6 months ago

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


MUSIC PHOEBE BRIDGERS EMBRACING VULNERABILITY AND COMING OUT AS PRO-SEXT GRAEME WIGGINS Photo by Frank Ockenfels Phoebe Bridgers finds a balance of intensity and sincerity on Stranger In The Alps. Singer-songwriter Phoebe Bridgers’ latest album, Stranger in the Alps, strikes a rare balance. The Los Angeles based artist has created an emotional collection of songs that speak from the heart while maintaining a sense of humour to make it a relatable experience for all. “I’m trying to find the balance between being sincere and not being too intense,” Bridgers explains. “Letting people know that I’m serious about what I’m saying. I don’t want to italicize the subtext. It’s just life. I want to say it how it is and not make it too intense. With my songs I try to write like I’m talking to someone.” When one does write very relatable emotional music, fans can get pretty intense. This is a concern Bridgers shares with some of her prominent musical friends: Connor Oberst, Ryan Adams, and Julien Baker. Bridgers takes that responsibility seriously but her down-to-earth persona captures a slightly more diverse crowd. As she puts it, “I do have intense fans but I also have women who are really like me. Who kind of talk like a surfer. “Dude your record is sick!” There’s a Venn diagram between how intense they are versus their bro-y attitude.” It also helps that she talks about relatable things, fairly frankly. The idea of the vulnerability that arises from sent sexts comes up on her song “Demi Moore.” Make no mistake however, she’s definitely not against the idea: “Oh I’m so pro sexting. I could talk about this for so long. I’m so pro sexting because, especially for young people. TMI I lost my virginity on high school campus and I wasn’t allowed to sext or allowed to have boys over. Or girls. I wasn’t allowed to have girls sleep in my bed because my parents knew I was bisexual. I felt this weird shame about it,” she says. “I don’t know one full grown adult who didn’t have some sort of movie theatre experience in their early teens. It’s the same thing, only safer. And there’s more consent.” Bridgers deals with serious issues in her songwriting and sometimes that means getting people out of their seats at shows can be difficult. In some cities that meant covering Sheryl Crow’s “If It Makes You Happy,” which was a crowd pleaser. It also involved confetti filled balloons when performing “Scott St.” For Vancouver, she has a secret weapon: “You can look forward to an emo cover of Japandroids. I fucking love Japandroids so much and always try to cover a Japandroids song in Vancouver. When I was opening for people that’s how I won over Vancouver.” Phoebe Bridgers performs April 24 at the Cobalt. 16 April 2018

THE NEIGHBOURHOOD TRANSMITTING BIG CITY SOUNDS WITH SENSITIVITY ADAM DEANE WILD CHILD THE EVOLUTION OF AUTHENTIC EXPECTATIONS ZACH JOHNSON Photo by Adam Alessi The Neighbourhood have a lot of love to give. Every once in awhile you come across a band that slithers into your headphones and projects an alternate vision of reality for a day. Los Angelesbased band The Neighbourhood happens to be one that can do just this with their atmospheric, sensitive and soul-encompassing sound that transcends all corners of a city, reminding you there The Austin-based seven-piece indie folk band Wild Child is on a continuous journey of authenticity in their artistic expression. The two primary songwriters, Alexander Beggins and Kelsey Wilson, originally met in a different band prior to forming Wild Child in 2010. Throughout the past eight years the band has released four full length albums, their most recent being Expectations, a fully realized collection of bombastic indie pop. “I don’t think we’ve made a conscious effort to evolve our sound,” Beggins explains. “We’ve never wanted to make the same record twice, but we are consciously trying to find a way to change [our sound] and we have a big pool of inspiration.” Regardless of Wild Child’s mindset, their 2011 debut, Pillow Talk, took off thanks to their songwriting talent. “All those songs did really well on Hype Machine online for some reason and we were all like ‘shit, I guess we’re doing that now,’” jokes Wilson. Shortly after Wild Child’s first album, their carefree approach to song writing stopped. “Wild Child started strictly for fun: zero expectations, zero drive to be or do anything. It all kind of accidently fell into our lap, with music that we wouldn’t have ever set out to make initially. We started playing [Pillow Talk] on the road and realized we didn’t like playing quiet ukulele stuff in loud open bars and that wasn’t us,” Wilson asserts. Fast-forward to the present day and Wild Child is more driven, ambitious and passionate than ever. The band has gone above and beyond to create their best record to date with Expectations. The nine song LP released this past February was recorded in both North America and Europe in collaboration with some well-known producers and musicians including Chris Walla (Death Cab for Cutie), Scott McMicken (Dr. Dog), Matthew Logan Vasquez (Delta Spirit) and Chris Boosahda (Shakey Graves). Expectations is a cohesive and well-written album that resonates with Wild Child fans for its relatable content. “I think Expectations is best explained by the title,” says Beggins. “There is the duality of the statement like expectations of who we want to be, and where we want to be, and who we’re with and what relationships we’re involved in, all of us. Expectations is how I feel about the expectations is love in the world. BeatRoute caught bassist Mikey Margott at his favourite sandwich spot and trapped him down for a few minutes on the day of The Neighbourhood’s new self-titled sophomore album release. The conversation started on an incredibly light note with Soulja Boy’s “Kiss Me Through The Phone” being the MOH while waiting for the publicist to patch through the call. And just like Soulja Boy, The Neighbourhood boast millions of monthly listeners on Spotify, currently sitting around the 5 million mark at 406th in the world. Margott and the band moved into the production of their new album with a well-deserved confidence that has taken five years to build. With the release of two EPs, Hard and To Imagine in the last six months, they’ve been meshing the familiar sounds that created their name with a new synthetic vibe, which at times combines violin, autotuned clips of frontman Jesse Rutherford’s vocals, and chimes over boombastic hip-hop-esque beats. On top of the tracks that had been pre-released, their single “Too Serious” was what Margott called a new fan-favorite with a complete stringarrangement being utilized as another leap into unexplored territory for the band. As if that weren’t enough, they scooped Tommy Wiseau to play a futuristic bounty hunter of sorts in their 80’s inspired video for the hit-track “Scary Love.” “He was a total sweetheart. You always have your expectations of how much ego is going to come into play, and he was just totally down to work, never complained.” When asked what’s ahead for Margott and the band, he illustrated that the band will always be priority number one, though we can expect more from Margott and possibly other members of the band on an individual level. “For me, I think it’s really important to do side projects. As much as The Neighbourhood is equally as much my baby as it is everyone else’s, we are a true band and it’s not run by one person. We all work together. As beautiful as that is, it doesn’t allow me to get my own artistic craft completely out by myself. Within the next two years, there will be a side project coming out.” The Neighbourhood performs at the Vogue Theatre on April 10. Wild Child’s album, Expectations, is so great they might as well be Gwyneth Paltrow. Photo by Sean Daigle we have set for ourselves.” Like Pillow Talk and its successor albums, Expectations is another successful representation of the band’s authentic expression. Wild Child has captured the mindset of its members, infused some diverse producers and musical styles, and created an album through incredible effort that continues to build on the impressive repertoire it has already produced. Wild Child have grown up significantly throughout their eight years as a band, but one element is constant: Wild Child has, is, and will continue to be authentic to their music and message. Wild Child perform at the Fox Cabaret on April 26. MUSIC FEATURED CONCERTS VICTORIA, BC MOONTRICKS PLUS BOUSADA AND XAVIER CAPITAL BALLROOM // SATURDAY, APRIL 14 SLOAN “12” TOUR CAPITAL BALLROOM // THURSDAY, APRIL 19 FIVE ALARM FUNK PLUS GUESTS CAPITAL BALLROOM // SATURDAY, APRIL 28 FRAZEY FORD PLUS GUESTS CAPITAL BALLROOM // SUNDAY, APRIL 29 FOR FULL CONCERT LISTINGS & TO PURCHASE TICKETS, PLEASE VISIT: WWW.ATOMIQUEPRODUCTIONS.COM FACEBOOK /ATOMIQUEPRODUCTIONS TWITTER @ATOMIQUEEVENTS April 2018 17

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