BeatRoute Magazine [AB] print e-edition - [March 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.

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.


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MARCH <strong>2018</strong><br />

MIESHA<br />

and the<br />

SPANKS<br />

fierce<br />

frisky &<br />

female<br />

Artifact Film Fest • Rae Spoon • Alvvays • Ministry • Erin Costello • Hot Snakes• DJ Nu-Mark

MARCH <strong>2018</strong> I EVENT LISTINGS<br />

Friday <strong>March</strong> 2nd<br />

Heirlooms<br />

The Ashley Hundred<br />

The Wells<br />

Saturday <strong>March</strong> 3rd<br />

Melted Mirror<br />

Dri Hiev<br />

Blackrat<br />

Locutus<br />

Thursday <strong>March</strong> 8th<br />

free! upstairs!<br />

Beatroute Issue Release Party<br />

Sleepkit<br />

Postnamers<br />

Speedstrips<br />

Friday <strong>March</strong> 9th<br />

Phillips Brewing & Malting co.<br />

proudly presents<br />

Joey Cape<br />

Brian Wahlstrom<br />

Seth Anderson<br />

Ben Sir<br />

Saturday <strong>March</strong> 10th<br />

WAKE Album Release for ‘Misery Rites’<br />

with guests Fall City Fall, Spurn and<br />

Murk (members of Kataplexis, Triton)<br />

2 | MARCH <strong>2018</strong> • BEATROUTE<br />

Tuesday <strong>March</strong> 13th<br />

free! upstairs!<br />

Shawn James (of the Shapeshifters solo set)<br />

Jon Whitehead (Double Fuzz)<br />

KV Raucous<br />

Friday <strong>March</strong> 16th<br />

Rhythm of Cruelty<br />

Sunglaciers (Tape Release)<br />

Paradise (Tape Release)<br />

Local Singles<br />

Saturday <strong>March</strong> 17th<br />

Ten Minute Detour<br />

The Varmoors<br />

Flood Plain<br />

Wednesday <strong>March</strong> 21st<br />

Pabst Blue Ribbon presents another FREE<br />

show at The Palomino Smokehouse with<br />

Caveboy (Toronto) and guests<br />

Friday <strong>March</strong> 23rd<br />

Sellout<br />

The Corey Hotline<br />

Mademoiselle<br />

Friday <strong>March</strong> 23rd<br />

Feel Alright<br />

Jon Comyn<br />

free! upstairs!<br />

Saturday <strong>March</strong> 24th<br />

Iron Tusk<br />

Mothercraft<br />

Electric Revival<br />

Sparrow Blue<br />

Buffalo Bud Buster<br />

Monday <strong>March</strong> 26th<br />

Ought<br />

Flasher<br />

Slut Prophet<br />

Thursday <strong>March</strong> 29th<br />

Windigo<br />

Common Deer (Toronto)<br />

I am the Mountain<br />

Jesse & The Dandelions<br />

Friday <strong>March</strong> 30th<br />

Royal Thunder<br />

Pinkish Black<br />

Electric Owl<br />

The Otters<br />

Saturday <strong>March</strong> 31st<br />

Long Time No Time<br />

Focus People<br />

Meadow Drive<br />

Friday April 6th<br />

Yamantaka // Sonic Titan<br />

Ghostkeeper and DRI HIEV<br />

Saturday April 7th<br />

Escape-Ism (Ian Svenonius)<br />

Physical Copies<br />

Janitor Scum<br />

and guests<br />

Friday April 20th<br />

The Prowlers (Montreal)<br />

The Borderguards<br />

Bats Out (Regina)<br />

The Enforcers<br />

Steelhead<br />

109 7TH AVE SW 403 532 1911 THEPALOMINO.CA<br />


Friday April 27th<br />

Burger Records’ Pink Mexico and guests<br />

Friday May 4th<br />

Preoccupations with Freak Heat Waves<br />

Saturday May 5th<br />

Preoccupations with Melted Mirror<br />

Tuesday May 15th<br />

Supersuckers with guests A-BOMB and<br />

The Foul English

T<strong>AB</strong>LE OF CONTENTS<br />

COVER 26-27<br />


ARTS 8-12<br />

Roswell Reinvented, Jake and Admire,<br />

Five & Art Merch, YYC Scene<br />

FILM 14-17<br />

Artifact Film Fest, Lizard in a Woman’s Skin,<br />

5 Films, Expressokino, Vidiot<br />

MUSIC<br />

rockpile 19-25<br />

Ten Minute Detour, SXSW, Alvvays, Rae Spoon,<br />

St. Paddy’s Song & Dance<br />

edmonton extra 28-33<br />

Feed Dogs, Erin Kay, Grizzly Trail, Dead Friends,<br />

Vision of Comics, Eye On Edmonton<br />

The Casting Couch with BEAU<br />

Stay tuned!<br />

photo: Lee Reed<br />

jucy 35-37<br />

DJ Nu-Mark, Adralan, Cartel Madras, Matt & Gill,<br />

Metalfloor, Let’s Get Jucy<br />

roots 38-40<br />

Erin Costello, Matthew Barber, White Buffalow,<br />

Sean Burns<br />

shrapnel 43-45<br />

Ministry, Iron Tusk, Wake, King Woman,<br />

Month in Metal<br />


music 47-49<br />

Hot Snakes, Essaie Pas, Nap Eyes, Young Fathers<br />

live 53<br />


Publisher/Editor-in-Chief<br />

Brad Simm<br />

Marketing Manager<br />

Glenn Alderson<br />

General Manager<br />

Colin Gallant<br />

Production Coordinator<br />

Hayley Muir<br />

Web Producer<br />

Masha Scheele<br />

Social Media Coordinator<br />

Amber McLinden<br />

Section Editors<br />

City :: Brad Simm<br />

Film :: Morgan Cairns<br />

Rockpile :: Christine Leonard<br />

Edmonton Extra :: Brittany Rudyck<br />

Jucy :: Paul Rodgers<br />

Roots :: Liam Prost<br />

Shrapnel :: Sarah Kitteringham<br />

Reviews :: Jamie McNamara<br />

Contributing Writers<br />

Christine Leonard • Arielle Lessard • Sarah<br />

Mac • Amber McLinden • Kennedy Enns •<br />

Jennie Orton • Michael Grondin • Mathew<br />

Silver • Kevin Bailey • Jackie Klapak • Hayley<br />

Pukanski • Nicholas Laugher • Arnaud Sparks •<br />

Brittney Rousten • Jodi Brak •Breanna Whipple<br />

• Alex Meyer • Jay King • Alec Warkentin • Paul<br />

McAleer • Mike Dunn • Shane Sellar • Kaje<br />

Annihilatrix • Dan Savage • Miguel Morales •<br />

Sarah Allen<br />

Cover Art<br />

Sebastian Buzzalino<br />

Advertising<br />

Ron Goldberger<br />

Tel: (403) 607-4948 • e-mail: ron@beatroute.ca<br />

Distribution<br />

We distribute our publication in<br />

Calgary, Edmonton,<br />

Banff, Canmore, and Lethbridge.<br />

SARGE Distribution in Edmonton<br />

Shane Bennett<br />

(780) 953-8423<br />

photo: Paul Chirka<br />

e-mail: editor@beatroute.ca<br />

website: www.beatroute.ca<br />

E-Edition<br />

Yumpu.com/<strong>BeatRoute</strong><br />

Connect with <strong>BeatRoute</strong>.ca<br />

Facebook.com/<strong>BeatRoute</strong><strong>AB</strong><br />

Twitter.com/<strong>BeatRoute</strong><strong>AB</strong><br />

Instagram.com/<strong>BeatRoute</strong><strong>AB</strong><br />

Copyright © BEATROUTE <strong>Magazine</strong> 2017<br />

All rights reserved. Reproduction of the contents<br />

is prohibited without permission.<br />

BEATROUTE • MARCH <strong>2018</strong> | 3

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4 | MARCH <strong>2018</strong> • BEATROUTE


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2 FLOORS<br />

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And just happens to be an Irishman,<br />

Stuart Connor, who knows how to<br />

serve a great whiskey. A lot of them<br />

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BEATROUTE • MARCH <strong>2018</strong> | 5

6 | MARCH <strong>2018</strong> • BEATROUTE


Volume 2 Album Release & Benefit Show<br />

NITE OWL SATURDAY, MARCH 10th – doors 9 pm, show 10 pm<br />

$15 cover – all proceeds donated to the Heart and Stroke Foundation<br />

THE WET SECRETS :: Swampy basslines, primal drumming, dancing ladies with brassy<br />

hornstacks, keys, congas & vocal harmonies galore.<br />


Is weird. She’s weird in the way that all interesting<br />

and ground-breaking things are weird.<br />


Get ready to shred an avalanche of whiskey<br />

on a bobsled made of rock and roll.<br />

BEATROUTE • MARCH <strong>2018</strong> | 7

ARTS<br />


Roswell revisited, reinvented<br />

BY B. SIMM<br />

When Calgary art critic, renown writer and curator, Nancy Tousley, asked John<br />

Will if he had some new art to exhibit, he compiled a series of photos that<br />

he found unusual taken two decades ago in Roswell, New Mexico.<br />

In 1997, Will, a professor in the art department at the University of Calgary, was<br />

visiting friends in Albuquerque when he saw Time <strong>Magazine</strong> had an image of an<br />

alien splashed across the front cover promoting the 50th anniversary of the UFO<br />

crash near Roswell. Intrigued, like most North Americans, he decided to make the<br />

pilgrimage to the crash site that was only a few hours away. At Roswell, Will unearthed<br />

a peculiar but enticing story that captures the obsession so many people<br />

have with the secretive landing of 1947.<br />

“I saw the Time cover, and it sounded like something interesting to go see,”<br />

recalls Will over a mid-day coffee. “So I went down, and it turned out to be kind<br />

of a family affair with a lot of tourists. There were some symposiums with experts<br />

and so on, but it was kind of boring.”<br />

Nonetheless, Will made the rounds coming across an old department store<br />

that had closed its door, but for the occasion was converted into a souvenir shop<br />

full of “t-shirts, baseball caps, commemorative bottled water, educational texts,<br />

and other extraterrestrial flotsam and jetsam.”<br />

Inside the big shop of alien artifacts and keepsakes, Will encountered and<br />

exhibition called The Gateway Chamber. “I can only describe it as a strange sort of<br />

sensory-deprivation room, painted completely yellow, with soft elevator piped in.”<br />

The music playing was a variation of the ‘50s hit “Rockin’ Robin” but the<br />

lyrics had been altered… “She started going steady, and bless my soul/She walks<br />

amongst us like an oriole/Rocket robin/Rock, rock/ Rocket robin.” Upon exiting<br />

the chamber and its cheap sensations, the ticket-taker for the exhibit caught Will’s<br />

eye, came up and quietly said, “They were females you know.”<br />

Amused with the circus-like scenario, Will started to invest in the Roswell’s<br />

50th anniversary phenomena full of curiosity-seekers and freaks — first<br />

generation alien cosplayers. A professor and an experimental artist who ventured<br />

from painting and <strong>print</strong>making to photography and video, Will started<br />

clicking his camera documenting this weird slice of consumer culture he was<br />

surrounded by.<br />

After taking a rickety bus out to the crash site 30 minutes from Roswell, there<br />

was only sun-scorched landscape with a rusted out “’47 Ford pick up,” claimed<br />

their tour guide, who then urged everyone to take in the UFO Museum and<br />

Research Centre on the trip back. There, Will got a lot closer to the action.<br />

“In a glass display container was this body about three feet long, a disproportionately<br />

large head and over-sized eyes. It was sexless, with my mind thinking<br />

back to the Gateway ticket-taker whispering, ‘They were females you know.’” Will<br />

laughs, “It was like the whole town was in on the joke how to make this cash-grabbing<br />

tourist attraction a bit more odd, a bit more amusing.”<br />

Things would get a bit odder. At a local bar he meet Yves Arseneault, a fellow<br />

Canuck from Grande Prairie that greeted him wearing an alien mask. Arseneault<br />

was with his wife and young family who were also donning alien costumes on<br />

what was obviously a fun-filled wacked-out holiday excursion. Disney in the<br />

desert, of sorts.<br />

“Yves and I stayed in touch after that crazy carnival. I learned that his daughter,<br />

who was with him at Roswell, had grown up, graduated from art school and was<br />

getting married. Would I like to attend? The ceremony was small, intimate at a<br />

French restaurant. When I got there, it was clearly a theme marriage. His daughter,<br />

now named Robin, strolled into the room, her eyes caked with an excessive<br />

amount of grey mascara, transformed herself into a Grey while David Bowie’s<br />

‘Born In A UFO’ played softly in the background.”<br />

Will shakes his head, “Surreal. Rosewellian. And so it goes.”<br />

The Roswell <strong>print</strong>s are the second in a series of John Will’s One New Work exhibitions<br />

showing at the Glenbow until May 31.<br />

TOP: John Will with his travel trailer on route from Albuquerque to Roswell, New Mexico 1997.<br />

BOTTOM: John Will, She Walks Amongst Us: Family Reunion.<br />

8 | MARCH <strong>2018</strong> • BEATROUTE<br />


Live Music<br />

in the Rockies!<br />

Join us at Banff Centre this summer for exciting<br />

outdoor shows in the Shaw Amphitheatre.<br />

Featuring:<br />

Xavier Rudd<br />

Blue Rodeo<br />

The Sheepdogs<br />

A Tribe Called Red<br />

… and many more<br />

Tickets on sale <strong>March</strong> 7!<br />

banffcentre.ca<br />

ARTS BEATROUTE • MARCH <strong>2018</strong> | 9


podcasts veterans Jake And Amir keep flying high<br />

Jake and Amir travel the world with their podcast advice, while providing lively feedback.<br />

What started as a move to make it easier for them to book theatre shows has taken podcasters Jake<br />

Hurwitz and Amir Blumenfeld across the globe to more than a million listeners each month. The<br />

depth of their fan base isn’t surprising, given that their previous project, an eponymous web series for<br />

CollegeHumor, was the website’s longest running show with more than a billion views in total. When<br />

Hurwitz and Blumenfeld left CollegeHumor they began If I Were You, a podcast that looked to answer<br />

listener questions in humorous ways.<br />

The decision to start a podcast started with one fairly practical intention in mind: touring. As they<br />

put it, “We just thought it would be a cool idea to start podcasting. We heard it was an easier way to<br />

book touring dates so we thought if we had a show that we could do live that we would get to travel a<br />

bit more.” This plan would end up being quite successful, giving them the chance to tour the world, as<br />

Hurwitz puts it. “Since we started the podcast we’ve got to go to Australia, London, Dublin, even Boise,<br />

Idaho. The big four,” Blumenfeld adds. “Holler at your Boise!”<br />


One might think a long-running advice show would struggle to overcome the problem of<br />

repetition. To some extent this is true and they do see some similar questions, but they use their<br />

ample skills at finding the funny to keep things different. As they explain, “We do our best to<br />

answer unique questions. It’s hard to avoid. Most of the questions are in the same vein. There’s<br />

a ton of relationship questions because that’s what our young fans have the most trouble with.<br />

But if you think of all of the things that have gone wrong in the relationships you’ve had, they<br />

are always pretty unique. So there’s enough room for each question to be unique. We’ve also<br />

been growing and evolving so our advice has also been doing that over the last few years.” This<br />

coupled with the fact that all of the humour comes from making the person asking the question<br />

a source of jokes helps too. “A lot of the time we just make fun of the person writing the questions<br />

and everyone has a different writing voice so we always make fun of the person. Even if the<br />

advice is the same, we can make fun of the person uniquely.”<br />

Since they started the podcast with the intention of touring with it, the live show takes the<br />

show to another level. Blumenfeld notes, “It’s the same format. But we’re feeding off the crowd’s<br />

energy so it’s much more performative. We ask the audience for help with certain things, we<br />

include them, we involve them. It’s a fun lively party atmosphere.” Some shows might consider<br />

taking questions from the audience rather than traditional submissions, but there’s a good<br />

reason they don’t. “We still answer questions that are submitted because we do our best to find<br />

the funniest ones and sometime audience questions are going to be the funniest or dumbest<br />

questions. We do take informal polls about which advice to give people.”<br />

It’s definitely worth checking out live for that energy, but be sure to check out a few episodes<br />

of the podcast first. As Hurwitz suggests, “I think you probably have to already like the show to<br />

enjoy the live show, so start with a few episodes, then check the recorded live show. Then come<br />

see a live show. If you like the podcast you’ll love the live show.”<br />

Check Out Jake and Amir: If I Were You Live Podcast <strong>March</strong> 7 at MacEwan hall and download the<br />

podcast wherever you get your podcasts.<br />

10 | MARCH <strong>2018</strong> • BEATROUTE<br />



open minded gallery space puts art in everyone’s hands<br />

Julia Kansas, left, and her sister Caleigh, right.<br />

Photo: M. Grondin<br />

Five Art & Merchandise, a local studio, shop and gallery<br />

located in Calgary’s East Village, is using unconventional<br />

and fun ways to bring new art to everyone.<br />

Owned by Julia Kansas and organized with the help of<br />

her sister Caleigh, Five Art & Merchandise (or Five AM,<br />

as it’s also known) ditches the formality of many other<br />

art driven spaces, and has put a spotlight on 12 different<br />

exhibitions since it opened in 2016; with each exhibit<br />

rotating monthly and showcasing a wide variety of<br />

contemporary styles.<br />

“We wanted to create a space that emerging artists<br />

could experiment and showcase their work,” explains<br />

Julia. “We wanted to be much more approachable to<br />

people that kind of exist outside of the art world, which<br />

can be a little stuffy sometimes. We want to welcome<br />

people into a space where they can really engage with<br />

art and new projects.”<br />

Each showcase gets its own opening party, which has<br />

filled the stylish, minimal and tiny shop into intimate<br />

shoulder-to-shoulder celebrations. And, each showcasing<br />

artist gets their own limited <strong>edition</strong> merchandise to<br />

accompany their work.<br />

“It’s a hub of creativity. A place where anyone is free<br />


to participate, or pitch ideas, or just come and hang<br />

out,” says Caleigh. “The art we’ve had in the shop has<br />

been quite diverse, which is refreshing. We’ve had<br />

skateboarders who do drawings, we’ve had people who<br />

are still in art school show their work, tons of photographers,<br />

painters, filmmakers, sculptors…” she explains.<br />

Julia adds, “We did one group show that was a 36<br />

person portrait show, where a bunch of artists did<br />

portraits of each other.<br />

They hope to continue to branch out to newer<br />

things, both explaining that Five Art is, in some ways,<br />

filling the gaps left by the more serious side of art shows.<br />

“I think it’s important to have spaces like this because<br />

Calgary needs more open and more inviting spaces that<br />

promotes different projects and different ideas,” says<br />

Julia. “It doesn’t always have to be art for art’s sake, when<br />

instead it can be for art for everyone and that’s the<br />

biggest thing we’re trying to do.”<br />

Five Art & Merchandise is located at 609 Confluence<br />

Way SE. For more information on the shop and their<br />

art parties, check out @fiveartandmerchandise on<br />

Instagram.<br />







Monday, <strong>March</strong> 19th, <strong>2018</strong><br />

Union Hall, Edmonton <strong>AB</strong><br />

Doors: 6pm<br />

All Ages Welcome<br />

Tuesday, <strong>March</strong> 20th, <strong>2018</strong><br />

The Palace Theatre, Calgary <strong>AB</strong><br />

Doors: 6pm<br />

All Ages Welcome<br />




Friday, <strong>March</strong> 30th, <strong>2018</strong><br />

The Palace Theatre<br />

Calgary, Alberta<br />

Doors: 8pm<br />

18+<br />

WANN<strong>AB</strong>E<br />






Friday, <strong>March</strong> 30th, <strong>2018</strong><br />

Marquee Beer Market +<br />

Stage, Calgary <strong>AB</strong><br />

Doors 7pm<br />

18+<br />

Wednesay, April 4th, <strong>2018</strong><br />

The Starlite Room, Edmonton <strong>AB</strong><br />

Doors: 8pm<br />

18+<br />

Thursday, April 5th, <strong>2018</strong><br />

Dickins Pub, Calgary <strong>AB</strong><br />

Doors: 9pm<br />

18+<br />


ARTS BEATROUTE • MARCH <strong>2018</strong> | 11


Join the irreverent fun of this hilarious and<br />

heart-aching romp, as comedian and certified<br />

insane person Jan Derbyshire turns the audience<br />

into a mental health review board to help<br />

determine her current state of sanity. Come<br />

grapple with hefty questions like: What’s crazy?<br />

What isn’t crazy? Who decides? In this comic<br />

case, you do.<br />

Joyce Doolittle Theatre (in the Pumphouse<br />

Theatres), <strong>March</strong> 15, 16 & 17<br />


A Canadian college student journeys deep<br />

into the sounds, smells, and spirits of Zambia.<br />

Surrounded by family, she is steeped in a single<br />

secret: that she has returned to her ancestral<br />

home with a singular mission to find the identity<br />

of a man who abused her as a child and take<br />

justice into her own hands. A Chitenge Story<br />

is a young woman’s autobiographical account<br />

of releasing trauma, embracing heritage, and<br />

uncovering her ultimate healing.<br />

Joyce Doolittle Theatre (in the Pumphouse<br />

Theatres), <strong>March</strong> 20-24<br />

THE LONELY DINER - Vertigo Theatre<br />


YYSCENE’s quick scan go-to-guide for <strong>March</strong><br />

Classic Albums Live: Fleetwood Mac’s<br />

Rumors. <strong>March</strong> 22 at Jack Singer<br />

<strong>March</strong> — supposed to come in<br />

like a lion and go out like a<br />

lamb, but looking at all of the everything<br />

that is going on in Calgary<br />

this month, it’s more like <strong>March</strong> is<br />

a stealthy cougar ... keeping you on<br />

your toes at all times. I’m a wordsmith,<br />

everyone...<br />

You’ve got until May, but why<br />

not head down to the Glenbow to<br />

take in the Frida Kahlo: Her Photos<br />

exhibition? On <strong>March</strong> 3 you can<br />

(and should) head to the Bella<br />

Concert Hall for Ellen Doty’s Come<br />

Fall Album Release concert. Speaking<br />

of both album releases and <strong>March</strong> 3, over at Nite Owl you can take in the<br />

Too Attached Album Release with Cartel Madras & HYMN that night as well.<br />

For some fun film ... fun ... you can check out A Red Carpet Affair: Celebrating<br />

Hollywood’s Best Oscar Party on <strong>March</strong> 4 at The Palace Theatre (dress fancy!).<br />

And opening on <strong>March</strong> 6 is Theatre Calgary’s The Humans, running until <strong>March</strong><br />

31. For some comedy, Just For Laughs presents Jake and Amir on <strong>March</strong> 7 at<br />

MacEwan Hall. For your literary and International Women’s Day fix, on May<br />

8 Wordfest presents Erin Wunker, author of Notes from a Feminist Killjoy at<br />

Memorial Park Library. Literary activism? Active literature? Scoot over to the<br />

Marquee afterwards to take in Matthew Barber’s show. It’ll be good.<br />

Atmosphere’s We Come to Canada Tour with guests Evidence will be at Mac<br />

Hall on <strong>March</strong> 9, and Taking It To Heart, Volume Two featuring The Wet Secrets<br />

(YASSS!), Marlaena Moore & All Hands on Jane will be at Nite Owl on <strong>March</strong><br />

10, with proceeds going to the Heart & Stroke Foundation. On <strong>March</strong> 11 head<br />

to the Red & White Club at McMahon Stadium for the Red & White Calgary<br />

Comic & Toy Expo. Pick up some cool shiz.<br />

Over at The Gateway on <strong>March</strong> 13 you can catch The Dears, and on <strong>March</strong><br />

15 Studio Bell hosts Rae Spoon with F&M for their Alberta Spotlight, which is<br />

sponsored by <strong>BeatRoute</strong> and theYYSCENE. On <strong>March</strong> 16 Pennywise and guests<br />

will be at MacEwan Hall, and on <strong>March</strong> 20 there’ll be Motionless in White with<br />

Every Time I Die, Chelsea Grin & Ice Nine Kills at The Palace.<br />

<strong>March</strong> 21? Well, that would be the Woodhawk — Magnetic North Tour<br />

taking place at The Ship, and then on <strong>March</strong> 22 you know as well as I do that<br />

the only place to be is at the Jack Singer for Classic Albums Live: Fleetwood<br />

Mac’s Rumors. On <strong>March</strong> 23 *swoon* it’s Robyn *swoon* Hitchcock *swoon* at<br />

Festival Hall (he’s OK, I guess) and then rounding out the month is ALVVAYS on<br />

<strong>March</strong> 31 at The Palace. Yep. There’s a lot, I don’t lie.<br />

In a quiet little rural Canadian diner, Lucy<br />

yearns for the glitz, glamour and excitement<br />

of America’s roaring cities. Prohibition has<br />

just been lifted in Ontario, but across the<br />

border mob bosses battle for the illicit trade<br />

of alcohol. Lucy’s husband, Ron, and her<br />

daughter, Sylvia, seem content to live their<br />

12 | MARCH <strong>2018</strong> • BEATROUTE<br />

quiet life, but an infamous gangster - and his<br />

stolen whiskey - is about to bring Lucy’s far-off<br />

dreams into sharp, dangerous focus at THE<br />


Performance times are 7:30pm Tuesdays-Saturdays,<br />

2:30pm Sundays, with<br />

additional matinees 2:30pm Saturdays. <strong>March</strong><br />

Kari Watson is a writer and former Listings Editor of FFWD Weekly, and has<br />

continued to bring event listings to Calgary through theYYSCENE and her event<br />

listings page, The Culture Cycle. Contact her at kari@theyyscene.ca.<br />



TRIM SIZE: 10.25"W x 11.5" H, RIGHT HAND PAGE<br />

“ SLOW”<br />






BEATROUTE • MARCH <strong>2018</strong> | 13

FILM<br />


small format fantastic!<br />

The Artifact Small Form Film Festival is anything but small, with<br />

a big difference for it’s 26th year: a name change. Festival Director<br />

Raeesa Farooqi describes the natural shift:<br />

“The decision to change the name to Artifact was made so as<br />

to better reflect the festival’s role as an international celebration of<br />

storytelling on celluloid. The rebrand is by no means a change in<br />

the festival’s goals or culture but, rather, a refocusing of it.”<br />

The new name comes with a rich history of filmmaking and appreciation<br />

within the Calgary community. Created by the Calgary<br />

Society of Independent Filmmakers (CSIF), and formerly known as<br />

the $100 Film Festival, the event was originally focused on making<br />

low budget Super 8 films. The budget was dropped over time to<br />

allow for new creative projects and partnerships, and has since<br />

evolved to this year include 33 short films from around the world.<br />

The three-day event includes daily themes: Beyond the Cosmos,<br />

Impressions & Expressions, and Home & Away.<br />

Despite it’s growth, the Artifact Festival continues to highlight<br />

diverse Calgary talent. Opening each night is Film/Music Explosion!,<br />

an event that showcases a live song by a local band (this year<br />

by HYMN, Sinzere & the Late Nights, and Deicha & the VuDudes),<br />

that is accompanied by a film created based on the song by a<br />

local filmmaker. Each evening also has a pop-up exhibition with<br />

AM Goods and SEITIES, local film-related magazines. Further,<br />

two films in the lineup (Krasno Dreams and I am sitting in a white<br />

room) were created by Calgary filmmakers at CSIF’s 48 Hour Film<br />

Frenzy competition.<br />

This year also features John Porter as Visiting Artist, who has<br />

been active in the Canadian small-format film scene for over 40<br />

years. Eight films are being presented from the Super 8 veteran.<br />

“John Porter brings a burning passion for the Super 8 film medium<br />

to Artifact. We’re extremely excited to bring him to Calgary as<br />

it will be the first time he’ll be screening any of his films here. John<br />

has personally chosen a small selection of his “Camera Dance”<br />

works to screen from his archive of over 300 films. The “Camera<br />

Dances” are unique and charming films, as they show Porter<br />

“dancing” with the camera in various capacities.” Farooqi explains.<br />

Also a photographer, performer, and writer, Porter brings his<br />

expertise to the Festival in a free talk at the University of Calgary. A<br />

History of Radical Super 8 Film Art in Canada presents the politics<br />

and philosophy of the film niche. Porter is also hosting a Drop-In,<br />

Small-Format Equipment Clinic for $20 at the CSIF headquarters.<br />

Amateur filmmakers and aspiring creators alike are welcome to<br />

bring equipment to this unique workshop.<br />

As Calgary’s longest-running Film Festival, the Artifact Small<br />

Form Film Festival is starting its next chapter by presenting this<br />

new and exciting lineup of films and artists from <strong>March</strong> 8 – 10.<br />

Tickets are available via the Theatre Junction GRAND box-office<br />

online, over-the-phone, or in person at the door.<br />

John Porter –200 flim, 1984.<br />


NMC Presents<br />



SERIES<br />

MARCH 15<br />

Rae Spoon<br />

and F&M<br />

Called “one of the most important musicians working in<br />

Canada today” by NOW <strong>Magazine</strong>, see award-winning<br />

musician Rae Spoon as they return to their prairie home<br />

for a special performance.<br />


14 | MARCH <strong>2018</strong> • BEATROUTE

5 FILMS TO SEE ...<br />

February’s must-see movies<br />

Blow-Up... fashionable forever.<br />

Spend all of <strong>March</strong> watching your favourite<br />

genre of film! These five picks range from<br />

the world of film noir, true stories exposing<br />

government corruption, to Japanese animation.<br />

The Big Heat (1953)<br />

The Big Heat begins without a word being<br />

said, but the opening sequence speaks<br />

volumes on its own. In this classic film noir<br />

Fritz Lang introduces Detective Dave Bannion<br />

(Glenn Ford) to the world of degenerate police.<br />

A place that doesn’t appear to have any<br />

type of law or order. Bannion questions the<br />

recently widowed wife, Bertha Duncan (Jeanette<br />

Nolan) of her cop husband’s questionable<br />

suicide. In turn Bannion endures chaos in<br />

the glitzy world of gin joints, dirty money, and<br />

cold-blooded murder.<br />

The Big Heat screens <strong>March</strong> 6 at 7PM as part<br />

of the Globe Film Noir Series<br />

All the President’s Men (1976)<br />

In this fact-based American political thriller,<br />

two amateur reporters were instrumental in<br />

the resignation of President Richard Nixon. All<br />

the President’s Men (1976) revolves around<br />

Carl Bernstein (Dustin Hoffman) and Bob<br />

Woodward (Robert Redford) who fought to<br />

expose the amoral side of the American government.<br />

This film shows the compromise of<br />

a country accepting the bleak reality of their<br />

government taking more joy in controlling<br />

the nation opposed to caring for it. The act of<br />

compromising is how Bernstein and Woodward<br />

forced themselves under the surface to<br />

discover this truth, both persuasively shown<br />

by Hoffman and Redford throughout the film.<br />

Calgary Cinematheque presents All The President’s<br />

Men at The Plaza Theatre on <strong>March</strong> 8<br />

at 6:45PM<br />


protagonist Georgy, who can be naïve but<br />

remains true to herself. In the fast-paced world<br />

of nineteen-sixties London she finds herself<br />

caught in a love triangle. It balances uneasily<br />

between forty-nine-year-old James Leamington<br />

(James Mason) and the boyfriend who got her<br />

roommate pregnant, Jos Jones (Alan Bates).<br />

EspressoKino presents Georgy Girl at The<br />

Roasterie on <strong>March</strong> 15 at 8PM<br />

Blow-Up (1966)<br />

Italian Director Michelangelo Antonioni<br />

brings his first English film to screen that<br />

centres on an abrasive fashion photographer<br />

Thomas (David Hemmings). Thomas is<br />

aimlessly wandering through a park when he<br />

photographs a woman being intimate with<br />

a man.The woman, Jane (Vanessa Redgrave),<br />

chases Thomas down and frantically demands<br />

his film, but he refuses to hand it over. Later,<br />

Thomas blows up the photos and discovers<br />

he may have photographed a murder scene.<br />

Antonioni constructs his psychological thriller<br />

to show the extent individuals will go to find<br />

the truth without the promise of receiving it.<br />

EspressoKino presents Blow-Up at The Roasterie<br />

on <strong>March</strong> 22 at 8PM<br />

Whispers of the Heart (2002)<br />

Studio Ghibli (My Neighbor Totoro) released<br />

this heartfelt animated Japanese film on the<br />

importance of aspirations. Shizuku dreams<br />

of writing for a living. Her long summer days<br />

are spent reading books from the library and<br />

translating music. She notices a pattern of the<br />

name Seiji on the books she has checked out.<br />

Through charming and magical events (that<br />

Studio Ghibli never fails to provide) the two<br />

meet and Seiji confides in wanting to become<br />

a violin maker in Italy. Whispers of the Heart<br />

beautifully demonstrates how being inspired<br />

by others is just as crucial as inspiring yourself<br />

to become who you want to be.<br />

Whispers of the Heart screens at The Globe<br />

Theatre on <strong>March</strong> 31 at 7PM as part of the<br />


experimental filmmaker’s showcase<br />




APRIL 16-22, <strong>2018</strong><br />

Georgy Girl (1966)<br />

Georgy Girl is the lighthearted yet honest<br />


portrayal of a young woman finding her spot<br />


in the world. Lynn Redgrave is the tender Studio Ghibli Showcase Series<br />

FILM BEATROUTE • MARCH <strong>2018</strong> | 15<br />

A<br />

call for local experimental films has been<br />

put out by Roasterie Coffee House’s<br />

weekly film presenters, EspressoKino, for the<br />

Fourth Annual Local Experimental Filmmaker’s<br />

Showcase on <strong>March</strong> 29. Occuring every<br />

Thursday, EspressoKino hosts film screenings<br />

Kensington’s infamous 400-square-foot coffee<br />

roaster and showcases independent and<br />

experimental films.<br />

“We started in April 2015 for two reasons,”<br />

explains programmer Shaun Donohue. “The<br />

culture of cinema showing non-mainstream<br />

films has been dying. We wanted to show primarily<br />

the pre-1980 films that got us to where<br />

we are. The secondary reason was, we are all<br />

regulars at the Roasterie.” Donohue adds, “It’ll<br />

essentially be a month of related programming,<br />

either with a theme, or a director and<br />

we haven’t missed a Thursday since the last<br />

Thursday in 2015.”<br />

Submissions for the Experimental Filmmaker’s<br />

Showcase are open right up until the<br />

films are screened, and anyone is encouraged<br />

to submit their own atypical and avant-garde<br />

take on filmmaking; noting that films should<br />

be no longer than 20 minutes.<br />

“We will collect the films from all of the<br />

weirdos who aren’t part of any organization<br />


and get no money and we’re gonna give them<br />

a night to show all of their crazy films,” he says<br />

with a laugh. “We’ll literally accept submissions<br />

until 20 minutes before the show.<br />

“We show the things that just don’t get<br />

shown in public anymore,” concludes Donahue.<br />

“There’s a big hole in arthouse theatre, or<br />

repertory cinema.”<br />

The Local Filmmakers Showcase presented by<br />

EspressoKino will take place at The Roasterie on<br />

Thursday <strong>March</strong> 29, <strong>2018</strong> at 8pm.


godfather of gore’s erotic nightmare<br />

With arthritic fingers adorned by gaudy<br />

cocktail rings and cherry red acrylic<br />

nails digging deep into glistening skin in the<br />

thralls of ecstasy, we are familiar with the<br />

lovers tango of the early ‘70s. Sexual liberation<br />

– a theme exploited time and time again<br />

throughout the past four decades and beyond<br />

has become a well-admired trope in the world<br />

of cinema. Psychedelic overtones carved and<br />

jaded by a glaring blade, blood spewing forth<br />

in a primal, orgasmic geyser... An interesting<br />

juxtaposition is displayed. Pain and pleasure,<br />

heaven and hell... Pummelling expectations<br />

and pushing boundaries, A Lizard in a<br />

Woman’s Skin is a surrealistic psychodrama<br />

progressing in a twisted, malformed dreamdeath<br />

state.<br />

Perfectly exemplifying the giallo genre, a<br />

term used to describe Italian thrillers which<br />

predated and influenced the later slasher<br />

film genre, A Lizard in a Woman’s Skin is an<br />

enticing murder mystery largely exploring the<br />

confines of the mind. Due to this, not much<br />

can be said without spoiling a truly underrated<br />

masterpiece in Lucio Fulci’s, famed Italian<br />

‘Godfather of Gore’, grotesque filmography.<br />

Without giving too much away, the plot<br />

centers around Carol (Florinda Bolkan), a<br />

young insomniac woman plagued by haunting<br />

dreams, and with her darling neighbour found<br />

slaughtered with details she can recall with<br />

startling clarity, her dreams have seemingly<br />

been brought to fruition.<br />

Etched partly in the imaginative world of<br />

dreams, the effervescent use of psychedelic<br />

colours and patterns contrasting with the<br />

otherwise monochromatic nature of the film<br />

employs a visually stunning ride throughout<br />

the 95 minute run-time. Tapping slightly into<br />

the atmosphere of gothic traditionalism,<br />

the film serves as a window peering into<br />

the stylistic take on early ‘70s romanticism.<br />

The unrelenting projection of taboo themes<br />

including sexual liberation, lesbianism, and<br />

use of hallucinogens allow connections to not<br />

only underground classics such as The Velvet<br />

Vampire (1971), but even critically acclaimed<br />

titles such as A Clockwork Orange (1971).<br />

Much like the controversy Stanley Kubrick ignited<br />

in the latter film, Fulci was not safe from<br />

such fates with this erotic nightmare.<br />

Though predating Fulci’s rather abhorrent,<br />

gore-ridden endeavours he would later<br />

become known for, the blood and guts are<br />

used sparingly in this case. Worth noting,<br />

however, is the uncomfortable realism used in<br />

a particularly shocking scene in the third act<br />

in which our leading lady happens upon a trio<br />

of disemboweled dogs. The fictitious gore was<br />

so believable that special effects artist, Carlo<br />

Rambaldi, had to testify in court that his work<br />

was fake. Predating the ill-famed, controversial<br />

works of films such as Cannibal Holocaust<br />

(1980), this marked the first occasion in<br />

which an artist had to attend court to prove<br />

themselves free of engaging in any homicidal<br />

behaviour.<br />


If all the sex, drugs, and violence aforementioned<br />

has somehow not sold you, then<br />

both alternative cinema admirers and Fulci<br />

fans, please hear me out – Though largely<br />

praised for his use of extravagant gore, A<br />

Lizard in A Woman’s Skin proves there is<br />

more that meets the eye gouge when it<br />

comes to Lucio Fulci.<br />

Catch A Lizard in a Woman’s Skin on Friday,<br />

<strong>March</strong> 23 at the Globe Cinema.<br />

16 | MARCH <strong>2018</strong> • BEATROUTE<br />



rewind to the future<br />


The Cloverfield Paradox<br />

Coco<br />

Three Billboard Outside Ebbing, Missouri<br />

The Cloverfield Paradox<br />

The worst thing about life on an international<br />

space station is that Russian and American<br />

astronauts always collude to rig movie night<br />

voting. Sadly, the crew in this thriller won’t live<br />

long enough to complain about this week’s<br />

selection.<br />

While in the throes of an energy crisis, Earth<br />

launches representatives from around the world<br />

(David Oyelowo, Daniel Brühl, Chris O’Dowd,<br />

Gugu Mbatha-Raw), along with a particle<br />

accelerator that will tap into alternative energy<br />

sources, into space. But when the accelerator<br />

opens a portal to an alternate reality, a bevy of<br />

behemoths are unleashed on Earth.<br />

The third installment in the cryptic Cloverfield<br />

franchise, this Netflix distributed sequel<br />

sheds some light on the origins of the monsters<br />

plaguing our planet, but its slapdash and<br />

incongruous script simply feels shoehorned<br />

into the larger narrative.<br />

And while giant monsters don’t necessarily<br />

ease our energy crisis, their carcasses will help<br />

with global food shortages.<br />

Coco<br />

When returning for the Day of the Dead, the<br />

biggest obstacle Mexican ghosts face is scaling<br />

Trump’s metaphysical wall. Fortunately, the<br />

deceased in this animated-musical has no one<br />

on the other side to visit.<br />

More concerned with being a musician, like<br />

his grandfather (Benjamin Bratt), then joining<br />

the family business, Miguel (Anthony Gonzalez)<br />

steals his dead abuelo’s guitar. But when he<br />

strums the instrument Miguel is spirited to the<br />

land of the dead, where he must work with a<br />

disgraced skeleton (Gael García Bernal) to get<br />

back home before he joins the dead.<br />

A vibrant and colourful adventure that<br />

utilizes elements from the Mexican holiday to<br />

weave a touching tale about family, tradition<br />

and life after death that is accompanied by<br />

a handful of toe-tapping tunes and spirit<br />

animals, Coco offers terrific insight into this<br />

misunderstood holiday.<br />

However, instead of visiting with family<br />

most ghosts return to Mexico for the donkey<br />

show.<br />

movement, Britain’s Labour Party moves to<br />

oust him as Prime Minister and replace him<br />

with a Lord from the Royal Navy, Winston<br />

Churchill (Gary Oldman). Faced with the<br />

daunting decision of either capitulating or<br />

combating the encroaching threat, Churchill<br />

not only seeks advice from his wife (Kristin<br />

Scott Thomas) and secretary (Lily James), but<br />

also the commoners.<br />

While it can get bogged down in political<br />

minutia at times, Oldman’s turn as the<br />

portly Prime Minister, along with the spirited<br />

dialogue and rousing speeches, keep this<br />

reasonably accurate historical biography from<br />

becoming boring.<br />

Incidentally, the darkest hour is the best<br />

time to break and enter.<br />

Only the Brave<br />

The key to preventing forest fires from ever<br />

occurring is killing every cigarette smoker.<br />

Luckily, cancer will take care of them, while<br />

the firefighters in this drama extinguish their<br />

handiwork.<br />

Aggravated that he and his first responders<br />

(Miles Teller, Taylor Kitsch, James Badge Dale)<br />

are relegated to the rear whenever out-of-State<br />

Hotshot fire crews show up and start delegating<br />

during a blaze, superintendent Eric Marsh<br />

(Josh Brolin) petitions the mayor to let him<br />

train his own elite team of frontline firefighters.<br />

But when the upstart squadron faces off<br />

against an uncontrollable wildfire on Yarnell<br />

Hill, their mettle is truly tested.<br />

Based on the GQ magazine article of the<br />

tragic 2013 fire that claimed 19 lives, this retelling<br />

brings personality to those who fell. And<br />

while the dialogue is a tad melodramatic, the<br />

visuals and the emotions are palpable.<br />

Nevertheless, a spontaneous wildfire is still<br />

a good excuse to burn your garbage.<br />

Roman J. Israel, Esq.<br />

With its high rate of slip and falls accidents,<br />

lawyers are the only people who love winter.<br />

However, the eccentric attorney in this drama<br />

isn’t interested personal injury suits right now.<br />

When his law firm partner suffers a heart<br />

attack, Roman J. Israel (Denzel Washington)<br />

must unwilling step out from behind-thescenes<br />

to represent the cases in court he has<br />

only researched. His lack of social skills sinks<br />

the firm and Roman soon finds work with a<br />

shark (Colin Farrell). But when his boss wants<br />

him to put profit before ethics, Roman’s mental<br />

state deteriorates.<br />

While Washington plays the unconventional<br />

counsel with aplomb, the one note storyline<br />

unfortunately is constructed around his social<br />

awkwardness, and not much else. With very<br />

little driving this legal drama besides a feeble<br />

murder case, it just becomes a meditation on<br />

an exasperating character.<br />

Moreover, it’s not a good sign when your<br />

lawyer can plead insanity.<br />

Three Billboards Outside Ebbing, Missouri<br />

Without roadside billboards out of control<br />

vehicles would just careen into an empty<br />

farmer’s pasture. Luckily, the small-town in<br />

this drama has an excess of advertisement<br />

opportunity.<br />

Fuming over the fact that the local sheriff<br />

(Woody Harrelson) still hasn’t arrested any<br />

suspects in the rape/murder of her teenage<br />

daughter 7-months ago, Mildred (Frances<br />

McDormand) purchases ad space on three billboards<br />

and uses them to taunt the sheriff and<br />

his inept and racist deputy (Sam Rockwell).<br />

Messing with the authorities, however, only<br />

brings the hammer down harder on Mildred,<br />

her family and her friends. Fortunately, everyone<br />

else in Ebbing is as fed up with the law<br />

enforcement as her.<br />

In spite of its many strong performances<br />

and complex script that blends comedy with<br />

its tragedy, this fictitious narrative comes off as<br />

unrealistic, malicious and laughable at the end.<br />

Besides, to really distract drivers from the<br />

road you need 3 digital billboards.<br />

Wonder<br />

Usually when a student wears a mask to<br />

school everyone heads for the nearest exit and<br />

calls 9-1-1. However, if it’s the concealed kid in<br />

this drama, you welcome them.<br />

Born with a defect that finds him hiding behind<br />

a mask in public, Auggie (Jacob Tremblay)<br />

has been homeschooled by his parents (Julia<br />

Roberts, Owen Wilson) his whole life - until<br />

now. Exposed, Auggie faces his peers for the<br />

first time. While some are kind, most are not.<br />

Meanwhile, his older sister (Izabela Vidovic)<br />

competes against her former BFF for the lead<br />

in the school play.<br />

From facial deformities to middle school<br />

bullies to a dead dog to an amateur production<br />

of Our Town, this family melodrama pulls<br />

every tear-jerking trick it can to endear itself<br />

to the viewer. Unfortunately, its manipulative<br />

schmaltz is boilerplate, sitcom-y even.<br />

Besides, once you get to high school every<br />

teenager has a facial deformity.<br />

Darkest Hour<br />

The only employers who have a workforce<br />

over the age of 70 are Wal-Mart and Parliament.<br />

So it’s no surprise that the political party<br />

in this drama would elect a senior as its new<br />

head.<br />

Displeased with Neville Chamberlain’s<br />

He’s Shakespeare in the Parka. He’s the…<br />

Wonder<br />

kowtowing to Hitler and his swelling Nazis<br />

Vidiot<br />

FILM BEATROUTE • MARCH <strong>2018</strong> | 17

18 | MARCH <strong>2018</strong> • BEATROUTE



when you come to the fork in the road...take it!<br />

Ten Minute Detour explores seven deadly songs on Common Pleasure.<br />

Time flies when you’re 93, or at least that’s were really starting to take shape for the busy<br />

what the youngsters behind Calgary’s Ten group who released their full-length debut,<br />

Minute Detour discovered along the way to Lay It Down, with the distinctive single “Four<br />

delivering their rockin’ new album, Common Papers” preceding its 2015 launch. For Shier<br />

Pleasure. According to the band’s lead singer, and his companions, that tangible accomplishment<br />

signified that they were headed in<br />

Andrew Shier, it was the irrepressible gumption<br />

of his grandmother who moved him to the right direction.<br />

pen the song “Betty” in honour of her love of “I think we’ve definitely locked in the<br />

music and dance.<br />

sound with the band we have. We don’t really<br />

“I wrote that song as more of a flamenco like to follow a formula,” says Shier, who also<br />

number on my guitar. It’s named after my plays rhythm guitar.<br />

grandmother Betty. The last time I saw her “It’s weird; we’ve never really sat down and<br />

and I put on an 8-track cassette of music written an album. It’s more a case of finding<br />

by her father who was a musician and band that we had 10 to 15 songs ready to go and<br />

leader in the ‘40s in Barrie, Ontario. She just having to handpick which ones were going to<br />

started dancing, she was crying and acting like wind up on the album.”<br />

a child again, and it was super emotional for That’s where a good second opinion is<br />

both of us. So, that inspired me to write that worth its weight in gold. Fortunately, Ten<br />

rock and roll flashback.”<br />

Minute Detour was wise enough to take the<br />

Betty’s affection for music that makes you fork in the road that took them directly to<br />

want to get up and shake it has definitely Nashville where they opted to lay down the<br />

rubbed off on Shier, who originally formed tunes for their forthcoming LP, Common Pleasure,<br />

with the oversight of professional music<br />

Ten Minute Detour back in 2013. Supported<br />

in his artistic aspirations by bassist Mike producer Lincoln Parish.<br />

Stokes, guitarist Jordan MacNeil and drummer “Lincoln definitely helped us a lot and<br />

Ross Watson, the intrepid singer-songwriter pointed us towards the stronger songs. He<br />

pushed the project into motion quickly generating<br />

their first three-song EP. By 2014, things he started producing other artists. We<br />

was the guitarist for Cage the Elephant before<br />

took<br />


his feedback and went down to Nashville to<br />

work on those songs. We planned on recording<br />

six tracks, but found ourselves with two<br />

days extra, just cuz we were flying through<br />

our sessions. So, we decided to do one more<br />

song and hashed it out right there the same<br />

day. And, honestly it’s our favourite song on<br />

the album, “Poli Shore.” It’s a super energetic,<br />

thrashy, punky, rock song and after it was all<br />

said and done it had this awesome throbbing<br />

energy.”<br />

Translating that same sense of fun and<br />

intensity from studio to stage is definitely Ten<br />

Minute Detour’s strong suit. Moreover, the<br />

dancefloor-packing action is further improved<br />

when multi-instrumentalist Rhys Lintern is<br />

able to join the line-up to add his versatile<br />

talents to their pop-punk-meets-Grand-Ole-<br />

Opry melting pot.<br />

“While the rest of us have all been there<br />

since beginning, our keyboardist and percussionist,<br />

Rhys, is actually an Australian that I<br />

met while I was at work. His visa has expired,<br />

but he’s flying back for the tour, which is really<br />

nice for us,” Shier reports of the band’s shifting<br />

line-up and the flexibility it brings.<br />

Poised to introduce Common Pleasure to<br />

fans of all ages later this month, a nostalgic<br />

Ten Minute Detour can’t help but to pause<br />

and reflect on the path that led them to this<br />

point in their burgeoning musical careers, and<br />

wonder what surprises the future might hold.<br />

“Looking back, our first album was fouron-the<br />

floor garage rock, but for this one we<br />

wanted a broader spectrum of sound. Something<br />

fuller and a little more produced than<br />

what we had before,” he explains. “Every one<br />

of the songs on the new album is experiential<br />

and yet very relatable. For some they may<br />

be pleasures and for some not so much. It’s<br />

seven different themes under one rock and<br />

roll umbrella. There’s a little indie pop, some<br />

R&B and hip-hop, there’s a Southern jam; it’s<br />

a blend. Live performance is always our main<br />

focus and that’s probably why all seven songs<br />

are energetic songs that really engage people.<br />

Having said that, I would like to do some<br />

slower more emotional songs on our next<br />

album. But, at this point it’s all about rocking<br />

out: there’s nothing slow about it. Common<br />

Pleasure? It’s just something you’ll wanna put<br />

on if you’re ready to go!”<br />

Ten Minute Detour release their new album<br />

Common Pleasure with The Varmoors and Flood<br />

Plain on <strong>March</strong> 17 at The Palomino Smokehouse<br />

and Social Club [Calgary].<br />

Upcoming<br />

Events<br />

E-GAMING<br />

ROCKPILE BEATROUTE • MARCH <strong>2018</strong> | 19<br />

FRI<br />

03.02<br />

WED<br />

03.06<br />

WED<br />

03.07<br />

THU<br />

03.08<br />

FRI<br />

03.09<br />

TUE<br />

03.13<br />

WED<br />

03.14<br />

FRI<br />

03.16<br />

WED<br />

03.21<br />

WED<br />

03.28<br />

THU<br />

04.12<br />

SAT<br />

04.21<br />

SAT<br />

04.28<br />

WED<br />

05.02<br />

SAT<br />

05.12<br />


SECRETS &<br />





ST. PADDY’S<br />

DAY EVE<br />








SXSW<br />

<strong>BeatRoute</strong>’s guide to make it home alive<br />


live music<br />

<strong>March</strong> 03<br />

jay bowcott<br />

march 10<br />


march 17<br />

the west<br />

march 24<br />

sadlier-brown du0<br />

march 31<br />

michela sheedy<br />

saturday nights<br />

Emotional yet feverish art pop debut their full-length ‘ing’<br />

photo: Merrick Ales<br />

While top picks for this annual Austin-based<br />

festival include your next<br />

faves Ed Schrader’s Music Beat, Essaie<br />

Pas and Look Vibrant (read about ‘em in our<br />

Reviews), massive debuts by Max Richter and<br />

Wes Anderson, West-Can treasures Blessed,<br />

The Dead South and Faith Healer, Eastern<br />

Canadian acts like Cadence Weapon, FRIGS<br />

and Tasha The Amazon, critical darlings<br />

Porches, Shamir and White Reaper, boss-tier<br />

showcasers Burger Records, LEVITATION and<br />

ShowTime, plus uber-headliners TBA, what we<br />

really want to tell you is how to survive nine<br />

days of high-humidity, heat and hustle.<br />

One: Stay out of the bustle<br />

Unless Daddy is paying for it, there’s no reason<br />

to splurge on a hotel. Team BR is paying $145<br />

CAD each, per person, for a week of accommodations.<br />

It’s South of the river, but you can<br />

find similar prices in (far) East Austin, and<br />

will pay about $20 USD amongst your squad<br />

for rideshares (Lyft, Uber, RideAustin, Fasten)<br />

to and from the lit district per day. There are<br />

bike rentals available, too. Oh, and there will<br />

be other great stuff near you - remember that<br />

Austin is still an excellent city when it’s not SX.<br />

20 | MARCH <strong>2018</strong> • BEATROUTE<br />

Two: Rest like a pro<br />

Austin has a wealth of swimming holes and<br />

relaxed places to recoup, many of which offer<br />

fine food and great times without live music.<br />

We suggest, alternatives to breaking into hotel<br />

pools for swimming such as Barton Springs<br />

and Easy Tiger for excellent sandwiches, baked<br />

goods and beers. Then head over to Prohibition<br />

Creamery for a dose of boozy ice cream.<br />

Remember to set aside your pride and accept<br />

that you will get tired.<br />

Three: Unofficial, RSVPs & wristbands<br />

You can’t really go wrong with non-official<br />

approaches to SXSW. There are so many<br />

corporate showcases that are free to the<br />

public with RSVP, you almost won’t be jealous<br />

of your friends with badges. There are<br />

also backyard parties. Look at EventBrite,<br />

Oh My Rockness, Unofficial SXSW Guide,<br />

Do512, look up SXSW Guest Pass or just<br />

talk to pals who are going to the fest to<br />

find your way into open bars and awesome<br />

showcases. Be nice to everyone you talk to;<br />

they might be a CEO or someone who likes<br />

inviting people to parties.<br />

If you’re like us and go to SX mainly to<br />

see music, a $200 USD music wristband<br />

can be purchased in person on site. While<br />

a music badge will cost you $1350, a<br />

wristband gets you similar access to most<br />

small-medium shows. Artist wristbands<br />

receive last priority entry, so if you’re<br />

attending as a performer, RSVPs are especially<br />

important.<br />

Four: Find your peoples<br />

Go to showcases and events you could do<br />

at home but don’t. BreakOut West, Halifax<br />

Pop Explosion and POP Montreal are just<br />

the beginning. Put in a little legwork on the<br />

official schedule and register for SXSW Social<br />

if you’re able -- you don’t have to break a<br />

sweat networking if you know where to find<br />

your peers.<br />

If you feel like finding us BR folks during<br />

SXSW, just use the tips above or hit us up at<br />

info@beatroute.ca. Happy SXing, and we are<br />

not liable for any of this.<br />

South by Southwest takes place <strong>March</strong> 9 to<br />

<strong>March</strong> 18 at various venues around Austin, Texas.<br />

For details visit https://www.sxsw.com/<br />

weekly specials<br />

late night movies<br />

$5 pints, $1 oysters<br />

$1/2 off wine<br />

$2.50 tacos<br />

$7 beer flights<br />

$5 draft pints<br />

$3 Wild Turkey<br />

midtownkitchen.ca<br />


BEATROUTE • MARCH <strong>2018</strong> | 21


armed with a hydrophone, watch out!<br />

Spoon’s new songs in the making — no holds barred.<br />


peeling back the veneer<br />

With winter winding down, there’s comfort in spending intimate evenings indoors, especially if it<br />

involves being treated to acoustic melodies from our favourite coffee-loving punk, Joey Cape.<br />

Although Cape is most recognized for fronting the Californian punk band, Lagwagon, his solo<br />

musical career is gaining momentum. The first of Cape’s four solo albums, Bridge, debuted in 2008<br />

and more recently the simply named Covers, featuring unplugged Lagwagon and Bad Astronaut<br />

renditions, appeared on his own One Week Record label.<br />

“I’m always working on new material and I’m always writing,” says Cape.<br />

“I’m just one of those people. I can’t stay idle. I’m recording a new album right now. It’s got a way<br />

to go, but I’m really happy about it. I’ve been writing it for a couple years and I think it’s one of the<br />

best things I’ve done solo. But you never know, it could suck! So, we’ll see.”<br />

Cape’s solitary writing efforts usually result in songs of the somber variety, so it’s only fitting that<br />

his new material is sincere, emotional and dark. Pulling heartfelt selections from his considerable<br />

back-catalogue, he also diversifies his solo shows with a slowed down, bare bones take on some<br />

original punk classics.<br />

“I’ll be honest, I love sad songs, I like songs that are melancholy. It’s almost like that’s art to me,<br />

when I hear somebody’s heartbreak and struggle. But, that’s what I want out of a painting and that’s<br />

what I want out of a novel. It’s the same with music.”<br />

True to his word, Cape has steadily refined his style and sound by introducing the unadorned<br />

discipline of the acoustic guitar to his naturally restless lyrics. The latter of which is something that<br />

the stalwart singer has been perfecting since his early skate-punk days.<br />

“A lot of Lagwagon songs just sound really nice when I play them on acoustic, because they’re very<br />

emotional. “I Must Be Hateful” is the best example of that. It never became a song that anyone ever<br />

asked to hear, until I played it on acoustic. I think it’s because we [Lagwagon] missed the mark on the<br />

vibe; it’s too rushed and doesn’t have the right flow.<br />

While in the midst of working on writing a new record, Rae<br />

Spoon likes to downscale to playing acoustic guitar in the<br />

process of carving out fresh songs. For the upcoming performance<br />

at NMC, Spoon promises to play some old tunes as well and few<br />

ones still in development.<br />

“It’s been awhile since I’ve been to Calgary and I’m excited to<br />

play the National Music Centre, the King Eddy actually, which was<br />

a cool place to go when I was a teenager to watch blues bands.”<br />

Spoon, who has lived in Victoria for the past couple years (and<br />

jokes about being there way ahead of the retirement curve), is<br />

incorporating different aspects of that newish environment to be<br />

on the upcoming record.<br />

“The record is kind of based on an ocean presence. I live<br />

right on James Bay in Victoria just two blocks from the ocean.<br />

I’m gathering a lot of sounds, working on some electronics and<br />

field recordings which I’m trying to integrate as a landscape<br />

into the album.”<br />

One aspect of incorporating natural elements into the new<br />

songs is using a hydrophone, a device to record sound underwater.<br />

“I have a hydrophone I’m playing with, although it’s giving me<br />

some trouble. I’m planning on dropping it in some parts around<br />

Victoria, but I’ll probably have to be on a boat. Or I might,” laughs<br />

Spoon, “be singing backup vocals in my bathtub!”<br />

“I kind of like experimenting with that, and bringing in the idea<br />

of bodies and that the ocean as the original super connector. I<br />

guess now it’s the internet! But bringing in body stuff, and, in general,<br />

living as a non-binary person. I have a song that was supposed<br />

to be full of the F-word, but I played it at folk festivals and changed<br />

BY B. SIMM<br />

it to ‘Do Whatever The Heck You Want.’ It’s about letting anyone<br />

do what they want, as longs as they’re not hurting anyone.” Spoon<br />

adds triumphantly, “And children have fallen in love with it!”<br />

Then further explains how writing about the physical environment<br />

leads directly into a political context.<br />

“The places I’ve lived have always affected my work. I’ve written<br />

a lot about the prairies, this time I’m trying to focused on the<br />

ocean, its surroundings but also there’s a lot of political things<br />

going right now with pipelines and oil tankers, spills and…”<br />

Wine embargos!<br />

“Yes!” laughs Spoon. “The NDP is throwing it down. And I’m<br />

bringing in stuff like that too.”<br />

Breaking it down into specifics, Spoon outlines a new song<br />

called “You Don’t Do Anything”.<br />

“It’s about politicians who say they’re onside and actually care,<br />

but don’t do anything. I don’t know if any federal leader might<br />

come to mind,” chuckles Spoon.<br />

“I’ve been working a lot with Indigenous communities<br />

and people with different background than me, and it’s been<br />

hitting pretty hard lately how messed up all the policies are<br />

towards the land and Indigenous folk. Right now the federal<br />

political climate is definitely informing my writing about not<br />

doing anything to equalize things like the child welfare system.<br />

The federal government is saying whatever think is right, then<br />

doing whatever they want.”<br />

Rae Spoons performs at the NMC on Thursday, <strong>March</strong> 15 as part of<br />

the Alberta Spotlight Series.<br />


Don’t miss Joey Cape on his One Week Records Tour of Alberta. He performs <strong>March</strong> 9 at The<br />

Palomino Smokehouse and Social Club [Calgary], <strong>March</strong> 10 at the Starlite Room [Edmonton] and<br />

<strong>March</strong> 11 at Wild Bill’s [Banff].<br />

Lagwagon frontman Joey Cape’s solo act trades Woodie for wooden.<br />

22 22 | MARCH | MARCH <strong>2018</strong> <strong>2018</strong> • • BEATROUTE<br />



sea to see<br />

East Coast pop stars Alvvays shine on second album, Antisocialites.<br />

The monotony of a Canadian winter can be exhausting. Waking up to residual nightfall spilling over<br />

into what should be daylight, the world is moving nowhere fast, and it doesn’t exactly inspire productivity:<br />

when layering up sufficiently to brave the outdoors takes 20 minutes, why bother? Dreariness<br />

lingers seeming-perpetually, interrupted only by brief months of sunlit respite. So, what is there to do?<br />

For Molly Rankin, Kerri MacLellan, Alec O’Hanley, Sheridan Riley and Brian Murphy, the answer is simple:<br />

make music. The five, many of whom have known each other at least peripherally since childhood,<br />

go by Alvvays and are currently touring in the wake of their second album, Antisocialites.<br />


“Kerri is a childhood friend,” says Rankin. “I met Alec in Halifax, when he was playing a show<br />

with one of his previous bands, and he went to high school with Brian, who plays bass. Sheridan,<br />

who plays drums for us, we saw her play at the Mod Club in Toronto with a different band and<br />

asked her if she wanted to play with us. That was like a year ago.”<br />

Growing up in Nova Scotia surrounded by the ocean, trees, and rolling hills provided inspiration<br />

for lyrics that enable listeners to see the scenes set by your words. While not everyone has<br />

visited the Canadian east coast, they can certainly envision tree-covered mountains turning red<br />

and yellow on a golden September dusk or the vast blue sea sprawling out endlessly, marked by<br />

lighthouses along the shore.<br />

“I can be a little bit observational with my lyrics,” says Rankin. “I’m inspired by space and<br />

weather and distance and being alone. I like to paint imagery, and it’s easier to be descriptive<br />

when you’re talking about, you know, the sunset or the trees or the ocean.”<br />

Alvvays is decidedly pop-centric, with heavy synths and catchy melodies laced throughout<br />

dreamy vocals. If you listen carefully, you might hear “a little bit of fiddle personality” within<br />

Rankin’s guitar style, hinting back to her formative years in the industry, but for the most part,<br />

Antisocialites doesn’t stray far from the precedent set by their debut album. If anything, it’s<br />

heavier-hitting.<br />

“With the first record, some of the way that things were recorded, we ended up having to<br />

take a lot of treble out of the record,” she explains. “I think the first one may be a little bit softer<br />

sounding. When we play live, I think we sound a little bit more – I don’t want to use the word<br />

lively, but there’s definitely frequencies that we didn’t have on the record when we play live, and<br />

I think people notice that. But this record has a little bit more of a full spectrum. It might be a<br />

little bit more lively, but we didn’t really want to alienate our first record, either. I didn’t really<br />

have any hopes and dreams of leaving that to the dust. I still feel good about it.”<br />

Alvvays perform on <strong>March</strong> 31 at The Palace Theatre [Calgary].<br />


MAR 2<br />


Dirty Pop Edition<br />

MAR 8<br />

MAR 14<br />

MAR 18<br />

MAR 20<br />

MAR 31<br />


Presented by YYC Girl Gang<br />


w/ Video Game Trader<br />



w/ Peter and the Wolves<br />


Tickets and full listings<br />

TheRecRoom.com<br />

The Rec Room is owned by Cineplex Entertainment L. P.<br />

ROCKPILE BEATROUTE • MARCH <strong>2018</strong> | 23


Running parallel and sometimes intersecting the showbands, there was a revival of traditional Irish folk<br />

in the ‘60s led by The Chieftains, The Clancy Brothers and The Dubliners, to name a few. Keeping the<br />

dance halls filled and drinking flowing, there were a few novelty showboaters as well – Paddywagon<br />

wore black and white prison stripes as their stage outfits. By the early-70s another, much broader form<br />

of the folk revival would take shape with Planxty and Clannad, bands that dove deep into the roots of<br />

Irish music employing a multitude of musicians and instruments. At the same time, Celtic rock began to<br />

emerge largely following Thin Lizzy’s “Whiskey In The Jar” in which The Horslips are rightly cited as the<br />

“founding fathers” of the genre while pushing it into prog-folk.<br />

The Irish had its special take on being punk. Certainly The Pogues put punk into folk like no band<br />

before, aside from Dylan going electric with The Band. And while Stiff Little Fingers’ assault tactics are on<br />

par with The Clash, The Undertones were absolute gems, a brilliant debut in 1978 with “Teenage Kicks”<br />

oozing with what it meant to be young, unprivileged, perplexed but glad to be fucking alive! Boomtown<br />

Rats were a lot more scrappy, but wore their soul on their sleeve just as well. They kicked out their<br />

teenage lust in “Mary Of The Fourth Form” and stole Springsteen’s thunder with “Rat Trap” showing Mr.<br />

Boss Man how to punk-it-up.<br />

Then the elephant in the room – the paradox of U2. Given Bono is such a mouthpiece, his lyrical<br />

contributions vague and often vacuous. Yes, the guy has a magnificent voice, clearly a cut above when<br />

he rose to belting out “Pride (In The Name Of Love). But without meaningful language, too often it’s just<br />

sonic veneer –paging through the beauty and glamour of Vogue <strong>Magazine</strong>, a delight to look at but not<br />

something that really penetrates too deep. And what would the band be without Bono wailing away?<br />

There’s no with or without you, it’s with Bono or no U2. Hey, millions (yes, millions) of fans around the<br />

globe are with them as well!<br />

Despite the thin pop minimalism but great rock ‘n’ roll accomplishment (paradox), U2, like Van<br />

Morrison, was a game changer. They did swing open the door for a whole new wealth of Irish talent in<br />

the form of That Petro Emotion, The Cranberries, The Coors and, of course, Sinead O’Connor.<br />

While praised for her cover of Prince’s “Nothing Compares 2 U”, O’Connor scales many walls and is as<br />

proactive as it gets in life and in song, where one reflects the other. Her 2014 recording “8 Good Reasons”<br />

is a harrowing descent into near suicide, if not literal, certainly a metaphorical and compelling account<br />

on saving the soul by penetrating the soul. And that’s really the beauty of good Irish music, soul diving,<br />

which is why so many artists drift towards the Emerald Isle.<br />

Irish diaspora refers to ex-pats or those who claim they’re descendants of Ireland reaching back to<br />

either claim or expose their ancestral roots. Paul McCartney had a hit single in 1972 with his protest<br />

ditty “Give Ireland Back To The Irish” proclaiming his heritage in response to the violence that pro-<br />


more than a few tunes to drink to<br />

BY B. SIMM<br />

St. Paddy’s is a good day for drinkin’. In fact, most days are! But it’s often discouraging to bear the<br />

onslaught of a non-stop playlist of Irish drinking songs where many only made the list not necessarily<br />

because they’re good songs, but because they’re “drinkin’ songs”. It can spoil a good day of celebrating.<br />

You deserve better, the Irish deserve better.<br />

And those Irish are a tuneful lot. Their Celtic souls immersed in music ranging from traditional to<br />

modern, from minimal to multi-layered that occupies a sprawling spectrum of sound and cultural complexity<br />

that far surpasses those simple tunes to toast to. By no means can you begin to encapsulate the<br />

depth and breath of the Irish in a few paragraphs, but when constructing that St. Patrick’s playlist here’s a<br />

few hall-of-famers that should be noted, if for nothing else, a starting place to explore your inner Irish.<br />

In the States during the early-60s, especially in the wake of Beatlemania, an all new All-American sport<br />

cropped up where legions of young, white males formed garage bands bashing out gnarly, three-chord<br />

R&B numbers trying their best to imitate not John and Paul so much as their black superheroes – Chuck<br />

Berry, Little Richard and James Brown.<br />

To lesser degree, the garage band phenomenon also took hold in Europe, Asia, Japan, Latin American<br />

and down under in Australia as the shock waves of the British Evasion rippled across the planet. In<br />

Ireland, a similar, but unique variant of garage rock was already in the works pre-Beatlemania.<br />

The profound effect Glenn Miller, Sinatra, Bill Hayley and Elvis had on the English-speaking world<br />

perhaps moved the Irish more than other nations outside America. In response to Ol’ Blue Eyes and the<br />

King of Rock ‘n’ Roll, “showbands” sprouted up all over the country performing and playing hit singles<br />

many Irish didn’t have access to because radio stations rarely embraced pop music and record stores<br />

were far and few between. By the 1960s showbands swelled into the hundreds and easily criss-crossed<br />

the notorious border, which divided the Irish on the political and religious front, but couldn’t constrain a<br />

van packed full of musicians and gear.<br />

Many of the showbands were led by versatile singers, some became national sensations, seguing<br />

between Elvis, crooners like Sinatra and Gene Autry while dabbling in Irish tradition. The game changer<br />

would be Van Morrison.<br />

THEM and VAN<br />

Morrison sang, played sax and harp in a showband called the Monarchs who toured Ireland as well<br />

as US Army bases in Britain and Germany. Caught up in the R&B explosion that spawned the Rolling<br />

Stones, he formed Them in Belfast who had the same gritty blues delivery as the Stones and the Animals.<br />

After touring the States on the strength of “Baby Please Don’t Go”, “Here Comes The Night” and<br />

what became thee garage anthem, “Gloria”, Morrison on his return to Ireland was disenchanted with<br />

typical band bullshit and left. Soon after he recorded the single “Brown-Eyed Girl” which eventually led<br />

to a record deal with Warner Bros.. Drawing on a mass of influences, Morrison crafted a magical fusion<br />

of folk, pop, R&B, soul, jazz and rock ‘n’ roll found on the albums Astral Weeks, Moondance and St. Domenic’s<br />

Review. An Irish alchemist who bridged the vast expanse of Celtic consciousness with everything<br />

under the American sun, he cracked open a seminal universe filled with poetry and music.<br />


Still not a household name alongside the Hendrix, Page, Clapton, Blackmore, Beck list of who’s who<br />

of guitarists, but was well-known and well-respected by all of the first generation guitar greats. Raised<br />

in Cork, Gallagher also joined a showband where he honed his skills on what is reputed to be the first<br />

Fender Stratocaster to be shipped to Ireland which he bought in 1963. By 1966 he led the blues-rock trio<br />

Taste and then formed a band under his own name in 1970. A fiery guitarist-blues purist, Gallagher also<br />

had an incredible, irresistible voice and could pen passionate, flowing, bursting-at-the-seams rock ‘n’ roll<br />

numbers, yet he and his songs were Irish to the core.<br />


It’s impossible to mention Thin Lizzy without thinking of Phil Lynott, the band’s charismatic black frontman,<br />

a hybrid of Jimi Hendrix and every great American soul singer. Like Gallagher, in the mid-60s Lynott<br />

led a semi-successful blues-rock band, Skid Row, before moving on to Thin Lizzy in 1969. The first two albums<br />

were not impressive, but after recording a galloping, soulful version of the trad ballad, “Whiskey In<br />

The Jar,” things started looking up. While Thin Lizzy is renown for their swagger and searing, dual-guitar<br />

leads and gate-crashing force of “Jailbreak” and “The Boys Are Back In Town”, there’s another side to the<br />

band that rests in Lynott’s tender moments and recollections of his Irish youth. “Girl In Bloom” off 1973’s<br />

Vagabonds Of The Western World is one of the most heartfelt mini-dramas ever written about teenage<br />

pregnancy. While “Dancing In The Moonlight”, their post-Jailbreak single, a clear indication Lynott was<br />

deemed to take the airwaves and top the charts if he had kicked the habit.<br />

24 | MARCH <strong>2018</strong> • BEATROUTE<br />

Van the Man<br />

Boston 1968

voked Bloody Sunday where British soldiers killed 13<br />

unarmed civilian protesters.<br />

The Waterboys, a Scottish group led by Mike Scott<br />

declared his Irish roots, relocated to Dublin in the<br />

mid-80s gathered some 25 musicians who played<br />

on 120 tracks recorded over two years which was<br />

condensed and released as Fisherman’s Blues in 1998,<br />

a landmark in Celtic folk-rock with its bang-the-drum,<br />

wanderlust and tangled up in love songs. Then<br />

there’s American punk, most notable LA’s Flogging<br />

Molly and Boston’s Dropkick Murphys, who carved<br />

out their brand based on a Celtic kind of mood since<br />

the late 1990s and early 2000s.<br />

Fast-forward to now, and it’s the Gingerbread Boy, er<br />

Man, Ed Sheeran, born in England but referred to as an<br />

honorary Irishman because of his family background<br />

and that Ireland is ridiculously loopy over his music<br />

where he’s a chart-topping monster occupying the top<br />

16 slots on <strong>March</strong> 17, 2017. Janey Mack!<br />

Janey Mack indeed. Now Google away, go deep into<br />

your inner Irish.<br />

BEATROUTE • MARCH <strong>2018</strong> | 25

MIESHA & the Spanks<br />

26 | MARCH <strong>2018</strong> • BEATROUTE<br />


Girls Girls Girls<br />

BY B. SIMM<br />

What a vision! It could be a boatload of bikini-clad woman.<br />

There was a movie made about that starring Elvis. Girls were wild<br />

about him, and he was wild about them and sang lots of girl-crazy<br />

songs. Motley Crue were wild about girls too. They wrote a song and<br />

made a racy video with motorbikes and exotic dancers to celebrate<br />

their obsession. The Crue and Elvis had similar interests, but different<br />

styles, a different vision, a different statement.<br />

Miesha Louie is wild about girls too. And has something different<br />

to say. Her thing for girls is being female, having a female<br />

frame of mind, a female voice, having female fun and being part<br />

of a “girl-pack”. The photo on the front of her new album, Girls<br />

Girls Girls, is littered with familiar faces of women who make up<br />

a large part of Calgary’s music community.<br />

“I got a bunch of my favourite girls from Calgary. We got together<br />

in front of the cymbal wall (behind the stage) at Vern’s, and kind<br />

of made and afternoon of it. We just got silly and ran with the title,<br />

Girls, Girls, Girls. It’s sort of a snapshot of the music scene.”<br />

Bold, brash, bursting with bravado, oozing with emotion, Louie<br />

and Sean Hamilton, who are the 2-piece nucleus of Miesha and<br />

the Spanks, switch on the high-octane that flows throughout the<br />

record. In “Motorin’” they add a little kick-start my heart Motley<br />

charm with Louie tossing down a definitive ‘If you want it, then<br />

bring it on’ proposal.<br />

You waitin’ on this heart?<br />

You think you wanna part?<br />

Think you can make it start!<br />

Well try to and turn it on, turn it on, turn it on, turn it on<br />

Come on!<br />

The song is a rip-roaring piece of pure joy. When he first heard<br />

the chords, Hamilton said, “Holy shit, this is my bread and butter! I<br />

can’t wait to play this.” Louie is also anxious to produce a video for<br />

“Motorin’” where she envisions her niece and a friend’s daughter<br />

“riding in go-carts, at an arcade with pinball lights flashing. I’ve had<br />

that concept for a while, and would like to do it for that.”<br />

A lot of Girls, Girls Girls is talking ‘bout love. Sticking to her heartfelt<br />

instincts, Louie pushes to break down the barriers in “Come<br />

Undone” asking her beau to cast off the fear and let the romance<br />

unfold... “So if you want to please me/Just come undone, just come<br />

undone, we’ll come undone!”<br />

Strong, powerful with dynamics mixing an intense, rock ‘n’ roll urgency<br />

with melodic, sexy, girl-group sensibility, her voice is front and<br />

center all across Girls Girls Girls making it the Spanks’ most focused<br />

recording to date. Hamilton explains that was largely the approach<br />

going into the studio with British producer Danny Farrant, a skilled<br />

multi-instrumentalist who also drums for The Buzzcocks.<br />

“Everything was created around Miesha to sing. That’s one<br />

of things Danny picked up on right away. He said., ‘I want to do<br />

pop with you, but I want to do this kind of pop, this garage and<br />

this rock.’ It was a conscious choice of singing styles. That was<br />

definitely his idea. And ‘If we’re going to do it clean, we’re going to<br />

do it clean and cool!’”<br />

Louie meet Farrant when The Buzzcocks played Sled Island in<br />

2011. Farrant busted her for drinking his band’s beer backstage, but<br />

thought she probably knew where the best festival parties were. Indeed.<br />

Louie became the tour guide, they kept in touch, developed a<br />

working relationship where she was paid 100 English pounds to sing<br />

on each track that Farrant and his recording partner, Paul Rawson,<br />

produced promo material for. Some of the TV series they’ve provided<br />

promos for includes Sons of Anarchy and The Vampire Diaries.<br />

Louie then began a long-distant collaboration with Farrant and<br />

Rawson on new songs for the Spanks’ Stranger EP, released late 2016,<br />

where they mixed “Motorin’” and “Stranger” which also appear on<br />

Girls, Girls, Girls. Those tracks revealed a definite maturity to the<br />

Spanks’ sound giving it a solid pop-punk-feelgood foundation that<br />

has all the benefits of high-fidelity but retains the rough and ready<br />

romantics that Louie and Hamilton lock down so well.<br />

Following the Stranger release, the two scrapped together<br />

every bit of cash they had and could get support for to record at<br />

Farrant’s studio located in Brighton. The 10 day excursion became<br />

an intense whirlwind rotation between recording all day, heading<br />

to The Goose – a local pub – to unwind, then hit their Airbnb for<br />

a few hours before Louie was up at the crack of dawn “recalculating”<br />

lyrics and preparing arrangements for another long stretch of<br />

laying down tracks.<br />

You keep me here in the atmosphere<br />

Ooooooh, Oooooooh<br />

We been up all night!<br />

You keep me up all night!<br />

I’m sure I’m not the only one<br />

Who thinks she’s having too much fun<br />

We gotta keep it down low<br />

Nobody gets to know<br />

What we do when we’re alone<br />

Ain’t no one’s business but our own<br />

– Atmosphere<br />

“We eat and drank at The Goose every night, except for maybe<br />

one,” says Hamilton. “I now know what it is about the UK and their<br />

pubs. It’s not just a place to get drunk. It’s your place for dinner, it’s<br />

people knowing each other, your community centre, an environment<br />

you work things out, where you generate ideas.”<br />

Laughing, Hamilton adds, “I think we utilized The Goose to its<br />

fullest extent. But it really was a big part of our lives there. Like<br />

our anchor, with just Miesha and I. We’d be talking, drinking,<br />

debriefing about things done and what to do in this strange, new<br />

place of our own.”<br />

They also took full advantage of the opportunity in the studio<br />

with Farrant and Rawson at the helm. With her the vocals riding<br />

out front, Louie’s catchy chords and hooks jump right in behind<br />

giving the songs much more texture, depth and swing. Coupled<br />

with Hamilton’s tight and tailored in-sync drumming, the Spank’s<br />

tsunami of sound comes alive – a fierce and frisky 2-piece, with a<br />

voice of its own.<br />

“I write pretty simple guitar parts. But Paul (Rawson), who’s more<br />

the guitar player of the two, would say, ‘Play it this way,’ helping me<br />

expand those parts and make more out of the same thing. They<br />

knew what I was going for, and how to pull it out of me.”<br />

Hamilton was thoroughly impressed with Louie’s learning curve.<br />

“I’ve never seen a guitar player level up like that while in the studio.<br />

They were like, ‘Here’s an idea, can you do this?’, and Miesha came<br />

up with riffs she sang over, in time with the drum beat that’s built<br />

specifically for that riff… crazy, difficult stuff.”<br />

Straight-forward punk weaned on The Ramones’ rule of 1-2-3-4<br />

Let’s Go!, often relies on melodic patterns that are fun but unfortunately<br />

all too predictable. The Spanks avoided that pitfall, making<br />

the album fresh, moving from one adventure to another, but still<br />

exploding with The Donnas’ kind of pleasure.<br />

“That was a huge focus,” confirms Hamilton, with Louie in full<br />

agreement. “Not to do exactly not what you think would happen.<br />

We weren’t going to write, ‘Oh, it should be like this.’ Instead, ‘What<br />

else can we do?”<br />

Louie, however, did place some limitations on how far Farrant<br />

and Rawson could tinker and colour up with her songs and sound.<br />

The extent of experimentation sometimes felt a bit overwhelming.<br />

“The crazy ideas would always be sonic,” recalls Hamilton while<br />

joking about what their producers would suggest. “Wouldn’t it<br />

be cool if we had six guitars doing solos here, here and here, and a<br />

shaker coming down from above?”<br />

Obviously an exaggeration, although Louie notes they added<br />

various layers of instrumentation including horns on one song, all of<br />

which she initially entertained.<br />

“They kept adding all this stuff. I said I’d try it, but when I got the<br />

first mix back it was so full of all this shit. I thought about it for a<br />

while, looking from the outside, not as a musician. Eventually I lost<br />

it, and told them, ‘Take everything out you added. Take it all out!’<br />

Then I was happy with it.”<br />

While Louie stood to ensure the recording reflects who she is,<br />

who the Spanks are, she is also quick to point out that Farrant and<br />

Rawson “gave way more to that album than stuff I had to say no to.”<br />

Although there’s lots of fun-filled moments associated with the<br />

record, Louie’s songs aren’t just about good times and running with<br />

a gang of girls. The track “Lost Boy” opens with hard-pounding<br />

drums, a repeating, haunting singular guitar note that echoes across<br />

a darker landscape – there’s no party going on, only the lonely roam<br />

here. “Lost Boy” is a foray into alienation, an unkind space.<br />

“I tried to write that song so it was relatable on different levels,<br />

everyone has been lost at some time. But specifically I was looking<br />

at my Aboriginal family history, and the way people get left behind.<br />

You get these handouts and resources, but if you aren’t able to catch<br />

up, join in and enjoy the level white people are at, then you get left<br />

behind, seated at the kid’s table. It’s like, ‘You still fit here, but you’re<br />

not going to move forward with the rest of us.’ And that leaves a<br />

‘Where in the world do I fit in?’ feeling. Then having a ‘fighting for<br />

nothing, living for nothing,’ complacent existence.”<br />

Louie reveals she doesn’t often write material that probes into<br />

areas that are “too political,” but hopes the song will come across<br />

having different meaning for different people. Hamilton is quick to<br />

agree and feels the lyrics can easily apply to many other situations.<br />

“For me, the most relatable line in the song is, ‘You are a lost boy/<br />

You aren’t the only one.’”<br />

As for girls... they want to have fun. And sometimes keep it close<br />

and hush-hush, just let it float somewhere in the atmosphere.<br />

ROCKPILE BEATROUTE • MARCH <strong>2018</strong> | 27



slow and steady gets the debut EP done<br />


Turning trauma into post pop-punk gold.<br />

Feed Dogs guitarist and vocalist Corby Burnett is fabulous<br />

at delightful at holistic conversations that include<br />

gardening tips alongside inspiring tidbits for newly minted<br />

bands. Her refreshingly relaxed attitude toward her almost<br />

four-year-old post punk band born of Not Enough Fest<br />

may not have always been so relaxed. A former organizer<br />

of NEF, she spoke highly of the experience, but also the toll<br />

it took on those who worked feverishly to maintain it for<br />

two thriving years.<br />

“The first year was hard. It was incredibly intensive,”<br />

Burnett openly admits. “I started the second year and I<br />

realized I couldn’t commit the time or the energy at all. A<br />

few other organizers dropped out as well. We burned the<br />

fuck out. I had heard about burn out before and never<br />

experienced it. It’s real.”<br />

In spite of exhaustion, Feed Dogs played their first show<br />

at the second NEF in 2014 and are now releasing their<br />

first EP Bless This Mess, a darker look into the inner world<br />

of Burnett and her sister Stacy, who also plays guitar and<br />

sings in the group.<br />

The EP focuses on themes of trauma and abuse through<br />

a distorted, gritty lens, something the Bwwwurnett sisters<br />

created together.<br />

“We share the writing of the vocals as well as the vocal<br />

parts,” explains Corby. “The lyrics come from personal<br />

trauma in our shared childhood experience and a particular<br />

kind of feminine pain. But, there is also resilience. That<br />

28 | MARCH <strong>2018</strong> • BEATROUTE<br />

photo: Levi Manchak<br />

comes forward in the title of the EP I think. We can talk<br />

about these things together and accept what it is.”<br />

While there is still a slight tinge of pop punk in the<br />

noisier leaning EP, the band has grown considerably since<br />

forming. Their songs are dense and driving, with plenty of<br />

high guitar leads and shout-along segments. The layers of<br />

distortion and imperfect garage-rock instrumentals not<br />

only show a level of comfort with each other as artists, but<br />

patience and emotional vulnerability.<br />

The Burnett’s vocals are strained in moments and serve<br />

as raw, potent ammunition to express the pain of the feminine<br />

in all its glory, wrapped in some mischief for good<br />

measure. It’s a delicate balance to approach themes like<br />

trauma and relationship violence, but Feed Dogs manage<br />

to craft a sound that is both heavy in its emotional<br />

content while maintaining a sense of lightness through the<br />

instrumentals.<br />

“It’s not a polished thing,” Burnett says with a grin.<br />

“We don’t hold each other to this like it’s our job. I<br />

hesitate to even call myself a musician. We know we’re not<br />

pros and like to embrace the messiness. So it’s slow going,<br />

but it’s fun that way.”<br />

For all Feed Dogs do for inclusivity in Edmonton’s scene,<br />

they certainly deserve a little fun along the way.<br />

Bless This Mess is out now at feeddogs.bandcamp.com/.<br />

Watch for a small run of tapes sometime this spring.<br />


finger on the pulse of Dirt City<br />

As we get a murky glimpse of spring via<br />

puddles of melted snow and gravel this<br />

month, jump into your rubber boots and<br />

get thine butt out to one of these upcoming<br />

events.<br />

Kick off your month will a little Ukrainian<br />

Theatre from the fine folks at Pyretic Productions.<br />

Blood of Our Soil by Lianna Makuch<br />

runs at the Westbury Theatre from <strong>March</strong> 1 to<br />

<strong>March</strong> 9. The play depicts the struggles of the<br />

Ukrainian people against Stalin and Hitler by<br />

using live Ukrainian folk music and dramatic<br />

storytelling. Tickets available on the Fringe<br />

Theatre website.<br />

If running social media accounts as an artist<br />

isn’t your thing, join Night Vision Academy for<br />

an afternoon workshop on <strong>March</strong> 4 exploring<br />

the fundamentals. Keith Armstrong will guide<br />

the discussion, providing tools and techniques<br />

to build your fanbase. $40 will claim your<br />

spot.<br />

The Sewing Machine Factory is home to<br />

some out there jazz on <strong>March</strong> 6 with Heavy<br />

Beak’s tape release show. In fact, the entire<br />

show is essentially a wall of noise with artists<br />

like Bitter Fictions (Calgary), Soft Ions and<br />

Blipvert. Get your avant-garde freak on for $10<br />

at the door.<br />

For aspiring poets and those curious about<br />

writing from a place of honesty, the Nook<br />

Cafe is hosting a workshop series on <strong>March</strong> 7,<br />

<strong>March</strong> 14, <strong>March</strong> 21 and <strong>March</strong> 28 with local<br />

poet Nisha Patel. Writing prompts, simple<br />

poetry techniques and more will be explored.<br />

There is no age restriction for this creative<br />

event.<br />

Continuous momentum and support for<br />

the #metoo movement takes the form of a rally<br />

at the Alberta Legislature on <strong>March</strong> 10. This<br />

event seeks to provide solidarity and support<br />

for survivors and work to move beyond the<br />

hashtag, but also to address the current need<br />

for support for overwhelmed sexual assault<br />

centres. The rally runs from 1 p.m. until 3 p.m.<br />

and all are welcome to participate.<br />

If you haven’t heard the news the Mercury<br />

Room is closing… sorry to break it to you. Do<br />

your best to make it out to one of the last<br />

shows until the end of <strong>March</strong>. The St. Patrick’s<br />

Day party put on by Clean Up Your Act Productions<br />

is a great opportunity to do just that.<br />

Chips Ov Oi, Citizen Rage (Calgary), Suicide<br />

Helpline and Ripperhead <strong>AB</strong> and Riefer Madness<br />

are on the bill <strong>March</strong> 17. A raucous punk<br />

show for the ages!<br />

The Rec Room is doing a Wes Anderson<br />

film series every second Wednesday at the<br />

South Edmonton Common location. <strong>March</strong><br />

21 will feature The Life Aquatic with Steve<br />

Zissou (2004). At intermission, dream pop<br />

angels Prince Bunny will perform. This is a free<br />

screening.<br />

Metro Cinema’s All-You-Can-Eat Cereal<br />

Cartoon Party is back on <strong>March</strong> 31. This<br />

all-ages sugary cereal buffet features a variety<br />

of vintage cartoons spanning the ‘40s to the<br />

‘80s including old school commercials and<br />

PSAs. The event usually sells out in advance<br />

and is well worth getting up a little early on a<br />

Saturday to check out. Unless you don’t think<br />

10 a.m. on a Saturday is early… whatever.<br />

• Brittany Rudyck<br />

ROCKPILE BEATROUTE • MARCH <strong>2018</strong> | 29


Artistic interpretations of comic themes<br />

30 | MARCH <strong>2018</strong> • BEATROUTE<br />


Honouring late art critic with comically inclined interpretations.<br />

Stationed on cozy reading couches in the to the long lasting nature of comics.”<br />

sunny Happy Harbor Comics, <strong>BeatRoute</strong> sat Using modernization as an example he clarifies,<br />

down with storeowner Jay Bardyla and general<br />

“it goes from Peter Parker looking in little<br />

manager Corinne Simpson to chat about their tiny microscopes, to Peter Parker using high<br />

upcoming Visions of Comics art show kicking tech computers to analyze things in a lab.”<br />

off <strong>March</strong> 2. The art show is in its seventh rendition<br />

Just one archetype shift to keep up with new<br />

since the launch in 2009 and is in memorial audiences.<br />

to Gilbert Bouchard, a friend and inspirational As Bardyla and Simpson reminisce about<br />

CBC arts critic. After many contributions to installations from previous shows (which can be<br />

Edmonton’s art community, he passed away in viewed on the shop’s web page) it seems obvious<br />

2008. Along with the art installations, the opening<br />

that challenging comic based artists to step<br />

night will feature guest speaker Emily Chu, outside the walls of graphic novel illustration<br />

an instructor at Edmonton Digital Arts College. can lead to engaging concepts.<br />

Tactful yet welcoming, Bardyla dove right into “There are people who do the very straight<br />

his passion and inspiration for putting on the forward conventional approach, but then there<br />

show.<br />

are people that like to look for other ways that<br />

“The point of it is not to just do a standard tool can be utilized,” Bardyla says. “We see a<br />

art show but to challenge artists who love comics<br />

range in mediums; some might do sculptures or<br />

to think about the various aspect of comics,” interactive pieces or even immersive pieces as<br />

he explains. “We want them to interpret things we are going to do this year.”<br />

in different ways and then translate that into an Immersive referring to the live, made on the<br />

art piece.”<br />

spot piece Simpson will be part of at the opening<br />

Each year the show is themed around<br />

night event. The piece will be “the live birth<br />

comic book tropes. This year’s theme transpired of a hero.” As Simpson moonlights as a makeup<br />

through integrating the motif from their 2016 artist, she’ll be doing a full body paint on a live<br />

<strong>edition</strong>, dubbed In Conclusion. The organizers model. It’s family friendly, of course.<br />

agreed it was a natural to follow it up with a “It will be like watching a live action origin<br />

good origin story and have focused the <strong>2018</strong> story unfold before you,” Simpson explains,<br />

rendition on the topic.<br />

beaming.<br />

“This years theme revolves around origin Visions of Comics takes place at Happy<br />

stories, which is a very strong conventional tool Harbor on <strong>March</strong> 2 at 7 p.m. (Edmonton). The<br />

in comics,” says Bardyla. “Not only do comics event installation runs until <strong>March</strong> 15 and is free<br />

constantly use an origin story, it is constantly to attend. Donations will be accepted to benefit<br />

being updated and shifted, which is a testament the Bruce Peel Special Collections Library.<br />


blinded by friendship; punks carry on<br />

Apparently farts are still funny. That may<br />

be the main take-away from an interview<br />

with northern Alberta based punks Grizzly<br />

Trail. It’s been at least two and half years since<br />

we last spoke with the four piece that have<br />

experienced literal trial by fire in the years<br />

following the release of their debut EP Dead<br />

Standing Sessions.<br />

Their hometown of Fort McMurray went<br />

up in flames in May 2016, scorching nearly<br />

6000 square kilometers of land and displacing<br />

over 80,000 in the costliest disaster in<br />

Canadian history. Drummer Stephen Payne’s<br />

apartment then caught on fire in Edmonton.<br />

Eventually, they had to find a new guitar<br />

player and it took a few tries to put their new<br />

album Chesterfield together. Despite the<br />

obvious tribulations, going on tour last year<br />

was the straw that nearly broke the proverbial<br />

camel’s back.<br />

“We were almost done as a band,” says<br />

guitarist Dave Millar, with a hint of exasperation<br />

in his voice.<br />

“The stress of tour, guitar player problems,<br />

this label we were supposedly part of… Everything<br />

came to a head. We called an emergency<br />

meeting and talked stuff out that hadn’t<br />

been talked about. Payne quit the band a few<br />

times that day, but we all calmed down and<br />

he stayed.”<br />

The emergency band meeting seems to<br />

have worked. Tour went forward as planned<br />

and they even managed to weird out their<br />

touring bands by cracking jokes about<br />

farts. While line-up changes are not entirely<br />

exciting to discuss within any band ever,<br />

Grizzly Trail ditched what may have been a<br />

potentially toxic member for someone who<br />

most of them have loved for years, guitarist<br />

Andy Alfred. Alfred formerly played in A<br />

New Rhetoric as well as hardcore bands with<br />

New album brings punk dudes closer together.<br />


bassist Robbie Egan.<br />

“He was actually going to sell merch for us<br />

on that tour,” Millar says, laughing.<br />

“My favourite part of Andy being in the<br />

band is that he told us he would be in our<br />

band a long time ago. Years ago when we first<br />

started he came up and told us, ‘I’m gunna<br />

be in your band.’ We just laughed at him. But<br />

look at him now. He’s even wearing a Grizzly<br />

Trail t-shirt.”<br />

Laughter goes hand-in-hand with Grizzly<br />

Trail, which is why it was a tad surprising<br />

to hear a subdued maturity on the new<br />

tracks. They didn’t go full Blink-182 on their<br />

self-titled album serious, but the sentiment<br />

is there. Songs like “Marble Mouth,” a tribute<br />

to fallen friend Joey-D, is justifiably somber<br />

and gloomy, but for the remainder of the<br />

tracks, Grizzly Trail does not lose their fast<br />

paced pop-punk sound. It’s likely due to the<br />

situation surrounding the recording: the<br />

pre-production was conducted in Alfred’s<br />

sweaty apartment last summer mainly without<br />

shirts because (and we’ll paraphrase) it’s<br />

hot in August and drinking inspires people to<br />

get naked.<br />

“We did all the real production sober,” says<br />

Egan with a laugh.<br />

“The new album has more of a hardcore<br />

feel I would say,” says Millar.<br />

“It’s really all over the map.”<br />

As Millar finished his thought he noticed a<br />

renegade eyelash on Alfred’s face and gently<br />

brushed it away.<br />

The world needs more punk bands that<br />

care about each other.<br />

Join Grizzly Trail for their album release party<br />

at the Starlite Room on <strong>March</strong> 24 [Edmonton].<br />

They will perform alongside Belvedere, Downway<br />

and the Nielsens.<br />

photo: Kali Jahelka<br />


ERIN KAY<br />

Sophomore album empowers women’s voices<br />

Singer-songwriter Erin Kay has gone through a lot to release her<br />

sophomore album Silver and Gold. The release happens to land<br />

on International Women’s Day which was a happy accident. Kay<br />

admits the scheduling wasn’t intentional, though it supports the<br />

meaning and intention of the album in every way. Kay describes<br />

Silver and Gold as the hard-won result of cultivating a fulfilling and<br />

powerful life after leaving behind a toxic relationship and moving to<br />

Alberta with her daughter. Her previous album Into the Light, “was<br />

this process, when I was moving…and I was just wanting to move<br />

into the light. I was wanting to be there but I was still heavy, and<br />

afraid. Not even afraid because I didn’t know my power yet. I didn’t<br />

know yet what existed within me.”<br />

The title track of her new album describes the process of refining<br />

your experiences and memories to become who you truly are.<br />

“It’s never perfect, you know. It’s rare that you have something<br />

pure, one hundred percent. Its the process of getting to that state<br />

through the refining.”<br />

In her website bio, Kay states that you don’t have to wait until<br />

silver and gold is given to you.<br />

“I think that all the parts are already within us, they’re already<br />

there. It’s just a matter of recognizing them within yourself. Until<br />

you’re recognizing them within yourself, you’re probably not going<br />

to find them, or have them. But they’re there the whole time. You<br />

just have to be willing to take a look. Look past the hurt and be like,<br />

‘oh, I am this already’ and not be afraid of it.”<br />

In Silver and Gold, the listener experiences Kay’s journey of<br />

empowerment through her heartfelt vocals – reminiscent of Joni<br />

Mitchell – and the steady fearlessness of the expansive melodies.<br />

Producer Miles Wilkinson has worked with some of folk-country’s<br />

greats, including Emmylou Harris and this translates through to<br />

Erin’s album.<br />

“I really wanted it to be just a stripped-down record. Really basic,<br />

you know? We just started going and it just developed into this<br />

bigger project. We just kept going with it, we kept building it and it<br />

turned into something really cool.”<br />

The two-year project was more elaborate than what Kay had<br />

planned. Ultimately, this direction proved wise. The album could<br />

be the musical equivalent of embroidered lace: delicate and strong;<br />

containing complex layers, while communicating a lovely simplicity.<br />

The openers for the album release will be Celeigh Cardinal, soulfolk<br />

songstress, and the all-women’s pow-wow and hand-drummer’s<br />

group Chubby Cree. In booking these opening acts, Kay’s<br />

message is clear.<br />

“I want this sacred space to be opened. I don’t just want to release<br />

a record. I want it to mean something to me, be true to myself<br />

and to who I am. I really want to support women and I want them<br />

to know, I never thought it was possible that I could do a music<br />

career and be a single parent.”<br />

This is also the aim of her initiative I Am Enough which gives<br />

femme identified artists a chance on stage to share their wisdom as<br />

well as support United Way’s Women United initiative.<br />

Erin Kay’s Silver and Gold release party with Celeigh Cardinal and<br />

Chubby Cree is at The Aviary on <strong>March</strong> 8th (Edmonton).<br />

BY ELIZ<strong>AB</strong>ETH EATON<br />

Through hardship and doubt a powerful voice emerged.<br />



F E AT U R I N G<br />


“FA LL” & “HOME”<br />


ROCKPILE BEATROUTE • MARCH <strong>2018</strong> | 31


fresh EP and guitarist for groovy metal group<br />

Stoner metal flies high.<br />

About two years ago, a Google search for<br />

“Edmonton Stoner Metal” would have<br />

led to Grizz Penner’s ad on the networking<br />

site for musicians, BandMix. This is how<br />

guitarist and vocalist Jordan LeMoine and<br />

Penner originally connected to form The<br />

Mothercraft. After jamming killer riffs in<br />

the basement, they asked Geoff Keller to<br />

join on drums.<br />

Now a regular staple of the Edmonton<br />

metal scene, The Mothercraft released their<br />

debut five track EP Pillars on January 5 via<br />

Bandcamp and will celebrate the release with<br />

two gigs in <strong>March</strong>. Self-described as a vehicle<br />

designed for travel in space, delivering righteous<br />

riffs to the reaches of the universe, the<br />

opening track “Cosmic Nod” does just that.<br />

Early Black Sabbath inspired vocals and sharp<br />

riffs wind around a heavy hitting, steady beat.<br />

The EP is just under 25 minutes of atomic<br />

face melting riffs, keeping true to the tradition<br />

of bands such as the Sword.<br />

Pillars is a package that can hold its own<br />

among the best the stoner genre has to offer,<br />

using the success of several singles to formulate<br />

their ultimate sound for the EP.<br />

“Recording was a relatively new experience<br />

for all of us. We learned a lot about what we<br />

wanted to sound like,” explains Penner.<br />

It took two studios and several noise<br />

complaints to get it done; the band is now<br />

bringing that raucous vigor to the stage.<br />

32 | MARCH <strong>2018</strong> • BEATROUTE<br />


photo: Aaron Kurmey<br />

“Our shows are pretty high energy,” says<br />

LeMoine excitedly.<br />

“We try to get everyone involved in the fun<br />

we have on stage and off!”<br />

With no intentions of slowing down, the<br />

Mothercraft have tours, festivals and a fulllength<br />

album in the works.<br />

“We are constantly writing and jamming<br />

new riffs,” says Keller.<br />

Recently the Mothercraft brought in<br />

second guitarist Riley Quinlan to complete<br />

their line-up, adding harmonies, blends of<br />

tones and a general thickening of their sound.<br />

The band describes their new and upcoming<br />

songs as being even heavier than the EP.<br />

Whether this will change the direction to<br />

their approach to the stoner metal genre that<br />

remains to be seen.<br />

With so much on the go, the Mothercraft<br />

embodies what it means to be a hardworking<br />

band, truly driven by the energy given<br />

to them by their local brigade of metal fans.<br />

Pillars demonstrates where hard work and<br />

dedication will get you.<br />

Join the Mothercraft at their EP release show<br />

at the Starlite Room on <strong>March</strong> 23 [Edmonton].<br />

They will be joined by Chron Goblin, Sparrow<br />

Blue and Fear the Mammoth. They also perform<br />

at the Palomino Smokehouse and Social Club<br />

on <strong>March</strong> 24 [Calgary] with Iron Tusk, Electric<br />

Revival, Sparrow Blue and Buffalo Bud Buster.<br />


hardcore action and reaction<br />

Cruciferous are a vegan hardcore band set<br />

to release their five track EP Samsara.<br />

Rooted in Hare Krishna spirituality (a Hindu<br />

sect following a strict vegetarian lifestyle<br />

with a belief in karmic laws of reincarnation),<br />

this band exists to make more than<br />

heavy music.<br />

“Do you know what a Cruciferous is?” vocalist<br />

and guitarist Johnny Jagajivan inquires.<br />

“It sounds bad ass as hell. It’s a vegetable<br />

family that kale and broccoli belong to.”<br />

Appropriately, the cover of the impending<br />

EP features a Saṃsāra wheel composed of<br />

broccoli barring teeth. Musically, the band<br />

stays true to the traditions of early hardcore,<br />

their music features throaty, intense vocals<br />

and lo-fi, severe instrumentals that crash and<br />

urgently compete.<br />

When asked to pick between militant vegan<br />

hardcore band Earth Crisis or metaphysical<br />

punks Shelter, Jagajivan chooses New York<br />

Hardcore band “Cro-Mags. Everything that<br />

band does is based in Krishna consciousness,<br />

but they’re making music that people love.<br />

Shelter was this really niche band, and that’s<br />

cool, but we are making music for people to<br />

hear it.”<br />

And while Edmonton loves heavy music,<br />

the message Cruciferous represent through<br />

lyrics and action may be considered somewhat<br />

of a rarity.<br />

“If people choose to read the lyrics, there’s<br />

definitely that message. I’m not trying to be<br />

preachy, but this is stuff that’s close to my<br />

heart,” explains Jagajivan.<br />

“We recorded everything ourselves. The<br />

lyrics really mean a lot to me because it<br />

represents a lot of growth in my personal self.<br />

I’ve been exploring my spiritual side while<br />

staying positive and keeping it real.”<br />

Krishna hardcore is deeply embedded in<br />

Vegan punks serving the community.<br />


the ‘90s punk world, but Jagajivan is content<br />

doing his own thing within the broad framework<br />

of a fading movement.<br />

“I’m just doing what I feel is right for me,”<br />

he says.<br />

“I have been playing in bands since I<br />

was 15; I’m almost 34 now. A lot of times I<br />

didn’t really have a creative input [in former<br />

projects]. This time around everything<br />

music-wise has been directed by me, with<br />

the assistance of the rest of the band. I’m not<br />

really thinking about anything else, because<br />

I’m just playing music with my friends. I’m<br />

not thinking about what came before us or<br />

what will come after us.”<br />

“There’s a lot going on in the scene in<br />

Edmonton these days,” Jagajivan adds.<br />

“We’re bringing something different, but<br />

there are a lot of messages out there and<br />

that’s really important. I want to hear what<br />

other people are saying.”<br />

Delivering not just words, but action,<br />

Cruciferous is involved with Food for Life,<br />

which brings members of the hardcore scene<br />

together to serve the community.<br />

“We’re raising money and helping feed<br />

people down at Boyle Street,” he says. The<br />

project serves up to 175 vegan meals per<br />

month via volunteer contributions.<br />

“We’re trying to bring in that positive energy.<br />

It would be great if everyone was spiritual,<br />

but that’s not the world we live in. What is<br />

important is that people are conscious, that<br />

they are helping each other. We’re trying to<br />

use our time as a band to show that we’re all<br />

connected.”<br />

Cruciferous release their five-song cassette<br />

Samsara on April 6 at the Sewing Machine Factory<br />

[Edmonton]. They will perform with Drown<br />

in Ashes (Vancouver), Old Crows and Ghost Cell.<br />

photo: Matt Bandrychuk<br />



Evil, sunny garage psych debut<br />


Rebellious youth anything but dead.<br />

Edmonton’s hazy garage four piece Dead Friends is largely<br />

an act of rebellion.<br />

“I had a kindergarten class with Carter Mackie (bassist),<br />

we were just walking around and decided to knock over<br />

this huge pile of blocks,” says guitarist Jesse Ladd in a<br />

reminiscent tone.<br />

“It made a ton of noise, made a huge mess and we got in<br />

a bunch of trouble and we’ve been hanging ever since.”<br />

It’s relatively minor acts of unruly fun like these that<br />

are evoked sonically by the band’s self titled debut, Dead<br />

Friends.<br />

With a quip of daunting psych inspired organ to kick<br />

off the proceedings, Dead Friends is quick to push forward<br />

into the catchy as all hell garage punk track “Can’t Sleep.”<br />

“’Can’t Sleep’ is about my dog who sleeps all day,” claims<br />

Ladd. “Due to my insomnia, I can’t sleep at all at night.”<br />

Lyrically the track conveys the general experience of<br />

anxiety and absolute restlessness; a feeling that you can<br />

never really just chill out.<br />

Marking the mid point on the record, “Friends are<br />

Dead” bears memories of being stoned, blinded by the<br />

sun, and melting on a hot summer’s day. The blend of keyboardist<br />

Callum Harvey’s signature organ tones with the<br />

guitar workings of Ladd formulates a lush magnificence.<br />

Enhanced by Ladd’s deep, haunting vocals and drummer<br />

Ellen Reade’s high harmonies, “Friends are Dead” sets a<br />

high point on the record.<br />

photo: Logan Ladouceur<br />

Despite the macabre namesake of the project, the<br />

members are very close and their music is the result of<br />

complete collaboration and growth in unison.<br />

“We’re all best friends,” says Ladd.<br />

“Of course, we get into little fights and things just over<br />

bullshit always. At the end of the day we all still love each<br />

other.”<br />

“In Dead Friends I’ve learned I really just love working<br />

with a band and doing as much as possible with a band.<br />

Getting along and seeing how far you can go, working<br />

away at goals,” adds Harvey.<br />

“Musically I’ve learned little things like paying attention<br />

to other people more, almost like not listening to yourself<br />

but more so everyone else. This band is a very collaborative<br />

effort. So I’ve learned a lot about arrangements<br />

and how things work collaborating. I’ve also learned a lot<br />

about opening yourself up and just going for it really. I just<br />

love oiling the gears of rock ‘n’ roll. Just keep the machine<br />

going, keep working on it, moving forward.”<br />

For those who would think to claim the idea that garage<br />

rock is “passé,” Dead Friends’ debut is an ultimate rebuttal.<br />

Dead Friends release their self-titled debut at the Sewing<br />

Machine Factory on <strong>March</strong> 16th [Edmonton]. They will<br />

be performing with Jock Tears, True Branch and the Slight<br />

Brains.<br />

ROCKPILE BEATROUTE • MARCH <strong>2018</strong> | 33

march EVENTS AT<br />

skratch bastid<br />

WITH teddy celebration & FRIENDS<br />

wed<br />


03/07<br />

thur<br />

03/08<br />

10@10<br />



fri<br />

03/09<br />


PRESENT:<br />

Kim Churchill<br />


*EARLY SHOW*<br />

thur<br />

03/15<br />

JIM BEAM<br />


WED<br />

03/21<br />



what a time wednesdays world famous fridays modern vintage saturdays<br />


34 | MARCH <strong>2018</strong> • BEATROUTE

JUCY<br />

DJ NU-MARK<br />

witness to decades of DJ evolution feels free with vinyl<br />

Mark Potsic’s foray into DJing began when<br />

he was just 13-years-old in Los Angeles.<br />

Now known to the world as DJ Nu-Mark (and<br />

best known as a founding member of seminal<br />

hip-hop outfit Jurassic 5), he has continually<br />

found new ways to keep DJing fresh and<br />

exciting.<br />

Nu-Mark has become recognized for his<br />

now infamous Kids Toy Sets, where he integrates<br />

children’s toys like a cymbal-clapping<br />

monkey into a unique live performance. He<br />

released a DVD compilation of these performances<br />

entitled Nu-Conduit in 2012.<br />

He’s also an accomplished producer and<br />

remixer; his career highlights include the anthemic<br />

“What’s Golden” for J5, his 2012 studio<br />

album Broken Sunlight, or his collaborative album<br />

with Slimkid3 of The Pharcyde. Recently,<br />

he’s started a series on Facebook called Zodiac<br />

Tracks where he mixes artists together who<br />

share Zodiac signs with the corresponding<br />

month.<br />

The Monster Energy 7 Inches of Pleasure<br />

Tour, that rolls through Calgary in <strong>March</strong>,<br />

gives Potsic, along with Mat The Alien, DJ<br />

Pump and Illo, the chance to take a reprieve<br />

from the many technological advancements<br />


makes music for himself<br />

Although tech house is a staple and trademark of the monumental<br />

label Dirtybird Records, signee Ardalan experiments<br />

with all genres and decades.<br />

The Tehran Native and San Francisco based DJ, whose full<br />

name is Ardalan Noghre-Kar, has created a new of epic proportions<br />

with All Night Long. His musical prowess is on display<br />

from beginning to end.<br />

The first track is a remix of American R&B/soul group Mary<br />

Jane Girls, protégées of singer Rick James. “All Night Long,” will<br />

thrust you back to Studio 54, kicking your adrenaline into high<br />

gear with banging percussion and nostalgic synths, it finishes<br />

with lush vocals.<br />

According to Noghre-Kar, it was while playing the video<br />

game Grand Theft Auto that he became enamored with<br />

discotheque. Incidentally, Mary Jane Girls are featured on the<br />

soundtrack to the 2002 version Vice City. This interest would<br />

later open the door to creative opportunities.<br />

“I think it’s really important to bring back the past, not<br />

repeat the past, but be inspired by it. At the same time I want<br />

to move forward and push boundaries. I like [fusing] the past<br />

and the future together,” he says.<br />

““All Night Long” was a spur of the moment, a happy little<br />

accident. I decided to mess with it right before a Dirtybird<br />

show and I made it in like an hour. I played it that same night<br />

and it went off,” says Noghre-Kar.<br />

The second track, “Act Like You Know” came effortlessly<br />

they’ve borne witness to throughout their<br />

careers, and get back to the basics spinning<br />

only vinyl 45s.<br />

“I enjoy playing 7-inch records because<br />

there’s a high level of risk involved,” Potsic<br />

says.<br />

“Either your copy of the vinyl is clean or<br />

not. Finding some of these joints on vinyl can<br />

be tricky and cutting and scratching is also<br />

much more difficult. I suppose I enjoy the<br />

challenge!”<br />

Potsic explains that his Zodiac series has<br />

made preparing for this tour easier as he’s<br />

become re-familiarized with his extensive<br />

record collection.<br />

“In the ‘90s I dug deep into rare music,” he<br />

says.<br />

“Today, I find myself looking for classics<br />

that myself and my crowd enjoy.”<br />

He says that the ability to bounce back and<br />

forth between Serato (digital DJ) sets, his toys<br />

sets and vinyl-only shows keeps him vibrant<br />

and enthusiastic about being a musician,<br />

preventing boredom from ever creeping in. He<br />

adds that he can’t wait to re-visit Calgary and<br />

hear Mat The Alien and the rest of the crew<br />

get down again.<br />

Ardalan’s new EP All Night Long is out now.<br />

“Personally, it makes me feel free,” he says of<br />

the vinyl-only tour.<br />

“Sometimes when I’m on stage with the<br />

computer and toys, there’s always this nagging<br />

feeling I have that something needs to be<br />

charged or it might not be stable etc. With<br />

vinyl, it’s very straight forward, if you treat<br />

your vinyl right it plays tight.”<br />

He is regardless excited about the new<br />

Phase technology, that he, Jazzy Jeff and<br />

Skratch Bastid got to geek out on at 3 Style in<br />

Poland recently.<br />

while playing around with production. Noghre-Kar transforms<br />

Fat Larry’s Band “Act Like You Know” (also featured on the<br />

Vice City soundtrack) by sampling and pairing it with Aaliyah’s<br />

sultry track “Are You That Somebody,” featuring Timbaland.<br />

The EP concludes with “All Day Since Everyday,” a track<br />

written seven years ago.<br />

Noghre-Kar says it was supposed to be released on a label,<br />

but got pushed to the back burner and was waiting for the<br />

right time and project.<br />

“I have a lot of stuff that I haven’t released before. I kind of<br />

think I’m cursed or something, I keep everything for myself.<br />

When I make music I make it for myself first because I just love<br />

the process of making music.<br />

DJ Nu-Mark at home in the new school and old school of DJing.<br />

Moving forward, he plans to get proper<br />

release events for his Zodiac Tracks series<br />

worldwide, he’s releasing an EP called TRDM-<br />

RK with Slimkid3 and Austin Antoinne and<br />

is on a new TV series called Drop the Mic, in<br />

which Method Man hosts and he DJs. It was<br />

just picked up for a second season on TBS<br />

produced by James Corden.<br />

Check out Nu-Mark at the HiFi on <strong>March</strong> 24<br />

[Calgary] or at Lodge of 10 Peaks on <strong>March</strong> 17<br />

[Lake Louise].<br />


“I’m trying to release more music and [share it with the<br />

world]. At some point, I will release all the stuff that I haven’t,”<br />

says Noghre-Kar, laughing.<br />

The EP is reflective of Noghre-Kar’s musical identity, a blend<br />

of different genres, sounds, and decades. The unique composition<br />

is also showcased in his sets.<br />

“I don’t like to confine myself to one area, people think I just<br />

make tech house, but I don’t really label it as a specific type of<br />

music.”<br />

“I just love making every type of music and love playing<br />

everything from like electro, to breaks, minimal, sometimes<br />

drum and bass…. I’ve been kind of getting weirder and just<br />

been playing jazz loops and just doing some fun stuff like that.<br />

I feel more comfortable doing that,” says Noghre-Kar.<br />

The year may have just started, but Noghre-Kar has big goals<br />

for <strong>2018</strong>.<br />

First up: The Ardy Pardy. The event will bring world -renowned<br />

DJs and will give opportunities to budding artists to<br />

break into the scene. The official launch is set for the summer,<br />

but its preliminary exhibition takes place on February 23 in<br />

Washington, Columbia and features sets by Ardalan himself, as<br />

well as Sepehr, Navbox, Alex Eljaiek, and Edo. Finally, Ardalan<br />

also has an EP coming out soon with fellow Dirtybirds Walker<br />

and Royce.<br />

Catch Ardalan at the HiFi on <strong>March</strong> 17 [Calgary].<br />


photo: Soul Kichen Music<br />

JUCY BEATROUTE • MARCH <strong>2018</strong> | 35


realizing the power of his sounds<br />

Metafloor’s latest release Fish Fruit is his strongest yet.<br />

It’s been two years since we last spoke with<br />

Metafloor, a.k.a. Blaine Kingcott, a producer,<br />

DJ, and promoter behind local crew Sub<br />

Chakra. It also has been exactly two years ago<br />

since we reviewed his then-new EP Stronger.<br />

Metafloor has now returned with stand-out<br />

EP, Fish Fruit, fresh out on Aufect Platinum,<br />

the brand-new sister label to Vancouver’s<br />

decade-strong Aufect Recordings.<br />

“Stronger featured some tunes that I had<br />

been sitting on for a while and just wanted to<br />

get out,” says Kingcott. “This release is similar;<br />

some new, some old but it’s more focused<br />

and in line with the sound I’ve been trying to<br />

hone in on the last couple years.”<br />

Describing his music as “minimal, bass driven,<br />

steppy halftime, footwork-jungle sounds,”<br />

Fish Fruit demonstrates a progression from<br />

his previous work. While he still excels in the<br />

140 b.p.m. range heard on previous release<br />

Stronger, Kingcott now exhibits a talent and<br />

comfort with the increasingly popular genre<br />

of half-step drum and bass. Herein, deep,<br />

smooth, rolling basslines are often punctuated<br />

by reggae and jungle vocal samples, and<br />

driven forward by skittering percussion.<br />

The track “Mo Power,” which appeared<br />

alongside several other Metafloor originals in<br />

Doctor Jeep’s Bass Coast promo mix, appears<br />

on this EP. As do remixes from prolific French<br />

producer Moresounds and London’s Fixate.<br />

“The remixes are what really bring that<br />

release together,” says Kingcott.<br />

“Which is amazing because sometimes the<br />

remixes on any release are what stands out. I<br />

36 | MARCH <strong>2018</strong> • BEATROUTE<br />


photo: Michael Benz<br />

think it really works in this case because Moresounds<br />

and Fixate are some of my absolute<br />

tip-top favourite producers — very lucky to<br />

have their support.”<br />

Gaining support from artists that helped<br />

inspire his own artistic progression is just one<br />

of Kingcott’s accomplishments. He cites Bass<br />

Coast (where he feels at home and hopes to<br />

soon return) and the thriving of Sub Chakra<br />

as his crowning achievements, as well as touring<br />

to places like Vancouver and Portland.<br />

Currently, Kingcott has a remix for Vancouver<br />

d’n’b duo Levridge set to be released in<br />

<strong>March</strong> and simply plans to keep experimenting<br />

to see what will happen next.<br />

“I want to do more of that and see if I can<br />

come up something profound, something<br />

that makes people feel versus get hype. I<br />

like the idea of making music that can make<br />

people cry because it’s so beautiful, it really<br />

puts emphasis on how powerful music is,” he<br />

explains.<br />

“I feel like this is how I would be able to<br />

write something that is ‘timeless,’ which I<br />

believe is a great way to measure whether a<br />

piece of music is quality work. Music is subjective,<br />

but if you can push play on what was<br />

made 10 years ago and it’s still great to listen<br />

to, that’s something to truly be proud of.”<br />

Metafloor performs alongside Dubconscious<br />

and Bag-O-Beetz at Sub Chakra’s Dubfounded<br />

residency at Habitat on <strong>March</strong> 8 [Calgary]<br />

and opens for D Double E at HiFi on <strong>March</strong><br />

31[Calgary].<br />


uprooting a narrative while bringing sexy back<br />

Formed in 2017, sisters Priya and Bhagya<br />

Ramesh make up Calgary’s newest hiphop<br />

group, Cartel Madras. Taking turns writing,<br />

singing, and rapping, this Indo-Canadian<br />

duo have a mission to shake things up.<br />

“We’re always trying to uproot the current<br />

narrative, in Canada, where coloured women,<br />

we’re not that visible,” begins Priya.<br />

“Then in hip-hop, there aren’t many women,<br />

so we’re trying to uproot that narrative;<br />

and then in India, we’re from South India,<br />

that’s not really present either in the Indian<br />

narrative, it’s always North India. So it always<br />

feels like we’ve been disrupting whatever<br />

space we’re in.”<br />

They started releasing music as Cartel Madras<br />

in the last year, but Priya notes that the<br />

familial rap-project has always been bubbling<br />

beneath the surface.<br />

“Growing up we were always performers.<br />

We were dancers, we were singers,” she says.<br />

“The heart and soul of [Cartel Madras]<br />

was born way before us, with women in our<br />

family, generations ago, who were feminists in<br />

the 20th century, asking all these questions.”<br />

Carrying their feminists roots into their<br />

music, Cartel Madras emphasizes the female<br />

perspective in their songs.<br />

“Anyone can listen to our music, but when<br />

you’re a girl and you hear our music, you<br />

know. You know exactly what we’re talking<br />

about,” comments Priya.<br />

“It is incredibly male dominated, and we<br />

do really try in our lyrics to point that out.<br />

We do write very explicitly from the perspective<br />

of a woman.”<br />

“Using hip-hop as a tool to give those<br />

Creating party rap with perspective.<br />


people a voice and agency is something we’ve<br />

always seen as a good idea. A really cool way<br />

to allow people to exist, to feel better, and to<br />

help make change,” adds Bhagya.<br />

Party rap with perspective, these slick<br />

beats are punctuated with lightning-fast raps<br />

and smooth-as-silk vocals. Riffing off real<br />

life experiences, the duos lyrics veer towards<br />

the anecdotal, such as the summertime jam,<br />

“17th Ave.” With shoutouts to The Ship and<br />

Anchor and Ricardo’s Hideaway, this retelling<br />

of a rowdy night out turned one-night stand.<br />

“We want people who aren’t in Calgary<br />

to listen to us and talk about Calgary and be<br />

like, “‘Shit, I want to go to there,’” says Bhagya.<br />

“We want to make Calgary sexy.”<br />

And if you can say one thing about Cartel<br />

Madras, is that it’s damn sexy.<br />

“If you listen to hip-hop by men, I think the<br />

grand narrative of hip-hop is being badass,<br />

getting chicks, and winning,” notes Priya.<br />

“As women, we can also say all those<br />

things. We can objectify men, and we should.<br />

We constantly should, and that’s something<br />

we’re really trying to do in our music.”<br />

With a spot opening for Toronto pop-duo<br />

Too Attached in <strong>March</strong>, and a mixtape with a<br />

soon-to-be-announced release date, you can<br />

bet Cartel Madras won’t be slowing down<br />

anytime soon. “Hip-hop has kinda felt like<br />

final frontier,” muses Priya. “Like, if we can<br />

make it in hip-hop as coloured, ethnic, women<br />

from Calgary, that would be incredible.”<br />

Cartel Madras will play at Nite Owl on <strong>March</strong><br />

8 [Calgary] with Too Attached, presented by<br />

Femme Wave.<br />


MATT & GILL<br />

a DJ journey full of unsung heroes<br />

Meet Matt and Gill. They host a new DJ-band<br />

night every Thursday at Broken City. A night<br />

that showcases their exquisite record collection<br />

as they segue playing before, in between and after<br />

bands take the stage.<br />

Matt Robinson is originally from San Francisco<br />

and Gill Crosley from Calgary, one of Broken City’s<br />

friendly and familiar bartenders. They first met<br />

each in 2012 at the Austin Pysch Fest, drinking<br />

beers backstage at a Brian Jonestown Massacre<br />

show. A romance quickly blossomed with back<br />

and forth visits between Calgary and San Fran.<br />

Matt then moved a year later to Calgary exactly<br />

when the flood hit Sled Island.<br />

A guitarist and singer as well as DJ well-versed<br />

on the decks, he brought 300 pieces of vinyl, a mix<br />

of LPs and 45s, that were stuffed into various bags<br />

of luggage leaving little to no room for clothes.<br />

“He didn’t even bring toiletries!” recalls Gill.<br />

“But!” chirps in Matt. “I brought a little of every<br />

genre. Down tempo, chill electronica, psych, atmospheric<br />

house.”<br />

In San Fran, Matt says, “My initial focus on DJing<br />

was down tempo – DJ Krush, DJ Shadow, atmospheric<br />

stuff with dark breaks. As I became more<br />

connected with other like-minded DJs, I moved<br />

into other areas of atmospheric house that had<br />

BY B. SIMM<br />

Latin beats and ‘70s psych. I became much more<br />

eccentric and intereted in more of the unsung<br />

heroes of every genre instead of just playing the<br />

typical hits.”<br />

Sharing DJ duties, Matt explains, “Gill’s<br />

enterprise in the set is more psychedelic, and<br />

when it moves uptempo we agree I’ll play more<br />

atmospheric deep house, but no clubby stuff. And<br />

the hip-hip is sophisticated, smart, spiritual. Tribe<br />

called Quest, Buck 65, along those lines.”<br />

Their sets will also compliment whatever style<br />

the artists booked on that particular night have. “If<br />

it’s an electronic artist, then more electronica. If it’s<br />

a rock band, then maybe more pysch or different<br />

types of rock,” says Matt. “We’re not just playing<br />

left-field stuff. It’s not about playing what we want.<br />

It’s about the curating the night with the archive<br />

we have. And our archive is pretty good!”<br />

Gill adds, “But it will still be all over the place.<br />

You can walk in and we could be playing psych<br />

rock. You can go out for a smoke, come back and<br />

we’ll be playing hip-hip, and then we’ll switch over<br />

to Latin jazz. It’s a little journey that morphs from<br />

one style to another.’<br />

Matt & Gill DJ the night away every Thursday at<br />

Broken City.<br />


Skratch Bastid will grace the wheels of steel at Commonwealth on <strong>March</strong> 7 [Calgary].<br />

Here we are with another <strong>edition</strong> of Let’s<br />

Get Jucy. Apologies for my lack of a<br />

column last month, my section was filled to<br />

capacity with a great array of local stories and<br />

I relished the opportunity to lighten my own<br />

workload. Anyways, there’s lots going on in<br />

<strong>March</strong>, so I’ll quit justifying my negligence and<br />

get into it.<br />

Dubfounded, the residency committed<br />

to servicing all of Calgary’s reggae and dub<br />

music needs, returns on <strong>March</strong> 8 at Habitat<br />

[Calgary], with this <strong>edition</strong> featuring Nelson’s<br />

Dubconscious and Spain-born, Kelowna based<br />

Bag-O-Beetz. The former is extremely active<br />

in Canadian scene, performing at Shambhala<br />

almost yearly and working with their nightclub<br />

Bloom in Nelson, while the latter grew up in in<br />

Venezuela surrounded by reggae, calypso, salsa,<br />

soca and more. This duo plus locals Syntax and<br />

Metafloor, will be sure to deliver a well-rounded<br />

night of music.<br />

Turntablist extraordinaire, and the man<br />

behind festival Bastid’s BBQ Skratch Bastid will<br />

be at Commonwealth on <strong>March</strong> 7 [Calgary].<br />

Truly a “DJ’s DJ” he has been rocking versatile<br />

sets for many years, and his skills are a serious<br />

sight to behold.<br />

One of Canada’s premier hip-hop artists<br />

Atmosphere returns alongside Evidence, of<br />

Dilated Peoples fame. The gig is on <strong>March</strong> 9 at<br />

MacEwan Hall [Calgary].<br />

On <strong>March</strong> 10 Flava D will tear things up at<br />

The HiFi [Calgary] with support from all-star<br />

locals Slim Pickins, BB Mars and Franky Dubs.<br />

This London DJ, producer circumnavigates numerous<br />

regions of house music, playing garage,<br />

bassline and jackin’ and definitely knows how<br />

to devastate dance floors.<br />

Stanton Warriors will come out and play at<br />

Nite Owl on <strong>March</strong> 16 [Calgary]. Since emerging<br />

into the limelight with their award-winning<br />

Stanton Sessions way back in 2001, the<br />

Warriors have remained a consistent fixture in<br />

rave culture, continually amping up their sound<br />

while staying true to their breakbeat origins.<br />

This next one was a huge announcement<br />

from the True Rhythm crew: DJ Yella of NWA<br />

and Lil Easy E, eldest son of the late Easy E<br />

and CEO of NWA entertainment, will perform<br />

at Dickens Pub on <strong>March</strong> 27 [Calgary]. Tickets<br />

for this are already flying at time of writing,<br />

and True Rhythm is also offering VIP meet and<br />

greet packages giving fans the opportunity to<br />

connect with two of hip-hop’s prolific artists.<br />

Closing out the month of <strong>March</strong> on the 31<br />

is a warm-up party for Vibrant Music Festival,<br />

which takes place in June in the Columbia<br />

Valley in British Columbia. Never to early to<br />

gear up for festival season, so head on down<br />

to The Nite Owl [Calgary] and catch Molly<br />

Fi, Funkin Right, Ninjette and Robbie C. Attendees<br />

will get the chance to buy discounted<br />

tickets for the festival and two passes will<br />

be given away to the person with the most<br />

colourful outfit.<br />

Despite taking last month off, I resolve to<br />

continue consistently with my monthly musings<br />

and assure you I will be back again next<br />

month with my picks of some noteworthy<br />

Calgary happenings. As always please hit me<br />

up if you have some listings in mind. paul@<br />

beatroute.ca<br />

• Paul Rodgers<br />

JUCY BEATROUTE • MARCH <strong>2018</strong> | 37

ROOTS<br />


league of her own<br />


Sometimes the best plan is not having “Even if I tried to make an album of<br />

a plan. From a young age, Erin Costelo a specific genre, I don’t think it could<br />

never felt the need to think about what come out that way. Just because of my<br />

she was going to do with her life, opting make up as an artist, the things that I’ve<br />

instead to simply “live life now.” Having been influenced by and the stuff that I’ve<br />

surrendered to the winds, the Halifax-based<br />

listened to and absorbed, it’s always going<br />

artist has landed among many to come out through that filter. That has<br />

talented Canadian musicians, settling in made it really freeing to just write songs.”<br />

as part of a passionate and collaborative By refusing to acquiesce to the constraints<br />

community. Settling, however, is not in<br />

and expectations of the larger<br />

Costelo’s vocabulary. Being an accomplished<br />

music superstructure, Costelo is making<br />

singer, songwriter, producer, and music on her own terms. Fresh off being<br />

composer, one might describe Costelo as signed to U.S. Label Compass Records,<br />

a jack-of-all-trades. This versatility is no Costelo got to work on her fifth studio<br />

doubt impressive, but winner of Nova album, set to be released in Canada this<br />

Scotia’s producer-of-the-year humbly fall. As a deliberate personal challenge,<br />

attributes her multifarious qualities to the album was recorded over the course<br />

her own idiosyncrasies.<br />

of just ten days in a rustic house in rural<br />

“I think I’m just a total Gemini and Nova Scotia. Costelo was accompanied<br />

I get really bored,” confesses Costelo. by a group of incredible musicians,<br />

“I have to be distracted by a bunch of including Juno award-winning artist and<br />

different things. So I don’t think it’s as long-time friend, Amelia Curran.<br />

impressive as it sounds. It’s my own<br />

“To hold myself accountable, I decided<br />

neurosis, really.”<br />

I wanted to document it [the recording<br />

Following her passion for creating process] as a film because I figured if<br />

evocative music, Costelo has carved herself<br />

I didn’t then I would change my mind<br />

a unique place in the music industry. and take longer. I have a difficult time<br />

The soulful vocalist is living in a space of deciding something and sticking to it.<br />

freedom that many yearn for, but few are So Amelia has started making films, and<br />

willing to navigate. It is difficult to pair we were just hanging out in the summer<br />

her sound with any specific genre, and for when she offered to direct it. And it was<br />

some musicians, that can be an intimidating<br />

the perfect match! She has such great<br />

position to be in, but for Costelo, experience in the studio, so I knew she<br />

it makes her feel right at home.<br />

would have an eye for what to be looking<br />

38 | MARCH <strong>2018</strong> • BEATROUTE<br />

at and looking for. it was one of the most<br />

amazing experiences I have ever had and I<br />

can’t wait to share it with people.”<br />

Costelo’s previous record, Down Below,<br />

The Status Quo, took multiple years to<br />

take shape and be released – a stark<br />

contrast to her newest venture. Costelo<br />

welcomes new challenges as opportunities<br />

for growth and acknowledges that<br />

this album is more personal and the lyrics<br />

are the strongest she has ever written.<br />

“I wrote through the process of being<br />

there which was the first time I had ever<br />

done that. I don’t think that I’ll ever do<br />

it again because I think that it has taken<br />

years off my life, but it was a super amazing<br />

hyper-creative way to make a record,”<br />

Costelo explains. “I wouldn’t say that it’s<br />

different, but it has more space and is<br />

lyrically more direct because I didn’t have<br />

time not to be. I think Down Below, The<br />

Status Quo made me more accountable in<br />

my lyric writing. I want to write stuff that<br />

feels like I am putting something out into<br />

the world that is representative of who I<br />

am and what I think about things. Reflecting<br />

on things that make us human. And<br />

when you have someone like Amelia Curran<br />

watching over you, you’re like, ‘Damn I<br />

want to write some good lyrics here!’”<br />

Erin Costelo performs April 6 at the Calgary<br />

Folk Club and, April 7 at the Blue Chair<br />

(Edmonton).<br />



reaching for a fresh frontier<br />


from no breaks to big breaks<br />

Canadian folk-singer Matthew Barber is<br />

getting a tad bit older, having turned 40<br />

last year. As a staple of the Canadian singer-songwriter<br />

genre since 1999, he believes his<br />

music is maturing along with him. Known for<br />

his traditional, melancholic style and critically-praised<br />

albums, including The Family Album<br />

(2016) in which he teamed-up with his sister<br />

Jill, who is also an accomplished singer, Barber<br />

branches out on his most recent album, Phase<br />

of the Moon.<br />

“While this album isn’t radically different I<br />

feel like it is just a natural evolution in my song<br />

writing, but it still certainly has vintage singer<br />

songwriter influences. I try to make it sound<br />

relevant and contemporary, but my main<br />

influences are still older records. It is not a<br />

melancholy record I suppose, but it is also not<br />

a party record, it is a contemplative record.”<br />

The recording also reflects Barber’s diverse<br />

musical ability: “I did something kind of new<br />

this time. I played all the parts myself, aside<br />

from a couple string arrangements. I played<br />

the guitar, bass, drums, vocals, all that kind of<br />

thing.”<br />

Over the years, Barber has invested heavily<br />

trying to perfect the art of recording, if possible.<br />

“I’m always sort of looking for new ways to<br />

make records. It’s sort of chasing this mysterious<br />

thing of what it is to make a perfect record.<br />

It’s hard to make a great record and I feel like I<br />

have been chasing this my entire career.”<br />

Moving into middle age, Barber is also<br />

chasing history noting his music has weathered<br />

alongside with him. “I feel like when I was in<br />

my early 20s my life had more of spontaneity<br />

and excitement and everything is kind of happening<br />

for the first time. And now it is more<br />

about looking back, I have more responsibility<br />

and I have more pressure to feel like an adult.”<br />

On the cusp of his ninth full-length and not<br />

content to rely on formula, he believes an artist<br />

needs to strive and reach for something beyond.<br />

“It is more than just having good songs<br />

and good players, you have to have this sort of<br />

intangible element that emerges. I mean there<br />

is a reason that not every record attains that<br />

even though all the pieces might be there.”<br />

Matthew Barber performs <strong>March</strong> 5 at The<br />

Imperial (Vancouver), <strong>March</strong> 6 at Geomatic Attic<br />

(Red Deer), <strong>March</strong> 8 at Marquee beer market<br />

and stage, and <strong>March</strong> 9 at The Starlite Room<br />

(Edmonton).<br />



It has been 16 years since Jake Smith released music supervisor out to lunch and it ended up<br />

his first album under the moniker The White happening,” recalls Smith. “It was a great run, and it<br />

Buffalo. He’s learned many lessons on the road, really helped my career.”<br />

and there may be many more to come. With a Smith’s music is typified by his hefty voice, laid<br />

hefty baritone voice carrying notes that can be atop of a bed of similarly powerful acoustic guitar.<br />

heard for miles, he has constructed a roughand-tumble<br />

musical mode all his own. He to go with the toughest gauge of string you can<br />

He strums his strings so hard he has no choice but<br />

strums an acoustic guitar to transport his experiences<br />

of love, pain and everything in between. “I like the juxtaposition of having something<br />

buy.<br />

Raised in Southern California, Smith started his that is really dark but feels good.”<br />

musical journey at 19 drawn to both twang and Sporting long flowing locks and a grizzly beard,<br />

raging power chords. “I grew up on country music. Smith’s towering presence is felt the second he<br />

When I got into high school, I got into the punk touches the stage. His songs are just as dramatic<br />

scene in California which really had an impact. romping from heartfelt to heartbreak to mayhem<br />

Those two elements really influenced me.”<br />

and murder, painting pictures that vividly play-out<br />

No stranger to getting things done and setting like short films.<br />

the bar high, when he could only grind out a couple<br />

of chords on the guitar he would call venues genre. I can write a murder song, I can write a<br />

“I like the fact that I don’t have to stay in one<br />

and play his music over the phone with hopes of love song, I can write a heartbreak song. There are<br />

landing local gigs. “It’s crazy to think that at one no limitations to what can be written. I’m lucky<br />

juncture I didn’t even consider myself a musician, enough to have a voice that can one moment be<br />

to now having a catalogue and playing all over the tender, and in another be aggressive and a little<br />

world it is amazing.”<br />

scary,” says Smith Continuing with that progression,<br />

White Buffalo’s newest effort is called Darkest<br />

Helping White Buffalo’s popularity soar<br />

followed when they were included on the<br />

Darks, Lightest Lights.<br />

soundtrack to the outlaw motorcycle TV series,<br />

Sons of Anarchy.<br />

The White Buffalo performs <strong>March</strong> 8 at Marquee<br />

“I had no label or management. I only had a few Beer Market & Stage (Calgary) and <strong>March</strong> 9 at the<br />

projects under my belt but my lawyer asked the Starlite Room (Edmonton).<br />

ROOTS BEATROUTE • MARCH <strong>2018</strong> | 39


who you know is how it grows<br />

think I thought it was gonna be easier<br />

“I back then,” says Winnipeg-based Sean<br />

Burns of the hard touring he’s done since<br />

launching his career as a singer-songwriter<br />

back in 2010. “It was like, ‘Hey, we’re pretty<br />

good at this, we’ll go out, get the lay of<br />

the land.’ Then got my spirits crushed and<br />

shattered and then rebuilt over time, then it<br />

took a few years of being here in Winnipeg<br />

for things to come together and really start<br />

working.”<br />

And come together they are. Burns’s latest<br />

full-length, Music For Taverns, Bars, and<br />

Honky Tonks finds Burns getting together<br />

with some of the cream of Winnipeg’s roots<br />

scene, including producer/guitarist Grant<br />

Siemens of The Hurtin’ Albertans, drummer<br />

Joanna Miller, and bassist Bernie Thiessen, and<br />

knocking out a classic-sounding set of tunes<br />

in exactly the vibe the title describes. Burns<br />

met Siemens here in Calgary during the first<br />

Wide Cut Weekend, and they quickly discovered<br />

a shared affinity for country music in the<br />

classic roadhouse style.<br />

“With Corb Lund doing most of 2017 solo,<br />

Grant was around and just said, ‘Hey man,<br />

you play that real country music, if you ever<br />

need a guitar player’. And when you get a<br />

guy like that on your side, it really gave me a<br />

confidence I’d never had before, you know?<br />

He’s into these songs, he’s really into playing<br />

this kind of music.”<br />


Burns started out 17 years ago in Ontario,<br />

backing up his father in a bands around his<br />

hometown of Barrie. “My dad had a gig and they<br />

were out a bass player, so I filled in and kept it<br />

up through the end of high school. Then this<br />

other guy that my dad did a duo with started<br />

getting some gigs, and I was backing him up. My<br />

dad started getting better gigs, and this guy had<br />

just these rough gigs.” Burns adds with a laugh,<br />

“My dad just said, ‘Hey if Sean really wants to be<br />

a musician then he should be out there doing<br />

some of these terrible gigs.’”<br />

During and throughout the hard touring,<br />

Burns has definitely found a home in<br />

Winnipeg, where he plays often locally, and<br />

recently took over a hosting spot spinning<br />

country music on CKUW, the University of<br />

Winnipeg radio station. “There’s a thriving<br />

community here, and I remember seeing<br />

some people playing when I’d come through<br />

town and thinking, “I’d love to play with that<br />

person,’ and now they’ve all played gigs with<br />

me. When I think about it, that’s maybe the<br />

big success of my career, is making friends and<br />

playing music with really excellent musicians<br />

who are just the best people.”<br />

Sean Burns tours through Alberta and BC in<br />

<strong>March</strong> and April, at The Ironwood Stage & Grill<br />

on <strong>March</strong> 10th, and The Aviary in Edmonton on<br />

<strong>March</strong> 13th, with stops in Lethbridge, Red Deer,<br />

Nanton, Twin Butte, Black Diamond as well.<br />

40 | MARCH <strong>2018</strong> • BEATROUTE<br />

Sean Burns – real country matters.<br />

photo: Gabriel Thaine<br />


ROOTS BEATROUTE • MARCH <strong>2018</strong> | 41

42 | MARCH <strong>2018</strong> • BEATROUTE



on the weaponization of society and the need for systematic change<br />

AmeriKKKant drops <strong>March</strong> 9 via Nuclear Blast Records.<br />

he easiest way to rule somebody is to divide and<br />

“T conquer the populous by fear. Turn society one against<br />

the other. That’s part of the old fascist playbook, it’s the very<br />

first thing you do. You sign onto the free press, you divide and<br />

conquer. Now it’s being weaponized by the internet.”<br />

AmeriKKKant is the 14th studio record to be released<br />

by industrial-metal outfit Ministry. This album is an audio<br />

articulation of aggression felt by many working-class people<br />

around the world. Its distorted sound frequencies, pounding<br />

bass and in-your-face, guttural vocals scream an atmosphere of<br />

internalized dread and frustration. It’s a social comment on the<br />

world we live in and the greed, idiocy, and fascism displayed by<br />

many of its political leaders. The album’s opening track “I Know<br />

Words” features warped sound bites of the current President<br />

of the United States, who many would consider the official<br />

mascot of today’s planetary political fuckery.<br />

“It’s become one of those moments like: ‘Where were you<br />

when Kennedy got shot? Where were you when man landed<br />

on the moon? Where were you when Trump got elected?”<br />

explains frontman Al Jourgensen, who served as songwriter<br />

and producer of his band’s new album.<br />

“I went to bed at around six o’clock that night [when Trump<br />

was elected] because I knew that he was going to win. I could<br />

see the way things were going. It’s not just Trump, it’s society<br />

as a whole. If you look at Hungary, Poland, the Netherlands,<br />

the Philippines, I could see how the world is trending. His<br />

inauguration is when I thought, ‘You know what? I’m gonna<br />

make a fuckin’ album about this. Man, this is some fucked up<br />

shit going on around here.’”<br />

AmeriKKKant’s artwork features the iconic Statue of Liberty,<br />

a symbol meant to represent American freedom, using her hand<br />

to cover her face in embarrassment as fighter jets fly over a<br />

smouldering New York City. Although AmeriKKKant’s text is in<br />

white, the three K’s, signifying the Ku Klux Klan white supremacy<br />

group, is highlighted in red, the colour sported by the Republican<br />

political party Trump leads. The Statue’s tabula ansata,<br />

which in reality has the date of the U.S. Declaration of Independence<br />

inscribed in it, emits smoke from a fresh bullet-hole.<br />

“Trump was my muse, but this album is not about him,”<br />

Jourgensen claims.<br />

“Trump is just an indicator of what’s going on, he’s sounding<br />

the alarm. We have much bigger problems than Trump, but<br />

he’s symbolic of the systematic problem that we have.” He continues:<br />

“This album is more about getting towards systematic<br />

change; it goes a little bit deeper than just a bunch of Trump<br />

sound bites, but he’s the perfect person to represent how<br />

society is going right now.”<br />

Titles of tracks on the album confirm Jourgensen’s musings.<br />

Songs like “Victims of a Clown,” “Wargasm,” “We’re Tired of It,”<br />

and “Twilight Zone” indicate that Jourgensen feels he’s living in<br />

an episode of that very mind-bending 1960s anthology series.<br />

The record’s first single, “Antifa,” inspired by the extremist<br />

anti-fascism movement, has stirred a slew of controversy.<br />

“The Antifa movement needs to be explained to North<br />


Americans because we’ve never had an overtly fascist ruler like<br />

we have now,” he says. “Antifa is short for anti-fascist. In 1930s<br />

Europe, it became really prevalent against the [Francisco] Franco<br />

regime in Spain. Against Mussolini in Italy. Against Hitler.”<br />

Controversy draws from Antifa’s motto, which is to oppose<br />

fascism through direct action. The conglomeration has embarked<br />

on militant protest tactics which often include property<br />

damage and physical violence. Though Jourgensen supports<br />

the group’s ideologies in standing up for themselves, he thinks<br />

their fight fire with fire approach is the wrong way to go about<br />

getting their message across.<br />

“The problem [with Antifa] is a lot of the tactics that they<br />

use are the same things they’re rallying against: ‘If you see a<br />

skinhead on the street, beat him up,’” says Jourgensen. “Don’t<br />

beat him up, talk to him. I’m not for or against the group, but<br />

I am very against fascism and I am for people standing up for<br />

their own individual rights.”<br />

The touchiness behind the song and music video has resulted<br />

in some online backlash.<br />

“Of course there’s going to be a lot of negative pushback,” he<br />

says. “A lot of that comes from robot trolls. They just want to<br />

stir the pot and keep people mad at each other, and it’s ridiculous.<br />

The Internet started out as a phenomenal concept. What<br />

was once called ‘the Age of Information’ has now become the<br />

age of disinformation. What started out as a knowledge building<br />

facility has been destroyed. People are more concerned<br />

about how many likes they got on sharing a YouTube video<br />

of cats playing piano than they are of the system taking away<br />

their pension, their health care, or putting a nuclear waste<br />

dump on where they live. [The internet] has been weaponized<br />

and used by governments for their own agendas to keep people<br />

in their place while they make profits.”<br />

At this time, the dynamic of American politics remains unclear.<br />

With Trump’s win, some celebrities including Kanye West<br />

and Dwayne “The Rock” Johnson have stated their interest in<br />

running for president, bringing up the question of whether or<br />

not government is on the verge of becoming nothing but a<br />

popularity contest for the rich and famous.<br />

“All of these celebrities are really uneducated on the grey<br />

issues of world politics and the subtleties of ruling,” Jourgensen<br />

says. “Nothing is black and white, and to have these people<br />

running, it trivializes everything. What is politics now? Oprah,<br />

Kanye, Trump: it’s all the same. I’m sure they all have different<br />

opinions and everything, but they’re not suited for doing<br />

anything about this. I don’t think celebrities should run for<br />

office, but I do think they should have a voice, just like an auto<br />

worker in Flint, Michigan should have a voice. I think politics<br />

have been trivialized to where we don’t even believe in it. We<br />

have nothing that we believe in anymore.”<br />

“We need to make systematic change,” Jourgensen concludes.<br />

“I think a lot of that starts in individual self and cosmic<br />

awareness. I don’t mean to get all hippy on you but they can<br />

change all the institutions they want. People need to start<br />

really thinking deeper; in other words, the human race has to<br />

start playing chess instead of checkers.”<br />

Ministry performs at Union Hall on <strong>March</strong> 31 [Edmonton] and at<br />

the Palace Theatre on April 1 (Calgary).<br />

SHRAPNEL BEATROUTE • MARCH <strong>2018</strong> | 43

WAKE<br />

grind over matter<br />

44 | MARCH <strong>2018</strong> • BEATROUTE<br />


photo: Mike Wells<br />

WAKE’s fourth studio album Misery Rites is out now!<br />

Grindcore stalwarts WAKE have been shattering<br />

foundations and cracking the skies<br />

for nearly a decade. The Calgary act has clocked<br />

tens of thousands of seemingly endless road<br />

miles, delivering earsplitting messages of internal<br />

agony around the world. Highly respected in<br />

the international grindcore scene, the members<br />

of WAKE are as unassuming and affable offstage<br />

as they are fiery and ferocious onstage.<br />

“We’re more than happy with the new<br />

record,” begins guitarist Rob LaChance. He’s<br />

referring to the band’s fourth full-length Misery<br />

Rites. Released on February 23 via Translation<br />

Loss Records, it marks their first offering for the<br />

celebrated American label and has been critically<br />

acclaimed by a plethora of reputable publications.<br />

“It’s better than we ever could have<br />

wished. Working with [producer] Dave Otero<br />

was awesome. We spent a week down in<br />

Denver with him, hung out, drank lots of good<br />

beer, and had a great time. He pushed us super-hard<br />

and we came out with the best album<br />

that I, personally, have ever made.”<br />

The band tapped into that shared pool of<br />

contacts when it came to recording. Alongside<br />

the scorching barks of vocalist Kyle Ball, you’ll<br />

hear a guest appearance from Ethan McCarthy<br />

of the aforementioned Vermin Womb and<br />

Primitive Man (whom WAKE has toured with<br />

previously). McCarthy lends his wretched growls<br />

to both “Rot” and “Rumination.” The result is a<br />

nine-track album that continues WAKE’s lineage<br />

of blistering grindcore in the Discordance Axis<br />

tradition. Over quickly, it spans only 27 minutes.<br />

The aftermath of this blast is immediate: the<br />

band will embark on a four-week tour across<br />

Canada and the U.S.A. alongside blackened<br />

death metallers Withered. The tour will be<br />

followed by a potential EP recording session and<br />

summertime festival appearances before WAKE<br />

hits the road once again come September.<br />

Emerging in the mid ‘80s with the stylistic<br />

fusion of hardcore punk, thrash metal, industrial<br />

music, and downright noise, the genre<br />

of grindcore (first popularized by early artists<br />

like Napalm Death) provides a breathtakingly<br />

cacophonous framework for highly-charged<br />

political lyrics of anti-racism, anti-capitalism,<br />

anti-militarism, feminism, veganism, and<br />

more. Despite the sonic violence of it all, the<br />

aficionados of the music aren’t really violent,<br />

per se.<br />

“Most people who attend our shows are total<br />

fucking maniacs, for sure,” says LaChance.<br />

“But they’re NICE maniacs. Die-hard guys.<br />

Most people who are into grindcore are INTO<br />

GRINDCORE! There’s not a thousand grindcore<br />

bands touring all the time, so grindcore fans<br />

usually come out and support. They’re happy to<br />

support. I find the North American grindcore<br />

scene is so tight-knit. People are really down<br />

to help each other out. Buying people’s merch,<br />

putting bands up in their house when they’re<br />

touring, or just hanging out as friends. The Canadian<br />

grindcore scene is especially close. It feels<br />

like a real family.”<br />

In the giving spirit of the community he<br />

thrives in, LaChance has this to say to aspiring<br />

grindcorists.<br />

“Just get out there and tour. Meet people<br />

and make friends. If there are touring bands<br />

hitting your city, put them up. Buy their merch.<br />

Support. If you want to see a band come to<br />

your city, write them, contact them. Ask them<br />

to come play. Tell them there’s a scene in your<br />

city, be it small or big. Offer to help them book<br />

shows. Do whatever you can to help them out.<br />

Things go back and forth. You get back what you<br />

put into it.”<br />

WAKE perform at their album release party and<br />

tour kickoff show at the Palomino Smokehouse and<br />

Social Club on <strong>March</strong> 10 [Calgary], with guests Fall<br />

City Fall, Spurn, and Murk. The band will perform<br />

at the Starlite Room on <strong>March</strong> 16 [Edmonton] and<br />

at Amigos Cantina on <strong>March</strong> 17 [Saskatoon].<br />


band to the bone<br />

T<br />

he intrepid hardcore trio known as Iron<br />

Tusk traces its roots back to Calgary’s<br />

punk outfit No More Moments. It was with<br />

that raucous upstart band that guitarist/<br />

vocalist Ty Maguire, bassist/vocalist Buddy<br />

Wolfleg and drummer Carlin Black Rabbit<br />

originally came together to vent their gusto<br />

and create noisy pieces of urban artwork.<br />

Wolfleg and Maguire eventually left that<br />

group in 2013, but it wasn’t terribly long<br />

before fate and fretwork came calling at Black<br />

Rabbit’s door.<br />

“We all grew up together; Ty and were<br />

neighbors throughout our childhood. Buddy<br />

was the cool guy in high school we always<br />

dreamed of being friends with. Ty and Buddy<br />

were the first people I wrote music with, we<br />

learned covers together, and are all self taught<br />

musicians, ” Black Rabbit recalls.<br />

“We went a couple years without really<br />

talking and doing our thing, then in January<br />

of 2016 Buddy contacted me with some songs<br />

he had written. So, we got a guitar player and<br />

signed up for Rockin 4 Dollar$ at Broken City.”<br />

The synergy the old friends felt on the stage<br />

that night lit the spark that fuelled them to<br />

sign up to perform at a music festival at the<br />

Siksika First Nation in southern Alberta the<br />

following summer. Choosing the name Iron<br />

Tusk based on a shared affection for fellow<br />

metallic doomsters Mastodon, Black Rabbit<br />

and his company of cassette-dropping droogs<br />

found themselves in high demand as they<br />

booked shows into that fall.<br />

“Shows were flowing, and we hit the studio<br />

to record our EP, Flooded Times (Transistor<br />

66), which debuted in October of 2016,” says<br />

Black Rabbit.<br />

“Ty joined as a guitar player in December<br />

of that year and eventually took over as the<br />

Spirits in the material world.<br />


lead. Since then, the three of us (Ty, Buddy<br />

and me) have gone on to record our new EP,<br />

Dark Spirit (Transistor 66). We recorded it<br />

in one day at Ghost Iron Studio in Calgary.<br />

The EP tells the story of a dark spiritual figure<br />

that has been spotted by many people,<br />

roaming our Reserve. The stories people<br />

have describing how this figure looks and so<br />

that’s what we told our graphic designer, ‘The<br />

Poster Guy’ Eric Dietrich, who brought it to<br />

life on the album cover. Our song “Sandhills”<br />

is also about a haunted location on the<br />

Reserve that has a long history of crazy ghost<br />

encounters.”<br />

A stunning snapshot, Dark Spirit evidences<br />

much more than the clear-sighted band’s<br />

ephemeral energy, it’s the realization of a<br />

shared vision achieved through perseverance<br />

and passion.<br />

“Growing up on the Reserve we weren’t<br />

aware of the issues and realities that are<br />

relevant today. Truth and reconciliation wasn’t<br />

a thing at the time. Generational trauma and<br />

the residential school discussions were something<br />

that wasn’t talked about. We were aware<br />

of the addictions and death that affected our<br />

Reserve and we used music as an escape. We<br />

would lock ourselves in Ty’s grandparents<br />

garage and play music day and night. Even<br />

racking up Ty’s grandparents’ electrical bill to<br />

$1,500 once! When we were younger we only<br />

dreamed of being able to release music and<br />

play shows with bands like Red Fang and CKY.<br />

Persistence and faith in ourselves and our<br />

music is what has kept us going.”<br />

Iron Tusk celebrates the release of their EP Dark<br />

Spirit with Mothercraft, Electric Revival, Sparrow<br />

Blue and Buffalo Bud Buster on <strong>March</strong> 24 at The<br />

Palomino Smokehouse and Social Club [Calgary].<br />



queen of the harpies<br />


This Month<br />

In METAL<br />

There’s not enough space in these pages<br />

to cover even a third of the great<br />

heavy music acts coming through<br />

Western Canada.<br />

American power metallers Iced Earth<br />

will perform at the Starlite Room on <strong>March</strong><br />

2 [Edmonton] and at the Marquee Beer<br />

Market & Stage on <strong>March</strong> 3[Calgary].<br />

Industrial crossover act Soulfly will perform<br />

as Nailbomb, delivering the entirety of<br />

their groundbreaking album Point Blank at<br />

Dickens on <strong>March</strong> 5 [Calgary].<br />

John Garcia of legendary space rockers<br />

Kyuss will perform at Distortion on <strong>March</strong><br />

10 [Calgary].<br />

Accept vocalist Udo Dirkschneider<br />

will perform at the Marquee Beer Market<br />

& Stage on <strong>March</strong> 15 [Calgary] and at the<br />

Starlite Room on <strong>March</strong> 16 [Edmonton].<br />

Despite our best efforts, we were not able<br />

to get him on the horn.<br />

Hazzerd, Blackest Sin, Meggido, Pervcore,<br />

and more will play at Distortion on<br />

<strong>March</strong> 16 [Calgary].<br />

Manitoba Metalfest <strong>2018</strong> goes down<br />

on <strong>March</strong> 16 – <strong>March</strong> 17 at the Park<br />

Theatre [Winnipeg]. Bands performing<br />

include legendary death thrashers<br />

Demolition Hammer, as well as sets<br />

by Skeletal Remains, Cancer Bats, and<br />

Damascus, who are doing a “one time<br />

only reunion show.”<br />

Local stoner rockers Woodhawk perform<br />

at the Ship & Anchor on <strong>March</strong> 21<br />

[Calgary]. The following evening they’ll be<br />

performing alongside Wolfrik and Highbernation<br />

at the Starlite Room [Edmonton].<br />

Seattle death metal act Fetid will<br />

perform with Vern’s on <strong>March</strong> 23 [Calgary]<br />

alongside Messiahlator, Pathetic, Cultist<br />

and Full/Choke. The following evening,<br />

head to the Sewing Machine Factory [Edmonton]<br />

for Fetid with Begrime Exemious,<br />

Pathetic, and Lutheran.<br />

The second rendition of Covenant Montreal<br />

will begin at La Sala Rossa on <strong>March</strong><br />

29 and runs until <strong>March</strong> 31 [Montreal]. The<br />

fantastic black and death metal oriented<br />

line-up includes Dead Congregation, Ruins<br />

of Beverast, Thantifaxath, Auroch, Adversarial,<br />

and more.<br />

• Sarah Kitteringham<br />

King Woman creates order out of chaos.<br />

photo: Rob Williamson<br />

It has been almost a decade since vocalist detailed numbers that have become their<br />

Kristina Esfandiari founded the groundbreaking<br />

calling card.<br />

doom and drone crossover act<br />

King Woman’s brooding debut full-<br />

King Woman. During that time, what began length Created in the Image of Suffering,<br />

as a bold solo project has blossomed into recorded at Jack Shirley’s Atomic Garden,<br />

an even grander quartet featuring guitarist appeared in 2017 via Relapse Records and<br />

Colin Gallagher, bassist Peter Arensdorf and earned much critical acclaim. Still, Esfandiari,<br />

drummer Joey Raygoza. Known for questioning<br />

who has collaborated with shoegazers<br />

convention and pushing their melancholic Whirr in addition to sustaining her own<br />

melodies into traditionally vascular heavy alter ego solo-project Miserable, felt that<br />

metal territory, King Woman has gained comparisons<br />

King Woman had yet to find the right<br />

to SubRosa and Ides of Gemini while management. Enter Sargent House (home<br />

crafting a lush and evocative dark wave sound to Russian Circles, Earth, Mutoid Man,<br />

that is entirely their own.<br />

Chelsea Wolfe, etc), who according to the<br />

King Woman’s debut EP, Doubt (2014), vocalist “has been really amazing and kind<br />

set off a volley of water-testing singles and of the perfect fit for us.”<br />

EPs from the band and most recently a<br />

As they embark on the next stage of<br />

self-released cover of the Stone Roses track “I their journey, Esfandiari credits her steady<br />

Wanna be Adored.” Unfortunately, Canadian bandmates for allowing their art to evolve at a<br />

fans were denied the opportunity adore King gradual pace. In her mind the most gratifying<br />

Woman when the group had to cancel their aspect of King Woman’s refusal to shy away<br />

slot at Calgary’s 2017 installment of the Sled from discussing difficult subjects, such as<br />

Island Music & Arts Festival due to a medical religious abuse and mental health, is how<br />

emergency.<br />

that honesty has proven to be a source of<br />

“Our guitarist had cancer, so he had to go inner strength and inspiration for artist and<br />

in for surgery and we had to cancel all our audience alike.<br />

tour dates. It was very sudden. He’s still with “We’re currently working on new material<br />

the band and he’s fine now, but it was a very and have already written about four songs for<br />

emotional time for us,” explains Esfandiari. our new record,” she divulges.<br />

“It just brought us together. We’re really, “It’s still being formed and coming into<br />

really close and good at communicating as view. There’s some really deeply personal stuff<br />

a band. And we were like, ‘His health is our from my childhood that I’ve never talked<br />

priority right now and we’re not going to do about before that I’m incorporating into the<br />

anything to stress him out.’ Last year was a bit songs. My favourite thing is being able to<br />

hard, but now things are great. I would just emote and connect with the audience. It’s just<br />

describe it as a sweet and sour low with lots of exciting to reveal the concepts behind new<br />

different highs and lows and uncertainties, but albums and expose a new part of myself.”<br />

we’ve regrouped and we’re in a good place.”<br />

Recovered and ready to move forward King Woman performs with Russian Circles on<br />

with their hypnotic storytelling, King Woman Wednesday, April 4 at Dickens [Calgary] and<br />

has continued to produce the dramatic and Thursday, April 5 at Starlite Room [Edmonton].<br />

SHRAPNEL BEATROUTE • MARCH <strong>2018</strong> | 45

46 | MARCH <strong>2018</strong> • BEATROUTE

musicreviews<br />

Hot Snakes<br />

Jericho Sirens<br />

Sub Pop<br />

When you’ve been kicking around the indie<br />

rock scene as long as influential punk rock<br />

singer/guitarist/visual artist Rick Froberg (Obits,<br />

Pitchfork, et al.) there aren’t too many ‘firsts’ left<br />

to conquer. But, here’s where things get interesting.<br />

After 14 years apart Froberg’s gettin’ the old<br />

band back together. He’s on a mission from Sub<br />

Pop and he’s not taking ‘No!’ for an answer. Reamalgamating<br />

the acclaimed group he formed<br />

back in 2000 with fellow former Drive Like Jehu<br />

bandmate John Reiss (also of Rocket From The<br />

Crypt), Froberg has emerged with the ‘first’ new<br />

Hot Snakes album from another era on a new<br />

record label to boot!<br />

A long-awaited return from the garage<br />

punk legends, Jericho Sirens (Sub Pop) was<br />

recorded over the course of 2017 between the<br />

Hot Snakes’ home range in San Diego and a<br />

stint in Philadelphia. A self-produced effort<br />

that reunites Froberg and Reis with bassist<br />

Gar Wood and drummers Jason Kourkounis<br />

and Mario Rubalcaba, Jericho Sirens fulfills the<br />

promises made on the band’s first three albums;<br />

Automatic Midnight (2000), Suicide Invoice<br />

(2002) and Audit in Process (2004). It’s worth<br />

noting that all three of these earlier LPs, which<br />

were originally under the Swami Records label,<br />

have been reissued on coloured vinyl this past<br />

January thanks to Sub Pop.<br />

Let it be known, Hot Snakes has shed its dry<br />

winter skin and has emerged shinier and more<br />

watertight than ever. A year spent shaking off<br />

the rust by touring live has left the veteran<br />

punk-rockers limber and supple enough to execute<br />

some pretty gnarly manoeuvers. Dropping<br />

into surf-fresh material with the frenetic opener<br />

“I Need a Doctor,” they echo The Ramones pharmaceutical<br />

plea with a nerve and string jangly<br />

jitteriness that sets the whole album off on a<br />

tear. The tremulous tantrum continues with<br />

“Candid Camera” planting sonic sinkholes along<br />

the path to a perilous “Death Camp Fantasy”<br />

shore. Foam-flecked epithets are hurled like<br />

stones and some of them really smart when<br />

they strike home.<br />

Picking up the already maddening pace,<br />

Hot Snakes crash through bramble patches of<br />

extreme rawness, as on “Why Don’t It Sink,”<br />

then pull a complete switch-foot and drop into<br />

a barrel of the smoothest most sophisticated<br />

punk ‘n’ roll with “Six Wave Hold Down” and<br />

the album’s hypermobile title track. A half-dozen<br />

breakers under the influence of Hot Snakes’<br />

hot-and-cold swell should be enough to drown<br />

the worst of your sorrows. Or, so Froberg and<br />

Reiss would lead you believe. Their conviction<br />

cannot be doubted as they throw themselves<br />

headlong into heavy hitters like “Have Another”<br />

with its angular guitar angst and angry<br />

insistence. “You’re screwed!” Froberg repeatedly<br />

howls as his bandmates relentlessly pursue him<br />

with surging strings and militarized percussion.<br />

Doubling down on the ecstatic dirge “Death<br />

Doula,” the entire group scribbles their love<br />

mark on the park bench behind your favourite<br />

pizza joint. Maybe your adolescence wasn’t<br />

all that remarkable, but listening to the taut<br />

threads that run through the brattish “Psychoactive”<br />

and delinquent gestures of “Death<br />

of a Sportsman,” you can certainly repeal that<br />

shortcoming with a serious dose of Hot Snakes’<br />

vicarious cool.<br />

Final word, you don’t have to see the cover<br />

photo of bassist/surfdawg Gar Wood tube-riding<br />

to pick up on Jericho Sirens’ wild and free<br />

Wet Coast vibe, but you do have to wonder<br />

how Hot Snakes manage to get the salt stains<br />

out of their leather jackets.<br />

• Christine Leonard<br />

illustration: My-An Nguyen<br />

BEATROUTE • MARCH <strong>2018</strong> | 47

Essaie Pas<br />

New Path<br />

DFA<br />

Cinematic is certainly an overused adjective when it comes to<br />

music, but it’s near-impossible to avoid when describing Essaie<br />

Pas. The taut marathon of severe synth bludgeoning that made<br />

their previous release, Demain est une autre nuit (“tomorrow<br />

is another night,” 2016), so delightful was that it was partly<br />

indebted to musical innovations made in film scores like Blade<br />

Runner and giallo flicks.<br />

The Montreal duo’s return to DFA with New Path retains<br />

tradition while being aptly named: the dystopian coldwave of<br />

the release still sounds hand-hewn and ruthless, but adopts<br />

a slicker varnish that helps make the menacing medicine go<br />

down. Every sound on the record feels richer, from the fuller<br />

bass to the higher-fidelity synths.<br />

Lead single “Complet brouillé” recalls co-founder Marie Davidson’s<br />

“Naive to the Bone” in its cheekiness, yet has a robust<br />

tonality more suitable for a mega-rave than a sketchy DIY club.<br />

Once that track completes the deliberately-sequenced A-side,<br />

the distinct back half opens with perhaps the duo’s best track<br />

to date, “Les agents des stups.” Its seven-minute tension flex<br />

doubles the power of Demain’s most chaotic muscles, adding<br />

nuance with multi-tracking and dynamism in its passages.<br />

The tactile feel of this record sells the listening experience<br />

on its own, but keener listeners may want to head to Genius or<br />

Google Translate to explore the sometimes French-language,<br />

sometimes just plain inscrutable lyrics. According to promotional<br />

materials, the subject matter is (fittingly) inspired by<br />

Philip K. Dick’s A Scanner Darkly, and there are field recording<br />

passages that may take some careful listening to contextualize<br />

properly. But don’t be afraid of a little extra work: sometimes<br />

the best thing a record can do is hook you with its veneer<br />

and implore you to find your own way into the underlying<br />

complexities.<br />

• Colin Gallant<br />

48 | MARCH <strong>2018</strong> • BEATROUTE<br />

Nap Eyes<br />

I’m Bad Now<br />

Paradise Of Bachelors/You’ve Changed Records<br />

Haligonian quartet Nap Eyes are what you would get if you<br />

put Blue Rodeo, the Velvet Underground and a handful of<br />

university professors in a studio together to write songs. Led by<br />

Nigel Chapman, the Nova Scotian band has made a name for<br />

themselves by releasing two stellar albums of Maritime slacker<br />

rock chock full of twangy Canadiana. I’m Bad Now, their third<br />

full-length (and final album in an informal trilogy), expands on<br />

their previous releases while sounding more clear-headed and<br />

full of purpose.<br />

Like on much of the album, early highlight “I’m Bad” is a<br />

Wilco-esque, alt-country dirge that finds Chapman seemingly<br />

singing in second-person, examining inward while floating<br />

above. The song features guitarist Brad Lougheed’s most feedback-laden<br />

solo as a hard-earned climax.<br />

Elsewhere, “Follow Me Down” sounds like a Rankin Family<br />

waltz with a whole lot more weed smoke overtop. It also<br />

features some of Chapman’s finest lyrics as he sing-speaks, “I<br />

went out walking with my headphones on/Classical Indian<br />

raga twenty minutes long/Then I listened to old American folk<br />

song/A little bit shorter, still a lot going on.”<br />

Here, and for just about all the album, Chapman writes<br />

whip smart lyrics that are impenetrable to a fault. Still, with a<br />

little investigation, these songs reveal themselves in time. It’s a<br />

testament to the band that even if they didn’t, Chapman’s still<br />

managed to churn out hooks like, “I can’t tell what’s worse, the<br />

meaninglessness or the negative meaning/I figured out a way<br />

to get on with my life and to keep on dreaming” as he does on<br />

the lead single “Everytime The Feeling.”<br />

• Jamie McNamara<br />

Young Fathers<br />

Cocoa Sugar<br />

Ninja Tune<br />

Young Fathers defy typical genre placement. The Edinburgh<br />

trio is most frequently described as an experimental hip-hop<br />

group, but most vocals are sung, not rapped. The buzzing bassheavy<br />

808s lean heavily on early trip-hop. Prominent organs<br />

along with member Alloysious Massaquoi’s hymn-like crooning<br />

lend their brightest moments a gospel shine. African music,<br />

R&B and soul also lend ingredients to the stew that make up<br />

Massaquoi’s, “G” Hastings’ and Kayus Bankole’s music.<br />

Cocoa Sugar is the band’s third album. It is very much a continued<br />

evolution of their previous work, with songs that can<br />

shift from grimy lo-fi hip-hop verses into soaring harmonized<br />

vocals backed by shimmering instrumentation while exploring<br />

religious, moral and philosophical qualms.<br />

The greatest addition to Young Fathers’ sound is the embrace<br />

of vocal effects to broaden the group’s already extremely<br />

expansive range. On “Toy” all three member’s voices warble in<br />

unison in the bridge before the chorus kicks back in for a final<br />

time with desperate howls dominating the background. “Wire”<br />

pitches up Massaquoi’s voice, contrasting greatly with the ringing<br />

bassline that chugs along, dominating the rest of the track.<br />

These tracks embrace Young Fathers grimier side, while “In<br />

My View,” “Lord” and closer “Picking You” lean into their soul<br />

tendencies that often prove to be the band’s most affecting.<br />

“You’ll never find your way to heaven/but you can follow<br />

me” the group chants on that final track. Where they’re going<br />

is never defined, but Cocoa Sugar provides ample proof that<br />

we should follow.<br />

• Cole Parker

Sean Burns & Lost Country<br />

Music For Taverns, Bars, And Honky Tonks<br />

Independent<br />

George FitzGerald<br />

All That Must Be<br />

Double Six Records<br />

Look Vibrant<br />

Winnipeg singer-songwriter Sean Burns has<br />

always played that classic feel of roadhouse<br />

BBQ joint honky tonk with the best<br />

independent artists Western Canada has<br />

to offer. On his latest full-length, Music<br />

For Taverns, Bars, And Honky Tonks, the<br />

energy he’s been bringing to one-nighters<br />

across the prairies for the past seven years<br />

is fully realized.<br />

Straight to the point, just like the AM radio<br />

country classics, cuts like “Big Freightliner”<br />

and “Harold’s Super Service” are fast-paced<br />

rug-cutters that never waste a second and are<br />

gone as quick as they came. The latter featuring<br />

some knockout banjo roll chicken pickin’ from<br />

producer/guitarist Grant Siemens and flashing<br />

steel guitar riffs from Nashville-based Chris<br />

Scruggs. “Lonesome Again” is another wicked<br />

two-stepper that bucks right out of the gate – a<br />

mid-tempo shuffle with some baritone guitar<br />

added for greasy effect. Burns’s voice a brassy<br />

instrument itself, easily inhabiting the beer joint<br />

characters he’s writing about, and giving off a<br />

good-natured vibe that makes the record feel<br />

like a party.<br />

• Mike Dunn<br />

By most musical metrics, the electronic music<br />

zeitgeist has passed London producer/DJ George<br />

FitzGerald by. The records that FitzGerald<br />

started his career with on labels like Aus and<br />

Hotflush in the late-aughts were the kind of UK<br />

Garage and house strains that Disclosure rode<br />

to superstardom, but by 2015 he had already<br />

left them behind when he released his debut<br />

full-length Fading Love. That album was full<br />

of moody atmospheres and the kind of dance<br />

music theatrics that wouldn’t feel out of place<br />

on a Moderat or Royksopp album.<br />

Now, with three years in the rear view,<br />

FitzGerald returns with All That Must Be, a<br />

sophomore album that trades in the dancefloor<br />

ready heaters of FitzGerald’s early-career for<br />

slow-burning electronic works more suited for<br />

home-listening.<br />

Unlike Fading Love, the best songs here are<br />

the ones where FitzGerald goes it alone, leaving<br />

his various guest vocalists behind. On “Siren<br />

Calls,” the producer uses his trademark ascending<br />

arpeggios and drone swells that crescendo to<br />

a massive chorus anchored by a razor-sharp acid<br />

house riff.<br />

Still, even for all its sheen, it’s hard not to<br />

notice that on these 10 tracks, FitzGerald’s work<br />

follows a familiar template: arpeggios wind up,<br />

synth pads swell and drums drive towards a<br />

climax that usually pays off, but rarely feels new.<br />

After two albums of it, you need a little more of<br />

a hit to really feel anything, and on All That Must<br />

Be, FitzGerald doesn’t seem up to the task.<br />

• Jamie McNamara<br />

Look Vibrant<br />

The Up Here Place<br />

Independent<br />

Like Brian Wilson on a manic day crossed<br />

with Tame Impala in the midst of dissociating,<br />

Look Vibrant’s The Up Here Place is a mix of<br />

off-kilter synth, funhouse guitar and heavenly<br />

harmony that tastes like cotton candy but<br />

feels like ketamine.<br />

Singles “My Nerves” and “Numb Your Spirit”<br />

do the best job at infusing these elements, serving<br />

as anchoring bangers while much of the rest<br />

of the record is set free to wander in psychedelic<br />

euphoria.<br />

For all the album’s tosses and turns — whether<br />

it be the heaving and encroaching unpredictability<br />

of the first stretch, the meditative respite<br />

at the halfway mark, or the late-game cosmology<br />

BEATROUTE • MARCH <strong>2018</strong> | 49

of its final act — The Up Here Place’s greatest virtue<br />

is that it never demands your comfort, only<br />

ever your attention.<br />

The bold entrance of “Sweater In The Lake”<br />

and the understated finish of “Easier,” only make<br />

sense once the parachute straps have been<br />

removed at the end of the skydive. Sure, you had<br />

doubts, but it was never an option to exit along<br />

the way.<br />

• Colin Gallant<br />

Lucy Dacus<br />

Historian<br />

Matador Records<br />

Since being signed to Matador Records,<br />

Lucy Dacus has honed her craft as a talented<br />

storyteller. Moving away from her more folksy<br />

roots that were heard on No Burden, Historian<br />

is a beautiful sophomore album. The opening<br />

track “Night Shift” takes the listener on a<br />

heartbreaking journey through a particularly<br />

heinous break up, that ends with her praying<br />

that she’ll never see her ex again if she can<br />

help it. You can sense her growth on this<br />

album and while not fully polished yet, this<br />

album is the start of a promising future.<br />

• Kennedy Enns<br />

Miesha and the Spanks<br />

Girls Girls Girls<br />

Independent<br />

Calgary duo Miesha & The Spanks deliver<br />

the party in their newest record Girls Girls<br />

Girls, a pop-rock feast for the ears that<br />

never slows down once you hit the play<br />

button. The first thing that comes to mind<br />

when you listen to this album is the sheer<br />

production value it has, probably thanks to<br />

The Buzzcocks’ Danny Farrants producing.<br />

The usual issue with bands that are duos is<br />

that recordings can feel empty with a lot of<br />

over-blown guitar to fill out the mid-range,<br />

but thankfully this whole album is dynamic<br />

enough to feel full, even when there are just<br />

vocals and drums.<br />

The song writing is very hook-heavy, which<br />

plays to the bands strength to get your feet<br />

moving. However, this does make it a little<br />

bit difficult to tell the songs apart. While the<br />

high-energy rock n’ roll never becomes tedious,<br />

the album does tread familiar water throughout.<br />

Nevertheless, Girls Girls Girls is a party-anthem<br />

dinger that will get feet moving and keep<br />

the drinks flowing.<br />

• Will Cowan<br />

Scenic Route to Alaska<br />

Tough Luck<br />

popTrip Records<br />

Since dropping their successful third album,<br />

2016’s Long Walk Home, Scenic Route to<br />

Alaska has grown in popularity and accolades<br />

in their hometown of Edmonton and across<br />

50 | MARCH <strong>2018</strong> • BEATROUTE<br />

Lucy Dacus<br />

the world. The trio set up shop in Vancouver<br />

to work with the notable Howard Redekopp<br />

(Tegan & Sara, The New Pornographers) on<br />

their fourth record, Tough Luck, just as they<br />

did with Long Walk Home.<br />

Although their indie-folk rock sound<br />

didn’t evolve much between Tough Luck and<br />

their prior LPs, listeners remain unbothered<br />

because, well, why change something that<br />

doesn’t need to be fixed? What did shift,<br />

however, were the lyrics.<br />

Long Walk Home touches on the difficult<br />

parts of love and how life can get complicated,<br />

through catchy vocals and indelible melodies.<br />

Tough Luck on the other hand, has a lot more<br />

depth to it. “Lonely Nights” and lead single “Slow<br />

Down” tackles life on the road and the self-inflicted<br />

loneliness and short-lived relationships<br />

that come along with jumping from city to city.<br />

Despite the fact that the topics can seem bleak<br />

or desolate, there is a sense of hope and prosperity<br />

in Trevor Mann’s (lead singer) voice in every<br />

single song. Tough Luck goes from ballads to resonant<br />

anthems leaving something for everyone<br />

to cling to, reeling you in again and again.<br />

ª Mackenzie Mason<br />

Ed Schrader’s Music Beat<br />

Riddles<br />

Carpark Records<br />

Ed Schrader has always walked a fine between<br />

surrealism and punk. His vocal and percussive<br />

savagery always threaten to overwhelm, but a<br />

contingent of demure minimalism has always<br />

kept the levee intact.<br />

That bait-and-switch approach is replaced<br />

by a mutated melding of Schrader extremes on<br />

Riddles. The best example may be “Seagulls,”<br />

where his brooding baritone is underlaid by<br />

finger-snaps before devolving into an electronic<br />

collage, then corroding into a blitz of yelps and<br />

distortion. Schrader’s journey with co-hort<br />

Devlin Rice has been patient, making this new<br />

chapter a logical evolution, but it would be a<br />

mistake not to note that fellow Baltimorean Dan<br />

Deacon co-wrote and produced this new batch<br />

of tracks. Deacon’s under-recognized versatility<br />

can be heard throughout, but especially on<br />

singles “Dunce” (an almost QOTSA dose of<br />

seared swagger) and “Riddles” (where Schrader<br />

humours anthemic vocals atop a meteor shower<br />

of piano).<br />

The best thing about Riddles is that Schrader<br />

and Rice have reassembled the best parts of<br />

themselves while taking on a new dimension.<br />

New fan or old, now is the right time to pay<br />

close attention to the Music Beat.<br />

• Colin Gallant<br />

Yo La Tengo<br />

There’s a Riot Going On<br />

Matador Records<br />

It’s a bold call on the part of Yo La Tengo to<br />

name their latest album after Sly and the<br />

Family Stone’s seminal 1971 masterwork,<br />

but not entirely unfounded. Much like the<br />

era in which its predecessor was recorded,<br />

There’s a Riot Going On exists in a time rife<br />

with hyper-political criticism. But rather than<br />

release a collection of soul-infused jams, Yo La<br />

Tengo have opted for a much more plaintive<br />

approach.<br />

Musically, There’s a Riot Going On is an<br />

extension of the sound that the Hoboken<br />

three-piece have curated over their almost 35<br />

years in the business. Singer-guitarist Ira Kaplan<br />

and drummer Georgia Hubley leapfrog vocal<br />

duties, with the former taking the helm on<br />

“She May, She Might” and “For You Too,” and<br />

Hubley on the melancholic “Shades of Blue” and<br />

“Ashes.” But perhaps the biggest change with<br />

Riot is their foray into mostly ambient tracks<br />

(“You Are Here,” “Short Wave”) which finds the<br />

band at their most patient, comfortably letting<br />

themselves drift into almost six-minute pieces of<br />

drone and diegesis.<br />

It’s safe to say that with this album Yo La Tengo<br />

transcend genre in a very distinct way, ebbing<br />

closer into the ethos of feeling rather than form.<br />

Much like the American societal dissonance<br />

that’s threatening to tear a country apart,<br />

There’s A Riot Going On has a power running<br />

underneath its surface; a decades-old build-up<br />

mirrored now in a band with fifteen albums<br />

under their belt. They feel something big is<br />

happening. Don’t you?<br />

• Alec Warkentin<br />

Soccer Mommy<br />

Clean<br />

Fat Possum<br />

As the brainchild of rising indie act Soccer<br />

Mommy, 20-year-old Sophie Allison writes<br />

about youthful relationships like a fire marshal<br />

examining the aftermath of a five-alarm blaze.<br />

Clean, first full album of new material since<br />

2017’s Collection, finds the Nashville band<br />

moving from the bedroom to the studio<br />

without leaving any rawness behind.<br />

Clean retains Allison’s ability to write<br />

introspective lyrics that are couched inside of<br />

full-blown anthems like she does on lead single<br />

“Your Dog.” The song features some of Allison’s<br />

best lyricism as she asserts “I don’t wanna be<br />

your fucking dog, that you drag around/A collar<br />

round my neck, leave me in the freezing cold.”<br />

It’s just one of many times Allison asserts her<br />

autonomy on Clean and like much of the album,<br />

it feels like a willful backlash against male indie<br />

rock tropes.<br />

• Jamie McNamara<br />

Superorganism<br />

Superorganism<br />

Domino Records<br />

When Orono Noguchi (lead singer of Superorganism)<br />

discovered “The Eversons” via her<br />

Youtube recommendations, neither her nor<br />

the Kiwi group could have imagined that 2<br />

years later they would form a band and grow<br />

to be labelled as “2017’s buzziest new band.”<br />

Superorganism introduces their debut album<br />

Superorganism on <strong>March</strong> 2nd, featuring<br />

viral singles such as “Everybody Wants To Be<br />

Famous” and “Something For Your M.I.N.D.”<br />

This psychedelic supergroup consisting of<br />

eight band members from Japan, Australia,<br />

New Zealand, London and South Korea take<br />

anything they can get their hands on and<br />

transform it into music. Things as simple as<br />

eating an apple, snoring or the fizz from a<br />

soda can can be heard in the trippy featured<br />

tracks “Relax” and “It’s All Good” creating a<br />

unique and bizarre sound unlike anything<br />

else you’ve ever heard. The record explores<br />

contrasting volumes and sounds integrating<br />

multiple genres into one style, ensuring there<br />

will be something for everyone. Guitar, drums<br />

and lots of synth mixed with sounds from<br />

your everyday life is what makes up Superorganism<br />

and is what makes it so enticing.<br />

• Mackenzie Maso

DON’T MISS<br />

A MOMENT<br />


YOUR<br />


SHOW<br />

“CALGARY<br />

I LOVE YOU<br />


AGAIN”<br />


CJSW.COM<br />

BEATROUTE • MARCH <strong>2018</strong> | 51

Treeline<br />

Recordings<br />

&<br />

<strong>BeatRoute</strong><br />

<strong>Magazine</strong><br />

present<br />

Taking It To Heart, Volume Two LP<br />

available on Bandcamp or in<br />

Calgary record stores<br />

Benefit concert with 100% of the net<br />

proceeds from tickets/doors donated<br />

to the Heart & Stroke Foundation<br />

52 | MARCH <strong>2018</strong> • BEATROUTE

livereviews<br />

Lucette –mixing torch soul and Southern gothic Americana.<br />

photo: Lee Reed<br />

Conan (UK) with The Weir and Monolith<br />

The Palomino Smokehouse<br />

February 9<br />

It was a night for defrosting frozen appendages with an infernal<br />

blast of heavy metal as the rituals kicked off in style thanks<br />

to demon-toned up-and-comers Monolith <strong>AB</strong>. Trudging up<br />

Mussorgskian mountains the trio’s thunderous riffs and throaty<br />

roars of triumph primed the room for fellow Calgarian’s The<br />

Weir’s much anticipated return to the stage. Rolling out their<br />

weighty new EP release on Hearing Aids Record, Detached, with<br />

purposeful vigour, the typically stoic purveyors of Alberta’s other<br />

black gold rained down their signature torrent of sound with<br />

a restrained yet palpable fury that had the crowd teetering on<br />

the balls of their feet. Measuring out Promethean tidal shifts<br />

and stretches of choreographed annihilation, The Weir exposed<br />

freshly irradiated material betwixt cornerstones from their wallof-noise<br />

back catalogue. Last up, and likely the reason for the<br />

unseasonal sell-out, a rare New World appearance by Liverpudlian<br />

doom metal legends, Conan. Merciless in their musical<br />

one-upmanship, the lumbering trio visited their beyond-heavy<br />

riffs and brow lowering beats upon a by now fully limber crowd.<br />

The somnambulant string benders, guitarist Jon Davis and bassist<br />

Chris Fielding, got down to business churning up knee-buckling<br />

loads of earthy fuzz. A fitting end to an ear-numbing<br />

evening, the humbly-great threesome’s dense primordial ooze<br />

flattened the landscape as a rapt audience was swallowed by the<br />

pyroclastic flow of Conan’s miry Merseyside mud.<br />

• Christine Leonard<br />

Block Heater<br />

NMC, King Eddy<br />

Feburary 17<br />

While folk music has long been the realm of the unaccompanied<br />

singer-songwriter, and rightfully so, there can be a limit to how<br />

much of that style can be listened to before an audience tunes out.<br />

With modern recording techniques and the ability to record from<br />

home, more and more artists are able to craft soundscapes on their<br />

records that surround their songs in aural cloaks that envelope the<br />

listener and make their records more memorable.<br />

At Block Heater this weekend, there were a number of artists<br />

who kept to the traditional format, attempting to showcase the<br />

songwriting that is the core of folk and roots music. Dan Bern has<br />

long made records that featured him solo, so to see him live, the<br />

expectation is that he’ll play his music as recorded, and the intimacy<br />

of that is predictable. Likewise Justin Townes Earle, whose records<br />

have always featured excellent Americana production values, while<br />

his live style has always been closer to that of his namesake, Townes<br />

Van Zandt; again, solo and intimate.<br />

It’s a little different when developing artists make excellent,<br />

lush records that gain them a following, but choose to tour, or are<br />

booked to play at a festival and for whatever reason, come without a<br />

band to present the records they’ve made to audiences who’ve paid<br />

to see them. Whether those choices are financial (which is absolutely<br />

valid for independent artists), or stylistic, unless an artist is an<br />

absolutely compelling live performer, it can be hard to command or<br />

maintain the audience’s attention in a busy festival setting without<br />

the drive, harmony, and atmosphere that a full lineup can provide.<br />

The Wilderness of Manitoba set stands out from Saturday<br />

night’s Block Heater lineup in that singer-songwriter Will Whitwham’s<br />

latest release, Across The Dark, is exactly the kind of lovely,<br />

expansive-sounding album that could have further captivated<br />

the Canada Music Square crowd with the help of a couple of side<br />

players filling out the sound. Whitwham and accompanist Jenny<br />

Berkel performed beautifully, but the addition of some instrumental<br />

atmosphere could have raised the level of their performance, lifting<br />

the cuts from Across The Dark to the upper reaches of the National<br />

Music Centre. Of course, for indie artists, the logistics and cost of<br />

travelling with a group for one show can be daunting, but for some<br />

listeners, it can make the difference between buying up a bunch of<br />

the band’s merch, and becoming ardent supporters of that artist’s<br />

career, or walking away and finding something else to listen to.<br />

Over at The King Eddy, singer-songwriter Lucette’s set was illustrative<br />

of this point. With her band of hip young Edmonton players,<br />

her blend of Southern gothic Americana and classic torch soul was<br />

given extra heft by the thump of the rhythm section, tight vocal<br />

harmonies, and slinky guitar reminiscent of Stax and Motown, while<br />

the addition of a second keys and synth player to pair with frontwoman<br />

Lauren Gillis’s Carole King-like piano gave the band a bit of<br />

the Hudson/Manuel dynamic that made The Band such a killer live<br />

group. They came in hot, and even though the audience spent a<br />

lot of time talking through the band’s set, they at least provided an<br />

atmosphere for the tavern crowd to socialize to.<br />

No festival is without its challenges, especially when a number<br />

of shows are being played simultaneously across multiple venues,<br />

and the best festivals are able to make adjustments on the fly and<br />

accommodate their audiences. With its sold out shows, packed<br />

rooms, and innovative use of the Studio Bell spaces, Calgary Folk<br />

Fest once again made Block Heater the best midwinter concert and<br />

social experience for the Alberta roots music crowd.<br />

• Mike Dunn<br />

Conan –British metal doom.<br />

photo: C. Leonard<br />

BEATROUTE • MARCH <strong>2018</strong> | 53


we all have different porn preferences, and that’s okay<br />

I’m an 18-year-old cis hetero girl from Australia and I’ve been listening<br />

to your podcast and reading your column since I was 13. Thanks to<br />

you I’m pretty open minded about my sexuality and body. Having<br />

said that, I do have a few questions. I started watching porn from a<br />

youngish age with no real shame attached but I have some concerns.<br />

1. I get off really quickly to lesbian porn but it never feels like a<br />

“good” orgasm. My guess is that subconsciously I think it’s inauthentic<br />

and therefore degrading.<br />

2. I really enjoy and have the best orgasms to vintage gay male<br />

porn and trans FTM porn, which seems odd to me because I’m so far<br />

removed from the sexual acts that these kind of porn movies portray<br />

but I always feel satisfied after getting off to them.<br />

3. I get off to tit slapping videos but it screws with me morally. I<br />

understand why I like these kinds of videos. I have quite large breasts<br />

and I feel resentment towards them. It seems both morally wrong<br />

towards the progress I’ve made towards accepting my body and also<br />

to the message being sent about violence towards women.<br />

Care to weigh in?<br />

–Concerned About Porn Preferences<br />

1. There are gay men who watch straight porn, lesbians who watch<br />

gay porn, and 18-year-old hetero girls in Australia who watch lesbian<br />

porn and vintage gay porn and trans FTM porn. So many people<br />

get off watching porn that isn’t supposed to be for them—so many<br />

people fantasize about, watch, and sometimes do things that aren’t<br />

supposed to be for them—that we have to view these quote/unquote<br />

transgressions as a feature of human sexuality, not a bug.<br />

2. Lesbian porn gets you off, vintage gay porn and trans FTM gets<br />

you off, but you feel conflicted after watching lesbian porn because<br />

it seems inauthentic. That’s understandable—a lot of so-called<br />

lesbian porn is inauthentic, in that it’s made by and for straight men<br />

and features non-lesbian women going through the lesbian motions<br />

(often with long and triggering-for-actual-lesbian fingernails). Some<br />

gay porn features gay-for-pay straight male actors, of course, but<br />

most gay porn features gay actors doing what they love; the same<br />

goes for most trans FTM porn, which is a small and mostly indie<br />

niche. I suspect your orgasms are just as good when you watch lesbian<br />

porn, CAPP, but the sense—suppressed when you were turned<br />

on, surfacing once you’re not—that the performers weren’t really<br />

enjoying themselves taints your lesbian-porn-enhanced orgasms<br />

in retrospect. The solution? Seek out lesbian porn featuring actual<br />

lesbians—authentic lesbian porn is out there. (I found a bunch with<br />

a quick Google search.)<br />

3. Sometimes we overcome the negative messaging our culture<br />

sends us about our identities or bodies only after our erotic imaginations<br />

have seized on the fears or self-loathing induced by those<br />

messages and turned them into kinks. Take small-penis humiliation<br />

(SPH). Before a guy can ask a partner to indulge him in SPH, CAPP,<br />

he has to accept (and kind of dig) his small cock. So the acceptance<br />

is there, but the kink—a turn-on rooted in a resolved conflict—remains.<br />

It can be freeing to regard a kink like SPH or your thing for<br />

tit slapping as a reward—as the only good thing to come out of the<br />

shitty zap the culture put on the head of a guy with a small cock<br />

or, in your case, a young woman with large breasts. So long as we<br />

seek out other consenting adults who respect us and our bodies,<br />

we can have our kinks—even those that took root in the manure<br />

of negative cultural messaging—and our self-acceptance and<br />

self-esteem, too.<br />

I have a deepthroating fetish. All the porn I watch is nothing but rough,<br />

sloppy blowjobs. I would love nothing more than to watch this kind<br />

of porn with my boyfriend, so we can add it the bedroom excitement,<br />

but I’m embarrassed to share this as a straight female. How do I go<br />

about sharing a fetish I have? Do I tell him over a candlelit dinner? Do<br />

I just turn some deepthroating porn on and see what happens? Help!<br />

–Deepthroat Queen<br />

There’s never really a bad time to tell someone they won the lottery,<br />

DQ. Over a candlelit dinner, pop in some porn, send him a singing<br />

telegram—however you decide to tell him, DQ, the odds that he’ll<br />

react negatively are pretty low. Of course, watching someone deep<br />

throat and doing it yourself are two different things, DQ. You won’t be<br />

able to go from disclosing your kink to realizing it during that candlelit<br />

dinner. Take it slow, maybe watch a few how-to videos in addition<br />

to the porn, find the positions and angles that work for you, etc., and<br />

work your way up to taking him all the way down.<br />

I’m a 32-year-old male. I recently met a hot older woman, age 46,<br />

who has told me she finds me equally hot. I’ve always preferred older<br />

women. I just love their confidence and their comfort in their own<br />

skin. They’re just so much sexier than my age cohorts. The problem is<br />

that I take a serious interest in feminism. I think I do pretty well with<br />

the overt stuff: I don’t mansplain, I call out peers who ignore sexism,<br />

and I don’t objectify women, even when I do find them attractive.<br />

(Small steps, but steps nonetheless.) But when I see this woman and<br />

we flirt like mad, my brain just shuts off and all I can think about is<br />


her hot bod and the many hours I want to spend with it. However,<br />

I worry that she’s spent her whole life relying on her looks to gain<br />

validation from men, and that my brain-dead, loins-alive attraction<br />

is only perpetuating her objectification. Is that so? Or am I just<br />

overthinking things?<br />

–Man, I Love Feminism<br />

At the risk of dansplaining…There’s nothing feminist about slagging<br />

off younger women to justify your attraction to older women. You<br />

like what you like and you can own that without implying that<br />

younger women lack confidence and aren’t comfortable in their<br />

own skins. The same culture that put the zap on CAPP’s head for<br />

having large breasts—her breasts attracted unwanted attention and<br />

she resented her breasts and now gets off on erotic images of breasts<br />

being punished (even though she now knows her breasts weren’t<br />

the problem)—put the zap on your head. Men, young and old, are<br />

supposed to be attracted to younger women. You’re not attracted<br />

to younger women, you’re attracted to older women; instead of accepting<br />

that, you feel compelled to justify it by comparing younger<br />

women to older women and declaring—again, by implication—<br />

that there’s something wrong with younger women. You sound like<br />

one of those gay men who can’t tell you why he’s attracted to dudes<br />

without also (or only) telling you what he dislikes about women.<br />

As for objectification, MILF, the problem with objectification is<br />

when the person doing the objectifying isn’t capable of simultaneously<br />

seeing the object of their affections as a three-dimensional<br />

human being with desires, fears, and agency of their own. Technically,<br />

MILF, we are all objects—“a material thing that can be seen<br />

and touched”—but unlike, say, Fleshlights or vibrators, we feel joy<br />

and pain and have wants and needs. You can’t help being drawn to<br />

this woman’s externals; there’s a huge visual component to human<br />

attraction and, as your thing for older women demonstrates, there<br />

isn’t one universal standard of beauty. So long as you’re can objectify<br />

someone while at the same time appreciating their full humanity—<br />

so long as you can walk that walk and chew that gum—you don’t<br />

have to feel like a bad feminist for objectifying someone. (Particularly<br />

when that someone is clearly objectifying you!)<br />

On the Lovecast—Finally!<br />

Porn that makes consent SEXY: savagelovecast.com.<br />

mail@savagelove.net<br />

@fakedansavage on Twitter<br />

ITMFA.org<br />

54 | MARCH <strong>2018</strong> • BEATROUTE


EVENTS<br />

<strong>2018</strong><br />


56 | MARCH <strong>2018</strong> • BEATROUTE

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