8 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


BPM BISHOP BRIGGS GRAPHIC NOVELS, THE OC AND A CHURCH OF SCARS ADAM DEANE PRADO MAKING WAY FOR THE WEIRDOS JORDAN YEAGER Photo by Jabari Jacobs A star on the rise, Bishop Briggs grew up obsessed with American culture and karaoke. To put it lightly Bishop Briggs (aka Sarah Mclaughlin) does not do anything half-assed. In truth, after hearing tracks like “River, ” “Wild Horses” and her most recent release “White Flag,” you’ll begin to understand why she has repeatedly graced the Billboard 100 charts and smashed Twitter’s Emerging Artist charts while performing alongside bands like Kaleo and Alt-J. The traditional pop-electronic genre label is immediately discarded once her cathartic vibe meets her unavoidably relatable and honest vocals and lyrics. Having caught up with BB precisely one month before the 4/20 release of her debut album, Church of Scars, following her SXSW performances, peculiarly, her spirit was incredibly high. If her energy was any more animated, she’d have to take up an acting role in anime. Speaking of which, Briggs let us in on a few of her other artistic vents. “Darker poetry is always my go-to. Even if I’m having a good day I like to write poetry to remind me of who I am at my core. I am a big diary-writer, and that involves a ton of graphic novel vibes; I draw, I do speech bubbles, the whole thing. I started to get drawn to tattoos as a way of therapy, which my mum was very upset about. I started to see a distinct correlation between getting the tattoos and feeling as though I got closure on events or experiences. And then as time progressed, I feel like my tattoos grow with me.” At 25, the London-born, Hong Kong and Tokyo raised singer has already graced soundtracks of multiple blockbusters, she’s collaborated with bands like Cold War Kids and more recently, she forged next to Dan Reynolds (vocalist of Imagine Dragons) for her newest track “Lion” off of her upcoming release. “If you can imagine (no pun intended) being in a vocal booth standing next to him, it’s just the strength of his voice,” she says. “You don’t hear tracks where he’s just singing acapella. It makes you a superfan.” When questioned about her unconventional upbringing, Briggs credits her childhood as the spark of her love for all things music and culture. “I didn’t really realize that it was an unusual upbringing until I moved to the States at 18. At that point I was like, oh it is strange to go to karaoke bars every couple of days after school. For me, it was all I’d ever known. I went to an international school and was pretty obsessed with American culture, so by the time I moved to the States I was ready to become a character from The OC.” Bishop Briggs will begin her first headlining tour in Vancouver at the Commodore with her debut album, Church of Scars, set to release the week prior to the show. If you’re a fan of hard-hitting vocals, deep bass, high-energy and big hearts; you should catch this one. Otherwise, stay home and watch reruns of The OC or something. Bishop Briggs performs April 27 at the Commodore Ballroom. Photo by Zee Khan Benita Prado’s energy is infectious – when she talks, you want to listen. The 19-year-old hip hop artist has quickly carved a place for herself in Vancouver’s music scene, challenging existing structures and revolutionizing the game. Listening to her, it’s clear Prado knows what she wants and how she’s going to get there; she’s been crafting, refining, and redefining her sound since her mom gifted her a guitar at age 13. “My mom gave me the guitar and she was like, ‘Here, I want you to learn some Rolling Stones on this,’” laughs Prado. “I was like, ‘Uh, I don’t fuck with that.’ So I just started writing my own stuff, just stupid little teenage heartbreak stuff. And from there I started going onto SoundCloud and Twitter and branching myself out that way.” Before making a name for herself in the public sphere, Prado was a ghostwriter for big-name rappers when she was just 15. She’s used the following four years wisely, learning the game from the inside out – there’s no better way to overthrow the system than from within it. “I came out the womb looking like I was 12, so I deadass just finessed people,” she says, laughing after a comparison to Maeby Bluth from Arrested Development’s stint in the film industry. “I was 15, like, ‘Yeah, I’m 19, and I know how to do this.’ I still 20 do it, but it makes it harder to focus on my own career. I was always the behind-the-scenes type person and now I’m in the fuckin’ foreground.” If you have the dedication, the vision, and the talent, you will succeed, and Prado’s mission is to be the living proof. When asked about the purpose of her art and what she hopes to achieve, she responds with a laugh: “Maybe like… world domination?” “I hope people see themselves [in my music],” she says. “[In my songs], I let myself be the worst version of myself for, like, two minutes. Everyone needs an outlet for that shit. So I just want them to take away the vulnerability, and accepting that not everybody has to be a positive person – you just have to be a person. Have that balance. Sometimes I feel like a dark ass bitch. But it’s like, just live your life. You don’t have to be positive all the time. I was an emo ass kid. I was deadass emo as fuck from grades five to 10. Now I’m getting back into it; I have all the My Chemical Romance albums.” Ultimately, Prado makes music for the people who have been in her shoes, living in their feelings without public figures to look up to. “Have you ever seen the Vine of that little emo black kid who does screamo in front of mirrors?” asks Prado. “He’s literally the best Viner. People Prado is poppin’ off with the release of her new mixtape, Yung Depression. always make fun of him. I make music for those people, and I want those people to have an outlet, and women of colour to have an outlet. All the people that don’t feel like they fit into a SZA or a Beyoncé – that super feminine, hyper-beauty type thing. It’s all centred around men, and I don’t have time for that. Centre around yourself! Be proud of your ugliness.” “I want to be the person people look up to for that kind of shit,” she continues. “But at the same time, I’m human, I make mistakes. So I try to keep it real while creating a movement for black little weirdo kids like me. Cause there’s all these white little weirdo heroes and I’m like, where’s the one for the black kids? Being black in Vancouver, and being Aboriginal, I have all these odds against me, but you’ve got to just show up like, yeah, I’m here, I’m this bitch right here. And it’s pretty much just constantly being yourself and really just going for it. Be a bad bitch.” Prado’s new mixtape is due out April 2018. April 2018

IRON KINGDOM HEAVY METAL TRADITIONALISTS SET TO OPEN THE GATES OF ETERNITY ANA KRUNIC New Wave of Traditional Heavy Metal band looks to rebirth a classic sound. Many a fledgling metalhead got their start in the fundamentals of the genre through bands like Iron Maiden, seeing Eddie’s snarled face on a t-shirt, or maybe hearing Judas Priest’s “Painkiller” at a party. Not to mention the large percentage of us that have drunkenly sung along to our fair share of Manowar songs in our youth (and, hell, to this very day!). Raucous, often theatrical, but still accessible, traditional heavy metal has survived past the ‘70s and ‘80s to enjoy a massive resurgence in recent years, bringing us the New Wave of Traditional Heavy Metal (NWOTHM). In Canada alone, we’ve seen Cauldron, Skull Fist, and Striker succeed internationally, and now the lower mainland has its own contender in Surrey’s Iron Kingdom. Formed in 2011, Iron Kingdom’s melody-heavy, fantastically-themed songwriting hits all the marks you’d want in a NWOTHM group, a move away from the ever-growing doom and death metal heaviness of the past couple decades, and a move back towards the roots of the genre. “A big part of what saw [frontman] Chris and I get together in high school was a genuine love for the ‘70s and ‘80s when it came to music and aesthetics,” says founding member and bassist Leighton Holmes. “In the early days, blissfully unaware of what was going on around us, we dreamt of a resurgence of the glory days of metal – a return to how it was before the race to the bottom, before everyone tried to really outdo each other in terms of heaviness. I like some of the extreme genres of metal, but I really love the musicianship, storytelling, and song craft of the NWOBHM bands and power metal bands that followed suit. For us, it’s all about making the music we want to hear as diehard metalheads.” They’ve enjoyed a pretty heavy touring schedule since the release of their 2011 debut, Curse of the Voodoo Queen. They’ve hit North America, Brazil and Europe in the past few years, with no plans to sit around anytime soon. Iron Kingdom returns to the local stage to headline the first night of Hyperspace Metalfest, sharing the weekend with a slew of western Canadian and American heavy/ power metal acts. “In honour of the fifth anniversary of [our second LP] Gates of Eternity, we’re going to be performing the whole album front to back, and I’m incredibly pumped to see how people respond,” says Holmes. “It’s been pretty awesome rehearsing this set because it’s really given me that opportunity to think about the songs, specifically the lyrics, with a completely different frame of reference after five years.” Since they plan on staying relatively local this year to lay the groundwork for their next album, Holmes says that playing a local festival like Hyperspace Metalfest is an opportunity to look back on the material that saw them on their first major tours while still marching onward. “We’re really excited to share this album with the people who have supported us from the beginning, as well as people who may be seeing us for the first time. We’re really looking forward to Hyperspace – we get to do what we love with a bunch of friends all sharing in the great gift called metal.” Iron Kingdom headlines day one of Hyperspace Metal Festival at the Rickshaw Theatre on April 13. April 2018 21

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