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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

BPM ELI ESCOBAR EVERYONE

BPM ELI ESCOBAR EVERYONE TO THE DANCEFLOOR AND OUT ON THE STREETS HOLLIE MCGOWAN Photo by Kenny Rodriguez Eli Escobar looks back to political reactionary music of the ’70s on his latest release, Shout. In November of 2016, the election of U.S. President Donald Trump created a ripple of fear, anger, and resentment felt throughout the world. Among those who were deeply troubled by the election was renowned New York DJ and disco house producer, Eli Escobar. He did what any good artist would do during such a tumultuous period, which was to turn to his creative outlets to release emotion and voice concern regarding the grim and unstable political climate. “I was feeling a lot of pain, anger and confusion, and the best way I knew how to deal with it was to make music,” reflects Escobar. There exists a long history between music and politics, which has resulted in masterpieces that have transcended the years with messages of peace, love, and harmony over powers that seek to divide cultures and breed hatred, each generation echoing the words of their creative ancestors. For Escobar, the 1970s in particular were a goldmine of politically charged music, strong messages presented in the most beautifully composed tracks. “I’m very influenced by the music of the ‘70s,” Escobar says. “During that time, artists were really talking about the problems of the world, the inner cities, war, social and racial injustice. We haven’t seen another era in music so focused on mirroring the outside world since, and [Marvin Gaye’s] What’s Going On was probably the first high profile album of that decade which really set the whole thing in motion. I did not set out to emulate this period or make political statement with [my 2018 album Shout], but what I did do was make music directly influenced by modern day America.” Shout tracks like “Nightmare Rag,” “The People,” and “Goin’ On?” clearly illustrate Escobar’s sentiments regarding the current state of affairs. On “The People,” lyrics explicitly address the POTUS, making a call for justice as a solid house beat enters the track and carries the rest of the tune forward. The album itself is filled with dancefloor worthy tracks that leave one feeling just as excited about the rhythm as they do about being politically engaged. “I feel a solidarity with all of the nightlife scene here in New York,” tells Escobar. “I believe most everyone here wants to be on the right side of history, and that’s one of the beautiful things about nightlife and dance music. People who believe in equality for all tend to come together on the dance floor!” Eli Escobar performs at Open Studios on April 13. 18 April 2018

JEAN-MICHEL JARRE BRINGING A COACHELLA-SIZED SPECTACLE TO THE NORTH ALAN RANTA CLUBLAND MARCH 2018: GOU-GE YOUR EARS ALAN RANTA BPM Photo by Erik Voake I miss drugs before fentanyl. It was really something to come of age back when a pill cost $25, and felt good. I wouldn’t touch the stuff now, and I don’t. It was getting cheaper and shittier before it became commonly lethal. Sorry, kids, but you missed it. Your only hope is to convince the Liberals to get behind decriminalizing all drugs. It’s the lesser of two evils. Making it harder to get the stuff we want (that doesn’t hurt anybody else) only gets us a whole lot more stuff that we don’t want, which makes everything harder for everyone. That said, if you go to all of these shows sober, you’ll win a prize. The Residents April 11 @ Imperial What is it? I don’t know. It’s the kind of thing that may seem relatively normal in a dream, but then when you wake up and think about it, it chills you to your core. This is what a pirate may call “bizarrrrrrrrre.” Jean-Michel Jarre is heralded as one of the most important names in electronic music with a keytar collection to back it up. There is no need to go to Coachella this year. The best is coming to us. Yes, French electronic legend Jean-Michel Jarre is bringing his unparalleled spectacle to Vancouver, and there isn’t a shred of hyperbole in assigning this guy the legend tag. Granted, Jarre came in a couple years after the likes of than Jean Jacques Perrey and Wendy Carlos, but he quickly planted his flag as one of the most important names in electronic music history. He went on to sell over 80 million albums worldwide, with his landmark 1976 album Oxygène selling over 12 million copies alone, an album that became a cornerstone for the progression of ambient music. Meanwhile, the magnitude of his live shows have made it into the record books multiple times, starting with a 1979 Bastille Day performance for a then-unprecedented million celebrators in Paris and culminating with the 850th birthday of Moscow, where he played for an astronomical 3.5 million people. “If I had to keep one moment, I think that would be the concert I’d done in Houston for the 25th anniversary of NASA,” Jarre reminisces about his 1986 stateside performance. “Gathering 1.3 million people is still in the Guinness Book of Records for the largest audience in the United States. An astronaut was supposed to play live in the timelessness of space, but, unfortunately, it was Ron McNair, and he died in the Challenger crash. Of course, the concert became a tribute for the astronauts, and something special in my life until today.” Despite his many impressive achievements, Jarre never rested on his laurels. Ever since his early days studying elements of musique concrete with its pioneer Pierre Schaeffer and the power of the synthesizer with Karlheinz Stockhausen in the late ‘60s, he has produced a steady stream of work, dropping new albums every few years or so, including two spiritual sequels to Oxygène that were each spaced out by twenty years. He keeps the passion alive listening to classical, jazz, hip-hop, and punk, but especially today’s younger electronic acts, as demonstrated by his two-part collaborative Electronica releases, which featured the likes of Gesaffelstein, Little Boots, Sebastien Tellier and Siriusmo, and his 2013 DJ mix for contemporary eclectic electronic label InFiné, simply titled InFiné by JMJ. “I always think that I’m a beginner,” Jarre remarks. “For instance, I’m going to play Vancouver for the first time. It’s a great excitement. It’s a very special city, a unique atmosphere. We have this image all over the world that Canada is so cold and full of snow, but Vancouver is exactly the reverse. Also, these days, the fact you have such a big Chinese community makes Vancouver an international hub. I’m so happy to share with the Vancouver audience one of the most sophisticated projects I’ve ever achieved, both on a musical point of view and on a visual point of view: 3-D without glasses, total immersion in terms of visuals, and also my music since Oxygène to the most recent work.” Obviously, Jarre is no beginner to live performance, and this show promises to present an unforgettable and unparalleled experience, carefully crafted by the great mind himself. “I’ve always been involved in the design of my shows, and this time, I really wanted to recreate visually what I’m doing musically, by creating architecture of sounds, creating perspectives, and giving that impact and giving that effect on the visual point of view,” Jarre enthuses. “So I conceived the stage design with giant slide LED screen panels, semi-transparent, and that gives fairly spectacular 3-D effects around the three of us, surrounded by 60 instruments from the first analog synthesizers to the very up-todate touch screens and digital equipment, so it’s a fairly unique and ambitious project.” While the show has been constantly tweaked by Jarre since he hit Toronto and Montréal in early 2017, his piece with NSA whistleblower Edward Snowden will still feature prominently. Jarre travelled to Russia to record with Snowden for a track on Electronica 2 - The Heart of Noise, as his sacrifice reminded Jarre of his mother, who was part of the French resistance in 1941. If anything, the track is even more relevant now than when it was recorded. “Promoting the values of Snowden, which are actually more and more up-to-date when you see what’s going on with Facebook and the leaks all over the world, we need to protect our privacy,” Jarre declares, “And we need to protect people helping us to discover how our privacy can be in danger.” So, come to pay homage to a master of his kind, come for the spectacle, come for the knowledge… No matter what draws you here, you will leave with far more value than your ticket costs. Jean-Michel Jarre performs at the Queen Elizabeth Theatre on April 17. Peggy Gou Apr 14 @ Celebrities UG South Korea-born, Berlin-based Ninja Tune-signee Peggy Gou is being promoted as a “polymathic electronic music producer, DJ, model, pianist and designer.” She’s a veritable renaissance woman. Expectedly eclectic, her quirky, pop-laced kinetic mutantronica beats claim influence from the likes of J Dilla, Patrick Cowley, Yellow Magic Orchestra and DJ Sotofett. She could be the next TOKiMONSTA. See her now before she blows up. Carpenter Brut April 17 @ Imperial Holy nightmare of John Carpenter, does this band push the upper limits of cheesy ‘80s synth-rock, drenched in the hard driving soundtracks of classic period horror/thriller films. Hang on tight. Sequential Circus 22 feat. 1800 Haight Street, Amos Hertzman, DJ Lace & more Apr 21 @ Open Studios The good folks at Sequential Circus have kindly serviced greater Vancouver with the choicest cutting-edge curations in local multimedia, live-PA electronic music for over a decade now. There are five quality acts on this bill, headlined by BeatRoute favorites 1800 Haight Street, with mind-bending visuals by Dermot Glennon, acrobatics by AcroYoga, and an aerial hoop performance by Selene. Injury Reserve May 01 @ Fortune Sound This up-and-coming Arizona alt-rap trio drops self-aware, high energy rhymes over slick, banging beats. This particular gig, touted as “A Traveling Party/Art Installation,” is part of their ongoing Arena Tour, despite the fact it’s going down at Fortune Sound, but the Funktion-One sound system there is better than an arena anyway, so it’s for the best. Photo by Jungwook Mok Peggy Gou April 2018 19

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