenes, and comedic timing. The team’s work, partnered<br />
with Wes’ unmistakable style, birthed a film of visual splendor,<br />
and French composer Alexander Desplat delivered a soundtrack<br />
to match.<br />
Unfortunately, the story and characters don’t live up to the<br />
film’s sensory resplendence.<br />
Dogs takes place in a dystopian future Japan, while the houndhating<br />
municipal governor quarantines all canines on Trash Island<br />
due to a “dog-flu” outbreak. When 12-year-old Atari crash-lands<br />
his plane on the island, a pack of pups accompanies him on the<br />
search for his lost dog, Spots. The fictional dog-hating culture<br />
traces back to ancient Japanese dynasties, granting the film a<br />
scope too epic for its tale of love between boy and dog.<br />
A chasm between the plot’s scope and artistic minutiae leaves<br />
much room to fall flat. The all-star cast, comprised of Anderson<br />
veterans Bill Murray, Edward Norton and Tilda Swinton – and<br />
two dozen other mentionable names – packs Dogs with a lot of<br />
weight. But the story flits between the government bodies, prodog<br />
activists, and Trash Island ruffians so fast there’s no time to<br />
get to know their characters in depth. It’s difficult to care about<br />
what’s at stake when we aren’t invested in who’s involved.<br />
The film flows at a brisk pace as a determined camera sweeps<br />
the audience through bright and inventive landscapes. However,<br />
there is no evident reason for a Japanese setting other than an<br />
aesthetic one, and the film has been criticized for its tone-deaf<br />
appropriations of Japanese culture. Perhaps this prioritization<br />
of aesthetics is the film’s greatest downfall. Anderson’s clinical<br />
attention to detail left him with a case of tunnel vision that<br />
compromised the core of his story.<br />
Disobedience – <strong>April</strong> 20<br />
From Academy Award Winning Director Sebastián Lelio comes a<br />
passionate take on forbidden desire. A shunned woman returns home<br />
and reignites the relationship with a female childhood friend that cast<br />
her out in the first place. With sweltering friction, the film stars Rachel<br />
Weisz and Rachel McAdams.<br />
You Were Never Really Here<br />
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26<br />
<strong>April</strong> <strong>2018</strong>
MUSIC REVIEWS<br />
Jack White<br />
Boarding House Reach<br />
Third Man/Columbia<br />
Jack White has been called a lot of things<br />
– minimalist, revivalist, madman, genius,<br />
protagonist, antagonist, lover, fighter – probably all<br />
true, or true enough. One thing’s for sure, Jack’s a<br />
creator who loves making art.<br />
Now suppose for a moment we suspend our<br />
belief that pop music, any and all of that stuff made<br />
to be marketed for immediate consumption, did<br />
not have a hit factor assigned to it. In other words,<br />
we didn’t rate or predict how much radio play, units<br />
moved or YouTube views a song or album got or<br />
was worthy of. Rather we assessed music only for its<br />
art value, not for its potential to chart and sell.<br />
It’s still hard for those familiar with Jack to<br />
remove his association with the White Stripes. He’s<br />
constantly compared to the success of his musical<br />
debut. Such is the nature of the biz: you’re only as<br />
good as your last record. And in Jack’s case, for many<br />
it’s still those records he made with Meg. But Jack<br />
doesn’t roam in that world anymore. He lives in the<br />
land of art for art’s sake, which is the starting point<br />
for Boarding House Reach.<br />
As the pulsating vibe of the album’s opener<br />
“Connected By Love” continues to build, the midsection<br />
of the song suddenly bursts into a frenzy<br />
of weird guitar loops and crazy keyboard soloing.<br />
Then, just as suddenly, it drops down to near silence<br />
with only a soft piano and warm bassline playing<br />
while Jack pleads and cries out, “Forgive me, and<br />
save me from myself!” Sisters Ann and Regina<br />
McCrary soon follow and lend their powerful voices<br />
pushing the chorus into a climatic spin of strange,<br />
vibrating electronics and full gospel sounds. When<br />
it finally settles, it’s easy to image Jack the madscientist<br />
running around his lab tweaking dials and<br />
fiddling with gadgets moreso than Jack the musician<br />
headphones on bellowing into a studio mic.<br />
Jack the scientist is not such a peculiar analogy<br />
given his first career he flourished as a tradesman<br />
in his upholstery shop. Boarding House Reach has<br />
that sound and feel all over it – the studio is Jack’s<br />
laboratory, his new shop, and his trade is mixing<br />
weird science with rock ‘n’ roll producing strange<br />
musical concoctions.<br />
Jack also loves gospel. On “Why Walk A Dog”<br />
a church organ forcefully pumps out two chords<br />
swaying back and forth as if someone was standing<br />
on the keys instead pressing down on them with<br />
their hands. It’s a big churchy blast that gives<br />
away to a brooding guitar solo that’s more akin to<br />
motorized output signal that grinds up and down as<br />
it’s put through an electronic oscillator. Weird, yes.<br />
Wonderful as well. The marriage of soul and sci-fi<br />
sonics works quite well.<br />
Moving into funk and R&B, “Ice Station Zebra”<br />
is chopped and sliced with jazzy breaks and<br />
machine-gun breakdowns with some fine multilayered<br />
rappin’ by Jack that’s right up there with<br />
the Beasties. Taking a sharp turn and heading<br />
into very different territory, “Abulia and Akrasia”<br />
showcases the talents of Australian blues singer C.W.<br />
Stoneking, who does a spoken-word sermon over a<br />
sad, spiritualized Middle Eastern violin and tinkering<br />
piano. While the manic pace of “Over and Over<br />
and Over” with its fuzzed-out electro-romp and<br />
haunting, alien chants, parallels the eerie universe of<br />
Bowie’s “Black Star”. Staying in a strangeland, Hal’s<br />
omnipresent mechanical voice from 2001: A Space<br />
Odyssey is filtered through a cheesy TV commercial<br />
that leads off “Everything You’ve Ever Learned”. The<br />
track then proceeds to ramp up into a harrowing<br />
garage-jazz-psychedelic freakout that cuts right into<br />
a late ’60s B-movie, biker soundtrack.<br />
There’s A LOT going on in Jack’s lab. His<br />
experiments dabble in 10cc’s quirky pop and Roxy<br />
Music’s avant-garde art rock, then travel through<br />
the Beatles’ playground on the White Album<br />
before pulling into the carnival factory-works of<br />
latter-day Tom Waits. Boarding House Reach is an<br />
endless experimentation, fused with sci-fi creations<br />
that are, yes, wonderfully weird. Will any of these<br />
tracks chart? Who cares. It may not be commercial,<br />
but it’s art. Good art where Jack takes on a new<br />
classification by transforming himself into a<br />
complex futurist.<br />
• B. Simm<br />
• Illustration by Danielle Jette<br />
<strong>April</strong> <strong>2018</strong> 27
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RIOTHEATRE.CA FOR ADDITIONAL DATES<br />
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AND ANTON YELCHIN<br />
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A Place To Bury Strangers - Pinned<br />
Goat Girl<br />
Goat Girl<br />
Rough Trade<br />
Adding to the grand tradition of DIY basement recordings if London had any<br />
basements, Goat Girl’s sprawling, 19-track self-titled debut marks a significant<br />
achievement in grimy, lo-fi storytelling. Emerging from the fragmented South<br />
London indie scene, the album serves as a collection of fast-paced urban<br />
observations with lead singer Clottie Cream’s morose drawl as the centerpiece.<br />
Elements of punk, psychedelia, and even experimental country spiral and twist<br />
their way around Cream’s sharp cultural criticism. Never far removed from the<br />
volatile socio-political context of their city, album highlights “Scum,” “Cracker<br />
Drool,” and “Country Sleaze’’ serve up tongue-in-cheek critiques of masculinity,<br />
humanity, and greater society as a whole. “Creep on the train / I really want to<br />
smash your head in” groans Cream on “Creep.” Goat Girl’s self-titled debut is a<br />
fast-paced slap in the face, clocking in around 40 minutes they waste no time<br />
making a lasting impression.<br />
• Jarrett Edmund<br />
Guided by Voices<br />
Space Gun<br />
Rockathon Records<br />
The ludicrously prolific Robert Pollard keeps it 100 with a record that maintains<br />
the warmth and eclectic energy of his back catalogue as it enters three figures.<br />
Tirelessly inventive, the band blazes through a track-list which takes the best of<br />
their lo-fi early years and fuses it with Pollard’s arena-sized ambitions and ear for<br />
catchy choruses.<br />
The opening riffs of the title track sound as clean as anything the band has<br />
produced, the DIY grunge of their early years replaced by slick sharpness in<br />
instrumentation and singing alike. Warmer cuts such as “Ark Technician” let<br />
Pollard slip into nostalgic reverie, a marked contrast from the tight production<br />
of the album’s opener. “Blink Blank” has the ragged charm of Zevon later in his<br />
life; grizzled vocals and growling guitars coalescing into an energetic cut, its<br />
lyrics and tone funny, frank and foreboding all at once. Shades of Earthquake<br />
Glue’s glossy, Townsend-scale catchiness show up in the album’s penultimate<br />
track “Flight Advantage,” with its bizarre, irresistibly memorable refrain of<br />
“Spiders will dance.”<br />
The echoing “Got to keep moving” of “Evolution Circus,” along with its scratchy<br />
faraway chorus vocals, is indicative of the album’s mood, a largely successful<br />
attempt to cut and paste the scale of classics like Alien Lanes with the banter<br />
and inimitable character of GBV’s many underrated, inconsistent obscurities.<br />
After over 2,000 recordings, Pollard shows no signs of slowing down but rather<br />
doubles down with an album which is both a reminder of his extensive years of<br />
practice and his zeal for lovable spontaneity.<br />
• Cathal Gunning<br />
Amen Dunes - Freedom<br />
Amen Dunes<br />
Freedom<br />
Sacred Bones<br />
Amen Dunes, a.k.a. sound-shifting rock artist Damon McMahon, has dedicated<br />
a lifetime to exploring selfdom through sound. If the past 10 years have been<br />
a dark wood of introspective, sometimes alienating incantations, then the<br />
project’s newest release is the long-awaited clearing. Freedom, rough and<br />
rhythmic, will revive listeners with fresh air and sweet sun.<br />
Freedom took three years to make, with help from band mainstays Jordi<br />
Wheeler and Parker Kindred, plus newcomers Delicate Steve, electronic<br />
musician Panoram and producer Chris Coady (Beach House, TV on the Radio).<br />
Despite these decorative changes, Freedom remains a continuation of<br />
McMahon’s personal examinations of the self. Each track is a character vignette<br />
that represents McMahon, his turbulent past and masculine identity; from the<br />
fallen surf hero of psych-pop “Miki Dora” to the rock bent “Blue Rose” about<br />
his father. McMahon tackles his mother’s recent death on “Believe,” a song of<br />
propulsive percussion upon which he warbles lyrics like “you said you lived out<br />
on the wrong side, you said that’s half the fun.”<br />
Although each song charters new sonic territory, McMahon houses them under<br />
his distinct style and unwavering quest to answer the life-long question: why am<br />
I? With Freedom, McMahon delivers an answer of the musical proportions we<br />
dreamed, and now know, he is capable of.<br />
• Maggie McPhee<br />
Preoccupations<br />
New Material<br />
Flemish Eye<br />
The band formerly known as Viet Cong return with a dark, dreamy post-punk<br />
record; the most fully-realized evocation of their unrelenting sound yet. The<br />
pithy title gives away nothing but the track-list, boasting titles like “Decompose”<br />
and “Manipulation,” is indicative of New Material’s mood. “It’s a ode to<br />
depression and self sabotage,” says frontman Matt Flegel. Indeed an atmosphere<br />
of clamouring unease and instability permeates the album, but spacey<br />
production deepens and elevates this darkness over the record’s predecessors.<br />
The strongest songs on New Material are studies in pressure as it builds<br />
and dissipates, with the instrumentation and singing often at odds in this<br />
regard; when lyrics make sense their background is madness and vice versa.<br />
On “Disarray,” Flegel’s placid tones remind us “everything you’ve ever been<br />
told is a lie” as vibrant drums bounce behind his voice, the beat sounding as<br />
relentless as he does retired. On “Antidote,” a steady drumbeat underscores<br />
lyrics which are first squawked, then drawled; theatrical yells and emotionless<br />
monotone both contrasted with instrumentation which grows more chaotic<br />
as verses turn to chanted, repetitive mantras. This confluence of dead-eyed<br />
delivery and clattering accompaniment revives potentially cliché lyrics about an<br />
28<br />
<strong>April</strong> <strong>2018</strong>
APRILTUESDAY<br />
SUNDAY MONDAY WEDNESDAY THURSDAY<br />
01<br />
Ear Muffs<br />
02<br />
KARAOKE!<br />
03<br />
04<br />
The Garden<br />
w/ Tijuana Panthers<br />
& Cowgirl Clue<br />
05<br />
Acid Mother’s<br />
Temple<br />
w/ Yoo Doo Right<br />
& V.Vecker Ensemble<br />
FRIDAY<br />
The<br />
w/ Russian Tim<br />
& Pavel Bures (EARLY)<br />
SWITCH<br />
(LATE dance party)<br />
06<br />
SATURDAY<br />
07<br />
Brass<br />
(album release)<br />
w/ Anchoress,<br />
Frank Love & Glad Rags<br />
08<br />
Ear Muffs<br />
09<br />
KARAOKE!<br />
10<br />
11<br />
Beats & Bass<br />
Cancer Smasher<br />
(Auction / Fundraiser)<br />
X.X.T<br />
w/ guests<br />
12<br />
Phono Pony,<br />
Sorry Edith,<br />
The Charm Offensive<br />
& Strange Breed<br />
13<br />
The Corps<br />
w/ The Skudfux (EARLY)<br />
14<br />
Colby & The Catastrophes<br />
w/ Alex Little And<br />
The Suspicious Minds (LATE)<br />
Lo Moon<br />
w/ Kraus<br />
15<br />
Ear Muffs<br />
16<br />
KARAOKE!<br />
17<br />
18<br />
19<br />
Rinse Dream<br />
w/ Miesha And The Spanks,<br />
Hedks & Shame Cube<br />
20<br />
The Tranzmitors<br />
w/ guests<br />
21<br />
Whores<br />
w/ Helms Alee & Mess<br />
22<br />
Dave Hause<br />
w/ The Drew Thomson<br />
Foundation<br />
& Jesse Labourdais<br />
Elastic Stars<br />
w/ Jody Glenham<br />
& The Dreamers<br />
and Chance Lovett<br />
& The Broken Hearted<br />
23<br />
24<br />
Phoebe Bridgers<br />
(SOLD OUT)<br />
25<br />
26<br />
The Prettys,<br />
Art d’Ecco &<br />
Highland Eyeway<br />
MAN UP<br />
27 28<br />
Queer Bash<br />
Reunion<br />
29<br />
Queers N’ Beers<br />
Ear Muffs<br />
30<br />
KARAOKE!<br />
(It’s the last night we’re<br />
open for business y’all)<br />
Tues 03 - Vibe Corridor Tues 17 - Vibe Corridor<br />
Thurs 05 - Cuddy Sessions Wed 18 - Soft Spot<br />
Tues 10 - Vibe Corridor Thurs 19 - Precious<br />
Wed 11 - Spirit Music Tues 24 - Vibe Corridor<br />
Thurs 12 - Actual Dads Thurs 26 - Boss Takeover
EVERY MONDAY FROM 2-4 PM PST!<br />
THE AVULSIONS<br />
DEBUT ALBUM<br />
‘EXPANDING PROGRAM’<br />
OUT NOW<br />
04.13..............................Toronto / The Garrison<br />
04.14 -Sold Out....Toronto / Horseshoe Tavern<br />
04.16...........................Montreal / Theatre Plaza<br />
05.01....................Winnipeg / Pyramid Cabaret<br />
05.03..................................Edmonton / Starlite<br />
05.04...................................Calgary / Palomino<br />
05.05...................................Calgary / Palomino<br />
05.09...........................Vancouver / The Astoria<br />
More tour dates and tickets available at:<br />
www.flemisheye.com<br />
FLEMISHEYE.COM
Guided by Voices - Space Gun Guided by Voice Holy Wave - Adult Fear JJUUJJUU - Zionic Mud<br />
“information overdose.<br />
The track segues into an unexpectedly-dreamy close as do many on<br />
the album, the influence of M83 producer Justin Meldal-Johnson<br />
bleeding into the band’s typically moodier aesthetic. These injections<br />
of levity are “disaster relief,” and deepening the palette of tones the<br />
band has to work with lends the record’s gloominess more impact<br />
than its predecessor, 2016’s self-titled Preoccupations.<br />
In New Material, darkness excites and envelopes; delivery and<br />
instrumentals are alternately deadpan and jolting, never fully awake<br />
or asleep, shuffle-stepping between unsettled waking life and a<br />
chilling but invigorating dreamscape.<br />
• Cathal Gunning<br />
A Place To Bury Strangers<br />
Pinned<br />
Dead Oceans<br />
Adversity has long been the driving force inspiring sonic chemists<br />
to one up themselves. On this fifth full-length by the decade old<br />
noise rock trio the struggles of life are real but they also come with<br />
a big pay off. The opener, “Never Coming Back,” brims with anxiety<br />
whether it’s brought on by the changes all around or a consistent<br />
streak of personal bad luck matters less and less as the trance<br />
inducing back beat helps give the sensation of exiting this world for<br />
clouds of noise up above.<br />
Otherworldly guitar sounds and copious amounts of forlorn blasts of<br />
sonic chaos have always been the rule but this release has a notable<br />
addition with the inclusion of he/she vocals. The hellish buzz-saw<br />
guitar riffs on “Frustrated Operator” benefit greatly from a female<br />
presence widening the dynamic with soft Nico-inspired singing<br />
which is truly shiver inducing.<br />
Weary voices give searing meditations on personal truth revealing a<br />
side to the band that usually hides beneath layers and layers of postrock<br />
noise.<br />
• Dan Potter<br />
The Penske File<br />
Salvation<br />
Stomp Records<br />
The Penske File’s new album, Salvation, is a power-poppy blend<br />
of various punk rock styles. The opening track “Kamikaze Kids,”<br />
explodes from the picking pattern of a brightly-toned guitar to a<br />
folk-infused, chorus-y punk song reminiscent of new-era Green Day<br />
meeting old-school Against Me!<br />
Salvation’s fourth track “Spin My History,” is an emotionally driven<br />
rock-song with enough catchiness to fit on radio airwaves, and<br />
enough grit to catch your attention. “Last Chance” is a smack-yourface<br />
tune that mixes elements of ‘50s rock n’ roll with heavy, melodic<br />
skate-punk.<br />
Overall, Salvation feels like a well-executed power-pop tribute to<br />
punk music of the early 2000s. Sounds on Salvation are comparable<br />
to the likes of Blink-182, Sum41, NOFX, Yellowcard, and many more<br />
artists of that era. The record’s diversity touches on punk’s many<br />
niches, leaving something catchy and enjoyable for fans from all<br />
walks of the genre.<br />
• Johnny Papan<br />
Holy Wave<br />
Adult Fear<br />
The Reverberation Appreciation Society<br />
Following up on the heels of Holy Wave’s Freaks Of Nurture, their<br />
2016 release, Adult Fear is the five piece from Austin’s fifth official<br />
release and third full-length album. Sticking with their signature, hazy<br />
psych-garage sound, Holy Wave has managed to release yet another<br />
captivating collection of tracks.<br />
With each new album the band puts out, they seem to mature<br />
towards new levels of experimentation and layering lush<br />
instrumentation, amid tracks gliding effortlessly between different<br />
grooves and tempos. This does not so much startle, but rather takes<br />
one on a trip with the band.<br />
One aspect that sticks out on Adult Fear is the departure to a more<br />
neo-psychedelic sound, reminiscent of groups such as The Zombies,<br />
Pink Floyd (a la Syd Barrett), and more recently, Ariel Pink. This<br />
shines through on tracks such as “Nation In Regress,” “Habibi,” and<br />
“Adult Fear.”<br />
Layered in abundant organ/synth tones and track lengths reaching<br />
<strong>April</strong> <strong>2018</strong> 31
LA VIDA LOCAL<br />
HOMEGROWN VANCOUVER MUSIC RELEASES<br />
Preoccupations - New Material<br />
above eight minutes, Holy Wave drenches classic psych sounds on a<br />
blotter of fresh composition.<br />
• Tory Rosso<br />
JJUUJJUU<br />
Zionic Mud<br />
Dine Alone<br />
LA psych rock band JJUUJJUU’s debut album, Zionic Mud, opens<br />
strong with “Camo,” firing you into a hypnotic trance of funky<br />
basslines, accented by raucously squawking lo-fi guitars. This album<br />
conjures images of bohemian Californians dancing barefoot. Drawing<br />
you in with it’s siren song before sending your mind’s eye skyward,<br />
beyond this earthship.<br />
Zionic Mud maintains high energy through the title track with<br />
fantastic build-ups transitioning into wild crescendos. Bookended<br />
by “Bleck,” a straight ahead psych track, the first third of the album<br />
is funky, spaced out, and danceable. A tempo switch, leading to a<br />
gentle outro dove-tailing the short interlude of atmospheric space<br />
travel in “Level.” This first instrumental has a softness that only lasts a<br />
moment before your consciousness is transported to witness storms<br />
on a outlier planet, amping you up and passing you down the line of<br />
tales to come.<br />
JJUUJJUU maintains this build up, fade away presence loyally<br />
throughout Zionic Mud. The variation of tempo and structure build<br />
an excellent album. The layered, airy psych, paired with thunderous<br />
drums, moody, post-punk guitars and vocals that don’t take centre<br />
stage creates something accessible.<br />
• Trevor Hatter<br />
Zeke<br />
Hellbender<br />
Relapse Records<br />
Saltwater Hank<br />
Stories from the Northwest<br />
Independent<br />
Is there anything more Canadian than references to beaver<br />
pelts? On his debut album, Saltwater Hank weaves timeless<br />
yarns of Canadiana in true bluegrass-folk fashion. Stories from<br />
the Northwest is a lo-fi recording with a dry vocal treatment. Its<br />
rustic sound takes a page from the O Brother, Where Art Thou?<br />
soundtrack. But this isn’t your average bluegrass record paying<br />
homage to American narratives. Stories from the Northwest<br />
cheekily uses a nostalgic genre to relay perspectives that aren’t<br />
traditionally covered in history books. Loyal to the land instead<br />
of the colonizer, the lyrics reference B.C.’s geography. The trickster<br />
coyote even makes an appearance in the lyrics of “Coyodel<br />
#1,” a melody inspired by Canada’s FIPA deal, and “Coyodel #2”<br />
is dedicated to land and water defenders who choose action<br />
over passivity. The instrumentation of fiddles and mandolin<br />
perfectly complements Hank’s pointedly political lyrics, but Blake<br />
Bamford’s banjo on “Hartley Bay Rag” stands out as a shining<br />
moment.<br />
• Lauren Donnelly<br />
The Shit Talkers<br />
I Scream<br />
Mountain Momma Records<br />
I Scream is a raw, unapologetic, to-the-core punk rock record. The<br />
opening track, “Ewwwww,” is a borderline-destructive offering<br />
that draws imaginative imagery of a wild house party, moshers<br />
romping about, shoving each other through walls with aggressive<br />
affection. “Normal Love,” the following track, is a romantic blend<br />
of grungy groove mixed with angsty thrash.<br />
From there, the Shit Talkers unleash a flurry of speedy tracks<br />
with “Shut Up,” “Late in French,” “Betty,” and “8th Dick,” before<br />
continuing the trend with the album’s lead single, “The They,” and<br />
ending with “Fukn Guyz.” I Scream packs a fun-filled fist to the<br />
face and kick to the groin.<br />
• Johnny Papan<br />
The Orange Kyte<br />
The Orange Kyte Says Yes!<br />
Little Cloud Records<br />
The Orange Kyte Says Yes! is an album that takes listeners on an<br />
eclectic psych voyage that pulls out all the stops, even after you<br />
thought they’d all been pulled.<br />
The album opens with “More In,” a blissful instrumental that<br />
features crunchy, fuzzed-out guitar and distant organs playing in<br />
unison: a tantalizing clue for what to expect from the rest of this<br />
sophomore outing. The album is peppered with surprises, like<br />
when “Echolocation” introduces a folky acoustic guitar for the<br />
first time on the record, or when “Looks Like Me to Me” launches<br />
into dystopian, lo-fi synths and repetitive vocal mantras.<br />
With this latest record, Stevie Moonboots and co. holed up at<br />
Invisible Recordings to craft a perfect and measured follow-up<br />
that starts on an incredible note – and only goes up from there.<br />
• Mat Wilkins<br />
Harrison Brome<br />
Body High EP<br />
Nettwerk Music Group<br />
Vancouver-based R&B crooner Harrison Brome has been making<br />
serious waves leading up to the release of his forthcoming EP,<br />
Body High. The collection of songs features his already popular<br />
title track, which premiered on Complex and gained traction<br />
from media outlets like FADER and Hypebeast. The EP explores<br />
ideas of modern romance, resentment, and courtship with tracks<br />
like “Jaded” and “9-5.”<br />
On the “Body High” single, it’s clear Brome has mastered the<br />
art of anticipation: he leaves listeners wanting more by carefully<br />
capturing the nostalgic sense of sensuality that almost makes you<br />
feel guilty for lusting over it. With his music earning more than<br />
22 million streams worldwide, Body High is surely going to take<br />
Brome nowhere else but higher.<br />
• Molly Randhawa<br />
After a hellishly long wait, Zeke are back with their first album in<br />
14 years. The punk legends known for mixing the gritty might of<br />
Motorhead with the cartoon fun of The Ramones sound in great<br />
form right off the top of the album as “On the Road” kicks out some<br />
seriously caffeinated guitar solos. Thankfully, each song continues to<br />
snuff out boredom with an all-killer-no-filler approach.<br />
“Burn” literally sounds like the band is about to spontaneously<br />
combust as the snarling vocals spat out over the whip crack of the<br />
one-hundred-mile-an-hour snare drum will leave any punk extremist<br />
dizzy. The fun continues on “AR-15,” with the refrain “blow it away,<br />
blow it away” whilst the misanthropic anthem is taken even higher<br />
with New York Dolls-like guitar leads sped up to an un-godly tempo.<br />
The inhuman speed that these short but damaging blitzkriegs are<br />
belted out is truly frightening and definitely makes this Zeke’s fastest<br />
recording to date.<br />
• Dan Potter<br />
32<br />
Yamantaka//Sonic Titan - Dirt<br />
Yamantaka//Sonic Titan<br />
Dirt<br />
Paper Bag Records<br />
Yamantaka//Sonic Titan are back with a vengeance after five years of relative<br />
silence. Toronto’s distinctively pan-cultural experimental music and performance<br />
collective have released their most ambitious, yet also their most cohesive, record<br />
yet with Dirt, an album conceived as the soundtrack to an unreleased 1987 anime<br />
with Buddhist and Iroquois influences. “Someplace” and “Dark Waters” set the<br />
stage in suitably dramatic fashion with charging prog rock rhythms and sweeping<br />
melodic passages. “The Decay” unfolds as the album’s true centerpiece, an operatic<br />
dreamscape lead by deliberate doom metal riffage and uplifting, airy vocals. Dirt is<br />
a phantasmagorical journey.<br />
• James Olson<br />
<strong>April</strong> <strong>2018</strong>
Photo by Lisa Wu<br />
A Tribe Called Red<br />
Commodore Ballroom<br />
March 10, <strong>2018</strong><br />
Whether or not it’s your first time at A Tribe Called Red show or your<br />
fifth, you’ll find yourself in a sea of ravers, dancers and head-bobbers<br />
– covered in sweat of others or your own.<br />
Described as “pow-wow-step,” the First Nations electronic group<br />
played the first of two back-to-back, nearly sold out shows. Despite<br />
Ian “DJ NDN” Campeau departing in October, 2017 for health<br />
reasons, Tim “2oolman” Hill and Ehren “Bear Witness” Thomas kept<br />
the crowd off their feet effortlessly from start to finish over the<br />
course of a mesmerizing 90-minute set.<br />
Transcending traditional genres of music, ATCR is out of the<br />
ordinary, as they aren’t necessarily one type of dance music. Bridging<br />
and blending genres such as hip hop, reggae and dubstep with<br />
LIVE<br />
traditional First Nations vocal chanting and drumming has led to<br />
them blowing up into the biggest First Nations group out of Canada,<br />
netting the group multiple Juno nominations.<br />
From the first drop, the audience was exposed to a sensory<br />
overload: from breakdancing cameos by breakdancers Matthew<br />
Creeasian and Angela Gladue in full regalia to a video loop of<br />
indigenous imagery and the instances of cultural appropriation in<br />
pop culture over the ages – ideas both divisive and inclusive.<br />
ATCR are constantly blending the ideas of traditional and<br />
contemporary of the political, social and artistic spheres. Despite<br />
writing music as indigenous people for (predominantly) indigenous<br />
people, the crowd came from a plethora of different generations,<br />
cultures and creeds. Unity has always been a staple of ATCR and this<br />
night was no exception.<br />
• Timothy Nguyen<br />
Charlotte Day Wilson<br />
Fortune Sound Club<br />
March 20, <strong>2018</strong><br />
Charlotte Day Wilson is a multi-talented singer,<br />
songwriter, producer and instrumentalist. Based<br />
out of Toronto, Wilson has made waves in the<br />
Canadian music scene, having lent her talents<br />
to artists like BadBadNotGood, River Tiber and<br />
Daniel Caesar. Now, it’s her chance to take the<br />
spotlight.<br />
Stone Woman is Wilson’s sophomore EP,<br />
with six tracks of R&B and jazz-inspired ballads.<br />
Wilson’s style is like honey— smooth, sweet<br />
and slow-moving. From tracks like “Doubt,” to<br />
“Nothing New,” Wilson gives listeners a window<br />
into the motions of a past relationship.<br />
The Stone Woman Tour started in Vancouver,<br />
the first of ten sold-out shows across North<br />
America and Europe.<br />
Just like her EP’s cover art, Wilson kicked<br />
Photo by Darrole Palmer<br />
off her tour with the title track, in a dimly-lit<br />
Fortune Sound Club. Wilson’s setlist included<br />
performances from both Stone Woman, and her<br />
debut EP, CDW. Supporting her were her three<br />
band members on keys, guitar, bass and drums.<br />
But in the end, the most impressive part about<br />
Charlotte Day Wilson is her infectious stage<br />
presence. There were moments in “Find You” and<br />
“Falling Apart” that had the crowd moving, and<br />
moments in “Funeral” where the room fell silent.<br />
As the crowd screamed for an encore, Wilson<br />
returned alone with her guitar and proceeded<br />
to close the show with an airy, reverb-dense<br />
ballad, unreleased to the public. Her emotional<br />
performance left the crowd in awe, leaving fans to<br />
anticipate her next release.<br />
The first show of the Stone Woman Tour is a<br />
career-defining moment for Charlotte Day Wilson,<br />
and Vancouver is lucky to have been the first stop.<br />
• Lyndon Chiang<br />
PVRIS<br />
Vogue Theatre<br />
March 6, <strong>2018</strong><br />
PVRIS plays a style of music that builds with<br />
atmosphere and grows slowly, getting louder and<br />
more feverish until, before you know it, your feet<br />
are sore and you’ve been dancing for what seems<br />
like days. Headed by the marvellous Lynn Gunn,<br />
the band parked their live show atop the Vogue<br />
theatre’s stage Tuesday night and put on a show as<br />
uplifting as it was haunting.<br />
The ambient pop-infused rock band from<br />
Massachusetts was subtle in their presentation,<br />
allowing the tight-knit interlayering of a solid<br />
setlist to speak for itself. Beneath a heavenly<br />
glow from the lights above, Gunn transitioned<br />
flawlessly between soft spoken songs sat behind<br />
Photo by Lindsey Blane<br />
the keyboard with tracks like the stripped down<br />
version of ‘Same Soul,’ to showcasing her wailing,<br />
impressive vocal range on ‘Separate.’ Gunn isn’t<br />
overly talkative, but when she does speak, her<br />
voice has a tone of closeness that could cause<br />
hearts to break.<br />
More than anything, the show was an excuse to<br />
jump around. As the sound grew from its tentative<br />
beginning, it wasn’t long before the crowd was<br />
helpless, unable to avoid the rhythm of the drums<br />
and the synthesizer. In the course of an hour or<br />
so, PVRIS went from being welcomed on stage<br />
to owning it. The atmosphere in the place could<br />
vibrate paint from the walls, and Gunn more than<br />
succeeded in making a few new friends along the<br />
way.<br />
• Brendan Lee<br />
F<br />
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277 PRINCE EDWARD ST<br />
BILTMORECABARET.COM<br />
<strong>April</strong> <strong>2018</strong> 33
NEW MOON RISING<br />
YOUR MONTHLY HOROSCOPE<br />
QUAN YIN DIVINATION<br />
Month of the Fire Dragon<br />
In Chinese folklore, there is a saying: “when the Dragon and Dog oppose, the gates<br />
of Heaven and Hell are open.” This month brings full opposition to the annual Dog<br />
energy, activating a strong opposition between solar and lunar influences. Though<br />
while polarity can bring conflict, it can also bring harmony and balance through the<br />
unity of opposites.<br />
Change can mean opportunity, and those who aspire toward higher ideals may<br />
escape the doom and gloom that might otherwise shroud our thinking now.<br />
Be selective with media — activism and peacekeeping are priorities this month.<br />
The four earth protectors (the Dog, Dragon, Ox and Sheep) will be most affected<br />
by this month’s shift, as the earth communicates directly with them. Rather than<br />
blaming or accusing others, lets keep looking toward the light of a bright future and<br />
our willingness to unite with others for a happy tomorrow.<br />
Rabbit (Pisces): If petty problems or<br />
people crowd your workspace, take<br />
more time in solitude and use quiet<br />
discipline to stay focused on what<br />
is in front of you and your correct<br />
relationship to it.<br />
Dragon (Aries): Exciting times call<br />
for a calm mind. Additional costs or<br />
sacrifices may be necessary in order to<br />
achieve your goals. It’s better to let go<br />
voluntarily than to have an undeserving<br />
punishment. Save face by making a<br />
willing sacrifice.<br />
Snake (Taurus): Paperwork surrounds<br />
you and the only way out is through.<br />
Take it one step at a time and you<br />
can accomplish more – overwhelmed<br />
thinking slows you down and creates<br />
more obstacles.<br />
Horse (Gemini): Gentle sweetness can<br />
pacify but may also patronize. Make<br />
sure that you speak your mind, even if it<br />
may come across as abrupt or tactless.<br />
It’s your party and you get to have it<br />
your way!<br />
Sheep (Cancer): Assist others now<br />
and give them the support they need<br />
to achieve. You won’t be left behind<br />
as everyone needs to work together<br />
to make it happen. Stay close to those<br />
who have your best interests at heart.<br />
Monkey (Leo): Being pulled in many<br />
directions means you’ll need to have<br />
clear priorities in place this month.<br />
Multiple objectives might seem to be<br />
conflicting now, where once they were<br />
in harmony. What’s most important to<br />
you?<br />
Rooster (Virgo): This busy month<br />
tests your ability to maintain your<br />
focus, but is an opportunity for you to<br />
learn something. Look for the lesson<br />
revealed in your decisive action – you<br />
are a multi-faceted intellectual who can<br />
juggle more than others can.<br />
Dog (Libra): Turn your attention to<br />
your values and what inspires your<br />
action in the world. Do unto others<br />
as you would have them do unto you.<br />
This month could solidify important<br />
relationships and partnerships, or<br />
destroy the ones you care about the<br />
most.<br />
Pig (Scorpio): If people seem to busy<br />
for you now, don’t take it personally.<br />
Peace is a place of rest for the heart<br />
and soul, and the changes you seek are<br />
coming soon. Be patient and take this<br />
month to catch up on all the things you<br />
may have neglected or procrastinated<br />
on recently.<br />
Rat (Sagittarius): This is a good time<br />
to socialize, network, or make new<br />
connections that will pave the way<br />
forward. There are opportunities<br />
for motivated Rats to seek out new<br />
territories or break new ground this<br />
month, but you’ll need to go out there<br />
and make it happen!<br />
Ox (Capricorn): Pay close attention to<br />
your mood, which may, at times, hover<br />
like a dark rain cloud over you. This is a<br />
time where your internals and externals<br />
may not be matched so do what you<br />
can to put on a happy face, grin, and<br />
bear it.<br />
Tiger (Aquarius): Notice how the<br />
sunshine feels as it kisses your face! The<br />
world is full of beauty, laughter, and<br />
grace. You are surrounded by peace and<br />
harmony. Trust that all is as it should<br />
be. All is well.<br />
Susan Horning is a Feng Shui Consultant<br />
and Bazi Astrologist living and working<br />
in East Vancouver. Find out more about<br />
her at QuanYin.ca.<br />
34<br />
<strong>April</strong> <strong>2018</strong>
CANADA’S LARGEST INDEPENDENT CONCERT PROMOTER<br />
UPCOMING SHOWS<br />
ALBERT HAMMOND JR.<br />
WITH PINKY PINKY<br />
<strong>April</strong> 11 - The Biltmore Cabaret<br />
AN EVENING WITH:<br />
THE RESIDENTS<br />
<strong>April</strong> 11 - Imperial<br />
MOONCHILD<br />
WITH GUESTS<br />
<strong>April</strong> 15 - The Biltmore Cabaret<br />
CUT COPY (DJ SET)<br />
WESTWARD FEST ANNOUNCE PARTY<br />
<strong>April</strong> 16 - The Biltmore Cabaret<br />
SC MIRA & DAYSORMAY<br />
WITH GUESTS<br />
<strong>April</strong> 21 - The Biltmore Cabaret<br />
CASPER SKULLS<br />
WITH GUESTS<br />
<strong>April</strong> 26 - The Biltmore Cabaret<br />
JAPANDROIDS AT FORTUNE SOUND CLUB<br />
AN EVENING WITH:<br />
URIAH HEEP<br />
ALTAMEDA AND JARED & THE MILL<br />
WITH GUESTS<br />
<strong>April</strong> 26 - Tickets are Still Available!<br />
<strong>April</strong> 27 & <strong>April</strong> 28 - Sold Out <strong>April</strong> 28 - Vogue Theatre <strong>April</strong> 30 - The Biltmore Cabaret<br />
TICKETS ARE AVAILABLE AT MRGCONCERTS.COM