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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

LA VIDA LOCAL HOMEGROWN

LA VIDA LOCAL HOMEGROWN VANCOUVER MUSIC RELEASES Preoccupations - New Material above eight minutes, Holy Wave drenches classic psych sounds on a blotter of fresh composition. • Tory Rosso JJUUJJUU Zionic Mud Dine Alone LA psych rock band JJUUJJUU’s debut album, Zionic Mud, opens strong with “Camo,” firing you into a hypnotic trance of funky basslines, accented by raucously squawking lo-fi guitars. This album conjures images of bohemian Californians dancing barefoot. Drawing you in with it’s siren song before sending your mind’s eye skyward, beyond this earthship. Zionic Mud maintains high energy through the title track with fantastic build-ups transitioning into wild crescendos. Bookended by “Bleck,” a straight ahead psych track, the first third of the album is funky, spaced out, and danceable. A tempo switch, leading to a gentle outro dove-tailing the short interlude of atmospheric space travel in “Level.” This first instrumental has a softness that only lasts a moment before your consciousness is transported to witness storms on a outlier planet, amping you up and passing you down the line of tales to come. JJUUJJUU maintains this build up, fade away presence loyally throughout Zionic Mud. The variation of tempo and structure build an excellent album. The layered, airy psych, paired with thunderous drums, moody, post-punk guitars and vocals that don’t take centre stage creates something accessible. • Trevor Hatter Zeke Hellbender Relapse Records Saltwater Hank Stories from the Northwest Independent Is there anything more Canadian than references to beaver pelts? On his debut album, Saltwater Hank weaves timeless yarns of Canadiana in true bluegrass-folk fashion. Stories from the Northwest is a lo-fi recording with a dry vocal treatment. Its rustic sound takes a page from the O Brother, Where Art Thou? soundtrack. But this isn’t your average bluegrass record paying homage to American narratives. Stories from the Northwest cheekily uses a nostalgic genre to relay perspectives that aren’t traditionally covered in history books. Loyal to the land instead of the colonizer, the lyrics reference B.C.’s geography. The trickster coyote even makes an appearance in the lyrics of “Coyodel #1,” a melody inspired by Canada’s FIPA deal, and “Coyodel #2” is dedicated to land and water defenders who choose action over passivity. The instrumentation of fiddles and mandolin perfectly complements Hank’s pointedly political lyrics, but Blake Bamford’s banjo on “Hartley Bay Rag” stands out as a shining moment. • Lauren Donnelly The Shit Talkers I Scream Mountain Momma Records I Scream is a raw, unapologetic, to-the-core punk rock record. The opening track, “Ewwwww,” is a borderline-destructive offering that draws imaginative imagery of a wild house party, moshers romping about, shoving each other through walls with aggressive affection. “Normal Love,” the following track, is a romantic blend of grungy groove mixed with angsty thrash. From there, the Shit Talkers unleash a flurry of speedy tracks with “Shut Up,” “Late in French,” “Betty,” and “8th Dick,” before continuing the trend with the album’s lead single, “The They,” and ending with “Fukn Guyz.” I Scream packs a fun-filled fist to the face and kick to the groin. • Johnny Papan The Orange Kyte The Orange Kyte Says Yes! Little Cloud Records The Orange Kyte Says Yes! is an album that takes listeners on an eclectic psych voyage that pulls out all the stops, even after you thought they’d all been pulled. The album opens with “More In,” a blissful instrumental that features crunchy, fuzzed-out guitar and distant organs playing in unison: a tantalizing clue for what to expect from the rest of this sophomore outing. The album is peppered with surprises, like when “Echolocation” introduces a folky acoustic guitar for the first time on the record, or when “Looks Like Me to Me” launches into dystopian, lo-fi synths and repetitive vocal mantras. With this latest record, Stevie Moonboots and co. holed up at Invisible Recordings to craft a perfect and measured follow-up that starts on an incredible note – and only goes up from there. • Mat Wilkins Harrison Brome Body High EP Nettwerk Music Group Vancouver-based R&B crooner Harrison Brome has been making serious waves leading up to the release of his forthcoming EP, Body High. The collection of songs features his already popular title track, which premiered on Complex and gained traction from media outlets like FADER and Hypebeast. The EP explores ideas of modern romance, resentment, and courtship with tracks like “Jaded” and “9-5.” On the “Body High” single, it’s clear Brome has mastered the art of anticipation: he leaves listeners wanting more by carefully capturing the nostalgic sense of sensuality that almost makes you feel guilty for lusting over it. With his music earning more than 22 million streams worldwide, Body High is surely going to take Brome nowhere else but higher. • Molly Randhawa After a hellishly long wait, Zeke are back with their first album in 14 years. The punk legends known for mixing the gritty might of Motorhead with the cartoon fun of The Ramones sound in great form right off the top of the album as “On the Road” kicks out some seriously caffeinated guitar solos. Thankfully, each song continues to snuff out boredom with an all-killer-no-filler approach. “Burn” literally sounds like the band is about to spontaneously combust as the snarling vocals spat out over the whip crack of the one-hundred-mile-an-hour snare drum will leave any punk extremist dizzy. The fun continues on “AR-15,” with the refrain “blow it away, blow it away” whilst the misanthropic anthem is taken even higher with New York Dolls-like guitar leads sped up to an un-godly tempo. The inhuman speed that these short but damaging blitzkriegs are belted out is truly frightening and definitely makes this Zeke’s fastest recording to date. • Dan Potter 32 Yamantaka//Sonic Titan - Dirt Yamantaka//Sonic Titan Dirt Paper Bag Records Yamantaka//Sonic Titan are back with a vengeance after five years of relative silence. Toronto’s distinctively pan-cultural experimental music and performance collective have released their most ambitious, yet also their most cohesive, record yet with Dirt, an album conceived as the soundtrack to an unreleased 1987 anime with Buddhist and Iroquois influences. “Someplace” and “Dark Waters” set the stage in suitably dramatic fashion with charging prog rock rhythms and sweeping melodic passages. “The Decay” unfolds as the album’s true centerpiece, an operatic dreamscape lead by deliberate doom metal riffage and uplifting, airy vocals. Dirt is a phantasmagorical journey. • James Olson April 2018

Photo by Lisa Wu A Tribe Called Red Commodore Ballroom March 10, 2018 Whether or not it’s your first time at A Tribe Called Red show or your fifth, you’ll find yourself in a sea of ravers, dancers and head-bobbers – covered in sweat of others or your own. Described as “pow-wow-step,” the First Nations electronic group played the first of two back-to-back, nearly sold out shows. Despite Ian “DJ NDN” Campeau departing in October, 2017 for health reasons, Tim “2oolman” Hill and Ehren “Bear Witness” Thomas kept the crowd off their feet effortlessly from start to finish over the course of a mesmerizing 90-minute set. Transcending traditional genres of music, ATCR is out of the ordinary, as they aren’t necessarily one type of dance music. Bridging and blending genres such as hip hop, reggae and dubstep with LIVE traditional First Nations vocal chanting and drumming has led to them blowing up into the biggest First Nations group out of Canada, netting the group multiple Juno nominations. From the first drop, the audience was exposed to a sensory overload: from breakdancing cameos by breakdancers Matthew Creeasian and Angela Gladue in full regalia to a video loop of indigenous imagery and the instances of cultural appropriation in pop culture over the ages – ideas both divisive and inclusive. ATCR are constantly blending the ideas of traditional and contemporary of the political, social and artistic spheres. Despite writing music as indigenous people for (predominantly) indigenous people, the crowd came from a plethora of different generations, cultures and creeds. Unity has always been a staple of ATCR and this night was no exception. • Timothy Nguyen Charlotte Day Wilson Fortune Sound Club March 20, 2018 Charlotte Day Wilson is a multi-talented singer, songwriter, producer and instrumentalist. Based out of Toronto, Wilson has made waves in the Canadian music scene, having lent her talents to artists like BadBadNotGood, River Tiber and Daniel Caesar. Now, it’s her chance to take the spotlight. Stone Woman is Wilson’s sophomore EP, with six tracks of R&B and jazz-inspired ballads. Wilson’s style is like honey— smooth, sweet and slow-moving. From tracks like “Doubt,” to “Nothing New,” Wilson gives listeners a window into the motions of a past relationship. The Stone Woman Tour started in Vancouver, the first of ten sold-out shows across North America and Europe. Just like her EP’s cover art, Wilson kicked Photo by Darrole Palmer off her tour with the title track, in a dimly-lit Fortune Sound Club. Wilson’s setlist included performances from both Stone Woman, and her debut EP, CDW. Supporting her were her three band members on keys, guitar, bass and drums. But in the end, the most impressive part about Charlotte Day Wilson is her infectious stage presence. There were moments in “Find You” and “Falling Apart” that had the crowd moving, and moments in “Funeral” where the room fell silent. As the crowd screamed for an encore, Wilson returned alone with her guitar and proceeded to close the show with an airy, reverb-dense ballad, unreleased to the public. Her emotional performance left the crowd in awe, leaving fans to anticipate her next release. The first show of the Stone Woman Tour is a career-defining moment for Charlotte Day Wilson, and Vancouver is lucky to have been the first stop. • Lyndon Chiang PVRIS Vogue Theatre March 6, 2018 PVRIS plays a style of music that builds with atmosphere and grows slowly, getting louder and more feverish until, before you know it, your feet are sore and you’ve been dancing for what seems like days. Headed by the marvellous Lynn Gunn, the band parked their live show atop the Vogue theatre’s stage Tuesday night and put on a show as uplifting as it was haunting. The ambient pop-infused rock band from Massachusetts was subtle in their presentation, allowing the tight-knit interlayering of a solid setlist to speak for itself. Beneath a heavenly glow from the lights above, Gunn transitioned flawlessly between soft spoken songs sat behind Photo by Lindsey Blane the keyboard with tracks like the stripped down version of ‘Same Soul,’ to showcasing her wailing, impressive vocal range on ‘Separate.’ Gunn isn’t overly talkative, but when she does speak, her voice has a tone of closeness that could cause hearts to break. More than anything, the show was an excuse to jump around. As the sound grew from its tentative beginning, it wasn’t long before the crowd was helpless, unable to avoid the rhythm of the drums and the synthesizer. In the course of an hour or so, PVRIS went from being welcomed on stage to owning it. The atmosphere in the place could vibrate paint from the walls, and Gunn more than succeeded in making a few new friends along the way. • Brendan Lee F R I D A Y S 277 PRINCE EDWARD ST BILTMORECABARET.COM April 2018 33

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