BeatRoute Magazine BC Edition October 2018


BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics.

Currently BeatRoute’s AB edition is distributed in Calgary, Edmonton (by S*A*R*G*E), Banff and Canmore. The BC edition is distributed in Vancouver, Victoria and Nanaimo. BeatRoute (AB) Mission PO 23045 Calgary, AB T2S 3A8 E. BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120











BeatRoute Magazine



Naomi Zhang


Zackery Michael


Randy Gibson


Monika Alderson


Carlos Oen


Andrew Bardsley • Sarah Bauer • Emilie

Charette • Leslie Ken Chu • Emily Corley

• Adam Deane • Quan Yin Divination

• Lauren Donnelly • Joshua Erickson •

Matty Hume • Brendan Lee • Joey Lopez

• Sarah Mac • Dayna Mahannah • Maggie

McPhee • Trevor Morelli • Keir Nicoll •

Jennie Orton • Logan Peters • Scott Postulo

• Paul Rodgers • Brittany Rudyck • Patrick

Saulnier • Leah Siegel • Danielle Wensley




Danny Clinch• Raunie Mae Baker • Syd

Danger • Cole Degenstein • Cody Fennell

• Nick Harwood • Vanessa Heins • Jason

Ma • Monica Miller • Fraser Ploss • Jaik

Puppyteeth • Zachary Schroeder • Craig

Sinclair • Art Streiber • Ebru Yildiz


Managing Editor

Jordan Yeager

Local Music

Maddy Cristall

The Skinny

Johnny Papan


Graeme Wiggins


Glenn Alderson


Yasmine Shemesh


Jamila Pomeroy

Live Reviews

Darrole Palmer


Hogan Short










- With Amanda Bullick of Brutally




- Vancouver Art/Book Fair

- Why I Design

- Get The Fuck Out And Vote

- Guo Pei


- The Dark Manor Inn

- Good Company Lager


- Chris Griffin



- Snackland



- Ian Sweet

- Jock Tears

- Phono Pony

- Glam Fest 2018













- Strung Out

- Earthless


- Giraffage

- Junglepussy

- Cadence Weapon


- A Star Is Born

- This Month In Film


-Julia Holter

- Behemoth

- Frontperson

- The Spirit Of The Beehine



- Foo Fighters

- Japanese Breakfast

- Johnny Marr


Photo by Mark Sommerfeld

Glenn Alderson



Gold Distribution (Vancouver)

Mark Goodwin Farfields (Victoria)


Jashua Grafstein

Social Media

Mat Wilkins


202-2405 Hastings St. E

Vancouver BC Canada

V5K 1Y8 •

©BEATROUTE Magazine 2018. All rights reserved.

Reproduction of the contents is strictly prohibited.

Cadence Weapon - Page 25

October 2018 3


Written by Jamila Pomeroy

You may have seen the works of Amanda Bullick

at Eastside Flea, This Monkey’s Gone to Heaven,

or the various other markets she attends around

Vancouver. Bullick is a multidisciplinary artist, with

works spanning visual art, photography, jewelry

and ethical bone art. While her outlets may be

broad, Bullick keeps the cohesive theme of the

dark, spooky and macabre present throughout

her work. These themes may be frightening

or misunderstood by some, but Bullick shows

the beauty and allure in darkness through her

mystifying creations. If you can find the light in

the darkness and dreary grievances, perhaps we

are able to move beyond and forward though life

in peace; honouring the past with respect, while

giving it new life and energy. Perhaps we must not

be so afraid of the dark.

What is ethical bone art?

I think that the answer to this question may

depend on who you ask, but for me it’s artwork

that is created from ethically sourced deceased


What I think is ethical, this is where it may be

different for other people, is foraging for bones/

departed creatures that have passed away in the

wild or receiving bones from people from their

dearly departed pets. Basically getting bones from

animals that lived happy lives and lived a natural

life cycle.

Where do you source your bones?

I forage for my bones wherever I can find them as

well as a lot of my friends now forage for bones to

gift me. Bless Caitlin and Arlin Ffrench and my dad

for finding so many bones for me.

I have very strict rules about the bones I collect

so I can feel confident that they are ethically found

and cared for.

1 - Nothing is harmed or killed to get the bones.

2 - Always ask, and if at any point I feel weird or

uncertain, I leave them be.

3 - If you take something from the forest, you

must leave something. I try to have some kind of

offering or gift that I bring with me so it feels more

like a trade than me just taking from the forest.

4 - Never take it all. I will always leave some

bones behind because the other animals and plants

of the forest use the bones as well.

5 - Say thank you, hold space and give gratitude

for the life that left these bones behind.

What made you fall in love with the dark,

spooky and macabre?

I’m not sure if there is one particular thing that

made me fall in love with the macabre. I’m not even

sure I would say I’m in love with dark and spooky.

I think for me it’s about finding the light and the

only way to do that is by trudging through the

dark. If I can find beauty and solace in the places

we consider spooky or dark than its just that much

easier to find beauty in it all, the dark and the light.

What is a moon shoot offering and how did this

photo series begin?

My latest moon shoot offering that I am now

booking for October 20 and 21 all started because

of my love for the moon. I love old things and

have fallen in love with antique photographs of

people on a handmade moon. So I decided to get

one made for myself! This is a photoshoot I host

once a year (sometimes more) that involves a

giant crescent moon that people sit in for a photo


In these sessions I hope to create a safe space

where people can unfold a bit. A place where we

can tap into our inner selves and let it come out to

play. I believe we have many versions of ourselves

deep inside and I think it’s important to let those

other characters come to the surface to allow for

healing, empowerment and an overall sense of


Much of your art contains imagery of nature, do

you think the repurposing of bones is in a way, a

respect and honouring of the earth?

Absolutely! The whole idea behind the bone work

is to find ways to grieve death and hold ceremony

so that these creatures can be honoured. I think

we spend so much time fearing death and when

it comes, we barely know how to hold space for it.

This work is helping me learn how to process death

in a way that is more positive and not so fear-based.

It has also taught me how to better hold ceremony

for the lives that have passed and how to be

present in death instead of just running away from


Amanda Bullick wants to take you to the moon and back with her lunar portrait services.

Contact Amanda for ethical bone art, jewelry, visual

art, and moon shoot offerings at or follow her on

Instagram via @brutalbeauties.


October 2018


Diwali in BC Fan Expo Vancouver Little Juke Modulus Festival An Evening with R.L. Stine


October 3-November 17 at various


Founded by Rohit Chokhani last year,

this six-week celebration of Diwali

includes theatre, dance, and workshops

across BC, from Vancouver to Vernon.

The theme of the second annual

festival is ‘New Horizons,’ in response

to racial tensions and gender abuse

that continue to pervade today’s

world – don’t miss productions like A

Vancouver Guldasta and Shyama.


1074 Davie Street

Chinatown’s favourite fried chicken

joint – Juke Fried Chicken, Ribs and

Cocktail Bar – has opened a new

location in the West End. Little Juke,

which holds 22 people, retains most of

the popular fixings of the original, with

a few new additions to the menu. Come

in for rotisserie chicken, as well as macand-cheese

poppers, roast potatoes,

and milkshakes.


November 2-6 at various locations

Music on Main’s annual post-classical

festival is back with another exciting

lineup of musicians and composers

from all around the world. Along

with performances from artists like

France’s Thierry Pécou, artist talks,

and documentary showings, there

will be intriguing evenings dedicated

to driftwood percussion and



October 31 at Lucky’s Comics

Presented by Lucky’s Comics, this

music-to video/video-to-music festival

is all submission-based: make a video,

send it to them, and they’ll screen it at

the festival on October 31.

For its fifth edition, Symphony of

Fire’s theme includes concepts like

superstitions, magic, ghosts, nightmares,

obsessions, and moons. The inclusive

event will be accepting submissions

until October 28.



October 26 at Queen Elizabeth


The author behind the beloved

children’s horror books Goosebumps

will be in conversation about his

life and career. A book signing and

Halloween party – bonus points for

paying tribute to his classic characters:

Slappy, anyone? – will follow the talk.

Stine recently signed on to write even

more installments in the Goosebumps

series, and his teen horror series, Fear

Street, is also back with a couple of new



October 15-21 at various locations

The 2018 edition of the annual writing

festival places emphasis on topics like

equality, migration, and reconciliation.

Don’t miss appearances by crime writer

Ian Rankin, feminist authors like Jodi

Picoult, and local journalist Andrea

Warner, who will interview legendary

artist Buffy Sainte-Marie in celebration

of her new book, Buffy Sainte-Marie:

The Official Biography.


October 20 at the Imperial

In support of Rethink Breast Cancer,

the annual Booby Ball raises funds and

awareness for the cause – this year,

country-style. That means there’s going

to be line dancing, horseshoe throwing,

southern-inspired cocktails, live music,

and more. Get out your cowboy boots

and support young women living with

breast cancer.


October 26 at the Ellis Building

This new monthly Friday night market

officially launches on October 6. Head

over to the Ellis Building for small batch

and handmade goods crafted by local

artisans like Take Care Stitchery and

Sticks & Stones Jewelry. There will also

be food trucks and a cash bar. Doors are

open from 5 p.m. to 10 p.m. on Main St.


October 12-14 at Vancouver

Convention Centre

Featuring meet and greets, workshops,

and panels, this three-day pop culture

convention is always a good time. At

this year’s Fan Expo Vancouver, get

an autograph or photo with celebrity

guests like Jaleel White (Family

Matters), Kristy Swanson (Buffy the

Vampire Slayer), Wil Wheaton (Stand

By Me, Star Wars), and Lou Ferrigno

(The Incredible Hulk).



October 10-20 at the Historic Theatre

It’s 2178 and the last woman and man

on Earth are getting ready to leave the

planet for a new home to carry on their

genetic legacy.

In A Brief History of Human

Extinction, award-winning playwright

Jordan Hall explores questions about

our human nature, hope, and our role

in the destruction of our world.

October 2018 5

































1 First Thursday of Every Month!

NOVEMBER The Canadian Pacific Blues

Society Presents










September 27 - October 12



Details at






for additional dates

The Vancouver International

Mountain Film Festival


for details

Dario Aregento’s


Friday Late Night Movie

The 6th Annual


Nicolas Cage in



for additional dates


Grave Decisions

The Gentlemen Hecklers Present


Your Sister is a Werewolf





The Fictionals Comedy Co. Presents



The Geekenders Present

The Nightmare Before

Christmas LIVE (SOLD OUT)

*Also October 27 (SOLD OUT)


Friday Late Night Movie



Hosted by The Geekenders

*Also Oct 31, Nov 2



15 Years of Ferocity!


Friday Late Night Movie



Their FINAL Burlesque Show!





The Vancouver/Art Book Fair continues to celebrate the wonders of print culture in a digital world.

Every year, autumnal bliss envelops the faces of

Vancouverites for a few short months (that’s

generous) and the spirit of the season can be felt

across the city. Events like Taste of Yaletown, the

UBC Apple Festival, and the Vancouver Christmas

Market have become staples. One weekend in

particular stands out as a must to take in a film,

meet fellow creatives, and inject pumpkin spice into

our bloodstreams whilst walking the halls of Emily

Carr University of Art + Design.

The Vancouver Art Book Fair (VABF) is fast

becoming an essential pastime – a must for creators,

families, and consumers of creations alike. We were

lucky enough to track down Lisa Curry, this year’s



director, and prod her for any information she had

for the 5,000+ expected participants this year.

“The Vancouver Art Book Fair is a non-profit

organization that seeks to establish Vancouver as

an international centre for artists’ publishing,” says

Curry. “In 2010, they had been looking for volunteers

and I signed on to manage their fundraising and

event-coordination, and later joined the board!”

Magical things happen when you work for what

you believe in. Curry expresses that volunteering can

be a clear avenue for anyone wanting to turn their

passion into a career. She detailed exactly what we

can expect from the family-friendly fair this year.

“The fair regularly attracts thousands of people


Why I Design is an annual one-night exploratory

extravaganza presented by the Museum of

Vancouver. Simply put: “Local designers talk with

you about what they do and why they’re doing it in


Designers of everything from sustainable fashion

to workplace safety will discuss the projects they’re

working on and their practical impact on the city we

live in. On November 3, over two dozen designers

will showcase their work and invite open discussion

with the public about how their creative endeavours

have an impact on our day-to-day lives.

Why I Design highlights the incredible wealth

of creative talent in Vancouver and celebrates the

diverse inspirations and outcomes for artistic output

in the modern world. Many of the participating

designers are investigating the contribution that

thoughtful, sustainable design can have on social

and community spaces.

Contributors include Yael Stav of Invivo Design,

whose projects champion urban sustainability and

environmentally friendly construction. Luugigyoo

Patrick Reid Stewart, who will also speak at the

event, is an architect focusing on Indigenous

design. His past projects include a resource centre

and cultural buildings that give back to the

environments and communities they serve.

Photo by Bryce Hunnersen

The event also spotlights designers who take their

inspiration from around the world. Cydney Eva from

PatternNation will be discussing her collaboration

with South African designer Costa Besta and

demonstrating how socially conscious art can be “an

act of decolonization.”

The Museum of Vancouver has long been an

advocate for cutting-edge local design and they

are excited to be hosting Why I Design for another

year. Marketing and Communications Manager

Lorenzo Schober says, “Why I Design is undoubtedly

over the course of the weekend,” she says. “Since

moving to Emily Carr, everything has grown – even

doubled. There will be food trucks, interactive

programming for children… we really want to

encourage people to make a day of it. We have the

non-profit organization, The Writer’s Exchange,

who advocate for literacy among diverse groups of

children across Vancouver. They came to us with an

idea: an advice computer. It’s a cardboard box big

enough for a person to fit in. People will come and

submit their problems and the ‘advice computer’

will write advice for them. This zone is also meant

for attendees to take a moment to have fun and

relax while enjoying a full day of VABF. VABF will

also feature various reading rooms, artist projects,

student tables, artist talks, keynote speakers, Andrea

Fraser and David Senior, plus a ton of other fun

things happening throughout the weekend. For

those who need an introduction to art books, there

will also be a film screening of How to Make a Book

with [Gerhard] Steidl.”

Launching on the night of October 18 with the

Members Preview, the fair is free and open to the

public beginning Friday, October 19 at 11am – this

is your chance to grab your friends, family, or anyone

in your life seeking inspiration, for worthwhile talks

and exhibits and to make a weekend out of the

Vancouver Art Book Fair.

Vancouver Art Book Fair runs from October 19-21 at

Emily Carr University.

one of our most popular and well-attended events.

It’s an event that encourages dialogue between

local designers and the public at large. This year

we are excited to feature designers that focus on

sustainability, social responsibility, and ecological

consciousness to centre around a theme of creating

these types of spaces within their communities.”

Why I Design takes place on November 3 at the

Museum of Vancouver.

Architect Patrick Stewart is one of 20+ designers featured at Why I Design.

October 2018

Designers talk about what they do

and why they’re doing it in Vancouver.


MAY 19 | Bar opens at 6PM.

Celebrate innovation in action with

drinks, designers, and discussion.

Saturday, November 3

Advance tickets at





OCTOBER 13, 2018 TO JANUARY 20, 2019

Visionary Partners for the Institute of Asian Art

Liu Bao, Wang Ying and Liu Manzhao

Organized by the Vancouver Art Gallery in collaboration

with SCAD FASH Museum of Fashion + Film

Supporting Sponsor:

Additional Sponsor:




Supporting sound

recording, marketing +

music videos for BC Artists


December 12, 2018



Supporting BC-based

live music events


November 14, 2018



Grants to grow BC’s

music industry

Rolling intake until

March 1, 2019


September 22, 2018 - March 17, 2019


October 27, 2018 - February 3, 2019


November 24, 2018 - March 17, 2019


APPLY + LEARN MORE AT creativebcs

Guo Pei, Garden of the Soul, 2015 (detail), embroidered silk dress with hand-painted motifs and embellished with Swarovski crystals, brass

beads and brass florets; mask and headpiece with bead, crystal and brass floret embellishment, Photo: Courtesy of SCAD

Louise Lawler Heinz, (1991) cibachrome print with natural wood frame | 24 1/8 x 20 5/8 in (61 x 52 cm)

Rennie Museum | 51 East Pender St | Vancouver





October 20. It’s a vital day in this city. Not just

because my homo hip-hop party, Hustla, will be

happening at The Emerald, though that can be

where you come celebrate once you’ve done your

job as a Vancouverite. Your job isn’t going to work,

paying your terrifyingly high rent bill, then getting

black out drunk to cope. I’m not saying that’s not

what you do, you do you however you want to do

it, but the job I’m talking about involves showing

up at a polling station and giving yourself the time

to read through all the candidates and vote.

Don’t let the numbers deter you: on October

20, you will sift through the 21 mayoral candidates,

71 city council candidates, 33 parks board

candidates and (perhaps most importantly, in

my humble opinion) 34 school board trustee

candidates. So make decisions that will shape our

Vancouver today, and the Vancouver of the next

generation. Maybe I’ve gone soft because this

sweaty monstrosity of a drag queen became a dad

in January, but the kind of future we start shaping

now is at the forefront of my wig, uh, I mean mind.

So how do you prepare? Don’t worry it’s not a

test, you won’t fail and there isn’t a wrong answer

but do follow these easy steps.

Step One: Figure out what matters to you.

Step Two: Spend some time on the Election 2018

page of City of Vancouver’s website to see each

candidate and whose politics and priorities align

with your own. The website lists their three top

priorities very clearly as well as their platform and

a bio.

Step Three: Some of these candidates are

connected to civic parties that have a shared

platform and you can consult those parties’

websites for a more detailed understanding of how

those candidates could work together to help shift

our city for the better.

Step Four: I know a lot of you don’t have kids

in your lives, however I’m not kidding when I talk

about how important voting for School Board

Trustees is. Because this is how we shape the future

of our city. So don’t skip that category because the

younger generation of changemakers need vibrant

and safe environments in which to thrive and

grow into our future leaders and voters. Particular

shout out to the huge importance of making

schools inclusive and safe for students of all sexual

orientations and gender identities (SOGI).

Step Five: Make it fun! Voting is serious business,

but don’t let it feel like a chore. Celebrate that

you’re doing something for your city and one

another. Organize a voting party – you can all go to

the polling station together and then sip bubbles

and talk about the sophisticated civic-minded allstar

you are.

In fact, come join me at the Emerald and we will

raise a glass together and celebrate the fact that

whether we agree on everything or not, regardless

of who we voted for, we used the power of our

voice. Something not everyone on this planet has.

So let’s not be dicks who take it for granted and

just say “oh, shit, was that today?” or “I just want

to finish the new season of Ozark instead.” Because

you know what doesn’t get you laid? Apathy.

Peach Cobblah is hosting Hustla at the Emerald on

Oct. 20. Make sure you vote first!

The baddest bitch, Peach Cobblah, wants you to hustle your booty to a polling station on Oct. 20.

October 2018 9





Theatre lovers of Vancouver, rejoice! Between the

shorter days and the return of the rain, we no longer

have to feign enthusiasm for the outdoors. This

October, we travel back and forth in time, explore

the rust belt, and talk about sex. In the immortal

words of Marvin Gaye, “Let’s get it on.”

Incognito Mode: A Play About Porn at

Studio 58 September 27-October 14

Pornhub was founded a little over ten years ago,

and since then its influence has swelled. Enlarged.

Erm, hardened. In 2017, it had 81 million visits per

day. What does it mean to have grown up with the

internet and such easy access to porn, and what does

it entail for the future?

Director Chelsea Haberlin says she was drawn to

the project because of the taboo of pornography. “I

am sure this show will spark conversation,” she says.

“This is the kind of show that people will love or hate

but no one will feel indifferent.” The folks over at

Neworld Theatre and Langara’s Studio 58 have been

workshopping this original drama since last spring,

so there’s bound to be an interesting take on it.

Honestly, though: when is porn not interesting?

A Vancouver Guldasta at the Cultch

October 2-21

Director and playwright Paneet Singh wanted to

explore the idea of politicizing trauma in his new play

put on in collaboration with SACHA. In A Vancouver

Guldasta, or A Vancouver Bouquet, we follow a local

Punjabi family living in the 1980s, with a Vietnamese

refugee family residing in their basement. From

across the world they watch the unfolding of

“Operation Bluestar,” India’s armed invasion of the

Sikh’s sacred Golden Temple, and must navigate

transnational political, religious, and cultural turmoil.

However, this story is ultimately about community:

“Sprinkled among many of the enclaves in Vancouver

are countless inter-cultural stories that exist because

of the way we live here,” Singh says over a Facebook

message, and “what results is a genuine bouquet

of human experience.” He adds, “I am hoping that

audiences will really allow themselves to revel in a

truly Vancouver experience, and leave feeling like

they’re taken part in a conversation which they

otherwise would never have had the privilege to be

a part of.”

A Brief History of Human Extinction at

The Cultch October 10-20

It’s 2178, and an insidious fungal plague (and no,

that’s not a nickname for Donald Trump,) has

effectively made it impossible for life to continue on

Earth. The last man, woman, and otter have found

safety in some science-lab-thingamjig that will

theoretically transport them to a different planet. At

least, that’s the plan. Things get complicated when

they hear something moving outside of the lab, and

it sounds like it wants in. If you watched Interstellar

and thought it could have been improved by an

otter puppet (an odd, but understandable opinion),

you’re in luck.

Sweat at Artsclub

October 18-November 18

American playwright Lynn Nottage won the Pulitzer

in 2017 for Sweat, a play that has been hailed by The

New Yorker as “the first theatrical landmark of the

Trump era.” In it, we travel to Reading, Pennsylvania,

a mid-size city with one of the highest poverty rates

in the states. (It is also, unrelatedly, the birthplace

of Taylor Swift.) In the year 2000, factory workers

Tracey, Jessie, and Cynthia find their friendship

weakened when Cynthia (who is African-American)

is promoted, while their own jobs are threatened by

outsourcing. In their envy, Tracey and Jessie claim

there’s unfair affirmative action at work behind

Cynthia’s upward mobility, and this sets the scene

for a racial tension that divides the town for years to

come. Timely, no?

Javaad Alipoor (UK)/Presented with Diwali in BC



An electronic maze of fantasists, meme

culture, 4chan, the alt-right, and ISIS


A Brief History Of Human Extinction will give you something to live for Oct 10 to 20 at the Cultch.


October 2018





Photo by Bryce SCAD

Vancouver Art Gallery’s first fashion exhibition showcases art and history.

When Rihanna arrived at the 2015

Met Gala dressed in a flowing, silken,

fur-lined cape, her outfit was the most

talked about moment of the night. The

16-foot canary yellow train became the

target of several memes, even earning

comparisons to Big Bird’s feather plume.

But the elaborate gown did more

than set off a social media firestorm. It

introduced the world to the brilliant

couturière behind the creation: Guo

Pei. A year later, the Chambre Syndicale

de la Haute Couture invited Pei to

present at Paris Fashion Week – the first

Chinese designer bestowed the honour.

Rihanna’s star power certainly

helped, but Pei soon garnered

worldwide acclaim for her exquisite

designs and steadfast commitment

to her craft (the gown weighed over

50 pounds and took 50,000 hours to

make). Inspired by both traditional

Chinese garments and modern

elements, her over-the-top designs

transcend ornate and push the limits of

contemporary fashion.

On October 13, an exhibition

entitled Guo Pei: Couture Beyond

will make its Canadian debut at the

Vancouver Art Gallery. It’s the first time

the gallery will be curating a collection

devoted to fashion, and viewers will

get the chance to appreciate the

depth, detail, and sheer scale of Pei’s

artistry in person. The exhibition will

showcase 43 haute couture pieces from

the Beijing-based designer, including

the voluminous, gilded gown worn by

Rihanna. For Diana Freundl, the gallery’s

associate curator of Asian art, to view

Pei’s work as mere articles of clothing is

to overlook the history that each piece


“The Vancouver Art Gallery has

always been committed to representing

a diverse history of visual culture.

Fashion is an important area of study

because it combines aspects of visual

art, popular culture, and design,”

Freundl notes. “For this exhibition, it

really is a comprehensive overview

of [Pei’s] work and her evolution as a

designer. There are pieces from 2002

all the way to 2017, and each of those

pieces has its own distinct story.”

From a technical standpoint, Pei’s

designs are architectural marvels. Her

dresses and skirts often take years to

complete by a team of more than 100

artisans. Elaborate layers of cascading

fabrics, intricate embroideries, and

iridescent, bejeweled hems are some

of the elements that come together in

elegant formation.

The scope of the exhibit will appeal

to museumgoers of all levels of

interest, from fashion obsessives to art

enthusiasts. According to Freundl, what

makes the exhibit so accessible is its

universal appeal: “It’s not just for those

that are interested in fashion, but also

those that are interested in traditional

Chinese decorative crafts and aesthetics

and contemporary design.”

Guo Pei: Couture Beyond runs from

October 13 to January 20 at the

Vancouver Art Gallery. Ahead of the

exhibit’s debut, Guo Pei and Bronwyn

Cosgrave in Conversation will take place

on October 9.

it’s our favourite time of fear.




Oct 26-31


The Bird with the

Crystal Plumage

Deep Red


select nights




Halloween Party

Wed, Oct 31

7pm - Doors

8pm - Goblin-scored Ballet

8:30pm - Suspiria

$15 in advance, $20 at the door

October 2018 11





Rod Moore is getting ready to open the doors of his new haunt just in time for Halloween.

Walking through the large door and stepping into

the Dark Manor Inn is like travelling back in time.

The wallpaper is reminiscent of Crimson Peak or The

House on Haunted Hill with old portraits of people

long dead that look as if their souls occupy the

frames themselves, their eyes following your every

movement between bookshelves of ancient tomes, a

stair case that leads nowhere and a gilded throne that

once sat the late founders of the Dark Manor.

“There was a husband and wife in the late 1800s

who ran the Dark Manor Inn. The story is that she

might have poisoned him with his favourite whiskey

cocktail. Their pictures are over there on the wall,”

says Rod Moore, owner of the Dark Manor Inn,

pointing to the wall across from him. “That’s the

backstory and the whiskey cocktail will be served on

our menu, if you’re brave enough to drink it. I want

this to be a completely immersive experience for

people who come in here. It’s an escape and we want

them constantly looking around and seeing new,

scary things. There’s going to be something new in

here all the time.”

When you want to escape the mundane and

the mainstream, where do you want to go? Moore

wants the Dark Manor Inn to be the place you run

to when you want to experience something you

can’t find anywhere else. Each book on the shelf was

hand picked by Moore himself, each one older than

the last, trying to find the perfect piece to add to

the creepy atmosphere. The paintings on the walls

are of real people, some nearly 200 years old. The


Photo by Jamila Pomeroy

real aspects of the Dark Manor Inn could make one

believe the hands that touched the spines of those

books so long-ago may be the very same hovering

over your shoulders, creating that chill running down

your spine as you sit inside this haunted bar.

“We want this to be super cool and immersive.

I even have hundreds of different pieces of music

for this place. We have the theme from the

haunted mansion ride. Now, you couldn’t listen to

Disney music all night or else people will be offing

themselves for real, but I found a whole genre of

haunted, spooky instrumentals. The theme from

Halloween will play alongside everything John

Carpenter ever wrote. Vincent Price doing his blurb

from ‘Thriller’ will be playing over tapa music. It’s

going to be awesome.”

Everything in the Dark Manor Inn lends itself to a

haunted history and the potential for a run-in with a

ghost or two. Be careful of what you touch, you don’t

know what kind of things you might bring home with


As for those stairs that lead nowhere? “That’s

grandma’s attic. She might still be up there,” he says.”

Her picture is on the wall, staring up at the wife

probably wondering what the hell she’s doing

The Dark Manor Inn will be open in time for

Halloween. Grab yourself a dubious whiskey cocktail

and experience all the dark and terrific horrors it has

to offer.

The Dark Manor Inn is located at 4298 Fraser Street.




Imagine that after playing for two years on

Vancouver’s best stages you’ve just been signed

by a major record company with plans to take

you touring across Canada. Now trade your

axe for a keg of cold beer and your tom-toms

for tasty six-pack of crafted lager, for you are in

Good Company now.

It all started at the Cobalt, one of

Vancouver´s favourite bars (currently

under undergoing upgrades). From years of

experience behind the bar, entrepreneurial

Patryk Drozd realized live music lovers and bar

patrons alike wanted an affordable beer. Two

years ago, all customers could get in the $4.50

range was a boring, generic and industrial can.

Drozd and his partner Michael Kiraly, a

biology professor at Capilano University,

decided to do something about it. Good

Company Lager was born with a specific

mission — Putting cans in hands.

“What we wanted to do is create a local craft

value brand that we could introduce to the

market and support the local community,” said

Drozd. “We wanted a brand that was reflective

of what we represent in the community.

What that wanted to be is a local-draft-beer

alternative to what doesn´t exist in Canada.”

Vancouverites are known for supporting

local brands, and this one started by

supporting local music bands and artists. A

virtuous cycle was formed and Good Company

Lager became a success.

Little did Drozd and Kiraly knew they were

being watched by one of North America´s

most important wine and spirits distributor –

Southern Glazer´s Wine & Spirits.

A year-and-a-half after the kickoff, the

distributors of brands such as Grey Goose,

Bacardi, Bombay Sapphire and Patron

contacted Drozd. They wanted a beer in their

Canadian portfolio. The conversations resulted

in a signed deal to distribute Vancouver´s

Good Company Lager across Canada. These

local guys went national.

“Suddenly this fun little project turned into

something really serious,” said Drozd. “We were

just a little company with two guys and a truck.

Just slinging beer. All of a sudden we are getting

to that level now. It’s pretty interesting.”

The first stage is to distribute Good

Company Lager in B.C. and Alberta. It’s all part

of a three year project to take it across Canada.

Drozd is calm and keeps his feet on the ground,

telling himself he will believe it when he sees it.

Hard work and vision have helped Drozd

to co-own the Cobalt, the Boxcar and the

American. These are Main Street´s Holy Trinity

of bars. He sees much of his success coming

from supporting the community. When

Good Company Lager came out, many of the

communities that Drozd has helped turned

around and gave their support.

“People are excited about Vancouver. People

are very excited about things from Vancouver.

And people want to support people that

do things in Vancouver. There is a growing

support network for local stuff. For a long

time Vancouver never had that,” said Drozd.

It is time to raise the pint high, wishing

success to this fermented, yeasty, and local

band. Cheers!

Photo by Brendan Meadows

Michael Kiraly and Patrick Drozd are taking their Good Company brand across the country.

October 2018




Different kinds of comedians bomb differently.

If you’re a one-liner, punchline kind of

comedian, recovering from a failed joke is pretty

straightforward: you move on to the next one.

They might just not like your style and that might

not work either, but your chances are easier. If

Photo by Rebecca Blissett

Chris Griffin’s comedy brain has been mapping his path to success as a stand-up storyteller.

you come from the line of comedians that are

more storytelling in concept, if a bit isn’t working,

recovery can be much tougher. Vancouver

comedian Chris Griffin belongs to the latter camp

and recognizes this difficulty, but has developed a

sense of how to succeed.

“I just did a show a couple of weeks ago at a

senior’s home at noon. Average age: 84,” he says.

“I couldn’t get anything. Half of them weren’t

even awake. It sucks the life out of you, doing two

minutes of set up and then you ditch the joke

so that’s now three minutes where nobody has

laughed. It’s brutal. You learn to get out of that.

And you learn to have the confidence to get out

of that. Like, look, we’ll get through this and you’ll

laugh. You exude that and they’ll buy it.”

There’s a sort of chicken-or-the-egg paradox to

storytelling comedians. Are they people who end

up in situations that allow for funny stories to turn

into comedy, or are they comedians who actively

seek out experiences that they can turn into

comedy? For Griffin, it’s a bit of both.

“I think the stories come first,” he says. “But I

also have the type of personality where you chase

them. I think, as you do comedy and get years into

it, you really develop a comedy brain. It’s always in

the back of your mind – an eye for what’s funny.

So when a situation presents itself that’s going to

be crazy or people want to go do something that’s

nuts, I’ll always be all in.”

This sense of chasing stories, especially the kind

Griffin traffics in, doesn’t come without a cost: “For

my own well-being, in the last year my friends had

a bit of an intervention where ‘you have to tone


down’ putting yourself in crazy situations.”

Griffin is recording material this October for a

possible new special. It should showcase where

he’s come since his last one, which was recorded

back when he lived in Calgary. “This is sort of the

culmination of the years in Vancouver,” he says. “I

think I’ve grown as a comic since then. I’m excited.

I’ve toured non-stop until now. I feel the hour is as

ready as it will be.”

Ideally the situation will be a little better than

the circumstances surrounding his last recording.

He recounts, “The flood happened, and it flooded

the theatre, and I had to postpone it into midsummer,

which is the worst because Calgary has

two months of no snow. I still managed to get a lot

of people out.”

With this recording comes a sense that he’ll

have moved to a new point in his career, and

to carry on progressing: “It’ll be nice to put this

material to bed officially. I’ve forced myself the last

six weeks to not write and just polish. And then

it’s back to the grind and write a new hour, or try a

one man show or something different. It’s freeing

and terrifying. To start fresh like what I did when I

came to Vancouver.”

Catch Chris Griffin live on October 18 at the

Biltmore Cabaret.

October 2018 13




Do you hear it? That unsettling sound

of your stomach grumbling like the

monster of your childhood nightmares?

Your cupboards are empty because

you have been too busy decorating

the house for trick-or-treaters and




Tee Krispel, founder of FLEURS Tea,

is stuck playing the waiting game

as uncertainty keeps small business

owners in the clouds, regardless of it

being “high times” for the cannabis

industry. In recent years, the medical

benefits of cannabis have been the

launch pad of legalization around

the world. Canada’s perspective

switch from the war on drugs, to the

realization of medicinal, industrial

and economic benefits has rendered

great positivity for the industry.

Cannabis has finally had the chance

to expand in an array of forms,

including CBD, holistic herbs and

tea. Enter FLEURS Tea.

“I used the ‘WOKE’ blend

throughout college to help with

studying. I lose focus really easily

and it completely helped me with

there may or may not be an earthy,

and possible skunk-like aroma looming

in the foreground. What do you do?

Lay in bed and hear the howl echoing

from the collective of werewolves

congregating in the distance? Make an

retention and focus,” says Krispil

about her yerba maté and medicinal

herb infused tea product that is

designed to give you a healthy boost

of energy. “It was then that I started

incorporating herbs into my daily

regime. The power of herbs is wild

and I want to help bridge the gap

between herbalism and cannabis.”

Krispil started FLEURS as a passion

project on 4/20 of 2017, unknowing

what it would become. Using a

Point Grey dispensary known as The

Wealth Shop as a testing platform

for the product, FLEURS started off

slowly as customers grew a liking to

its enticing branding and packaging.

A few months later, Krispil found

her passion had blown up into a

full-fledged business and FLEURS

was suddenly in demand. “I took a

Photo by Olivia Van Dyke


underwhelming snack composed of the

back-corner contents of the fridge that

you’ve been meaning to clear out since

last week? No, you take a casual stroll in

the cool and crisp October air, and head

to Snack Land at 3011 Main Street.

The store, which aims to “provide

all the snack lovers quality snacks from

different countries, under one roof,”

does just that, with its unique plethora

of munchies. Find everything from

samosas to British candy, Jamaican

patties, and special edition snacks and

drinks you won’t find anywhere else,

like ‘80s New York Seltzer in all seven

flavours. Here are our top five musthave


1) Whatchamacallit: what was

that? Sorry, can’t hear you over the


The extremely hard to find bar, also

commonly known as “Special Crisp,”

look a look at the saturation and

noticed where the gap in the market

was. Thankfully that gap also aligned

with my passion for alternative

healing. There was nothing like what

I wanted to build in terms of CBD

products. I couldn’t find anything

else that incorporated the healing

benefits of herbs,” says Krispil.

With legalization right around

the corner, FLEURS Tea and other

products like it will become

accessible to those who need it.

However, the obstacles of creating

such a product remain fierce. “I’m

happy people will have access to

their medicine. That’s one positive

of legalization. It will become

more widely accepted and will

be considered a part of modern

medicine. The market is up in the

air and I’m just playing the waiting

game, but legalization will make it

more difficult for small businesses

like mine. We’ll be competing

against big corporations with lots

of money and resources. I like to

think it’ll roll out like alcohol. There’s

Budweiser or Corona and then

there’s your local brewery. We will be

your local brewery of CBD products.”

Check out FLEURS Tea and everything

they have to offer at www.fleurstea.


boasts some pretty in-your-face peanut

flavours. Crispy, crunchy, and if it

weren’t for the sweetness level, it could

possibly be mistaken for a granola bar.

2) Oh Henry! 4:25: made for

recreational hunger.

Again with the peanuts and

caramel, but really, how can you not

love this unstoppable combo? The

limited edition bar is equipped with

seven grams of protein, vs Oh Henry!’s

standard five. A perfect snack for your

post-4:20 moment of bliss, perhaps

making you feel a little less guilty for

eating something sweet before dinner?

3) Hi-Chew, high chewy goodness:

the famous chewy candy from Japan.

While the Japanese candy may be

easy to find, the store carries flavours

uninhabited by your local corner store

– some of which don’t even contain an

English flavour explanation.


Ghost OG

Ghost OG is a hybrid strain loved for its balance of

cerebral and possessive body effects. Prepare to be as

elevated as the autumn ghouls that linger in the shadows,

with crystals clearer than the fortune told by your

neighbourhood psychic. The strain keeps you grounded

with its pine and earthy aromatics, while maintaining

lightness though fresh citrus. Ghost OG is born of the

great Afghani Bullrider, but is best suited for relaxing

after a stressful evening of being chased by the Headless

Horseman, or perhaps just a long day at the office.

Written by Jamila Pomeroy

4) Fry’s Turkish Delight: a sweet for

trips to Narnia.

Fry’s Turkish delight is a big step

up from the more commonly seen

Big Turk. The British candy was

developed in 1914 by Bristol chocolate

manufactures J.S. Fry & Sons. Consisting

of rose-flavoured Turkish delight

dipped in milk chocolate, this old-time

favourite remains to be classic gold.

5) Greetings from the front cooler:

samosas and Jamaican patties.

While neither seem authentic,

these are a Snackland staple, along

with the strange individually wrapped

corndogs. But let’s be honest, if you’ve

been snacking on the devil’s lettuce,

can you really decipher the calibre of


Snackland is located at 3011 Main Street

in Vancouver, BC.


October 2018


By Chris Dzaka | Photos by Timothy Nguyen

BeatRoute hits the pavement in

Vancouver and asks…

Yannick Craigwell,

“I’m curious why they’re waiting to process the edibles until next year. I’d like to know

when they’re going to make them legal. I’d like to know when they will be sold and

bought by people like me.

“ What are your thoughts on

marijuana legalization?

Jesse Sugarman, The Charlatan

“I think it’s a step in the right direction considering

the failed war on drugs and the millions and billions

of dollars its cost North America financially and the

socio-political problems it’s caused across multiple

spectrums. It’s a good thing we are now collecting taxes

on a thing people are going to be doing no matter what.

We can turn those taxes into reinvestments into our

infrastructure within our country.

Haidee Kongpreecha,

“I’m a fan of it. I know a lot of people who have been in the non-legal area in terms of

purchasing and have been harmed by things that have been laced with [in] marijuana.

So I’m glad it will be regulated in some way.

B. Kenyan, ICE KOL KUT Barber Shop

“As Rastafarians we’ve been talking about this for

years and years. From way back in the 1970s with the

great legend Peter Tosh. With it being privatized and

federalized, it won’t be for the people. With it being

government run and operated, it won’t be for the

people to benefit from when it comes to economic

growth or gain. It will be for the beer companies, the

cigarette and the pharmaceutical companies, and

these folks. It’s a good thing common folks can grow

a couple plants, but being a Rastafarian that’s my

sacramental right.

Lindsay Mann, The Downlow Chicken

“I think it should have happened a long time ago. My dad passed away

from cancer a year ago and it was the main thing he used. It helps

people more than harms people and we just need to use it responsibly.

Geoff Barton, Audiophile

“I’m fine with it. I have no problem with it even though

I don’t partake at all. I have no problem with anyone

using it. Its a much more effective and helpful thing for

people than booze and that’s legal.

Alex Chisholm, Black Dog Video

“Fully supportive of it and It’s long overdue.

Chef Bounty, Jamaican Pizza Jerk

“Too many things to say. Not enough time

and no one is listening.

October 2018 15





It’s Jilian Medford’s one day off during a chaotic

workweek and she’s using her leisure time to

turn inward. When she isn’t touring endlessly or

composing gutsy, distorted music as Ian Sweet,

Medford finds comfort in the mundane pleasures

of domesticity. “I ran out of underwear two days

ago, so I’m doing some laundry and drinking iced

coffee,” she laughs.

It’s a much-needed moment of calm for the

LA-based indie rocker. After the release of Ian

Sweet’s debut album, Shapeshifter, conflict within

the band and in Medford’s personal life steered

Ian Sweet in a different direction. This led the

frontwoman to pen Crush Crusher, the band’s

upcoming sophomore record as a solo effort.

Due out October 26 via Hardly Art, Crush

Crusher is all fuzzy guitar chords laced with

Medford’s signature, effervescent voice. Many of

the core anxieties that permeated Shapeshifter

are still present in this follow up work, but the

main difference is that Medford is more willing

to take an unflinching look at the intrusive

thoughts that occupy her mind.

As the album title suggests, Crush Crusher

is about the emotional wrestling that one

endures in times of self-doubt. According to

Medford, many of the songs are about nagging

premonitions she had which then led to selfsabotaging

behaviour: “It has to do with a general

feeling of excitement over the possibility of

something. There have been a lot of times where

I felt the potential of a situation, but I never let

myself get there emotionally.”

It’s been an arduous journey, but the

songwriter feels she’s moved past the point

of uncertainty and is at peace with the work

she’s created. Now that she’s arrived at the

right headspace, Medford is eager to take her

new songs on the road: “I do feel like my most

genuine self when I’m singing and playing guitar

on stage. I’m very much an adrenaline-based

performer, and I feed off of other people’s energy

easily—playing live lets me do that in the best

way possible. It feels like the healthiest thing for

me to do.”

Catch Ian Sweet at the Biltmore Cabaret

(Vancouver) on October 23.

Jillian Medford flies solo as Ian Sweet.


Photo by Kelsey Hart




Garage punks overcome tears and fears with the release of hard-hitting debut, Bad Boys.

Jock Tears have come a long way since forming

only two years ago. Bonding over a mutual love

for the immediacy of the Ramones, these bubble

gum chewin’ pop punks have toured Canada and

the US multiple times and just celebrated the

release of their debut LP, Bad Boys. For vocalist

Lauren Ray, the band has become a much closer

and tighter friend group while she has become a

much more confident performer since she first

connected with bassist Lauren Smith, guitarist

Spencer Hargreaves and drummer Dustin Bromley.

“When we first formed, none of us knew each




The delightfully kooky Phono Pony, who

reportedly met while “competing in a hot air

balloon race,” are in the midst of organizing a U.S.

tour, running The Woods Studio (an independent

music and arts space) and releasing their latest

album, Monkey Paw.

The excitement for the upcoming tour is

palpable: “We play at Slab City, a squatter’s camp

in the desert. The last free place in America,

apparently. They have their own laws.” Guitarist

Michael Kenyon reveals, animatedly. “Yeah, so

we may join a hippy commune and never come

back,” drummer and synth player Shay Hayashi

pitches in.

It is in fact a huge understatement to describe

these two musicians by listing the instruments

they play, because the list is endless. As a twopiece,

they have become experimental multiinstrumentalists,

playing whatever is necessary

“to make the songs sound super full when there’s

only two people.”

“It’s a good challenge though!” Hayashi laughs.

“We just have to play multiple instruments.”

Although they have thought about asking

more musicians to join the band, Phono Pony

remains a self-contained unit of two for now.

“It’s just really easy to manage just having two

of us. We have a great connection and we agree

on a lot of things,” Kenyon explains. “No we

don’t!” Hayashi interjects, before he corrects his

Photo by Luis Gutiérrez

other very well. I knew they were all very nice

people who I had admired and looked up to from

seeing them play in other bands,” Ray says. “Now

I can safely say that I love these three with all my

heart and I feel so lucky I get to play music with

them. I also personally am much less nervous as a


Over the course of the band’s relatively short

existence, Ray has refined her skills as both a

performer and a songwriter/storyteller. The

concepts are fun and silly, but not in a way that

would get them kicked out of the locker room for

statement to “When we don’t agree on things, we

don’t go forward with them.”

Phono Pony are a band who are genuinely

in the midst of a fervent love-affair with music.

They speak ardently about music history and

the impact that modern technology is having on

sound. It’s a real passion project for Kenyon, who

says: “We just put this little piece of ourselves out

there and people will make what they want of it.”

Hayashi agrees the organic approach to

doing towel whips. There’s a playful tongue-incheek

element to the band that suggests there’s

something there for everyone. Nobody doesn’t get

picked to play on this team.

Bad Boys is the perfect distillation of everything

that makes Jock Tears stand out in Vancouver’s

crowded punk scene. Clocking in at a brisk 18

minutes in length, the record is snappy, sassy, and


“On this record we wanted to play faster and

harder,” Smith tells BeatRoute. “We wanted to

show those dweebs who thought we couldn’t

totally rip it that they suck. There’s like this new

confidence that is so pitted and powerful [on Bad

Boys] that I’m really proud of.”

Produced and recorded by Rene Wilson at his

home studio in Montreal, Jock Tears recorded 17

songs to analog tape, often doing no more than

five takes per song, over a breakneck four days. “It

was so fast I hardly had time to worry about any

mistakes I made, which was a really positive thing

because I already worry enough,” laughs Ray.

Promotion is already underway for Bad Boys as

the band has a new music video in the works plus

a final batch of Canadian dates planned to wrap

up 2018.

Bad Boys is available now via Inky Records.

crafting songs is what works best for them.

“If you do something with a predetermined

outcome then it’s not gonna feel legit. People can

see, taste, feel and smell when something’s not

genuine. You have to be selfish and you have to

fulfill what you’re trying to do. But you also hope

that it connects to other people. Freakin’ art!”

Phono Pony perform at the Astoria on October 13.

Shay Hayashi and Michael Kenyon use intergalactic instruments for big sounds as a two-piece.

Photo by Brett Roberts

October 2018

Arctic Monkeys

high rollers double down in a new direction

By Johnny Papan

Photo by Zackery Michael

Arctic Monkeys are exploring the past and distant Future

with Tranquility Base Hotel & Casino.

Every evolution of Arctic Monkeys is

a seismic dance that regularly leaves

listeners blissfully capsized with

each subsequent release. It’s been

an unflinching progression since

the start, and their latest album,

Tranquility Base Hotel & Casino, is an

intricate offering that is just as much

a mind-seducing portrait as it is a

musical odyssey.

In “Star Treatment,” the opening

track, frontman Alex Turner

immediately submerges your

imagination into that of a ’50s hotel

lounge decorated in neon lights and

advanced technologies. Suited men

vape along a crisp, mahogany bar.

Women in sparkling dresses kiss the

edge of their martini glass with plump

lips painted in dark cherry reds and

aquatic blues. Some may even face

attempted romantic persuasions

from lizard-esque extraterrestrial

humanoids. It’s a jazzy, loungey,

piano-laden tune that sets the tone

for what will be discovered as an allencompassing

audio experience.

“I think you’re allowed to step

outside your own experiences,” says

Turner. “Songwriting gives you the

scope to do that. There may have

been a time 10 years ago where

I wouldn’t have felt that way –

everything was more like a diary entry

at that point. But those days are long


Turner blends topics of science,

religion, technology and politics into

a soundscape that takes influence

from the far past and layers it with

atmospheric waves of the distant

future. His sharp tongue illustrates a

clear picture of the Tranquility Base

Hotel & Casino, a luxurious structure

firmly planted exactly where Apollo

11 and thus, humankind, first landed

on the moon in 1969. The rock upon

which the hotel is donned gently

floats through the star-speckled black

of infinite space. We get to know

the hotel’s inhabitants, seeing the

likes of Jesus Christ relaxing at the

spa, a wannabe government official

prancing about in their knickers, and

an advertiser spreading gospels of

the four-star taqueria located on the

building’s roof.

Turner did not go into songwriting

sessions with any particular intentions

or messages in mind, and instead

allowed the musical phrases to draw

words from him like a flowing river

stream that escaped through the ink

of his pen and spilled onto papers of

pearly white. He adapted his vocal

melodies to instrumentation like a

curious chameleon modelling new

skin-tones along the catwalk. The

relationship of voice and instrument

on this album is a unique contrast.

“For me, the songs seem to have

a mind of their own to some extent.

Everything seemed to decide it

wanted to go into this sort of other

world, I suppose,” Turner explains. “I

think a lot of that is instinct at this

point. There is not a moment where

I’m sitting with a blank piece of paper

and I’m thinking, ‘What kind of ride

am I gonna take the kids on this time?’

It’s just sort of… yeah, instinctive.”

Tranquility Base Hotel &

Casino, musically, deviates from its

predecessor, the critically acclaimed

AM. Rather than the guitar-heavy

smashings and ambiances explored

in the last album, as well as all those

before it, Turner found himself

gravitating towards the ivory of

an instrument he’s never truly

acquainted himself with, adding yet

another layer of experimentation to

his songwriting prowess.

“The places where my fingers fell on

the piano made sounds that surprised

me and encouraged me to move in a

different direction than I would have

if I was sitting there with an acoustic

guitar,” Turner says. “The music

seemed to suggest these melodies and

lyrics to me. A lot of it came from the


Arctic Monkeys recorded the

album as they were writing it.

Intentionally or not, Tranquility could

be considered some of Turner’s most

thought-provoking work, especially

when you link the pseudo-psychedelic

lyrical stances to things happening

around us today.

The song “She Looks Like Fun”

touches on the subject of virtual

reality, discussing a patron “plugging

into” a non-existent New Years Eve

party held at Wayne Manor, the home

of Batman. “American Sports” sees a

character’s virtual reality mask thrust

them amidst a “parliament brawl.”

Another character in the song speaks

of FaceTime phenomena, using an

emergency battery pack to ensure

they don’t miss their “weekly chat

with God on video call.”

“You sort of reveal a piece of

something as you’re writing and

recording it,” he says. “Then you find

what you’re attracted to, scribble

away a bit more of the dust and

discover a bit more of the picture.

Gradually, it becomes what it is. Each

time you reveal another bit of it, it

commits you to take the next step. I

think it was Michelangelo who talked

about the idea that there’s a block of

marble, and the sculpture is already

inside, and he’s just chipping away at

the excess. [The album] is not quite

that, but there’s something I like

about that statement.”

In an interview with BBC Radio

earlier this year, Turner felt there

was a strange connection between

Tranquility Base Hotel & Casino and

Arctic Monkeys’ first album Whatever

People Say I Am, That’s What I’m

Not, the punkish debut that soared

the band into mainstream populus,

spearheaded by the garagey hit

single “I Bet You Look Good on the

Dancefloor.” At the time, he couldn’t

quite put his finger on the similarities

between these two vastly different

records. When questioned about it

again, Turner responds:

“There’s something in the style of

[Whatever People Say] and the style

of [Tranquility] that felt quite direct

in its lyrics. I was perhaps more willing

to put myself across than I have been

in the meantime in between,” Turner

says. “The first couple of records, a

lot of it was explicitly about exact

renderings of real events that had

happened. After that I sort of scurried

away from that kind of style, or at

least being that explicit about it. I

got more ingested in other areas of

writing lyrics, or trying to write in

different ways. This time around, it

seemed to have some of that essence

of being as straight and direct as it

was in the very beginning.”

Despite these similarities, it’s clear

that the Arctic Monkeys of today are

far different than that of the past. The

boys in the band have matured, as

did their creative outputs and tastes.

They’re not the angsty teens they

once were – they’ve grown, changed,

almost to the point where Turner feels

like he’s a completely different musical

entity than that of his early days.

“It feels like we’re doing a cover

or something when we play the first

album, really,” Turner claims. “But

that’s fine. I don’t hate doing that.

It’s just come to the point where I

play ‘Mardy Bum’ or something like

that and it doesn’t even feel like mine


Alex Turner is 32 years old. When

Arctic Monkeys released their debut

album, he was only 20. 12 years in the

spotlight, and the band has released

six albums, each holding up as a

stand-alone album different than the

others, yet sitting perfectly within

Arctic Monkeys’ repertoire. The group

is as eclectic as they are electric,

and after releasing such an audio

mindbend in Tranquility Base Hotel

& Casino, it’s interesting to see what

comes next.

With all the talk of virtual reality,

science fiction, and advanced

technology, Turner was asked “If you

could go back in time and tell your

20-year-old self one thing, and one

thing only, what would it be?” Turner

pondered for a moment.

“Kiss her before she gets in the cab.”

Arctic Monkeys play the Pacific

Coliseum (Vancouver) on October 25.

October 2018 17





The question of whether or not to wear pants in

your daily life is very rarely a question but some

things in life are just better without. Take for

instance Matthew Rambone, co-founder of the

inaugural Vancouver music festival Glam Fest and

frontperson for Vancouver’s freaky-deeky garage

glam outfit Rambone & The Wet Reality.

“I made the rule for myself a year or two ago that

I couldn’t wear pants while performing anymore. It

has to be spandex, tight, see-through and preferably

shiny,” Rambone tells BeatRoute. “I have a couple

tunics and moo moos that are also pretty chill.”

Itching to get more eyes on his moo moos,

Rambone has collaborated with Glam Fest cofounder

Sabiá Hurley (Music Waste) to curate an

evening of local talent with an emphasis on all things


This is the first year for GLAMFEST and they’re

already rocking a stacked lineup of local talent

that bends and blurs the glam genre to be an allencompassing

umbrella of freaky fun.

“I wanted to ask bands that made some sort of

effort to dress up for their performances. I like it

when bands are a little extra,” says Rambone.

There are more than 20 bands who will be

delivering the most extra versions of themselves,

including Eric Campbell & The Dirt, Devours, Teak

Physique, Alien Boys and, of course, Rambone & The

Wet Reality.

The Wet Reality has been modestly making noise

around Vancouver for more than five years now and,

according to Rambone, the band is close to finishing

their second album.

“A couple of vocal overdubs and some keyboard

tracks, then just mixing and mastering. I filmed some

music videos but had to sit on them for the album

to be recorded to finish them,” he says.

Glam Fest 2018 is offering Vancouver music fans a

chance to get equally wet and wild this month with

an exceptional cross section of local talent. It’s going

to be a full day, starting early at 3 p.m. so make sure

to get their early if you don’t want to miss out on the


“Everyone has that crazy outfit in their closet that

they never get to wear,” Rambone says. “This is their

chance to shine!”

Glam Fest 2018 takes place on Oct. 13 at Red Gate

Arts Society.

Rambone & The Wet Reality


Photo by Analissa Longoria




Chances are you haven’t heard

of Bored Décor before. However,

the local four-piece has been on

a meteoric rise to local stardom

over the course of the past two

years, playing concerts throughout




Freak Dream is the solo project of Vancouver

musician Elliot Langford (SSRI’s, The Rebel Spell,

Spring, Big Evil, Togetherness). The project is

inspired by his varied musical past, merging

elements of noise-rock with electronic music,

while carrying a very punk-like energy. Langford’s

debut LP, Into the Sun, projects itself into the

electronic waves of a synth tornado, only to

be spit back onto the ground; its manic, but

enncompaces high levels of energy.

Separate from the chaos are vocal melodies

that are often reminiscent of Prince and other

’80s pop icons.

“I’m a big Prince fan, which I think is pretty

apparent on this album that there wasn’t really

in the past EP. The whole project initially was

sort of inspired by my teenage self to present

fandome of Nine Inch Nails. Just that Idea

that rather than having a whole band working

on something, the idea of one person sort of

trying to be a whole band and recording all of

the instruments. I wanted to have a broader

sound for this album and still have some heavy

elements, but this album I think has more pop

and grimey elements,” says Langford.

Aside from musicians such as Prince and Nine

Photo by Keaton Chiu

Bored Decor have created a live and organic experience with The Colour Red.

Vancouver so frequently it

sometimes seemed as if they were

two places at once. Now somewhat

seasoned vets in the art of the gig,

the band has finally decided to put

their (equally seasoned) material

together into a debut LP, The

Colour Red.

“I don’t really think we wrote

the album as an album necessarily,”

guitarist and singer Nik Barkman

says pensively, almost to himself.

The others are sitting in a circle

on the charred summer grass in

Dude Chilling park, nodding in

agreement. “It’s all ‘previously

unreleased’ material, but it’s been


The record, at a full 11 songs,

is packed full of tracks that local

showgoers might recognize. Many

of them manage to contain the

same intensity and dynamism

that you could expect from a

live performance, which is likely

because it was recorded live off the


“We recorded it live, and vocals

were overdubbed,” explains

drummer Neriah Mair. “We actually

recorded it super fast, probably

from playing it for so long.”

“I don’t know if the way I play

things on the album are the way

I play them live anymore,” adds

keyboardist Ryan Quist after a

brief pause. The others laugh in

agreement, guitarist Colin Osler

Inch Nails, Langford takes great inspiration from

the modern digital era. “Musicians like Grimes,

I’m a big fan of this nerdy guy named Jacob

Collier. People that self record at home.”

This trend of musicians taking on many hats as

producer, composer and live musician has begun

to change the way we see music, and most of all

tests the boundaries of the creative process. “I

like working in teams and I had been in bands

in the past where other people had strong

throwing in a joke about a time

Quist insisted on playing only the

bass for one of their practices.

The Colour Red is fantastically

messy, and stimulating, just as

you’d expect if you’ve had a chance

to catch any of their live shows.

Distorted guitars, bass, and synths

rip through frenzied riffs as the

drums blaze along beneath —

Barkman’s Byrne-esque vocals all

the while chanting politically-tinged

lyrics speedily overtop. Yet certain

other songs exist on this record

that many Bored Décor fans almost

certainly won’t expect. Songs like

“Black Bananas” meander along at a

ballad’s pace, with Barkman quietly

crooning to surprisingly spirit-lifting


Regardless of speed or energy,

however, every song still possesses

an intimacy that makes listeners

feel as if they’re right there in the

studio with the rest of the band.

“And that was kind of the goal,”

says guitarist Colin Osler. “To make

it as live and organic as possible.”

Bored Decor perform with Ulrika

Spacek and Mint Field at the Fox

Cabaret October 9.

personalities, where I was happy to take on a role

of complementing. This project I wanted to try

largely just to challenge myself.”

Langford accepted the challenge and shines

brighter than ever before as he sets his course

directly into the sun.

Freak Dream’s Into The Sun is available now on

Artoffact Records.

Photo by Laura Harvey

Elliot Langford takes flight with a nod to the digital era on latest experimental project, Freak Dream.

October 2018





Evening Machines is Isakov’s fourth full-length album, and his first in five years.

Photo by Rebecca Caridad

From a three-acre farm in Boulder County, Colorado

drift the sounds of strings, drums, and soft vocal

arrangements. Gregory Alan Isakov is the farmer

here, passionate and careful about what he cultivates.

Though he’s made his name as a musician, agriculture

was Isakov’s first love; in fact, he never had musical

aspirations at all.

“My musical outlet was just part of my workday,” says

Isakov. “I would play after work or before work. When

I was starting out, that was the extent of it. I grew up

gardening, and I don’t know why I’m into it. I guess soil

just turns me on. I’m home most of the growing season

– I grow for four or five restaurants and a couple markets

in the summer, usually around April to September – and

then we tour the rest of the year. But music was never

my goal.”

His tone is incredulous. Evening Machines, his new

album, will be his fourth full-length studio album. But

despite having been at it for upwards of 15 years, Isakov

still can’t quite believe how far his career has come.

While he didn’t envision it as a career path, music – and

more specifically, writing, whether the result is a song

or a poem – has always been something Isakov has just

done. It’s a practice he’s fastidious about, and while its

parallels to horticulture may not be obvious, they are

plentiful. Both require self-motivation and discipline.

Both involve starting with nothing and bringing a new

entity to fruition. And for Isakov, they’re both labours of


“I don’t know why I do any of it,” he says. “I feel like

I need to write, and what arises from that is a mystery

to me a lot of the time. I don’t start out with a lot of

intention behind it, like ‘I’m going to write a song about

this.’ I usually start out with some sort of melody, or a

lyric will inoculate my mind, and then it just grows. It has

this life of its own. Sometimes you get it and sometimes

you don’t, but when you do, you feel like you’ve struck


This time around, Isakov will be accompanied by a

six-piece band made up by many of his closest friends.

He wrote the album knowing this, almost tailoring the

process with a live audience in mind.

“I’ve always made really quiet records in the past,

and our shows tend to be heavier,” he says. “When I’m

making a record I always picture one person listening

to this collection of songs in their ’87 Toyoto pickup.

At a show, it’s different. There’s a crowd. It’s more of a

group experience. And bringing that group experience

onto a record, it’s really challenging. But I wanted to try

something like that, so I got a little darker and a little

heavier on this record.”

Evening Machines is slated for release on October 5.

Gregory Alan Isakov plays the Commodore on October 10.

October 2018 19





Jill Barber started her tour across Canada and select

US cities last month after the June release of her latest

album, Metaphora. Her plan to make it through the

long cross-country road trips? “We’ve got some good

podcasts lined up. We’ll be all right,” she says over the

phone while stopped in her hometown of Toronto.

The world was a different place when Barber

began writing Metaphora nearly two years ago.

The Vancouver-based chanteuse wanted to create

something distinct from her nostalgic love songs. When

it came to previous albums like Chansons, “I was writing

to kind of create a world to escape into, for myself

and for my audience,” she says. “But with this record, I

actually didn’t want to have any nostalgia in it. I wanted

it to sound very contemporary, because I was ready to

finally address some very current issues in my life, and

the world.”

Now with Metaphora, Barber presents to her

listeners a much more personal side: “I allowed myself

to be a little bit more vulnerable, less arm’s length,

and just more raw,” she says. “Whereas my previous

stuff, although I think it was intimate, I wasn’t maybe

brave enough to tackle certain subjects.” Part of this

new bravery, she thinks, comes from experience. “At

this point in my career, it’s not like I have something to

prove like I did when I was first releasing records. Now

I feel like I’ve really earned the right to experiment as

an artist, and to express myself fully without worrying

about how people will respond to it.”

The result is an edgier set of songs. Barber sings of

standing up, of fighting back, of the complexity of

womanhood, a timely playlist fit for the #MeToo era.

She finished work on the album last September, and

many of the things that have happened in the year

since—the increasingly open dialogue on sexual assault,

for instance, and the new willingness for victims to

speak out against their abusers—have been cathartic

for her. “I feel like for years we’ve been whispering about

our experiences amongst ourselves,” Barber reflects.

“And it was so satisfying when that whisper really

became a roar.”

Jill Barber performs at the Vogue Theatre (Vancouver) on

November 1.


Photo by Laura Harvey

Jill Barber gets personal with the release of Metaphora.







Music, much like life, is an

experiment; taking risks can

result in something amazing or

something disappointing. Tamara

Lindeman, front woman of the

Toronto-based indie folk project

The Weather Station, wasn’t used

to trying new things, but that

changed when it came to writing

material for her latest self-titled

record (2017, Outside Music).

After working on the project for

around 10 years, Lindeman knew it

was time to think outside the box

and try something experimental.

“I was more confident and I

knew what I wanted, but I had

made a pact with myself to be

more confident and not be my

usual questioning, doubting self,”

she explains. “It was sort of an

experiment to see what would


While Lindeman’s previous

efforts had already earned her

praise for their similarities in style

to folk artists like Gordon Lightfoot

and Janis Joplin, her latest leap of

faith helped her build confidence

Photo by Ian Lanterman

Nicholas Krgovich copes with loss and heartbreak on Ouch.

and in turn, earned her even more

acclaim from bigger outlets such as

Rolling Stone, Pitchfork, and NPR.

She believes this new confidence

was born out of necessity. “It

felt like I had been around, I had

made some records and had some

experiences but it felt like it was

really time to say something or


The Weather Station starts

with a new Lindeman showing

off her new airy, confident voice.

Opening song “Free” is focused

on Lindeman discovering her own

sense of freedom. “I think the song

is about me understanding that I

had never been free but now I feel

like the new journey is beginning.”

Over the years, Lindeman has

suffered from a degree of mental

illness, but through music and

conversations with loved ones,

she was able to get a better

understanding of both her illness

and her true self.

“To me, with this record, I thought

that it would be great to just be

able to talk about it as though it

Nicholas Krgovich is one of the most

mellow dudes you could meet. So

mellow in fact, that he managed to

escape all the troublesome relationship

experiences like heartbreak and

breaking the hearts of others until now,

bitten at the age of thirty five. Maybe

because for the last couple decades

he was too busy releasing albums

with his friends, and partying at the

Sugar Refinery to fall in love. So when

this late bloomer finally had his heart

broken he did what he knows to do

best, he made an album. It “plopped”

out of him, that easy. It’s called


OUCH has a honeyed, dream-pop

surface, but the lyrics are twisted. The

harmony in the sound contrasts with

the copious swears, tears and delusions,

the latter in lines like “decisions might

be made that don’t include you” off

Rosemary. Like they care now, right?

“If the tone of the lyrics matched the

music it would be nearly impossible

to listen to,” says Krgovich. As it is, the

album is hypnotic, more sparse than

some of his past work, brimming with

was normal,” she notes. “I just felt

that it was important to have this

hidden thing.”

The Weather Station serves as a

new beginning for a more eager

Lindeman, one who’s also more

lovely piano, guitar and the occasional

hand clap, inspired musically by “classic

staples of teenage listening years, like

dreamy indie rock.”

The production of the album was in

itself a dream, despite the occasional

tearful gin-fueled breakdown. For

Krgovich, it involved “doing and not

thinking.” The songs were “written in

my head at my day job”, everything

was made at home and then “if there

was something I didn’t know how to

do I would just call a friend and they

would drop by”, since all Krgovich’s

friends happen to live in walking

distance of his place. A process quick

and heartening like “a pure bolt of

inspiration” had never really happened

in all his years of song-making. For him

things tend to “simmer” in studious

practice, rather than explode.

“As a human, now knowing that

I can open my heart and fall in love,

have it broken and survive, it’s a great

thing to know.” More than survive, he

plopped an album out!

OUCH will be released October 26.

confident, sure, and caring for


The Weather Station performs

October 17 at Fox Cabaret


Photo by Shervin Lainez

Rain or shine, Tamara Lindeman has made a confidence pact with herself.

October 2018




Photo by Pooneh Ghana

Courtney Barnett let’s her songs speak for themselves on her latest release, Tell Me How You Really Feel.

Courtney Barnett’s second album, Tell Me How You

Really Feel, may have a smaller, more introverted feel,

but this change is reflective of the Melbourne based

songwriter putting herself in a more vulnerable


While the critically acclaimed musician is known

for her wordy, wit-full lyrics and her commanding

stage presence, she explains that for the most

part, she keeps to herself and gets lost in her own

thoughts. “I don’t really talk that much,” she says,

followed by a laugh. “The songs probably come

around like that because I spend a whole lot of time

working on them. So it’s all of these thoughts put

together in a short amount of time. I think in real life

I just kind of keep quite quiet and keep my thoughts

to myself a bit. ‘Hopefulessness,’ the first track, is

pretty reflective my thoughts of the world in general

over the last few years.” Barnett chose to work with

producers Burk Reid and Dan Luscombe again,

which facilitated a space of comfort and creativity,

while rendering the high caliber production of her

previous work. “There was a great group of people

in the studio for the last album,” she says. “I always

feel quite vulnerable in the studio and it’s kind of

nice to be surrounded by such warm, friendly and

encouraging people.”

Joining the list of noteworthy creative

collaborators is cinematographer, Ashley Connor,

known best for her work on Mountain Rest (2018),

Our Idiot Brother (2011) and The Backseat (2016).

The two shot the music video for “Charity” in the


midst of her last international tour. “She has worked

on a some incredible films, and video clips as well.

I just think she is super talented and a really cool

person,” Barnett says.

Barnett speaks of often getting lost in thought,

keeping to herself and generally being an introverted,

quiet person. To be clear, she is an introvert until

you begin to talk records; lighting up with a great

contrasting energy. “Oh I’ve got a list, I just made

a list! let me look at it. I was about to update my

actual playlist,” Barnett says excitedly as she looks

through her playlist. “I’ve been listening to Marianne

Faithfull a lot; she is about to put out a new album

and I didn’t know that much about her so I delved

into her back-catalogue, and that is obviously a

big catalogue. A bit of Nick Cave’s albums I haven’t

listened to and some Joan As Police Woman, Anna

Calvi.” While these artists may not sonically reflect

the works of Barnett, they all have one thing in

common, unbelievable talented musicians with

unique personalities with the ability to turn anything

into a captivating story filled with emotion.

“Everything inspires me, whether its inspiring

in a good way, or a bad way,” she says. “I think to

be aware of the world around you is obviously

important and plays a big role. Not that songs are

specifically about those things, but I think it all adds


Courtney Barnett performs at the Vogue Theatre Oct.

9 and 10.




With his latest and most dense album Blue Madonna,

Garett Borns offers multifaceted artistic compositions.

Between nostalgic references and new sounds, complex

art and a natural creative gift, his multiple flamboyant

personas and his light and humorous self, BØRNS is a

beautiful enigma, able to transport you in a pop bliss while

singing about broken hearts.

The sounds Blue Madonna are as much the result

of retro inspirations as experimenting in collaboration

with his producer Tom English. “We were both trying

instruments and referencing a lot of older music like the

Beach Boys and ’90s pop music, and tons of influences, just

to see where it lands. And it kind of created this universe

for Blue Madonna.” A mariachi, a theremin and hypnotic

retro California sounds, lit in blue and pink, make up the

mood for Faded Heart, the first track of the album.

BØRNS is passionate for visual arts: he recounts the

origins of Blue Madonna in a series of metaphysical and

humorous short films available on his YouTube channel. “I

wanted to show this psychedelic landscape, in Los Angeles,

and show me discovering all these sounds around LA and

gathering them and putting them into a record. I called

them The Lost Sounds because I feel like I was putting a

few different instruments and influences on the record

that I haven’t heard in pop songs in a long time.”

Indeed, BØRNS is resurrecting this very ’70s and ’80s

glamorous and arty side of pop music by impersonating

eerie, out of time and androgynous figures while pleasing

the ears of a large audience. “I’m really influenced by David

Bowie, I love how he can be in so many characters and

how his looks really depict his persona. I wanted to do a

look for every song in the album.”

On stage, he swings between delicate and iridescent

Sies Marjan silky getups and what he describes as “kinda

glammed out activewear” (understand, fringed bandana

red sweatshirt and pants he designed with Nike). The show

is one of aesthetics as much as a musical performance.

His satin pop music rises as much from his sleek looks

as from his opera-trained, malleable voice. “I like to make

my voice sound differently on albums. With the Blue

Madonna, I do all my background vocals. So some of it

might sound like a woman singing or some of it might

sound a lot deeper.”

Every one of his live performances is different: the

mood, the lighting and the channelled energy, which

influence the way his voice resonates. “There are shows

where I feel very introverted; and those are the shows

where I express more and I’m more wild and open. And

then there’s times that I feel more extroverted and I almost

force myself to be more closed off. I think it makes you

perform and sing differently, depending on your mood. So

I like to contradict my mood.”

BØRNS performs at the Orpheum on October 21.

Garrett Borns’ satin pop music on his latest, Blue Madonna, shines bright towards the heavens.

October 2018 21




Not just a party band, FIDLAR is a creative vehicle for Zac Carter, pushing the boundaries of punk rock.

“Fuck it dog, life’s a risk” is the expanded name

of the Los Angeles based skate punk band who

exploded in 2012 with the release of their single,

“Cheap Beer.” Since then FIDLAR have been honing

their skills and crafting catchy pop songs with a

relatable edge. Their aesthetic strongly resonates

with the youth and the hungover mornings that

come with partying. But to simply reduce the

quartet to just being a party band would be a


Frontman Zac Carper is easy to claim as a

modern-day artistic workhorse. He is always

touring or recording but prefers the latter. This is

due in part to a rocky history with substance abuse

and recovery.

“I write songs because I gotta write songs,”

Carper says. “To me, it’s like my therapy. I don’t

really have a life outside of this. Everyone else in

the band has girlfriends and they’re from L.A so

they have a lot of friends, but I just stay in my

studio and create my own little world.”

On Carper’s latest material, traditional rock

instrumentation has been pushed aside in favour

of distorted 808s and rattling hi-hats, which are

staples of trap influenced hip-hop.

“A lot of what’s trending right now is some of

the most punk rock music,” he says. “Studios are

studios and people can make amazing records in

their bedroom.”

Cultivating emerging ideas then blending it

to taste with traditional methods is how music

advances. So pulling aesthetics from Soundcloudbased

rap artists, Carper is really just blending

punk from a traditional and modern perspective.

This pushes both punk and hip-hop forward in

ways, similar to bands like Death Grips.

“The reality is that if it’s a good song, that’s

what is gonna make it last longer. That’s why I like

XXXtentacion and Lil Pump and all those that are

really doing well right now they have great songs.”

Having just finished recording a new studio

album, his influences range from production done

by Mario Caldato Jr., War, The Black Keys and most

notably Kanye West’s, divisive sixth album, Yeezus.

“I love that record so much that record is a huge

influence on our new record, Yeezus. That’s like

one of the most punk records ever.”

On September 13th, 2018 the single “Too

Real” was released. Upon first listen it’s easy to

identify that polished, glossy, industrial hip-hop

sound that lends itself well to being blended with

organic instrumentation. The track just oozes

Yeezus from the skipping 808s at the beginning

of the song, to lyrics dealing in socio-economic

commentary (watch the music video and you’ll get

it), to painting midway through the song. All these

elements are found in tracks like “I Am A God” and

“New Slaves”.

This all seems like a positive direction for the

group and the punk rock genre they are building

on as well. Paving the way for more bands to

explore a broader textural sonic palette, FIDLAR

offer a breath of fresh air to the trappings of

conventional instrumentation that have been

choking punk rock for so long.

FIDLAR perform at the Vogue Theatre on October





Though leading the pack in many ways in the

proverbial classroom of post-punk, the young

Londoners from Shame sit in the back row. They

sit there not because they’re slackers—the band

has toured extensively throughout Europe and

North America—but because it offers a better

view of what’s going on in the room and they

don’t remember signing up for the class.


Photo by Holly Whitaker

A young post punk band on the rise, Shame have learned all their recent life lessons on the road.

The five-piece formed in high school in South

London. By the grace of a lucky connection, they

managed to secure a free jam space in the fabled

Queens Head Pub in Brixton, the upper floor

of which housed a squat that Fat White Family

once called home. Despite often being compared

to The Fall or Gang of Four, frontman Charlie

Steen assures us that it was the combined factors

of being seventeen, playing with improvised

equipment, (drummer Charlie Forbes learned to

play on only a snare and a hi hat), and the seedy

backdrop of the Queens Pub that birthed their

straightforward, hard-hitting sound. “Someone

compared us to Gang of Four before we had ever

listened to them,” says Steen. “We all have eclectic

music tastes and very differential personalities.

We’re never trying to sound like anyone.”

To this truth, their music speaks for itself.

Shame makes high energy, guitar-driven punk

that has one foot in the origins of the genre and

another on the front lines of the contemporary.

Guitars reel and duel while their songs build to

tense heights. Paced at a thrashing sprint, their

songs offer commentaries and narratives that,

though fiery with angst, are full of thoughtful


Embodying their songs, Shame charged

headstrong and screaming into the music world.

“We came in with this mindset that we would play

as many gigs as we could,” says Steen. After making

a name for themselves in the London circuit, they

captured the attention of Dead Oceans, who

released their critically acclaimed debut, Songs of


Going straight from high school to the band life

left little time for university, which is something

that didn’t bother the members of Shame. “I don’t

think any of us wanted to go,” Steen confesses.

“This is the age of identity crisis. We were

fortunate to figure out what we wanted to do at a

young age.” But there exists an education beyond

textbooks and institutions, the school of the open

road, and the members of Shame are alumni. On

the subject of lessons learned on tour, Steen says.

“ I can’t think of anything motivational. I guess it’s

all been one big life lesson. Otherwise it would be

really boring stuff, like, don’t get a veggie burger

from Burger King, or don’t recline your seat on the

plane. Why do people do that?”

After a circuit of festivals and tours throughout

North America, Asia, the UK and Europe, the

band is looking forward to taking four months off

to write a new record and learn a couple things

that the road can’t teach them, “like how chop

onions or use a washing machine.” Considering

the ground they’ve covered in their short time as

a band, it’s safe to assume that Shame is made of

quick learners, and after the onions are chopped

and the clothes are washed, they’ll be back on the

road for many years to come.

Shame perform on Oct. 9 at the Wise Hall.

October 2018




The band says this acoustic change is only preparing the world for heavier things to come.

Written by By the time Chris Aiken joined

Strung Out in 1999, the band had already put

out three full length albums and cemented

themselves as the leaders of a global wave

of fast, technical, and melodic punk rock.

Through “the power of the universe,” as he

describes it, the California-based musician

went from listening to Suburban Teenage

Wasteland Blues alone in his room to touring

the world and recording multiple albums for

seminal San Francisco record label Fat Wreck.

It happened in a “divine order,” and filling the

shoes of ousted bass player, songwriter, and

lyricist Jim Cherry was only the natural thing

for the guitarist to do.

“I was tripping out that I got to be on stage

with Strung Out. It was crazy!” Aiken says.

And when the band dropped their Element

of Sonic Defiance EP in June 2000, the rest

of the world got to trip out on Strung Out’s

progressive and aggressive reimagining of the

California punk rock sound. Following in their

own footsteps of unconventionality, Strung

Out’s most recent offering is an acoustic EP

titled Black Out the Sky, a bold statement for

a band whose appeal is often attributed to

the heavy metal tinge they colour their punk

songs with. Equal parts stripped down and

intricately layered, Black Out the Sky is the

kind of dark meditation on the failing heart of

the American dream that only Strung Out can


“We always like to grow, and push, and be

fearless,” Aiken says of the band, emphasizing

that risk is an integral part of what makes

Strung Out who they are. “If we kept putting

out Twisted by Design for 20 years we’d be

fucking shooting ourselves in the head. We’d

be so bored.”

When pressed for a favourite album from

the band’s illustrious catalogue, Aiken explains

that it is yet to be written.

“My favourite record is in the future. I’m

chasing it right now. I’m trying to grab it but

it’s always ahead of me.” Listening to Strung

Out’s break-neck, tumultuous compositions,

this sense of urgency becomes palpable.

As with any great art, the evolution

of the product coincides with personal

growth. While Strung Out is a band that is

associated with fast times, for his part Aiken

is approaching six years of being drug- and


“I’m super grateful for where I’m at right

now. I wouldn’t change the bad and I wouldn’t

change the good,” he says about his choices. “I

do approach the music with a different level of

tenderness.” Nonetheless, listening to Strung

Out’s newer material still feels like a rush of

amphetamine racing up your spine.

And though Black Out the Sky was a slight

departure from their sound, Strung Out makes

it clear that it is only a taste of heavier things

to come.

“We’re working on the next record already.

Our goal is to get in around January and start

recording,” Aiken says. “We’re taking the next

step forward. We’re not pulling over to the

side of the road. We’re not breaking down.

We’re going to keep moving forward no

matter what.” And it’s up to us if we want to

come along for the ride. One thing’s for sure:

it’s going to be a fast one.

Strung Out plays the Rickshaw Theatre

(Vancouver) on October 12.




Written by The San Diego-bred psychedelic heavyrock

trio Earthless pushes boundaries with their

latest album Black Heaven, a stray from their typical

crushing instrumentals. Black Heaven is rock and

roll put in overdrive, holding ground with authority

– possibly reflective of their label switch over to

Nuclear Blast. Black Heaven ventures into a more

vintage sound, while remaining heavy and tough as


While previously being coined as an instrumental

band, Black Heaven is a six-track album that features

four songs with vocals by Isaiah Mitchell. The band

draws much inspiration from German Krautrock and

Japanese heavy blues.

“In the beginning it was a flower travelin’ band,

and blues creation from Japan, and bands like Guru

Guru and Amon Duul (the first and second) from

Germany,” says drummer Mario Rubalcaba. “There

are so many others that exist as well, but that would

take up a lot of space.”

While their musical inspiration may still be the

same, Black Heaven comes off as less shred-heavy,

and more honed in on mood and vocal tonality. Each

song stands on its own as uniquely independent,

while past albums embodied a more cohesive flow.

The songs may be shorter, but the production value

and flow connecting tracks provides new elevation.

The instrumental stoner rockers add vocals and a change of dynamic on their latest project.

Transitions between songs like “Black Heaven” and

“Sudden End” exude production sophistication we

have yet to hear from the band.

With nearly 18 years under their belt, it would be

easy to believe the band dynamic has changed along

with their sound, but Rubalcaba states the way they

create music is quite similar to their early years.

“I don’t think that’s a bad thing either for us.

This last LP was more song oriented, but we have

always done a couple covers or an original song here

and there with vocals, but they were really low key

releases. We still rely heavily on improvising through

musical situations, and that can apply even to the

more structured stuff.”

Earthless, from the beginning, was born from

hybridized subgenres, so really, it should come as

little surprise for the band to continue their trend of

experimentation. While some elitist fans may need

to get adjusted to the change of pace, this could be

seen as a shift in the right direction for Earthless.

Black Heaven gives us the opportunity to peer deeper

into the assumed themes of the band’s songs through

lyrical expression; they are, in fact, much more than

the archetypal stoner/psychedelic band you may

have thought they were.

Earthless plays the Rickshaw Theatre on October 10.

Photo by Atiba Jefferson`

October 2018 23





The album’s final track, “Showers,” features vocals from McHayle’s four-year-old nephew.

Junglepussy knows what she wants, and

she won’t let anybody stand in her way.

Born Shayna McHayle, the multi-talented

creative grew up painting, drawing, and

writing, but never imagined her penchant

for self-expression would turn into a music

career that’s spawned a mixtape, two studio

albums, and even a transition into acting

– she’s recently had roles in film Support

the Girls and HBO series Random Acts of


“Writing has always been a huge part of

my life,” says McHayle. “Growing up I loved

to write stories, loved to write letters, loved

to write in my journal. And I love to paint, I

love to draw… I just love art. But music was

never something that I’ve always wanted to




Charlie Yin is an introvert. He started out

listening to indie rock, playing in bands

as a teenager influenced heavily by The

Strokes and Interpol. But, preferring

to work in solitude, Yin adopted the

pseudonym Robot Science – which has

since been changed to Giraffage – and

“decided to explore the world of electronic

music.” He was only 14. Now, he’s created

a niche auditory aesthetic that retains a

recognizable sound while still growing from

one project to the next.

Yin is about to embark on a tour with

Ryan Hemsworth, another producer who

started out making beats in his basement

and has since released four studio albums,

seven EPs, two mixtapes, and toured the

globe extensively.


do. It just came about in recent years and I

really connected with it. Acting helps with

my music, too. When I was doing the movie,

I was finishing up Jp3, and it was so cool to

spend my day being Danielle, my role in the

movie, and then go back to the hotel and be

able to forget about that and just tap back

into me. I loved that.”

The most recent Junglepussy release, Jp3,

is a natural evolution from the sound she

cultivated on Satisfaction Guaranteed and

Pregnant with Success. The self-assured

lyrics and powerful voice that delivers them

are unmistakably McHayle. But the topics

explored are somewhat of a departure,

focusing more heavily on themes of

positivity and love.

Photo by Holy Mountain

Charlie Yin and Ryan Hemsworth are embarking on an international tour together.

“Ryan and I have come up together,”

says Yin. “I remember listening to his

remixes way back when we were both little

SoundCloud tadpoles. We’re very similar in

a lot of ways, so it’s really easy when we’re

together. Creatively, we literally can make

music together all day and all night, so it’s a

great match in that realm as well.”

It’s safe to say both Yin and Hemsworth

have outgrown the tadpole phase. But that

doesn’t necessarily mean Yin is comfortable

swimming in the deeper waters his

evolution has led him to.

“I’m a major introvert, so being in a

setting where you have very little time

to yourself is stressful,” says Yin. “But I’ve

begun to tour a lot more sustainably,

and it’s been helping my mental health

“[Making music] really has purpose,

you know?” she says. “I just need to let

it go and share it – it’s bigger than me. I

just need to be here contributing, giving

people something to believe in, giving them

inspiration, because that’s all I fill myself

with. All day long, I’m just constantly on

an everlasting search for great music, great

articles, great YouTube videos, just people

who inspire me. So I’m happy to be one

of those people for other people, because

that’s really all it takes sometimes.”

The artist-turned-rapper-turned-actress

is unabashedly herself, regardless of which

medium she’s pursuing. McHayle hopes to

use her success to provide a platform for

others whose voices deserve to be heard.

“I’m proud to be in a position where

I could help other women express

themselves,” says McHayle. “I love that. It’s

like paying it forward. I would hate to be an

artist who just reaps her own benefits for

herself, but being able to share the stage

and work with other women is so cool to


Junglepussy plays Fortune Sound Club on

October 7.

a lot – sticking to strict diets, exercising,

and drinking very little if any alcohol. My

favourite aspect of touring is experiencing

different cultures and customs,

getting fresh perspectives on life and

contextualizing my own life.”

The Open World Tour kicks off with its

first show in Vancouver and spans almost

two dozen dates across North America.

It comes on the heels of Yin’s Too Real

Tour, throughout which he promoted

his first release since 2014. The interim

between projects was spent in a creative

and emotional slump, and creating Too

Real was the ladder Yin needed to climb

out of it.

“[There was] a lot of trial and error, and

a lot of anxiety-filled days and nights,” says

Yin. “After I finished [the track] ‘Slowly,’ the

rest of the album came a bit easier. It was

almost like a reference track that I would

refer to, giving the whole album a sense of

cohesion. It’s a lot more vocal-heavy and

sample-free from my last endeavours. I

wanted a more organic sounding body of

work, whereas my last EP No Reason was

very synthetic sounding.”

Giraffage and Ryan Hemsworth play Fortune

Sound Club on October 24.




Never thought it would actually happen, but pot is getting

legalized in Canada this month. Granted, there’s only one store in

British Columbia where you can buy it, and it’s in Kamloops, but

it’s still kind of a win, I guess. American border guards will likely

be going through your credit records to see if you’ve bought pot

legally so they can bar you for life, though, so you might want to

lay low for the next month or so. Best hide yourself in the crowd

at some of these shows, and bring cash.


Oct 11 @ Distrikt Nightclub (Victoria)

Los Angeles bass bastard Geoff “Stylust” Reich wasn’t satisfied

merely devastating stages at Shambhala and Burning Man with

his deep, dark and dangerous EDM. Now he lusts to tear the

sleeves off of Victoria. Don’t make him angry or he’ll shake the

capital right into the ocean.

Mark Broom

October 13 @ Open Studios

Broom has been sweeping across dance floors since the late ‘80s,

when he stumbled on life altering Chicago and acid sounds in

Spain, and took his new passion back to his native U.K. where he

cleaned house with sophisticated techno.

Wake The Town YVR w/ Danny Corn, Barisone,

PRSN & Shiny Things

October 19 @ Open Studios

Portland invading Vancouver… It makes sense. The crew of the

Wake The Town monthly at the Liquor Store in Portland includes

Danny Corn and Barisone, no neither of whom are strangers to

Bass Coast and Shambhala, but the whole bill is stacked with

dankness to go large to.


October 15 @ Vogue Theatre

This show is already sold out, so you can’t go unless Ticketmaster

hires you as a scalper, but I implore those going to show up early

enough to see TOKiMONSTA. She’s opening, and she’s one of

the most incredible artists in electronic music today, all over the

place yet always where she needs to be.

The Internet

October 25 @ Commodore Ballroom

This branch of the Odd Future tree formed in 2011, but it

reached full strength with its 2018 album Hive Mind. The

Internet is now sentient. It will destroy us all.

The Internet

October 2018




Edmonton-born Rollie Pemberton maps his return to form from the Six on his new album.

Rap music is the one genre of music that really

embraces its regionalism. Repping the city from

which one comes is fundamental to the music

itself. For Edmonton raised, Toronto-based rapper

Rollie Pemberton, aka Cadence Weapon, this

has definitely shown through, with each album

reflecting the city he’s based in at the time.

Photo by Mark Sommerfeld

With his latest self-titled album, the move to

Toronto is showcased in the album’s new, more

collaborative structure. He’s working with different

producers, moving away from the jarring bedroom

constructed sound he was once known for into a

more organic, mature look at things.

“That’s something that’s always influenced me,

the idea of regionalism in rap music. I don’t think

I’m alone in that though. So many of the great rap

records you couldn’t separate them from the place

they were made. Whether it’s New York or L.A., in

this case it’s just different places in Canada. That’s

something I went really hard on in the first couple

of albums.”

Pemberton’s interest in the geography of music

carries into his touring as well. With some of his

producers Jacques Greene and Kaytranada, both

electronic musicians popular in Europe, it only

makes sense that Pemberton’s recent UK tour was

also marked by the influence of the region.

“I was very inspired by the European tour I

was on,” he says. “It feels like there’s a whole wave

of hyper specific, hyper regional music whether

it’s grime or UK Afro-beats or whatever. I came

across this song “Barking” by Ramz. Barking is a

neighborhood in super far east London. And it

was about hanging out with this girl from Barking

and that was a number one hit radio smash. It was

parodied and stuff. The idea that that’s possible is


Aside from the city of Toronto, his latest record

is also influenced by his own growing maturity

and progression. He feels more comfortable

talking about issues that interest him, such as


gentrification and racism.

“I would be bored to make an album of rapping

about rapping. There’s only so many ways to say

I’m dope. I’m trying to be a rapper for people

who want more conceptually from what they

are listening to. I can’t help but think of that new

Lil Pump song with Kanye. I love it, but I want

to make the opposite of that. It’s 2018. We have

access to every film book album that has ever

come out and there are so many things to touch

on and talk about and we have so much awareness

about issues.”

It took six years after Hope in the Dirt City

for Pemberton to release another album, and as

such it’s a rebirth of sorts. Thankfully, it’s clear

that Pemberton is back and ready to be more

productive, already recording new projects and

thinking about the next record. According to

Pemberton, he’s more productive now than he’s

ever been.

“I still feel like there’s so much for me to say and

musical concepts I want to tap into. There’s still a

long career for me to have. It’s nice to know there’s

still an audience out there for me.”

Cadence Weapon performs at Fortune Sound Club

(Vancouver) on October 6.

October 2018 25








The Hummingbird Project – Kim Nguyen

Jesse Eisenberg and Alexander Skarsgård star in this heart palpitating

drama about two cousins’ genius attempt to shave a millisecond off

of stock exchange transactions, and the reality of all the wealth and

glory it might unlock.

Mug - Malgorzata Szumowska

When a pretty-boy construction worker badly disfigures his face

while building a giant statue of Jesus (that’s right), he becomes the

first Polish man to receive a face transplant. The recipient of 2018’s

Silver Bear award at the Berlin Film Festival intrigues with a touch of

introspection and a whole lot of strange.

The phrase “Academy Award Winner Lady

Gaga” might be a reality next year. Lady

Gaga gives the performance of a lifetime

as Ally, the upstart singer rising to fame

in A Star is Born. Lady Gaga delivers an

outstandingly good turn that draws upon

her thunderous vocals and electrifying

stage presence.

Even more impressive than Lady Gaga’s

star turn is actor Bradley Cooper’s assured

hand in his debut as director. Cooper

helms the third and arguably best remake

of George Cukor’s 1936 hit that endures

from generation to generation. It’s the

same old story: an ingénue ascends to

stardom while falling in love with an artist

as he tumbles from the peak of fame. But

it’s a timeless tale that rewards reinvention.

Cooper gives A Star is Born a country rock

spin and stars as Jackson Maine, a grizzled

down-and-out rocker who hits the bottle

so hard he sweats gin.

Jackson meets Ally one fateful night

when his thirst leads him to a drag bar – a

fun nod to Lady Gaga’s hugely queer fan

base. Ally wows the crowd with a showstopping

rendition of Edith Piaf’s “La vie

en rose,” complete with fake eyebrows

and come-hither glances. Jackson knows

major talent when he sees and hears it, and

Ally’s seductive performance makes the

weathered country boy’s heart beat as fast

as those double gins will allow him.

The first act of A Star is Born parallels

the development of Ally and Jackson’s

romance with the younger star’s rise. The

first scenes see the pair in their element

as they enjoy sparks both creative and

romantic as Jackson’s hot mess inspires Ally

to write a new song, while her innocence

encourages Jackson to pull her up onstage

during a concert. They perform Ally’s newly

penned song “The Shallow” for the crowd

and it becomes a viral sensation.

The song itself is an early highlight of

the film as it gives Lady Gaga the defining

moment in which she transforms from

singer/actor to star. She owns the moment

with soul and power that recall Jennifer

Hudson’s magnetic performance of “And

I am Telling You I’m Not Going” that

won her an Oscar for her screen debut

in Dreamgirls a decade ago. Lady Gaga’s

magnetic relationship with the camera

comes as no surprise, since she’s spent

a career performing onstage and on

camera, creating a pop star persona and

enlivening her concerts with a larger-thanlife

character. As Ally struggles with fame

and becomes a pop star that echoes the

actress’s early career, Gaga perfectly taps

into Ally’s insecurities and anxieties over

maintaining her artistic integrity.

Cooper, similarly, gives the performance

of his career as Jackson. The role of the

washed out star, beaten by the weight of

celebrity and regrets of the past, has never

been played with this level of emotion.

The actor’s melancholy vocals are tinged

with the greatness Jackson once knew,

but offstage, the character is a sweaty,

staggering mess. He’s a sad cocktail of the

highs and lows that corrupt great artists.

These demons threaten to ruin Ally as their

relationship develops, and the tumultuous

arcs of their careers collide when Jackson

embarrasses Ally at the Grammys in the

most horrible way imaginable. Buoyed by

his much older brother, played by Sam

Elliot in an award-calibre supporting turn,

Jackson needs Ally more than she needs

him. All stars fade tragically.

A Star is Born never feels tired or

reheated as Cooper and Lady Gaga

mesmerize us with their outstanding

vocals and natural chemistry. Cooper’s

impressive directorial efforts give the film

an effortless air that recalls the direction

of Clint Eastwood and David O. Russell,

and perhaps it’s no coincidence that his

best performances are their films, as he’s in

tune with their style and direction. The film

brings audiences up close and personal

with Ally and Jackson with each note

they hit, no matter how high or how low,

and every frame of A Star is Born is pure

enthralling, heartfelt emotion.

A Star is Born hits theatres October 5.

Climax - Gaspar Noé

From the visually ferocious mind of Gaspar Noé comes a hellish ode

to the world of dance. With an ecstatic cadence and an eye for the

intricacies of cinematography, choreography, and the dancer’s desire

– or more so need – to dance… take a seat, breathe deep, and try

not to gasp.

Jonathan – Bill Oliver

Jonathan is reality with a neat dose of sci-fi. The film follows

Jonathan, a man attempting to live an ordinary life while

maintaining an extremely unordinary secret – he shares his mind

with two separate bodies. Ansel Elgort plays the roles of both

brothers, John and Jonathan, and his performance has already

turned more than a few heads.

The House that Jack Built - Lars Von Trier

“If you like screaming, I definitely think that you should.” Lars Von

Trier returns with a tale of gore, death, and brutal perversion, a film

so horribly in-your-face it’s difficult to look away. Alongside Uma

Thurman and Riley Keough, Matt Dillon stars as Jack the serial killer

and, regardless of your taste, this will keep you up at night.

The House that Jack Built


October 2018


Julia Holter


Domino Records

Julia Holter’s anxiety is incredibly relatable to these

uncertain times. She, like most of us, is overwhelmed

by the brutal disquiet of 2018. Accompanied by

Corey Fogel, Devin Hoff, Dina Maccabee, Sarah Belle

Reid, Andrew Tholl, and Tashi Wada, Holter elegantly

deep dives into the subjective truths of being human.

Like her 2015 success, Have You In My Wilderness,

Holter’s latest experiment is a search for an answer to

her cyclical anxieties about the present and future.

Aviary is Julia Holter’s fifth album and the 15-track

tapestry is a multi-layered and intense musical

journey. A meditation on current global chaos and

insane political scandals, she offers a contemporary

perspective on timeless themes of vulnerability,

love and exile. Aviary resonates with complex

instrumentation and synth sounds reminiscent of

Blade Runner and Kate Bush. Incredibly, many of the

tracks are historically referential; from the Greek poet

Sophos, to Russian poet Pushkin, to the Lebanese-

American author Etel Adnam, whose quote “I found

myself in an aviary full of shrieking birds” is key to the


Like a flock of angry birds in flight “Turn the Light

On” is a surge of energy that pummels the listener

and opens the album with a roar. Holter’s voice is a

solid force like a large domed building, and amidst

almost discordant exchanges of voice and synth

there is no room to think. “Chaitius” is the jewel of

the album. A symbol of Holter’s classical and arts

background; it serves as a rabbit hole of early music

research. While feeling medieval through its simple

and dogmatic combination of string and trumpet,

Holter successfully integrates non-traditional rhythms

with the disruptive output of her synth. It is an off

kilter fugue matching the “Melting of the world.” This

song contains excerpts from the Occitan troubadour

song “Can vie lauzeta mover” by Bernart de

Ventadorn, and small translations of the Montpellier

Codex (c.1300). Both of these pieces describe a chaste

and courtly love that becomes distrustful and cold

through the narrator’s realisation that unrequited

love just doesn’t seem worth it.

“Everyday Is an Emergency” is an atonal horn

movement crammed together with a lyrical melody.

Teeth on edge because of dissonance, what sounds

like kazoos calms to a heavenly break. As the

song becomes more melodic, the lyrics become

increasingly troubling, describing a hellish scene

of terror. Moving into “Another Dream,” Holter

plunges back into a sage memory that confuses

past and present. There is a nice symmetry to the

ascending and descending scales that pitter-patter

like raindrops. “I Shall Love 2” is a Lou Reed/ Velvet

Underground inspired hymn that introduces the

anxiety driven “Underneath the Moon.” Maybe

because it’s Holter’s “first time” but groove and

hysteria intertwine into a multi instrumental circus

of danceable beats. Timpani and a mess of strings

give life to a pulse of movement likened to pilgrims

dancing before a statue in worship. “I Would Rather

See” skews a classical love poem, that is inspired by

I Would Rather See by Sappho, into a simple and

moving poem making the fantasy of war out to be an

erotic act.

“Les Jeux to You” is multi –stanza art pop at its

best. Holter’s voice is the focus, and is showcased

as an instrument. Her phrasing is enjoyable and

optimistic and inspiring, even if you miss the lyrics –

an anthem of sorts. “I Shall Love 1” is heavily bagpipes

and bass. Bright and loud, it’s a more mature

cognition. The bass undulates and the bagpipes are

used as a drone. Into a string section and drums.

Holter is loudly hopeful but not chaotic. She intends

to love and she will be patient: “I shall love / I am

waiting for you, come on over.” Ending the album is

the lumpy “Why Sad Song,” a melancholic conclusion

to a turbulent and academic album. Accompanied

by airy bright piano and artful soundscapes, Holter’s

exhausted voice questions the meaning of words and

ideas. This ending makes the whole album feel like a

tragedy, a story with an epic ending.

Aviary is a social-psychological requiem. Holter

manages to bring extreme thought to the often

liminal state of an anxious observer through a nonnostalgic,

Baroque inspired compendium. Wrapped

up in layers of her own memory, her world isn’t

ending. Instead, Holter is a spectator to a destruction

fully apart from herself, sometimes choosing to be

empathetic and to respond, and at other times,

giving herself space from her crumbling world to

exist untroubled. Memory is pulled into the present

by interwoven melody. As a storyteller, Holter is

successful in identifying common themes we all live

our lives by. Holter bursts forth, even if her words

catch on her throat, teaching the listener that it’s ok

to live in a ridiculous and cyclical “mapus-mundi” of


• Esmée Colbourne

• Illustration by Alistair Virgo

October 2018 27

Behemoth - I Loved You at Your Darkest Counterparts - Private Room Hang-Ten Hangmen - This Is the Boss Klaus - Klaus Marissa Nadler - For My Crimes


I Loved You at Your Darkest

Metal Blade Records

I Loved You at Your Darkest is the

epitome of the once-dated fear that

metal is the devil’s music. But when

you’re right, you’re right. For 27 years,

Poland’s Behemoth have crafted the

anti-christian roots of black metal

into unparalleled artform of fear

inducing and masterfully composed

horrorscapes of sound. At 12 tracks and

about 45-minutes long, it’s a record that

deserves to be played front and back

every time it’s summoned.

“Solve” makes Behemoth’s style clear

with a haunting warning, as children

shout from a ghostly distance and

doom-style instrumentation builds

with wicked grandeur. “Wolves ov

Siberia” follows with a display of range,

showcasing blistering drums so sharp

that every note feels independent,

yet there’s never a moment of silence.

After the previously released single

“God = Dog” brings its melodic,

chaotic disarray of blackened noise,

“Ecclesia Diabolica Catholica” delivers

the technical skill of humbling guitar

solos over a relentless barrage of precise


And while black metal is still certainly

the name of the game, Behemoth

stretch their dark magic in tracks like “If

Crucifixion Was Not Enough…” which

would be a no-frills hardcore-punk

song if it wasn’t for the iconically dread

soaked vocals.

I Loved You at Your Darkest is as

powerful as it is expertly mixed. In both

content and technical sound, it’s bound

to be a point of reference for much

more diabolic doom to come.


Private Room

New Damage Records

• Matty Hume

As something of a little brother

to Canadian hardcore giants like

Alexisonfire, Cancer Bats and Comeback

Kid, Hamilton’s Counterparts have

done an admirable job of sticking

around — despite numerous lineup

changes. Private Room is a (really) short

collection of B-sides from their previous

two albums, but at only three songs

and just under 7 minutes, you wonder

why they’d bother putting this out as

a separate release rather than just hold

on for an actual new record.

“Monument” kicks off the EP with

punishing guitars and brutal doublekick

drum patterns. The clear standout

in the triple-threat is “Selfishly I

Sink,” which has a familiar start but

incorporates a few tempo changes

in a short time, keeping you on your

toes. “We Forgive” shows off the

band’s technical skills, balancing heavy

elements with some interesting melodic

guitar parts during the bridge. And

just like that, Private Room is done and


Counterparts obviously have the

drive and talent to go far in a saturated

genre, but Private Room is really just a

teaser to hold fans over until the next

full-length. For the full dose, go back

and check out Counterparts’ latest LP

You’re Not You Anymore (2017 New

Damage/Pure Noise) and you won’t be


• Trevor Morelli

The Hang-ten Hangmen

This Is The Boss

Dionysus Records

Surf music comes in all shapes and sizes,

ranging from the perfect, retro-fied

recreation of the early ‘60s master craft

to the deconstructed wall of reverb

chaos created by new revisionists like Ty

Segall. Vancouver’s Hang-Ten Hangmen

certainly side with the retro end of

the surf spectrum, but their version

of recreation is neither perfect nor

predictable, which is a good thing.

Post-rock ‘n’ roll from the late ‘40 into

the ‘60s was full of goodies and the

Hangmen know how to cherry pick.

Opening up This Is The Boss with “Back

Alley Rumble,” they set the scene not

so much with a rumble but a beach

blanket limbo. You the know one; tiki

torches planted on the beach after

dark and everyone taking turns trying

to lumber their bodies under the bar.

Straight after they move into Dick Dale

territory with the title track, “This Is

The Boss,” with tribal drums pounding,

beckoning you to join the party. And

party is the real essence of the Hang-ten

men as they dip into an irresistible

Beach Boy-Chuck Berry reverbdrenched,

dance groove.

From there on in it cracks wide

open. The Hang-Ten Hangmen are a

well-versed band who know where

to borrow all the right riffs and

breakdowns and then reassemble them

into a package that is familiar yet entire

fresh and fascinating. Churchy-gospel

R&B organ mixed with a touch of

Clarence Clemon’s sax and Mitch Riders

“Devil With Blue Dress,” they move and

shake on over to a rum-spice cocktail

party layer with multi-coloured leis

before taking another detour off to a

grad prom in Twin Peaks, winding up

at the Forbidden Planet — One helluva

lounge livin’ beach lovin’ joyride.

• B. Simm



Simone Records

Step into the world of Klaus, an

electromagnetic supergroup spun

from the tangled wires of some of

Quebec’s most beloved and promising

musicians. As a member of groups

such as Karkwa and Galaxie, François

Lafontaine first found common ground

with Joe Grass (Patrick Watson) and

drummer Samuel Joly while performing

in support of French-Canadian pop

singer Marie-Pierre Arthur. Soon the

three troubadours forged a plan to start

their own musical project and Klaus

was born; a 21st century digital boy of

a band that takes your vital signs with

smooth synths, down tempo beats

and a mildly disaffected vocal delivery.

Presenting a sleek, streamlined and

intuitive application of drum machine

and disco keys, the threesome glories in

walking the line between the capricious

and the considered. This pink and mint

pairing is the perfect colour scheme

for their eponymous debut on Simone

Records, home to rising stars Hubert

Lenoir, Camaromance and Ariane


The laissez-faire womb of Grass’s

recording studio allowed Klaus to

explore any weird idea or melodic

impulse that came to mind and that

unimpeded sense of adventure comes

through loud and clear on the ten

pop-rock vignettes, they’ve compiled

for their introductory release. Shining

like wet pavement, the opening track

“Neon” signals that you are in for a fun

yet refined listening experience. The

sway of “Fever” opens the glovebox and

pulls out a roadmap of your romantic

past, while the skittering playfulness of

“Blue Telephone” dials into their White

Denim side. Just when you’re getting

comfortable with the dreamy pace,

Klaus pulls off your sleeping-mask and

commands you to check out the sonic


It’s a rare treat when a band knows

when to play it shy and when to turn up

the sparkle and the threesome achieves

that balance with their exotic “Dirty

Water” and polyphonic “Pitbull.” It’s

hard not to lose yourself in the roller

coaster bass movements and digital

dashes that run like fault lines through

“The Aluminoid.” Meanwhile, the

unpredictable “Bad Religion” finds Klaus

freefalling through Bowie’s universe,

until “Le rêve” parts the curtains and

reveals the soft-spoken pursuit of

“Natural Design” that lies at the core of

Klaus’s being.

• Christine Leonard

Marissa Nadler

For My Crimes

Bella Union/Sacred Bones

Marissa Nadler’s new album represents

a beautiful and intricate inner conflict

that many listeners can relate to — love

isn’t always enough to keep people

together. Soulful, deep and intimate,

the lyrical quality of the record does

nothing short of sweep you away. And

overall, Nadler’s southern-gothic style

delivers a fitting soul for her story.

Angel Olsen accompanies Nadler

in openinger “For My Crimes,”

setting a ghostly, nostalgic tone

that’s woven into each song that

follows. Other contributions to the

record include vocals from Sharon

Van Etten and Kristin Kontrol, Patty

Schemel (Hole, Juliette and the Licks)

on drums, Mary Lattimore on harp and

Janel Leppin on strings.

The album artwork suitably adds to

the incredibly personal nature of the

record as Nadler chose to use one of

her original oil paintings for the first

time. For my Crimes is vulnerability at

its very best.

• Sarah Allan


Tattooed On My Brain

Frontiers Music

Nazareth’s place in the classic rock

canon has never quite been clear. Sure,

they have a handful of hits to their

name — “Hair of the Dog,” “This Flight

Tonight” and “Love Hurts” immediately

come to mind — but they’re also a

band largely built on their ability to

punch-up other people’s songs.

The Scottish hard rockers have never

hit the heights of peers like AC/DC, The

Rolling Stones or The Who, but instead

seem destined to play the dreaded

casino circuit until their time runs out.

Think about it: lots of kids know Back in

Black, Dark Side of the Moon or London

Calling, but how many youngsters in

2018 can name a Nazareth album?

Tattooed On My Brain marks an

entirely different stage in the band’s

trajectory. It’s their first album without

founding member and lead singer Dan

McCafferty (who left the group in

2013), with new recruit Carl Sentance

taking over vocal duties. The result is

an album that’s part Thin Lizzy, part

Steel Dragon (watch the 2001 movie

Rockstar if you don’t get that reference)

and all parts fun.

First single “Pole to Pole” takes a

standard 12-bar blues rhythm, adds

stutter and builds to an anthemic,

shrieking chorus. “State of Emergency”

jumps out of the gate with a speedy

harmonic riff similar to the one heard

on Wolfmother’s “Woman”, while title

track “Tattooed On My Brain” bounces

and bops like a Ramones jam. Later

tracks “Silent Symphony,” “Crazy Molly”

and “You Call Me” keep the tempo

light and catchy, but you can’t help but

continue to hear clear influence from

other classic rock artists like Aerosmith,

Faith No More and Bon Jovi.

Just as they’ve always done, Nazareth

takes rock elements from the past and

makes them their own on Tattooed On

My Brain. And, as strange as it feels to

admit, they’ve actually delivered us an

album full of big, dumb hair metal jams

that’s worth listening to — one that

will please Sabbath and Spinal Tap fans


• Trevor Morelli


October 2018



With Special Guest

10/13 - Edmonton AB

10/14 - Calgary AB

10/15 - Canmore AB

10/17 - Vancouver BC

10/18 - Victoria BC



FRI. NOV. 23

SAT. NOV. 24

SUN. NOV. 25






JANUARY 12 • 7:30 PM







Media partner


TICKETFLY.COM / 1-888-732-1682


Process - Structural Fatigue Skálmöld - Sorgir The Spirit of the Beehive - Hypnic Jerks Uncle Acid & The Deadbeats - Wasteland


Structural Fatigue


From the get go it’s all hands on deck. All five

members of Process explode into your ear

dwellings at once on the opening title track. From

there, this album can best be described as

relentless. The songs are short, pleasantly brutal

and come at you like a head butt to the face.

Structural Fatigue dances all over the terrain

of extreme metal. The band also incorporates

elements of thrash, death, groove, weirdo and

hardcore, most often within the same song.

Bucking bull riffs, shredding solos and drumming

tight as a tugged on noose make these metal vets

stand tall amongst their peers.

Vocalist Jim Huhn keeps this album especiialy

gnarly with his vocal stylings and gives Process a

unique edge of their own. Huhn is a caged beast

of many animals and the rest of the band has the

keys to set him free, then they all proceed to go

on a rampage that is documented with Structural


Songs “Light Blood Breathe,” “Licorice Eater” and

“Icon” are bright spots on this gleaming slab of

an album. They even include a flawless Napalm

Death cover for good measure. This is exciting

stuff. Structural Fatigue stands tall and does not

disappoint. A must have for any extreme metal


• Heath Fenton

Sam Lundell

Head / / Hands


Opening with the serene and orchestral “Prelude

in E Major, Op. 1,” Sam Lundell sets the stage for

his intimate debut record, Head / / Hands. This

opening track is gold — it almost sounds like a

morning meditation that will make you wish you

were waking up to it’s melody each day. The album

is an uplifting, easy-listening, pop-rock collection

infused with snippets of electronic style — with

sentimental ballads to boot.

Lundell is said to be inspired by artists like John

Mayer and Maroon 5, and it is remarkably visible in

the sound he has cultivated. His vocals are diverse

and powerful and if you love the way Imogen

Heap implements autotune, you’ll fully appreciate

“Homesick.” Hailing from Lloydminster, Alberta,

Lundell was given the resources to record the

album at the Banff Centre for Arts and Creativity

thanks to his first single netting a Telus Optik TV

Storyhive grant. While I could do without the

spoken word in the track, “Sail You In,” Lundell

has set a solid foundation for the growth of his

storytelling and has produced a solid nine tracks

— a foundation that will undoubtedly propel him


• Sarah Allan


Play To Win

Record Breaking Records

Better start stretching because your neck is

gunna take a beating on this one! Edmonton’s

Striker plays for keeps. And being fresh off a Juno

nomination, they’ve solidified their place as one

of Canada’s premier acts, pumping out solid rock

anthems and metal melodies with awesome


Play To Win packs all the elements you need

to get rockin’ — a powerful lead vocal range,

sing-along choruses, thumping drums, squealing

pinch harmonics and air guitar inducing solos.

The record is a matchup suitable for fans of

Queenscriche, Holy Grail, Primal Fear or Judas

Priest to namedrop a few heavy hitters.

Striker does a great job keeping things fun, while

still triggering those deep feels. “Heart of Lies”

takes jabs at our less than ideal society and our

freedom, setting a the persistent tone to come.

Catchy number “Head First” aims to inspire ‘living

life to its fullest’ and “On the Run” simply oozes

with addictive power, urging you to turn that dial

to 11.

• Patrick Saulnier



Napalm Records

The inevitable drawback of metal’s growth into a

complex genre is that for some moods, the sheer

amount of styles to choose from is overwhelming

at its darkest. Sorgir is the sixth studio album from

Iceland’s Skálmöld, and it proves the band has shot

enough arrows at the wall in their time to know

what sticks.

“Ljosid” kicks off the album with the highfrequency

grit of a classic Scream Bloody Gore

style death metal album. The lo-fi tone and racing

repetition enhance the horror inducing minor

guitars, welded to black metal vocals and folky

choirs for crescendos of the epic-viking variety.

“Brun” keeps a driving riff alive with the rattle of

palm muted power chords, while “Skotta” takes

a doom-riddled soundscape of fear and clashes it

with a power metal splash of a viking chant.

Through a mix of combinations, the entire album

is a successful amalgam of vintage death metal,

modern tech, epic power metal and stadiumworthy

heavy metal choruses. Sorgir is an armoury

with a sword to scratch every itch.

• Matty Hume

The Spirit of the Beehive

Hypnic Jerks

Tiny Engines

In a scientific sense, hypnic jerks are the

involuntary muscle spasms that can occur as a

person is falling asleep, sometimes accompanied

by a feeling of falling.

Hypnic Jerks, the not-so scientific offering

from Philly-based alt-rock band The Spirit of the

Beehive, is just as shocking as it’s namesake.

By combining the nostalgic with hazy guitar riffs

and laid-back drumbeats, unsettlingly warped

strung-out guitar and eerie vocal effects, The


October 2018

Spirit of the Beehive have captured the feeling

of dissolving into something outside of our


Throughout Hypnic Jerks, audio samples from

the home recordings of the bassist’s father are

stitched together with the soundscape in a way

that evokes the same random, disconnected

quality of dreams that come between waking and


• Emilie Charette

Uncle Acid & The Deadbeats


Rise Above Records

Coming to you off of the mean streets

of “Shockwave City” — or should I say

Cambridgeshire, England? — Uncle Acid & The

Deadbeats are a gritty but pretty ensemble of rock

wheelers who have made a name for themselves

with their tame locks and fuzzy lines. Softening

the shoulders of the hardest asphalt plain, the

motorcycle gang on strings looks to lead voyageur

Kevin Starrs to set their course. For 2018, Starrs

has elected to take the band into the Wasteland

(Rise Above Records), a cosmic desert populated

by powerful wizards and intoxicating earworms

of the most purple stripe. Arising from the waxy

depths of The Night Creeper (2015), Uncle Acid

& The Deadbeats are expanding their library of

psychedelic overtures with Wasteland. A boozy

and bluesy walk through the darkened forests of

the psyche, “No Return” hooks you by the entrails

and drags you into the action. A vortex of lazy

vocals and hypnotic thrums stir the cauldron as

time-warping bassist Vaughn Stokes and drummer

Jon Rice, lean into each other for support. The

triangulation of their sandbag heavy rhythms and

Starrs’s sweltering ‘70s rock-god incantations cast

a heady spell that pulses through the reckless

ambition of “Blood Runner” and the equally

glamourous “Stranger Tonight.” Descending the

spiral staircase with “Bedouin” and “Exodus,”

Wasteland salutes the epic with a sprawling

visionary songbook, that encourages close

listening and attention to detail. Highly-digestible

conditioning for the easily distracted.

• Christine Leonard








Cousin Arby

You, Me and Rodrigo


You, Me and Rodrigo is the latest offering from Vancouver altcountry

act, Cousin Arby, and it rocks muddy cowboy boots with a

cool punk stare. The band has been carving out a unique space for

themselves since 2015, sifting through classic local sounds for their

earthier and more homely qualities. This time, the dust they’ve turned

up is palpable—songs like “Put You Up My Nose” are antique, like

something found in a buried stack of your grandparents’ records,

while other tracks like “Sweet Georgia Brown” feel newer, more urgent

and layered. Above all, the quality is in how these tracks are threaded,

and Cousin Arby shows us the value of consistency. The result is a

textured EP, sewn better but still nicely frayed at the seams. If before

they were just kids trampin’ around a figurative farm, now they’re

experienced ranch hands, their heels dug into a sound they built for


• Emily Blatta

Jock Tears

Bad Boys

Inky Records

Garage surf pop punkers Jock Tears are back with Bad Boys, their

strongest release to date. Lead by the infectiously sunny vocal work of

Lauren Ray, Jock Tears pack a punch on the album’s brisk 18-minute

running time. Bolstered by crisp production, Bad Boys is a fun listen and

highly recommended for that crossover crowd of Ramones and Beat

Happening fans.

• James Olson

Youth Fountain

Youth Fountain EP


Youth Fountain’s EP is an emotionally pummeling work of pop punk.

Zanon and Muraro’s vocals complement each other, giving the

impressions of deep camaraderie outside of the recording. The drums

are crisp and clear sounding, reminiscent of Young Mountain by This

Will Destroy You. Lyrically this album boasts hints of immaturity, but

conversely, this young Vancouver group show great promise in future


• Quinn Thomas


I Dreamt I Was Running


This instant-classic sound of Dadweed’s latest offering was visible

through the haze of feedback within the first few seconds of

opening track, “Big Empty.” James Frost’s sweeping emotive vocals

are juxtaposed perfectly against the triumphant guitar leads and a

confident yet relaxed rhythm section. This is a compelling and focused

listen that wastes no time with exceptional record flow. Some tracks

hint early era Sonic Youth, others recall subtle influences of OK

Computer, while “Liberosis” and “Terra Firma” in particular feel like a

dark counterpart to the Pixies. All the right elements of the ’90s with a

modern day twist. Dadweed’s latest is definitely worth catching up with,

especially if you’re still dreaming.

• Quinn Thomas

Heavy Steps

Infinity Rope

Boat Dreams From The Hill

Infinity Rope is a perfect autumn record, but not the kind that

soundtracks one running and jumping into piles of golden leaves.

Rather, Chris van der Laan and Melissa Gregerson continue their saga,

making this six-year work-in-progress a much more Vancouver affair

with a darker aesthetic, foreshadowing the upcoming greyness that

west coast winters have to offer. There are still glimmers of their matte

finished indie pop beginnings as heard on 2012’s You, Conduit. “Trash

Wednesday” is a driving garage rock number and “Barge of Despair”

could be the upbeat jangly track your Halloween mix calls for.

• Graeme Wiggins








PLUS nêhiyawak






October 2018 31

Barbados is not only the birthplace of

Rihanna, it also happens to be one of the

most beautiful places on the planet.

Their year-round climate of near perfect temperatures, beautiful

beaches and rich musical culture makes the small predominantly

Christian island one of the most wholesome and welcoming places

you could ever visit. The island itself is only 166 square miles but

within this small circumference of land lives a very healthy and happy


While visiting the island at the tale end of peak tourism season

for the Barbados GospelFest I’m reminded that finding a balance

is the key to life’s simple pleasures. The duality most visibly at play

while ripping around one balmy afternoon in a safari jeep through

narrow streets and lush forest trails is between the country’s origins

as the birthplace of rum and its strong religious roots. This might

explain why that for every church there are three rum shops, almost

always within close proximity. An integral part of Bajan history,

there are reportedly more than 1500 rum shops throughout the

island and, according to my driver, are particularly utilized following

funerals as host locations for celebrations of life. Sunday service and

the celebration of God is taken very seriously in most pockets of

Barbados and that’s because faith is the cornerstone of the island’s


With faith on the top of the docket, the Barbados Gospelfest has

provided a unique celebration of music and spirituality for the past

26 years, giving rise to a relatively new and underrepresented genre of

tourism — Wholesome tourism.

“In the early ’90s there was concern of the possibility of casino

gambling coming to the island so the then-minister of tourism, Wes

Hall, wanted to promote what he coined as wholesome tourism in

an effort to bring people to the island during a season when there

weren’t as many tourists,” says Barbados Gospelfest’s executive

producer Adrian R. Agard. And so it was that Gospelfest was born

and under his watchful eye it has been evolving throughout the years.

The 2018 GospelFest invited acts from North America such as

the Billboard chart-topping act JJ Hairston and Youthful Praise and

the real life sister trio V3 from Atlanta, GA but also encourages

and supports involvement from the local music scene. In fact the

backing band for a lot of the non-Bajan acts was comprised of some

extremely talented and versatile players.

“The vision is still to do a festival that impacts and shapes the

community,” Agard says. “People see music as music, yes. But music

also has an impact on people’s lives. The type of music you listen

to impacts the things you do. So this festival is intended to have

a positive impact on people’s lives — Touching Lives, Changing


There were plenty of hallelujahs at Laughter & Jazz — an event

that brings comedy and music together for a night of praise and

celebration for the big guy upstairs — just as there were at the


GospelFest 2018

Glenn Alderson

HYMNSPEAK at St. Mary’s

Anglican Church (Bridgetown)

Atlanta-based gospel trio, V3

perform at Laughter & Jazz

festival’s Tuesday night celebrations for Hymnspeak.

With 700+ people packed into the historic St. Mary’s

Anglican Church in Bridgetown on this hot and humid

night, festivalgoers assumed their very familiar role of

a congregation. Windows open and the sound of fans

buzzing faintly in the background, Agard welcomed

everyone before the reverend led the parishioners

through a journey of hymns and testimonies from various

members of different churches around the island. One

of the elderly Bajan ladies who was sitting beside me

grabbed my hand and raised it in unison with hers as the

congregation shouted their praises for the blood of Jesus

— It’s in us all you know? — while singing a hymn from

1876, “What Can Wash Away My Sin?” Nothing but the

blood of Jesus.

Harrison’s Cave is one of God’s splendid creations and

a great place to feel like an explorer from the comfort

of a guided tram that takes you to the depths of one of

nature’s most spectacular sights. Down here you will see

naturally forming calcium deposits. Unlike other islands,

Barbados is not volcanic but composed of deep ocean

sediments overlaid by coral limestone.

Just on the outskirts of Bridgetown sits Rihanna Drive,

a recently commemorated street, home to the house that

Barbados’ shining diamond grew up. It’s rumored that

she was recently back home for a visit and that’s she’s

still very lovely. Other than sugarcane, Riri is indeed the

country’s most talked about export.

Eating locally is one of the most rewarding things

about visiting the island and if you’re doing it right then

fish is on the menu. From an authentic jazz themed

Waterfront Cafe in Bridgetown (make sure you try their

flying fish with fried plantains) to Oistins Fish Fry, a truly

community event during weekends on the south coast of

the island, there’s no shortage of delicious seafood fare to

take advantage of.

Barbados gospel festival is most certainly blessed by

the grace of god. Jesus does take the front seat, as you

might expect, but regardless of your faith it’s a fantastic

way to interact with the locals in a positive way. If Agard’s

vision of the fest is true, it will likely leave a lasting

impression on you and perhaps even help you discover

elements of your own faith that you didn’t know were


“I would like to feel that a person who comes to the

festival is able to get a better understanding of who they

are and what God wants to do with them,” says Agard.

“Ultimately the objective of our music is to draw people

closer to God. We feel that we are created by God and we

believe that if we get to connect with him then we can

better do what it is that he wants us to do.”


For more information visit


October 2018

Photo by Ray Maichin

Foo Fighters

Rogers Area

Sept 8, 2018

Dave Grohl ran onto the stage strumming his axe like a wildman

who has been let loose from his cage before the Foo Fighters began

the night with their One By One hit, “All My Life” in front of the

jam-packed sold-out crowd. Grohl made a point to tell everyone

that they were in for a long night of rock and roll, and that it was.

It was astonishing to see how the frontman took control of the


It was a three hour night full of classic hits, new tunes, on-thefly

jams, comedic moments, and totally unexpected covers. Not

to mention the LSD worthy psychedelic visuals that covered the

backend of the stage-drop.

Songs like “The Pretender,” “My Hero,” and others received

extensions that ranged from bluesy guitar battles to disgustingly


grungy breakdowns. Foo Fighters drummer Taylor Hawkins

channeled his inner Freddie Mercury when he took the mic,

mimicking Mercury’s infamous “Ay-o” crowd play at Wembley

Stadium before singing Queen’s “Under Pressure” with two fans

who were brought on stage. Alongside covers of the Ramone’s

“Blitzkrieg Bop,” and Alice Cooper’s “Under My Wheels,” the Foos

played a comically intriguing mashup of John Lennon’s “Imagine”

piano riff being complemented by the lyrics and vocals of Van

Halen’s “Jump.”

“Run” and the Pink Floydian “Dirty Water,” from the Foos new

album Concrete and Gold were also two standout performances.

After an intimately explosive rendition of “Best of You” the Foos

left the stage, only to have Grohl appear on screen, teasing the

crowd from the back. The band returned to perform “Times

Like These” and end the mammoth nearly-three hour set with


• Johnny Papan

Johnny Marr

The Vogue Theatre

Sept. 20, 2018

Over the decades the name Morrissey has become

less synonymous with ’80s sad saps, the Smiths, and

more so with his crippling inability to go through

with any of his scheduled gigs… oh and he’s said some

racist shit in the media also. But as the once cherished

lead singer continues to tarnish the group’s iconic

legacy, guitarist Johnny Marr, the founder and true

soul behind the band’s melancholy mystic, continues

to experiment and expand upon sounds from decades


Blue lights dawned the stage as Marr, with a

flawlessly trimmed fringe of jet black hair, rang out a

distorted growl on his signature Fender Jaguar before

tearing into “the tracers,” from his latest album Call

the Comet. The evening would include a number of

tracks from his solo releases, but Marr ain’t stupid. He

knows what the people want, and so of course there

would be nuggets of gloom from his past repertoire

sprinkled throughout the evening. Second track in

and Marr, bathed in orange glow, jumped right into

“Bigmouth Strikes Again,” from the Smiths 1986

masterpiece, The Queen is Dead. “The Headmaster

Ritual,” would be the next quintessential gem lined up

to which he remarked, “ya that’s a good one,” as the

crowd relived past glories. Of course it was the mighty

tremolo from the first strum of “How Soon Is Now?”

that really got the theatre bumpin.’

Ending the night with “There is a Light That Never

Goes Out,” Marr so lovingly declared, “I’d like to

dedicate this song to everyone here, and nobody

fucking else.”

• Jeevin Johal

Photo by Kira Clavell

Japanese Breakfast w/ Ought

The Imperial

September 26, 2018

Montreal’s Ought brought forth an

outstanding performance during their

appearance at the Imperial while opening

for Japanese Breakfast. The four piece artpunk

band seamlessly pulled tonal reference

from ’90s post-punk and ’80s new wave

while remaining current and fresh. Vocals

of lead singer Tim Darcy casted a ghostly

resemblance to an early Morrissey, while also

resembling the deeper bass-baritone tones

of Nick Cave. Ought remains unique with

their catchy, rolling bass tones, unbearably

addictive through their wall of electronic

synths, and overall timeless through

Photo by Kira Clavell


Japanese Breakfast, the solo musical

project of Michelle Zauner, greeted the stage

with colourful and creative visual energy.

Cutesy animated graphics danced behind

the band, creating a warm and playful

energy. At times the set fell slightly short;

with vocals sometimes holding a child-like

shrill. Regardless, Zauner carried over the

childlike playfulness into her stage presence,

which was with very high energy. Along with

her larger than life stage presence, Zauner

sported a long green striped dress, black

combat boots and space buns; contrasting

beautifully with her white Fender. She played

her guitar with the same excited energy,

beautifully backed by her band.

• Jamila Pomeroy










October 2018 33




Month of the Water Dog

This month, the focus is on finding

balance and harmony with others. It is

a time for healthy family relationships,

loyal friends, attractive lovers, and, for

some, blissful solitude. Whether you see

yourself as a lone wolf or part of a pack,

the energy of the Water Dog offers

companionship where it’s needed and

judgement to anyone who may have

their nose in the wrong place at the

wrong time.

Rabbit (Pisces): At last! Some

recognition for a job well done, and if

you’ve worked hard you can enjoy a bit

of reward now. Don’t let stress seep into

your success! Think fast and diligently

do your best, and it will be more than

good enough.

Dragon (Aries): Your meticulous

diligence can see you through what may

be a month of highs and lows. Secrets

and hidden agendas flood your mind

with suspicion and take you away from

living your truth. Make a conscious

effort to let go of illusions that keep you

from feeling free.

Snake (Taurus): Prophetic dreams

signal a potential that you hadn’t

considered. Take time to analyze,

interpret, and journal your key flashes

of brilliance – share freely and they are

sure to inspire all those around you.

Horse (Gemini): Shame and guilt are

prisons that prevent creative energy

from flowing. Find out where you may

be blocked by your negative emotions

and use positive affirmations to invite

a change that has been a long time

coming. Celebrate your many blessings!

Sheep (Cancer): Sitting in meditation

or gathering with gentle folk to discuss

the subjects of tolerance, compassion,

and kindness can aid you to let go of

any harsh feelings that you may be

carrying with you. There are people

in the world who share your vision of

harmony and peace.

Monkey (Leo): Relationships are the

foundation of true happiness and, when

you have harmony amongst family

and friends, you can honestly say that

there’s nothing more satisfying to the

human spirit. Share freely with those

you love now.

Rooster (Virgo): Thinking on your feet

and coming up with quick solutions to

current problems helps you to win back

those you may have lost in the hustle.

How can you work on what has been

spoiled to bring back what you have


Dog (Libra): Get off the fence, and pick

your winning side. Is there something

that you have stood for that may need

re-evaluation? Work with others on

an agreeable compromise, and let the

chips land where they may!

Pig (Scorpio): Your home life is

improving as you settle into a workable

routine. Spend your free time wisely,

with a conscious effort to plan your list

of next accomplishments, which are

finally beginning to come into reach.

Rat (Sagittarius): Conventional

protocols add stability to any

organization or group you participate

in. Check to see how others have

accomplished the task in front of you,

and avoid “reinventing the wheel” to

attain your purpose. A lull is a sign that

you can rest.

Ox (Capricorn): Pushy people agitate

your mood with their demands on

your time. Be courteous and kind, yet

firm. You may carry the load for others

now, but you’ll gain more strength and

power as a result.

Tiger (Aquarius): With a busy

schedule, you need your team to work

together to meet demanding objectives.

Use complementary skills wisely and

you will see the benefits of balancing

opposites to create change and results.

Conflict can bring growth!

Susan Horning is a Feng Shui Consultant

and Bazi Astrologist living and working

in East Vancouver. Find out more about

her at





With Special Guest


OCTOBER 19-25 2018

OCTOBER 18-21, 2018


10/13 - Edmonton AB

10/14 - Calgary AB

10/15 - Canmore AB

10/17 - Vancouver BC

10/18 - Victoria BC







October 2018





October 25

The Vogue Theatre



October 4 - The Vogue Theatre



October 5 - The Biltmore Cabaret



October 8 - The Vogue Theatre



October 12 - The Vogue Theatre



October 19 - The Vogue Theatre



October 23 - The Biltmore Cabaret



October 28 - The Biltmore Cabaret



October 30 - The Biltmore Cabaret



October 31- The Fox Cabaret


More magazines by this user
Similar magazines