BeatRoute Magazine BC Edition August 2018
BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics. Currently BeatRoute’s AB edition is distributed in Calgary, Edmonton (by S*A*R*G*E), Banff and Canmore. The BC edition is distributed in Vancouver, Victoria and Nanaimo. BeatRoute (AB) Mission PO 23045 Calgary, AB T2S 3A8 E. editor@beatroute.ca BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120
BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics.
Currently BeatRoute’s AB edition is distributed in Calgary, Edmonton (by S*A*R*G*E), Banff and Canmore. The BC edition is distributed in Vancouver, Victoria and Nanaimo. BeatRoute (AB) Mission PO 23045 Calgary, AB T2S 3A8 E. editor@beatroute.ca BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120
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Daron Malakian and Scars on Broadway Dictator Deafheaven - Ordinary Corrupt Human Love Joey Dosik - Inside Voice Into Eternity - The Sirens<br />
Once: The Lost Album is a batch of new releases<br />
from jazz icon John Coltrane. Featuring the Classic<br />
Quartet in musical mastery, the album was the<br />
result of a single day of recording on March 6,<br />
1963.<br />
The album as a whole is bound together by the<br />
Quartet’s sound, but transitions nicely from<br />
subdued rhythm-focused pieces like “Nature Boy”<br />
to up-tempo beats that demonstrate Coltrane’s<br />
technical skill, such as “Impressions (Take 3).” For<br />
those curious, the Deluxe Version also allows you<br />
to compare and contrast multiple takes of various<br />
titles, not one of which is the same.<br />
The album itself also does something new by<br />
including the vocal read of the track title in some<br />
of the pieces, giving the listener the sensation of<br />
being with the Quartet as they record in ‘63. It’s a<br />
nice touch that delivers a deeper intimacy to the<br />
music.<br />
This is the album for any true lover of the<br />
legendary saxophonist. Not because it’s a<br />
compilation of the definitive classics — it’s not —<br />
but because it provides a window into the soul of<br />
Coltrane’s creative method.<br />
• William Leurer<br />
Copperhead<br />
Touch<br />
Independent<br />
Since their debut self-titled EP in 2015,<br />
Copperhead’s been on a roll in Alberta, playing<br />
sold out shows and festivals, making well-received<br />
videos and earning a showcase slot at SXSW in<br />
Austin, Texas earlier this year. With their first fulllength,<br />
Touch, the band builds on the potential of<br />
their first effort, making strides in their signature<br />
sound of atmospheric texture over catchy, sultry<br />
torch songs. It’s a mix of post-rock and soul<br />
not dissimilar to Cat Power, or Brooklyn-based<br />
shoegazers Cigarettes After Sex.<br />
The album’s “Intro” is a rising swell, invoking<br />
a nocturnal energy as it drops into the album’s<br />
title cut. “Touch” is sweltering, like the dew of the<br />
dusky humidity on a hot summer night shining on<br />
your skin as it settles in. The rhythm groove from<br />
Rob Smeltzer and Kane Bender is steady, feeling<br />
like a dimly lit back alley with a cloud of padded<br />
organ from vocalist Liz Stevens, while guitarist<br />
Kirill Telichev makes use of the ample space with<br />
single ringing notes. The pocket is so solid that<br />
the addition of a doubled hi-hat is all it takes to<br />
lift the chorus. A turn to the chaotic side arrives in<br />
the bridge, where Jamey Lougheed adds baritone<br />
sax lines that give the whole part a supernatural<br />
Angelo Badalamenti feel. “Shadows Of Love”<br />
follows, falling in on a piano waltz like a child’s<br />
ballerina music box. Bender’s easy brush strokes<br />
are a slight double time to the pace-setting piano.<br />
Stevens is smoky and hushed, her vocal swaying<br />
through the chords, while Telichev’s guitar is mixed<br />
back, chiming through the verses before filling the<br />
choruses with harmony with subtle strings.<br />
Those same strings make a bigger appearance<br />
kicking off “More,” driving the groove over a funky<br />
pocket until a loose riff from Telichev picks it up<br />
into the refrain. Stevens keeping things subtle<br />
until she hits a mountain-high wail over a synthdrenched<br />
chorus. “Mountain Song” comes off as<br />
straightforward blue-eyed soul, though it takes<br />
some lefts through its gradual climb. Lougheed’s<br />
sax is mixed low to fill up the chords, but there’s<br />
some room for him to go a little wilder in a tune<br />
like this. Smeltzer locks the groove down hard<br />
while Bender’s calculated flailing adds controlled<br />
anarchy, and the space would have been ample<br />
and ideal for a free-jazz drum and sax freak-out.<br />
The album closes out with the airy “If It Could<br />
Be,” led off with a woody acoustic guitar backed<br />
by wavy volume swells. Stevens is plaintive and<br />
longing, every word a memory and a wish —<br />
“When the light of day pulls dark away, I say your<br />
name, and I find home again.”<br />
Copperhead’s taken their time building a<br />
sound that takes every member’s abilities and<br />
melds them distinctively. That Touch is only six<br />
cuts leaves the listener anxious to hear more. Its<br />
sonic depth and atmosphere make for more than<br />
a casual listen, and in a music business eager to<br />
throw everything at the wall and see what sticks<br />
populated by a constant string of content, holding<br />
back is a rare and bold move.<br />
• Mike Dunn<br />
Deafheaven<br />
Ordinary Corrupt Human Love<br />
ANTI-<br />
If you had to use a word to sum up the state of<br />
today’s world, everything within the title Ordinary<br />
Corrupt Human Love is a good choice. San<br />
Francisco’s Deafheaven have once again crafted<br />
an absolutely epic thesis with their fourth album,<br />
clashing mellow reflections against aggressive<br />
guitar struts.<br />
Even Elton John should be proud of the piano<br />
phrase that begins the album on “You Without<br />
End,” before the track’s spoken lyrics expose a<br />
doomsday declaration as the song descends into<br />
beautiful chaos. “Honeycomb” is the album’s pillar,<br />
exploding like a bomb with thrashing riffs before<br />
letting you down softly on a gentle ocean wave 11<br />
minutes later.<br />
Deafheaven keep the contrast between light<br />
and dark — or love and hate — within reach<br />
throughout the record, brilliantly playing-up quiet<br />
serenity before crushing it with every annihilating<br />
riff that ensues.<br />
Double kick drums pulverize your ears on “Glint,”<br />
while “Worthless Animal” builds tension with<br />
clean shoegaze guitar lines, but finishes the record<br />
with heavy head-banging distortion.<br />
Metal fans are well aware that Deafheaven is<br />
one of the best kept secrets around, but Ordinary<br />
Corrupt Human Love raises their game to an<br />
entirely new (and exciting) level.<br />
• Trevor Morelli<br />
Joey Dosik<br />
Inside Voice<br />
Secretly Canadian<br />
When it comes to smooth jazz, it doesn’t get<br />
much smoother than Joey Dosik’s debut album,<br />
Inside Voice. Coming off the heels of his two EPs,<br />
the album is a fresh and modern spin on timehonoured<br />
musical traditions.<br />
Throughout Inside Voice, respectful nods<br />
to the Los Angeles-based singer-songwriter’s<br />
musical inspirations are heard, from the evident<br />
Marvin Gaye influence on the first two tracks, to<br />
the gospel elements on a kicked-up cover of Bill<br />
Withers’ “Stories.”<br />
Right off the bat, Dosik strikes the right balance<br />
F<br />
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277 PRINCE EDWARD ST<br />
BILTMORECABARET.COM<br />
<strong>August</strong> <strong>2018</strong> 27