BeatRoute Magazine BC Edition - November 2019

beatroute

BeatRoute Magazine is a music monthly and website that also covers: fashion, film, travel, liquor and cannabis all through the lens of a music fan. Distributed in British Columbia and Alberta, Ontario edition coming Thursday, October 4, 2019. BeatRoute’s Alberta edition is distributed in Calgary, Edmonton, Banff and Canmore. The BC edition is distributed in Vancouver, Victoria and Nanaimo. BeatRoute (AB) Mission PO 23045 Calgary, AB T2S 3A8 E. editor@beatroute.ca BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120

NOVEMBER 2019 • FREE

VAGABON:

LAETITIA TAMKO IS

TEACHING INDIE

ROCK WHAT IT

MEANS TO BE

RESILIENT

+

City And

Colour

Jeff

Goldblum

Rich

Aucoin

Chi Pig

High

on Fire

TR/ST

Louise

Burns

The Wild

North


VEGAN

VOGS

(GOODY GOODY TWO SHOES)

JOHN FLUEVOG SHOES 837 GRANVILLE ST 604·688·2828 65 WATER ST 604·688·6228 FLUEVOG.COM


Contents

BEATROUTE

BEATROUTE

BEAT

ROUTE

BR

BRLIVE

BRYYZ

Music

4

7

21

23

27

The Guide

City and Colour gets out

of his head on A Pill for

Loneliness.

Artist Features

Louise Burns, Tyla Yaweh,

Jeff Goldblum, Rich Aucoin,

The Wild North, Chi Pig.

The Playlist

All the singles we can’t stop

listening to this month.

Album Reviews

TR/ST, Corridor, Woolworm,

Sudan Archives, The Dreadnoughts,

Little Scream,

Cursive, Leif Vollebekk,

Mount Eerie, Pelada, Beat

Happening.

Live Reviews

Tyler, The Creator

and more online!

Cover Story

18

VAGABON:

LAETITIA TAMKO IS

TEACHING INDIE

ROCK WHAT IT

MEANS TO BE

RESILIENT

Vagabon

Indie artist Laeticia Tamko

reigns vulnerable on

sophomore album, Vagabon.

NOVEMBER 2019 • FREE

+

City And

Colour

Jeff

Goldblum

Rich

Aucoin

Jidenna

Sorry

Girls

High

on Fire

TR/ST

Tyla

Yaweh

Screen Time

28 Everybody’s Everything shines

introspective lens on the life of

Lil Peep. Edward Norton channels

some of the jazz greats

for his latest role in Motherless

Brooklyn.

LifeStyle

30

32

Travel

We bask in the warm glow of

the hot Arizona sun during the

action-packed HOCO festival.

Style

Music and fashion merge

explosively in King Of Hearts’

vivid designs.

Thom Yorke, Oct. 22, 2019 at the Vogue

Theatre. Read our review of this and

more online at beatroute.ca

YVR

37

38

41

42

Jay and Silent Bob Reboot

Filmmaker Kevin Smith brings

back lovable slacker icons, Jay

and Silent Bob, in a second

sequel with guest appearances

at the Rio.

YVR Agenda

Vancouver gets its first peek at

HUMP!, the amateur erotic film

festival hosted by sex advice

celeb Dan Savage. Plus, Eastside

Culture Crawl, Black Like Me,

Orquesta Akokán and more!

Tetsuro Shigematsu

The Japanese playwright on the

inspiration behind his show Kuroko,

about the real-life epidemic of

Japan’s reclusive young adults.

Cheat Sheet

BeatRoute’s Essential List —

the must-see shows this month in

Vancouver.

JOSHUA GRAFSTEIN

Dear Rouge

Play It Loud:

Style page 32

NOVEMBER 2019 BEATROUTE 3


RENÉE RODENKIRCHEN

UpFront

NOVEMBER

City and Colour's large-scale

intimate experience By CODY CAETANO

D

espite

the unknown cold snaps,

seasonal affective disorders,

and other come-what-mays

that usher in the first dark days

of winter, City and Colour’s sixth LP, A

Pill for Loneliness, is a dose of insight

for our changing times.

From the opening Fruit-Rollup

licks and spacey riffs of “Living with

Lightning” and the apocalyptic parade

into a “Difficult Love” to the uncanny

keys that prop up “Lay Me Down,”

the album offers 53 minutes of Dallas

Green’s company.

“It’s about trying to find a way in

this clouded 24/7, 365-day-a-year

world where you don’t need to shut

things off if you don’t want to,” Green

says of the album, speaking to BeatRoute

before soundcheck for his

first of two shows in New York. “It’s

nice to be with just your thoughts

sometimes,” he says.

APFL is currently the number one

record in Canada on the Canadian Albums

Chart and Green is twenty days

into his North American Tour with

Ben Rogers, Ruby Waters, and Jacob

Banks. Despite his high profile and

success, he still squares with those

original intentions from his Sometimes

years.

“When I first started writing, I realized

I could write to get myself out of

my own head and into a melody, and

then maybe into a song that somebody

else might be able to take something

from,” he reflects on his early

days. “That’s all I have ever wanted

and still want to do. And whether it

led me to where it led me today, or it

led me to just singing and playing in

coffee shops in St. Catherines, I would

still be doing it.”

Saturday, Nov. 9 // Pacific Coliseum (Van)

Tuesday, Nov. 12 //Scotiabank Saddledome (Cgy)

Friday, Nov. 22 // Scotiabank Arena (Tor)

BEATROUTE

Publisher

Julia Rambeau Smith


@beatroutemedia

Editor in Chief

Glenn Alderson

Creative Director

Troy Beyer

Managing Editors

Josephine Cruz

Melissa Vincent

Contributing Editors

Sebastian Buzzalino

Dayna Mahannah

Contributors

Ben Boddez • Dora Boras

Cody Caetano • Lauren Donnelly

Alessia Dowhaniuk •

Fraser Hamilton

Courtney Heffernan

Albert Hoang • Brendan Lee

Cam Lindsay • Dave MacIntyre

Maggie McPhee • Pat Mullen

Sean Orr • Jibril Osman

Adam Piotrowicz • Lamar Ramos

Yasmine Shemesh • Sumiko Wilson

Drew Yorke • Aurora Zboch

Contributing Photographers

Lance Bang • Lindsey Blane

Baron S. Cameron

Renée Rodenkirchen

Pamela Evelyn • Maria Govea

Noa Grayevky • Anna Maria Lopez

Scott Munn • Thomas Neukum

Lara Olanick • Sela Sheloni

Reto Sterchi • Mel Yap

Joseph Yarmush

Coordinator (Live Music)

Darrole Palmer

Advertising Inquiries

Glenn Alderson

glenn@beatroute.ca

778-888-1120

Distribution

BeatRoute is distributed in

Vancouver, Victoria, Calgary,

Edmonton, Winnipeg,

Saskatoon and Toronto

Contact Us

26 Duncan Street,

Suite 500,

Toronto ON,

M5V 2B9

e-mail:

editor@beatroute.ca


@beatroutemedia


beatroutemedia

beatroute.ca


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MUSiC

It’s such a great

moment for pop

music. I’m just really

excited by all of the

songwriting and

production I’m

hearing.

LOUISE

BURNS

RETURNS

TO HER POP

ROOTS

By CAM LINDSAY

W

hen a musician says they’re

returning to their roots, it’s

rarely in reference to a teenage

pop group that was signed by

Madonna and released a music

video starring peak period Lindsay Lohan.

But this is the life of Vancouver’s Louise

Burns.

“It sounds kinda cheesy. When most

people say that they mean folk or punk or

DIY, but for me it means corporate pop,”

she says with a laugh. “I’ve been embracing

all of the lessons I learned from when I

started out as a kid in Lillix. I was like, ‘Fuck

it. I’m just gonna write the most saccharine

melodies I can and say some really emotional

things.” Because I’ve never really

been that open before with my lyrics.”

Since leaving Lillix, Burns has made

music on her own terms. Her first three

solo albums were all well-received collections

of synth-y indie pop, but when it

came time to record number four, Burns

felt a change needed to be made. She

wanted to make unapologetic pop

music again.

“It’s such a great moment for pop

music,” Burns says. “I’m just really

excited by all of the songwriting and

production I’m hearing. I think I was

getting a bit bored of myself. I think

CONTINUED ON PG. 8 k

NOVEMBER 2019 BEATROUTE 7


JENNIFER LATOUR

MUSiC ARTIST INTERVIEW

LOUISE

BURNS

k CONTINUED FROM PG. 7

that happens to a lot of people. I definitely

honour what I did in the past, it’s been very

good to me. But a lot of these new sounds

have come from me being more open to

embracing my pop side, especially in the

world of electronic music.”

Album number four, Portraits, feels like

a giant creative leap forward for Burns in

all respects. With its slinky rhythms, neon

synths, raw lyrical admissions and breezy

sax solos (Burns is a massive Roxy Music

fan), she has entered that mature pop

niche, alongside artists like Christine and

the Queens, Shura and Carly Rae Jepsen

that she always seemed destined for. A big

part of this process was letting down her

guard and exploring her emotions through

lyrics.

“This record I did focus more on my

lyrics, which I think is a huge part of pop

music right now,” Burns admits. “As a

non-emotional person, I found it to be a

pretty crazy exercise to actually explore

that side of my writing, rather than just hide

behind a wall of reverb, lots of guitars or

crazy drums. I was just trying to put myself

into this position of, almost discomfort, so I

could try and grow.”

One way in which she found the courage

to do this was in returning to the city where

it all started for her: Los Angeles, where

she lived during the Lillix years.

“A lot of it was closure for me,” she

explains. “There have been some weird

wounds I’ve had since that time, which goes

with being a teenager I think. Everyone has

their shit that they hold on to throughout

their adulthood. But for me a lot of the insecurities

and neuroses were really put under

a microscope in LA when I was a teenager

and I still had the same perspective in a lot

of ways ever since. So I figured I’d go back

to that city where I began my career and

make amends with it, to see if I could move

forward and have a healthy relationship

with my past instead of trying to hide it or

be so self-deprecating.”

It was also there in Los Angeles where

Burns connected with producer Damian

Taylor (Arcade Fire, Björk), who previously

worked on her 2017 album, Young Mopes.

This time, however, Burns invited Taylor

into her songwriting process, another first

for her.

“Damian is amazing. I call him my guru,”

she says avidly. “He knows how to push

me and get the best work out of me. The

way we talk about music, I just always learn

from him. I’m so lucky that this was my first

real collaborative experience because he

paved the way for it to be a positive thing

for me. This record wouldn’t have existed

if it weren’t for him. I feel like with him, I put

more work into my songwriting, getting the

sounds I wanted, and deciding what I want

to do as an artist.” ,

8 BEATROUTE NOVEMBER 2019


HIGH

OCTANE

METAL

the project of Pike and bassist

Jeff Matz, following the departure

of founding member Des Kensel

earlier this year) had already spent

over two decades helping build and

fortify the foundation of contemporary

metal.

It’s not shocking that Electric

Messiah would bring the band

wide-spread attention. The album

is a high-octane gun show; utilizing

the familiar mechanics of oldschool

death metal with a heavy

dose of speed to emphasize the

band’s unyielding dexterity.

But despite their obvious success,

2019 has been mired

with challenges. In early

January, as an active

measure to prevent

the amputation

of Pike’s big toe,

derived from a

diabetes-related

complication, he

was ordered off

his feet and they

Matt Pike's High on

Fire aren’t resisting

a slow-burn

By MELISSA VINCENT

E

ight months

after High on

Fire won the

Grammy Award

for the Best

Metal Performance for their song

“Electric Messiah,” a palpable

sense of surreality still remains

for the Denver-born, now Portland-based

musician, Matt Pike,

known for his gregarious swagger,

and for launching two

of America’s most critically

beloved metal bands as the

frontman of High on Fire,

and the guitarist in Sleep.

“I didn’t expect to win a

Grammy,” Pike muses over

the phone from Amsterdam

before soundcheck.

“Wins like that don’t

happen that often, you

know what I mean?”

Long before

the recognition,

High on

Fire (now

had to postpone their tour.

“It’s just been a rollercoaster

ride,” he recalls, now on the mend

and in the middle of their rescheduled

tour. “I spent more time at

home this year than I had in a long

time. I’m not good at not doing anything.

I just played a lot of guitar,

and did research on weird-ass shit

that I get into.”

Pike pauses, then has a revelation:

“I should just write a book.”

When probed on the subject

matter, he’s already been ruminating

on the contents. “I’m thinking

about it, but I might get sued

ten different ways, given my big

mouth,” he laughs. If he did, Pike

might consider a memoir of sorts

(“my life’s pretty trippy”) or a sci-fi

book. He considers blending both,

which wouldn’t be a departure from

his typical songwriting style. “That’s

what I do lyrically. Same thing, only

more words, and less

hi-hat.”

For this tour, Pike

is rewiring what it

means to be on the

road and learning

how to take care of

himself. Without the

aid of whisky and hot

toddies, a method he’s

been using for years to warm up

HIGH ON FIRE

Sunday, Nov. 24

Danforth Music Hall

(Toronto)

Monday, Dec. 2

Rickshaw Theatre

(Vancouver)

his voice, he’s had to get creative.

“My singing warmup on the way to

practice is Soundgarden’s “Badmotorfinger,”

and I’m like ‘yeah if I

can hit those notes,’ even if I sound

like an idiot in the car, my pipes are

pretty warmed up.”

For the formerly high-flying

frontman, infamously known for

a larger-than-life personality, and

a lifestyle to match Pike’s new

approach to touring rings of an

approach to self-sustainability

that

feels universally

applicable. Like

everyone else,

he benefits

from

Tix: $30 - $35, ticketmaster.com

following a schedule of his own

design that now includes reading

before a show, or catching up

with any friends he has in that

city.

He’s changed his pace,

rather than slowing down, and is

figuring out how to be his own

center of gravity while navigating

the rigors of working while

recovering. Pike has pivoted: “I

don’t party like I used to and I do

better when I have

a routine. I take it

easy.”

After wrapping

their 2019 tour with

Power Trip and Devil

Master, next year will

bring another rare

moment of pause for

Pike, his first significant

break in years. “I’m taking a

lot of that year off of touring and

I’m gonna put it into just creative

thought. I’m taking some time

to just write, and move forward

with High on Fire. Probably take

some vacations for inspiration.”

A week before our phone

call, Pike’s granddaughter was

born. Thousands of miles away,

and through a scratchy phone

connection, his voice softens

and curls around the corners.

“Shit feels crazy,” he says with

a laugh. “I’m a cool grandpa. I

wanna teach her guitar and

survival skills.

“One of my favourite

things to do is to just shut

my shit off, go to the hills,

and shoot things. When

she’s old enough I want to

take her into the forest. I

don’t want her to have a cell

phone before she can learn

how to be a human.”,

JEN ROSENSTEIN

NOVEMBER 2019 BEATROUTE 9


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MUSiC ARTIST INTERVIEW

JAZZY

JEFF

Jeff Goldblum cut his teeth as a

pianist in Pittsburg before hitting

the silver screen By LAUREN DONNELLY

J

eff Goldblum is calling from

a “luxuriously roomy little

closet” inside his home in

Los Angeles. He only has

15 minutes for an interview,

but he’ll spend at least five

of those minutes singing

jazz songs. Sometimes the music says

it best.

Asked about his first memories of

jazz, he sings the trumpet line from

Herb Alpert’s instrumental 1965 album,

Whipped Cream and Other Delights.

Considering the relevance of jazz in

an era of distrust and corruption, he

reprises a moment from an appearance

on The Colbert Show, talk-singing

Irving Berlin’s “Let’s Face the Music and

Dance” in his velvet voice.

“Soon we’ll be without the moon,

humming a different tune, and then

there may be teardrops to shed,” he

rushy-stop sings. “But while there’s

moonlight, music, and love and romance,

let’s face the music and dance.”

He ends the song doing both vocal

parts in crescendo. He takes a breath,

letting the lyrics sink in.

“I think that has something to do with

our time,” he concludes. “That gives me

a little lift — it gives me a lift and chills

too. It’s a chilling time we live in.”

The father, husband, legendary

charmer, and gregarious character best

known for iconic acting performances

in films like Jurassic Park, The Big Chill,

The Fly, and The Life Aquatic, is also a

passionate jazz pianist. I Shouldn’t Be

Telling You This is Goldblum’s sophomore

album with his band the Mildred

Snitzer Orchestra.

Nostalgic and fun, the album features

Any time

where general

stupidity and

backwardness and

darkness can befall

us, music of all

sorts can lift our

spirits

a mix of renditions of classics like

“Let’s Face the Music and Dance,” and

delightful mashups of standards like

“Sidewinder” with the Sonny and Cher

hit, “The Beat Goes On.”

These aren’t stale covers of the

same classics. Goldblum’s music is

as enigmatic and enthusiastic as his

acting performances. Looking back,

he says that as an actor he sometimes

over-prepared to get to the right emotional

place for the scene. But music

was different.

“As you started to play it, whether it

was a sad song, or a happy song, [the

music] sort of provided,” Goldblum

explains. “Trying to render the song

and the story, and communicating it

somehow gave you all the feeling that

you needed.”

Music came before acting success

did. He cut his teeth as a pianist growing

up in Pittsburgh. Though he wasn’t

educated at a jazz institution, he took

lessons, learning chords and exercising

his improvisational muscles with the

standards in fake books. That set his

course.

After years of playing weekly gigs in

L.A., Goldblum and the Mildred Snitzer

Orchestra released their live album

debut in 2018. The Capitol Studio

Sessions topped the charts

in the UK, U.S., Germany and

Australia, and received a

warm critical welcome. It

was only a matter of time

before a sequel was in the

making.

Skills that make Goldblum

a captivating actor—improvisation,

curiosity, and generosity

towards —also serve him well as

a jazz musician.

After making his film debut 45 years

ago, Goldblum has captured Hollywood’s

elusive holy grail: longevity. Duets on I

Shouldn’t Be Telling You This feature

a diverse range of collaborators from

Gregory Porter and Miley Cyrus, to Fiona

Apple and Sharon Van Etten. A contagious

sense of joy is palpable throughout

the record. Transposing songs from

bygone eras, Goldblum’s album serves a

powerful counterpoint to the foreboding

doom of the current political climate.

It’s not surprising that people are still

clamoring to work with him given his joie

de vivre, but where does he draw his

enthusiasm from?

“Any time where general stupidity and

backwardness and darkness can befall

us, music of all sorts can lift our spirits,”

he says. “[It can] be relevant to our healing

and an upliftment toward our better

angels. But on this album specifically...”

He’s mid-sentence when something

strikes him.

“Ooooh,” he rumbles in his excited,

somewhat sinister-sounding baritone.

“Ooooh, wait a minute, wait a minute,

well...”

He starts singing again.

“Make someone happy —make just

one someone happy, then you’ll be

happy too,” that Gregory Porter sings

[on the new album]. “Ooooh, that has

something to do with a nice credo, you

know?”

I Shouldn’t Be Telling You This is released

globally on November 1, 2019. ,

NOVEMBER 2019 BEATROUTE 11

SELA SHELONI


MUSiC CONCERT PREVIEWS

GET

RICH

QUICK

Rich Aucoin made an album

about death by celebrating life

By COURTNEY HEFFERNAN

SCOTT MUNN


B

est known for his vibrant

electronic albums and

confetti-filled live shows,

Rich Aucoin’s fascination

with death seems

incongruous. However,

reconciling these ideas

is central to the Halifax-based

musician’s

creative process.

His upcoming Death

Tour this fall will be a celebration

of life and his dazzling new album,

Release, is a colourful exploration of

ideas around existence and mortality.

“I knew I wanted to make a record

on death,” says Aucoin, matter-of-factly,

as he sits back in his

chair in a bright café in downtown

Toronto. “And I wanted a lot of colour

so it wasn’t this dark connotation of

death and was more in line with my

view of the celebration of life until it’s

over.”

To talk to Aucoin is to understand

how seemingly disparate interests

come to cohesion. In conversation,

Aucoin is animated and engaging;

he smiles and laughs a lot, using his

hands when he talks. He speaks as

passionately about the art he creates

with friends and collaborators as he

does about existential philosophy.

“The whole album is about looking

at how we build our foundations for

viewing existence,” says Aucoin. He

talks about philosophical concepts

with a warmth that makes even the

most obscure ideas accessible.

Release was inspired by Aucoin’s

reading of The Denial of Death by Ernest

Becker, a psychological text that

harkens back to Aucoin’s philosophy

and contemporary studies in university.

One of the themes from Aucoin’s

reading that resonates through the album

is the idea of being present. “And

presence being fuelled by a healthy

awareness of death,” he says.

It’s a fitting topic for Release,

which is the last in a trilogy of albums

rounded out by We’re All Dying to Live

(2011) and Ephemeral (2014). Aucoin’s

Death Tour marks an end to a creative

trajectory that was nearly 10 years in

the making. Though the albums are

thematically connected, Aucoin acknowledges,

“I didn’t have it planned

out so much. They all just seemed to

focus around death in different ways.

Now that I’ve fully made the record I

know this is a trilogy and it’s over.”

On album opener “The Base,”

Aucoin uses audio from Sam Harris’

talk, Death in the Present Moment. “I

thought it was a nice way to start the

mindfulness of the record I was trying

to make,” he says. “It really puts in

perspective how quickly the mind can

be racing towards

future

anxieties.”

He intends

to promote

mindfulness

through his

live show by

interspersing

his performance

with

RICH AUCOIN

Friday, Nov. 1

Queens (Nanaimo)

Saturday, Nov. 2

Lucky Bar (Victoria)

Saturday, Nov. 30

Commonwealth Bar &

Stage (Calgary)

Tix:$14.50-$20, eventbrite.ca

ideas from philosophers, further

expanding on the ideas of each song.

“I want to have the show be almost a

meditation through the themes of the

record,” he says.

Injecting a heady dose of colour to

otherwise dark themes around death

and dying, Aucoin is synchronizing his

Release live shows to Disney’s Alice in

Wonderland. The dreamlike imagery,

as well as the concept of Wonderland,

resonates with Aucoin.

“Wonderland is a metaphor for our

own ideas and beliefs of the world,”

Aucoin says. “Alice is just going

deeper inside her own beliefs until it’s

the end of her. That’s our journey too,

to keep figuring out how we want to

view everything and redefining our

foundations of beliefs.”

Aucoin equates the process of

shaping and defining our beliefs to

a game of Jenga. “When we’re kids,

it’s just as simple as setting up the

pieces,” he says. “In order to grow,

you need to keep taking pieces out

and adding more – even if it makes

your whole foundation of the way you

view existence teeter back and forth.

Nevertheless, you have to keep going

if you want to keep growing.”

Though existentialism is an intense

subject, it certainly isn’t Aucoin’s

intention to bring the mood down.

When asked how he wants his audience

to feel after one of his shows,

he says, “Really stoked on life,” insisting

that his Death Tour will still offer

the party atmosphere that has made

Aucoin’s live shows renowned.

In a lot of ways, Aucoin has created

an immersive “choose your own

adventure” experience, where he

brings together philosophical themes

nurtured throughout the trilogy of

albums while making his audience

feel like they’re part of a celebratory

community.

“Some people really enjoy thinking

about philosophy, some enjoy the

celebration of joy and the communal

aspect of the party,” Aucoin says.

While he’s content with an audience

that just wants to feel the vibe,

he admits, “I’m happy if people take

away the philosophy that’s been

laboured over as part of the show as

well.” ,

MUSIC AND DANCE HIGHLIGHTS

October 24

to Nove m ber 24

GEOFF BERNER, TJ Dawe & Friends (Canada) new klezmer musical,

The Trombonik Returns to New Chelm and CD release party of Geoff ’s

new album Grand Hotel Cosmopolis

Wise Hall | Friday November 1 | doors 7:15pm 19+

MM CONTEMPORARY DANCE COMPANY (Italy) back with two North

American premieres. Alexis Fletcher & Andrew Bartee open

In association with IL Centro-Italian Cultural Centre

Norman Rothstein Theatre | November 1 - 4

YEMEN BLUES (Israel/USA) Yemen Blues is “Quite simply, it’s one of

the most exciting bands in world music” – Time Out Chicago

Rickshaw Theatre | Saturday November 9 | doors 7:15pm 19+

AvevA (Israel) Ethiopian-Israeli singer/songwriter is “A truly

unique voice comes along that needs to be heard by everyone” – TimeOut

BC’s Leila Neverland with Mountain Sound opens!

Rickshaw Theatre | Saturday

November 14 | doors 7:15pm 19+

UNA (USA) the performers dance with their skins turned out” – The Dance

Enthusiast Vanessa Goodman and Belinda McGuire close

Norman Rothstein Theatre | November 15 - 17

Dance & Comedy Inclusion Project and Performance (Canada/USA)

closing night performance with Troy Ogilvie, Rebecca Margolick

and Pamela Schuller and guests

Norman Rothstein Theatre | November 24

Jewish Community Centre

of Greater Vancouver

Tickets 604.257.5145

CHUTZPAHFESTIVAL.COM

NOVEMBER 2019 BEATROUTE 13


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14 BEATROUTE NOVEMBER 2019


Artist to Watch

THE WILD NORTH

ENCOMPASS THE SPIRIT OF ‘DAD ROCK’

IN LONG-AWAITED DEBUT ALBUM

By DAYNA MAHANNAH

E

lliot C Way is a living, breathing,

boot-stompin’, guitar-strummin’

relic of the 1970s. Standing

amongst vintage velvet paintings

and wood-beaded curtains in his East

Vancouver apartment, the frontman of The

Wild North is ready to roll.

In the parking lot out back is the third

most important thing in his life (after his

wife, Stephanie, and dog, Emmylou — yes,

as in Harris): his key lime 70s GMC Vandura.

Inside is wall-to-wall shag carpet, a bed and

a panther head painting.

On the road to his hometown of Langley,

BC, 33-year-old Way talks life while singing

along to 8-track tapes. The rasp in his voice

is hard evidence of the turbulent stories he

tells about making it to this moment, weeks

before the official release of Welcome To…

The Wild North — the six-year-old band’s

debut full-length album. The “dad-rock”

record is a testament to the “honest form

of wooden instruments and tube amps,

y’know?” It’s what his dad raised him on

— Bob Seger, Neil Young, Bruce Springsteen.

Way stops in front of a beautiful log home

— the Dead Flower Family Cabin, where he

spent some of the “best years” of his life.

“It was a bunch of young musicians living

together trying to like, live that classic ‘Big

Pink’ dream.”

In 2013, the relationship with his partner

ended and after one final hurrah at the

property — a music festival with hundreds

of people — all nine roommates also left.

Way remained for another month, alone with

“three years of memories haunting the walls.

Darkest time of my life.”

Many of the songs on Welcome To…

resulted from the Cabin era. Recorded three

times, the album is a time capsule.

Way left the Langley cabin for Vancouver

and started The Wild North with friends

Erik Nielsen (bass) and John Sponarski

(vocals/guitar). The group was later joined

by Matt Kelly (organ/guitar) and Leon Power

(drums).

“I always had a dream of being in a band

with five guys equally contributing their time

and efforts and money towards the group.”

Alas, the guys have always been busy

— Nielsen as a producer at Afterlife Studios

and Sponarski as a session player for artists

like Ben Rogers. Kelly records and tours

with City and Colour, and Power plays with a

multitude of local bands.

The van reaches Way’s current house in

Langley, another cabin-like structure on a

hill dubbed “Old Man Mountain.” The musician

sinks into the worn couch on the porch,

lighting an American Spirit. Welcome To…

plays in the background. “I took out a loan

and booked a week in Afterlife Studios,”

he says. Third time around, the true spirit

of The Wild North reigned. Way recorded

vocals with his shoes off, dancing, tequila

bottle in hand.

“I just decided that if I was gonna do this, I

need to stop waiting. They are my band and

I love them and when they are there, they

are absolutely the guys. That’s what makes

up The Wild North. It’s been a struggle to

get this record out, for sure.” He taps the

ash out of his cigarette. “The end is near.

Oh, look—” Way points to a hawk soaring in

the sky. “Or the beginning is near, y’know? I

hope so.”

The Wild North perform the Welcome To… album

release show at Neptoon Records on November 2nd.

NOVEMBER 2019 BEATROUTE 15


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BARON S CAMERON

THE

TAO

OF

CHI

PIG

"One month to live":

SNFU frontman Mr. Chi Pig

talks about life, love and the

art of drawing himself

to death By SEAN ORR

I

didn’t want to interview Chi Pig. It

just happened. There’s probably

a thousand more people qualified

to do this piece, but in a way, Chi

chose me. Then he told me he was

given one month to live.

It starts as a cliché: Chi Pig

walks into a bar. That’s it. That’s

the punchline. My friend and I try to sneak

a photo but he isn’t having any of that. He

walks right up to us, and even though we’d

both had our own personal encounters

with the infamous SNFU frontman in the

past, it doesn’t matter. It is this moment

that matters. Something he hammers home

a dozen times over the two hours that

follow.

Born Kendall Chin, Chi’s presence is

palpable. He talks in code. If you know, you

know. His mug is plastered on a sign at the

entrance of the fabled Cambie Pub and his

artwork is lacquered underneath one of

the tabletops. He walks over and puts his

own song, SNFU’s “Painful Reminder,” on

the jukebox. He says it always pisses off

the jocks. He also tells us that he wrote it

in Grade 8 about his homeroom teacher —

“I was in love with him,” he says.

Like everything about Chi Pig and his

storied existence, this interview was bound

to be unconventional. In fact, I don’t even

know it is an interview until he tells me it

is. Apparently BeatRoute had reached out

years before, but because his phone is actually

the phone at Pub 340, it didn’t work

out. “Interview me now, then!” he demands

with a laugh.

We follow him up the street from

the Cambie to Pub 340 where he has a

workstation set up in one of the booths

with some of his artwork and art supplies

sprawled all over the table. It is here he

drops the bombshell about the bill of health

he had just received. While this likely isn’t

the first time Chi has been told his days are

numbered, something about the conviction

in his voice and the sincerity in his eyes

when he says it floor me. “So, I’m drawing

myself to death,” he continues. We stare in

awe at his colourful creations that he’s now

drawing in front of us.

Chi is a natural storyteller. With his

cadre of Pub 340 regulars sitting in close

proximity, he rattles off stories about the

time Wayne Gretzky and Mark Messier

bullied him, and the time he quit his job

at Dairy Queen to go see Kiss Meets the

Phantom of the Park, and the time SNFU

played the Ship and Anchor in Calgary and

he told everyone they could take home one

of the many books decorating the bar’s

shelves. Stories he’s told a thousand times

before, but that doesn’t matter. “I’m here

now. Talking to you guys,” he says.

It’s 1p.m. The famed dive bar that acts

as his second home is packed and I’m a

tourist here. I know that. Chi usually sits

in the “dark corner,” but since he’s making

art, he needs more light. He opens up on

the struggle of coming out at the age of 20

when he was still living in Edmonton back

in 1982. He migrated to Vancouver on February

2, 1990 and hasn’t looked back since.

He talks about his family and his hero,

Anthony Bourdain. How he’s read Kitchen

Confidential 10 times.

We bought his art.

Chi is full of tidbits of wisdom: “Faster

and louder isn’t always better;” “A gift

comes from a curse;” and “Life is like

a box of Ex-Lax, you never know when

you’re going to shit your pants.” He keeps

a dream journal. His favourite food is beef

tartare. He loves to travel and his favourite

city is Berlin because he can smoke in the

bars, loves the energy, and “there’s a lot of

homos over there.”

The banter between the regulars

intensifies. Chi invites a lady over to sing to

us. “This is Rose. She’s a lesbian vampire

with a gambling problem, but she has a

beautiful voice.” It’s all so surreal. We order

his custom shot, Jägermeister topped with

Baileys and cinnamon sprinkled on top.

The “Chi Pig” is shockingly good.

“My mom’s dead; she died when I was

32. My dad’s dead. He died when I was 47,”

Chi shares. “She was German and he was

Chinese. But… 12 kids. So we grew up in

poverty. We were so poor growing up my

mom’s tits lactated powdered milk. That’s

how I got my dry sense of humour.” We

remember to laugh.

As the day’s waning light filters through

the cluttered opaque windows, our eyes

glazed with Kokanees and hearts filled with

stories and banter, it becomes clear that

even though he calls himself “a fucking

asshole,” Kenny Chinn is just a really sweet

person. And with that, something else

becomes even clearer: If Chi Pig really is as

close to death as he says, Vancouver will

be left with a gaping black hole at its core

when he’s gone. ,

NOVEMBER 2019 BEATROUTE 17


18 BEATROUTE NOVEMBER 2019

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VAGAB

LAETITIA VAGAB

LAETITIA VAGAB

TAMKO

IS BORN

AGAIN ASVAGAB

AGAIN ASVAGAB


the release of

her sophomore album,

the Cameroon-born,

ONWith

Brooklyn-based indie

artist reflects on finding

identity in an alias and

how this album served

as the soundtrack to

her self-discovery

By SUMIKO WILSON

6 10

CONTINUED

I

n many ways, it’s not a stretch to compare

creating an album to giving birth:

the conception, the waiting, the pain, and

the fear of how your creation will fare in

the world. On the day Laetitia Tamko released

her self-titled sophomore album

as Vagabon, that fear was eclipsed by excitement

anchored with a sense of calm.

“Because it’s my second album, release

day is exciting but it’s really about the year.” she

explains in a phone conversation with BeatRoute

ON PG. 20 k

NOVEMBER 2019 BEATROUTE 19


VAGABON

k CONTINUED FROM PG. 19

initially came from a place of pain,

Tamko now sees them as “songs of

triumph.” “In their conception they

were powerful in the freedom I felt

being that vulnerable. Now, they’re

powerful because they remind me of

what I’ve learned through performing

them,” she elaborates.

On Vagabon, Laetitia Tamko stepping

into herself is multifaceted. In

addition to handling all of the production

on the album, there’s another

subtle difference in the liner

notes. Vagabon is being distributed

under a self-titled LLC: an independent

imprint through which she will

take greater responsibility over the

album’s commercial distribution, but

also reap the rewards more abundantly.

In essence, this serves as a

sign that Tamko is inching towards

ultimate artistic independence, befrom

Los Angeles, days before joining

Angel Olsen on the North American

leg of her upcoming tour.

Her tone is soft-spoken, but

self-assured, and she stretches the

word “year” to reflect the long-game

that awaits. “I’m not worked up or

anything,” she continues. “I just feel

glad that it’s available. I think that’s

the most exciting part — seeing what

kind of life this child of mine will

make for itself.”

At 13, Tamko migrated to New

York City from Cameroon, speaking

limited English. She got her start as

a multi-instrumentalist when her

parents gifted her a guitar from Costco

in her teens. After high school,

Tamko opted for a full-time career in

computer and electrical engineering

while gestating her artistic alter-ego,

Vagabon, through playing DIY indie

shows in Brooklyn after work.

When she eventually made the

decision to leave her engineering career

and make music full-time, Vagabon

was born. Since then, she has

released three critically-acclaimed

projects, toured internationally with

indie icons like Courtney Barnett and

Tegan and Sara, and headlined a Tiny

Desk concert that has amassed nearly

100,000 views.

Where the face of indie rock so

rarely deviates from its norm, Tamko

offers a refreshing take on the genre

beyond face-value.

Over the phone Tamko’s confidence

bleeds into her tone, which

echoes her singing voice; strong and

steady, but never ascending to a roar.

Clocking in at just under 40 minutes,

over Vagabon’s ten tracks, Tamko delivers

an evolved sound that is more

revelatory and honest than ever.

She opens up about an overwhelming

love on “Flood” (“I know even if

I run from it I’m still in it/I know I’ll

hold you so close”) and addresses

her position as an indie outlier on

“Wits About You” (“I was invited to

the party/ They won’t let my people

in/Well then never mind, never mind,

never mind/We don’t wanna go to

your function/I want it all for my

own”).

On tracks like “Every Woman” and

“In a Bind,” Tamko leans into her

indie roots, pairing gently ascending

strings, rising tension, and a straightforward

song structure, similar to Bill

Callahan or Cat Power. “Water Me

Down” and “Flood,” depart from her

signature sound, and instead opt for

edgy, impossibly danceable synths, to

amplify the raw power of her vocals.

At moments, Vagabon plays like a

meditative sound bath, particularly

on “Home Soon.” Sonically, it flows

with the rest of the album by fusing

her airy vocals with disjointed, symphonic

instrumentals, but there is

no chorus, verse, beat or melody to

follow. This track transcends the

conventional song structure with no

apologies, just as Tamko rejects society’s

conventions and comes into her

own throughout the course of the LP.

While Tamko’s journey to self-realization

plays out over the course

of the album, it started while she

was touring her debut album Infinite

Worlds. She opened Infinite Worlds

with the punchy mid-tempo track

“The Embers,” where she sang about

being a small fish and getting gobbled

up by sharks. While touring her last

album, she recalls “being directly in

tune with the transformation from

songs deriving from feeling weak and

feeling tired.

Over time, her lyrics took on new

meaning and grew to be mantra-like,

setting the foundation for the growth

that would play out in her 2019 follow-up.

Rediscovering and redefining

her debut album prompted a comingof-age

for Tamko. “To perform these

songs over and over and over and

find such confidence in reiterating

this message to myself, the timeline,

everything in between, just reshaped

those songs for me.

“In turn,” Tamko says, “it reshaped

me.”

Though the songs on Infinite Worlds

Having the

record be self-titled

just felt appropriate.

It was really an act of

discovering ones-self

and discovering the

powers within me.

yond the bounds of expression.

This transition was by design. “I

want people to remember that I am

self-reliant. That’s most important

to me,” Tamko says. “I have

taught myself all these instruments,

I produced my own

record, and I engineered on

my record.”

On Vagabon, she accomplished

this goal. “I actually

found myself impressive at several

moments of this album-making

process.” She specifically cites

her work behind the boards as a feat

that has stuck with her.

“Making a song like ‘Water Me

Down’ is something where I sat back

at the end of it and thought ‘How the

fuck did I make that?’ Actually being

able to say nice things about my music

instead of downplaying it, or minimizing

myself.” Still, she is secure

enough to ask for help. “I just want to

be an all-encompassing well that can

still outsource help,” she says.

The self-titled debut project has

been a long-standing, cross-genre

tradition with roots so deep that

the concept’s origin is impossible

to peg. When Diana Ross split from

The Supremes and released her first

solo album in 1970, it was self-titled

to distinguish herself from her former

group. In 2013, when Beyoncé’s

self-titled her fifth solo album, it was

to herald a new era of creative independence.

Similarly, Vagabon used

her sophomore album title to assert

her identity under a self-appointed

alias.

“Having the record be self-titled

just felt appropriate for this [album],”

she explains. “It was really

an act of discovering ones-self and

discovering the powers within me.

So in that journey it felt right to reintroduce

myself. It was time to put a

face to the name.”

On one of the album’s standouts,

“Every Woman,” Tamko exudes affirming

security with lyrics like: “I

belong to no one” and “I won’t ask

permission from you. In a press

statement ahead of the album’s release,

Tamko referred to this track as

Vagabon’s “thesis.”

In her own words and on her own

terms, Tamko has shed the skin of

uncertainty and insecurity in order

to tell the story of her settling into

herself. On Vagabon, she is the story’s

narrator and its hero. In just two albums

and one EP, Tamko has solidified

her presence as an indie-rock

force and has truly lived up to her

name. ,

20 BEATROUTE NOVEMBER 2019


The Playlist:

BEATROUTE

1

BEATROUTE

BEAT

ROUTE

BR

BRLIVE

BRYYZ

5

3

7

10 songs in heavy rotation at the BR offices right now

1 Caribou

Home

Indietronica veteran Dan Snaith

returns for the first time since 2015

with a jazzy track heavy on live

percussion that weaves around

an old-school soul sample from

Gloria Barnes. A melting pot of

genres that moves through about

four different acts in two and a half

minutes, it’s all centred by Snaith’s

calming falsetto.

2 Pusha T

Puppet (Ft. Nicholas Britell)

In one of the unlikeliest teamups

of the year, Pusha T links up

with Academy Award-nominated

film composer Nicholas Britell

(Moonlight, 12 Years a Slave) for

a short but hard-hitting track for

the new HBO show Succession.

Like always, King Push makes

every syllable count as he offers

short bursts of flow, the orchestra

behind him a worthy match for his

dramatics.

3

Bishop Briggs

Jekyll & Hide

Bishop Briggs’ fusion of driving

rock and roll instrumentals and

powerful vocals coming straight

from a background in gospel

music always makes for something

intriguing, and she returns with

a track that’s just as eerie as the

story that lent it its name. Based

around a clever play on words,

Briggs’ quickly whispered vocals

explode into a distorted instrumental

chorus.

Travis Scott

4 Highest In The Room

Has Travis Scott suddenly

become the world’s

biggest rapper before

our eyes? This sounds

like a track that would

have fit right in on

his monster album

Astroworld, and it’s recent

debut at #1 on the

Billboard Hot 100 shows

that Scott’s woozy,

psychedelic

trap sound is

the current

cultural zeitgeist.

Writing

another

smash hit is

simple for

him.

4

6

5

Jessie Reyez

Remember To Breathe

One of the most unique and immediately

recognizable singing voices

out there right now, the Canadian

rising star dials up the production

value, letting her sharper tones sink

into some warm piano chords instead

of being the main focus. But

don’t worry, her refreshingly blunt

lyricism hasn’t gone anywhere.

6

Sturgill Simpson

Show Me Love

Outlaw country and southern rock

artist Sturgill Simpson’s latest

album’s artwork depicts a

car driving away from a

massive explosion. That’s

just about how cool the

bassline groove of this

track makes you feel, as

he seemingly sings about

calming yourself down to

successfully pull off some

sort of crime. This is one

for dark shades and latenight

joyrides.

8 9

7

The Damned

Black Is The Night

Who says you can’t still be punk

in your 60s? Nearly 40 years

into a storied career, the UK

legends keep on rolling with the

gothic material they’re known for.

Frontman Dave Vanian’s deep and

resonant voice is perfect for the

spooky fall season as he sings of

ghosts emerging from their crypts

at twilight.

10

Wolf Parade

8 Against The Day

Montreal group Wolf Parade, now

a trio, offer the first taste of their

upcoming fifth album with a buzzy

synth-rock jam session that sees

the band’s two vocalists both

singing on the track for the first

time in over a decade. Anchored by

a catchy synth line, it’s driven home

when it’s answered by the guitar

playing the same riff.

9

Summer Walker

Playing Games

(Ft. Bryson Tiller)

The year’s biggest breakout star

in the world of R&B offers her own

spin on a classic, flipping Destiny’s

Child’s “Say My Name” into a

modern, laid-back groove calling

out commitment-adverse dudes …

before Bryson Tiller hops on the

back end of the track and offers his

side of the story.

10

Free Nationals

Eternal Light

(Ft. Chronixx)

Anderson .Paak’s longtime backing

band continues to step into

their own spotlight with another

high-profile single release, infusing

their usual funky rhythms with

some syncopated reggae flavour

from Chronixx. An ode to “positive

vibes,” this track makes you envision

beach weather in November.

NOVEMBER 2019 BEATROUTE 21


TERRA LIGHTFOOT

with SAM WEBER

NOVEMBER 5

DOORS: 7:00PM

19+

NOV

6

DEAD GHOSTS

with BLACK WIZARD

DOORS: 8PM

19+

LOUISE BURNS

with BIWANNA

NOVEMBER 7

DOORS: 7PM

19+

SEEFEEL

with SWEGUNO &

KINETOSCOPE

DOORS: 8PM

19+

NOV

9

MOONCHILD with

NOV

with KIEFER

DOORS: 7:00PM

10

19+

CHASTITY with BLESSED

JO PASSED & BRASS

NOVEMBER 14

DOORS: 7PM

19+

KING RAAM

NOVEMBER 15

DOORS: 7PM

19+

NOV

19

JFL NORTH WEST PRESENTS:

GAVIN MATTS

DOORS: 7PM

19+

HOVVDY

with NICK DORIAN

& CAROLINE SAYS

NOV 19

DOORS: 7PM // 19+

CAT CLYDE with

JEREMIE ALBINO

DOORS: 7PM

19+

NOV

20

JORDAN KLASSEN

with MIKE EDEL &

PORTEAU

DOORS: 7:00PM

19+

NOV

23

SAMMY JOHNSON

with SWELLS

NOVEMBER 24

DOORS: 7PM

19+

/BILTMORECABARET

22 BEATROUTE NOVEMBER 2019

@BILTMORECABARET

@BILTMORECABARET

TICKETS AVAILABLE AT BILTMORECABARET.COM


Reviews

ALBUM

TR/ST

The Destroyer - Part 2

Grouch/ House Arrest

Arriving as the twin flame to The Destroyer

released earlier this year, The

Destroyer - Part 2 is the second album

of 2019 by Toronto darkwave outfit TR/

ST and functions as its necessary sequel.

In the five years since the release

of 2014’s Joyland, the project’s anchoring

member Robert Alfons has taken

inventory of himself by deconstructing

the concept of shame, and addressing

it head on.

The result is an exploration into

interiority, emotion and memory told

through lo-fi vocals with an emphasis

on atmosphere. The Destroyer - Part 2

establishes a new landscape from its

predecessor by masterfully emphasizing

ambiance and control. It’s a collection

of contemplative, energetic, and

sometimes sparse tracks that unfold

like micro vignettes.

Though consistent, the album features

similar thematic audio cues, like

the repetitive use of slow, echoing, and

hypnotic keys. “Enduring Chill” serves

as an overture to the album, and exists

as a wash of sound hinting at the peaks

and troughs of the album’s sonic ambition.

Elsewhere, “Darling” is dark and

beautifully harrowing, providing lyrical

robustness, and a spirit of experimentation.

The slow-moving interlude “Cor”

is held together with an almost-idiosyncratic

melody.

“Iris,” however, is the album’s

electro-pop standout. Executed as a

hopeful, multi-layered track, it’s fitted

with plenty of spacey synth lines that

burst with energy and glimmer like

confetti. You want to dance, but maybe

by yourself.

The dynamic range of tracks on

the album feels intentional. Together,

they offer a vivid lens to understand

the complexities of the album’s titular

theme and contrasting emotions. On

Part 2, Alfons refuses to shy away from

the reality of these experiences, but

attempts to explore how they often

function together.

Best Track: Iris

Dora Boras

NOVEMBER 2019 BEATROUTE 23


MUSiC ALBUM REVIEWS

Interview

CORRIDOR TAKE

UNPRECEDENTED LEAP

OF FAITH ON JUNIOR

CORRIDOR

Junior

Bonsound/Sub Pop

The rapid rise of Montreal-based

quartet Corridor can be likened

to contemporary rock folklore,

even if the story is a familiar one.

After the band’s tour agent sent

the iconic Seattle label Sub Pop

their four-song demo, representatives

who attended their

show in New York a month later

promptly sent them a record deal

within days of the performance.

It’s an impressive trajectory.

The four-piece consisting of

Dominic Berthiaume (vocals/bass),

Jonathan Robert (vocals/synth/

guitar), Julian Perreault (guitar) and

Julien Bakvis (drums) are the first

francophone band to sign with Sub

Pop, and the first Montreal band

since Wolf Parade in 2004.

Chatting to BeatRoute over

drinks at Notre Dame Des Quilles a

quaint, cozy cocktail bar in Montreal’s

Little Italy district, Berthiaume

says their third album and Sub Pop

debut, Junior, maintains the songwriting

approach its predecessor,

Supermercado (2017), while dialing

up the production.

“Our first EP and the first two

records sounded more lo-fi,” he

says. “Junior still has this warmth

and analog feel, but it feels like a

bigger production.”

Berthiaume explains that the

album focuses more on how songs

feel rather than what sonic category

they fall under. “All of the songs

came out of jams and improvisation,

and then we structure it. We

don’t think about genre or anything,

because this is where you restrict

yourself.”

“I think one of the things that

we have [throughout] our three

albums is a unity in the songs, but

it’s really diverse too. That Corridor

signature has to be somewhere,

but the point is, if it’s a good song,

it’s a good song. We don’t mind the

rest.”

While the band took their time

constructing previous albums, Le

voyage éternel (2015) and Supermercado

(2017), they had no such

luxury with Junior.

In January, Sub Pop told them

that they needed to submit their

masters by mid-May if they wanted

a fall release. By March, they had

begun writing and recording the album’s

six remaining songs, finishing

by late April. Berthiaume describes

the sessions as “intense,” spending

a month and a half recording six

days a week. “For every song, we

kept it really simple: one, two or

three riffs,” he explains of the process.

“[We] just keep on repeating

them, adding layers and creating

something more hypnotic,” he says.

“Our producer and engineer

would never bounce anything off

in the studio, so we never listened

at home to what we were doing,”

he continues. “Every day, we did

something new, and never

looked back. It was exciting,

but at the same time, it was

weird doing that at such a quick

pace.”

The result is carefully crafted

melage of indie rock, post-punk,

shoegaze and even dance-punk

sprinkled throughout — plus

plenty of reverb, lush harmonies

and call-and-response vocals.

By the end of 2019, the

band will tour throughout

North America and in Europe.

Although the language they sing

in is a hotter topic with media

outlets in Quebec and France,

Berthiaume says that their audiences

in English markets don’t

tend to focus on language as

much, instead letting the music

speak for itself.

“When we go to the U.S., or

the U.K., or even Germany, it’s

not really a subject. They’re

more focused on music than

anything else,” he says. “We

put effort in writing lyrics, but

the most important thing is just

that we play music, and we’re a

band.”

Best Track: Agent Double

Dave MacIntyre

WOOLWORM

Awe

Mint Records

Woolworm is Icarus. The Vancouver

quartet soar so close to

the boundaries of Brit-Pop tinged

shoegaze and hardcore infected

power pop they almost get burned.

Awe, the band’s third LP, is a

terrifying balancing act between

hopeful and heavy, cool and kitsch,

merry and morose. The result is

a delicate tension of sensible vox

anchored to the ground by earth

angering rhythm. It’s a palpable

tension as they fly neither too high

nor too low.

Nowhere on the album is this

tension more prevalent than

on “Hold the Bow,” the album’s

first single. Inspired by Marina

Abramović’s performance art piece,

Rest Energy, where Abramović’s

partner holds a bow with an arrow

pointing at her heart for four whole

minutes. It’s a perfect visual metaphor

for the songs message of

total trust and unconditional love.

It’s clear Woolworm has carved

out a unique space for themselves,

one that simultaneously lands them

gigs with Orville Peck and hardcore

legends, Integrity. Perhaps that’s

why Awe seems to find the band

more open-minded and impulsive,

more varied and less symmetrical,

and even more playful. Maybe it’s

that same restless hubris that led

Icarus too close to the sun.

Best Track: Hold the Bow

Sean Orr

24 BEATROUTE NOVEMBER 2019


SUDAN ARCHIVES

Athena

Stones Throw Records

THE DREADNOUGHTS

Into the North

Stomp Records

LITTLE SCREAM

Speed Queen

Dine Alone

CURSIVE

Get Fixed

15 Passenger

LEIF VOLLEBEKK

New Ways

Secret City Records

On her debut full-length, themes of

duality break open Brittney Parks’

(AKA Sudan Archives) lyrical prowess.

The unearthly Athena embodies

everything the rising violinist/

songwriter stands for: understated

feminism, electric sexuality, and rebellious

vulnerability are delivered

by her sultry voice.

Parks harnesses her full power

as an artist with skill and spontaneity,

dancing from acoustic soul to

sensual R&B to experimental hiphop,

all wrapped generously in her

hypnotizing violin loops and West

African-inspired rhythms.

Unfolding like a cinematic score,

Athena is celestial yet relatable,

hitting universal notes on the

complexities and dichotomies of

being human. Lo-fi acoustics and

smooth vocals tempt on “Did You

Know?” “Confessions” swoops in

with ecstatic Sudanese-centric

fiddle beats and robust lyrics about

the compromises of following

a dream. The album swells with

orchestral-like elements and slips

into glitchy electronic riffs as Parks’

voice takes on a spooky tone, like

in “Green Eyes.”

The dramatic Athena rounds off

in moody jazz ensconced with a

voice of liquid gold dripping onto

sun-baked earth.

Parks pulls us from one side of

the coin to the other, both soothing

and energizing us all the while.

Best Track: Confessions

Dayna Mahannah

Gather round the table and hold

yer frothy drink up high, the Dreadnoughts

are back with their most

vigorous, heartfelt album yet. The

15-song collection of modernized

sea-shanties speaks to a different

time, where it’s often forgotten that

something as simple as a strong

accordion-backed harmony can fill

a room to the brim.

Based out of Vancouver’s Downtown

Eastside, the six-piece ragtag

crew of folk-punkers continue to

carry the torch for a genre that celebrates

the misfit. After dedicating

their previous album to World War I,

Into the North feels less focused in

one direction and more tapped into

what the band does best: gathering

folks together to drink, dance, and

be merry at all costs. More often

than not, the songs start stripped,

leading with singer, Nicholas

Smith’s deep, echoing vocals, leaving

the flute, accordion, and violin

no choice but to follow suit.

The album varies throughout,

ranging from cheerful to somber

and all notes in between, yet

boasts a substantial weight at its

center. With Into the North, the

Dreadnoughts continue sailing, no

matter the height of the waves, all

the while singing their jaunty song.

Best Track: Northwest Passage

Brendan Lee

Montreal-based singer, songwriter

and multi-instrumentalist Laurel

Sprengelmey returns with her

third studio album, Speed Queen,

picking up where she left off with

Cult Following and The Golden

Album to propel her dancy rock into

new thematic realms of justice and

geopolitics.

The album’s name refers

to a washing machine, which

Sprengelmey describes as the

ultimate token of the american

dream — “you know you’ve made

it if you’ve got your own washing

machine,” she says.

On hyper-political opener “Dear

Leader” she addresses climate

change, the migrant crisis and the

prison industrial complex, flitting

from subject to subject like a social

media newsfeed. Sprengelmey

matches the scope of content

covered with an impressive range

of instruments, from horns, to violin,

to synth, accordion, xylophone and

even a gong.

Little Scream tackles complex

compositions with confidence

amidst masterfully crafted orchestration.

The crisp percussion and lush

instrumentation redeem the record,

building rhythms with the same

heart-racing excitement as Arcade

Fire at their most anthemic while

Sprengelmey’s electric guitar hits

with ferocity.

Little Scream’s optimistic rockpop

ultimately sparkles like an 80s

prom night, nostalgic and wistful

and Pepto-Bismol pink.

Best Track: One Lost Time

Maggie McPhee

Cursive have always stood tall

among their emo rock peers since

emerging from the depths of Omaha,

NB in the early 2000s.

Following the critically acclaimed,

The Ugly Organ (2003),

vocalist Tim Kasher and a rotating

cast of comrades were keeping a

notably low profile until their 2018

comeback offering, Vitriola, which

showed the band reinvigorated and

ready to fight. That momentum continues

on Get Fixed, an album as

sharp and cutting as the scissors

dawning the album art.

As on Vitriola, Kasher continues

full force with his blunt views on

society, clearly frustrated with the

state of his America today.

Songs like “Marigold” and title

track “Get fixed” sound like a haunting

orchestra musical, while “Horror

is a Human being” and “Content

Conman” bring back their post

hardcore roots with its distortion

and tantrum filled drumming.

Cursive have a way of presenting

both ugly and beautiful at the same

time, while offering plenty of food

for thought. Even if you don’t fully

vibe with its dark subject matters,

Get Fixed retains a unique charm

in Kasher’s jaded vocal delivery on

top of playful and inventive musical

arrangements.

Best Track: What’s Gotten into You?

Lamar Ramos

If Leif Vollebekk’s record Twin

Solitudes in 2017 was a personal,

self-reflective journey tinged with

heartbreak and an existential

yearning for meaning, New Ways is

distinctively more tender, still personal—

but now for someone else.

The Montreal songwriter creates

scenes, poetic memories, and

whispered conversations that

depict moments and stories that

we are not a part of but listening to

as they unfold.

Vollebekk’s reverent attention to

the small details has always been

the softly shining star of his work,

and here they not only bring his

lyrics to technicolour vibrancy, they

also equally share the stage with

the figures of his songs.

“Lightning evening in the holy

highlands/Down in the hall up

against the wall/I know you’re

struggling what to call it/Why you

gotta call it anything at all?” he observes

during a quiet conversation

in “Hot Tears,” making the setting

just as significant as the dialogue.

As he sings about past experiences

with longing and affection,

pain and joy, his words are warm.

There are no traces of bitterness

in his soulful voice. In “Never Be

Back,” he is no jilted lover, only

wistfully honest: “She’s my woman

and she loved me so fine/She’ll

never be back.”

Much like the record’s namesake,

Vollebekk remembers these

moments and sees them differently,

“looking at the sun through my

eyelids.” He’s sees them in new

ways.

Best Track: Never Be Back

Albert Hoang

NOVEMBER 2019 BEATROUTE 25


MUSiC ALBUM REVIEWS

MOUNT EERIE

Lost Wisdom pt. 2

P.W. Elverum & Sun

On Lost Wisdom pt. 2, Mount Eerie

is looking towards the future and

the world around him. Whether it’s

bleak, warm or a mix of the two,

he’s looking forward nonetheless.

Songwriter Phil Elverum’s latest

album is a sequel to an earlier

collaboration with Canadian singer

Julie Doiron titled Lost Wisdom.

Part 2 focuses mainly on Elverum’s

tumultuous past year, still recovering

from the death of his wife,

his remarriage, and subsequent

divorce from actress Michelle

Williams.

Like his lyrics, Lost Wisdom Part

2’s production is mostly simple, quiet

and far from frivolous. Backed by

mainly just an acoustic guitar and

piano, it’s the words we’re needing

to focus on here. What follows is

a heartbreaking yet somewhat

hopeful collection of songs that

confirm how effective Mount Eerie

is at confessional songwriting.

Doiron’s accompanying vocals

provide a shoulder of support

to these confessions. You can

almost imagine them holding hands

throughout the recording of the album.

“I believed in love and I still do.

I’m not going to seal up my heart”

they both sing together in “Belief

pt. 2”. It’s nice to know that together,

they’re still looking forward.

Best Track: Belief

Fraser Hamilton

PELADA

Movimiento Para Cambio

PAN102

Known for its tendency to draw

attention to some of the most

unconventional sounds in contemporary

music, Bill Kouglias’

decision to release Movimiento Par

Cambino, the debut album by Montréal-based

duo Pelada is far from

a surprise. It’s a natural addition to

his eclectic and impeccably-curated

Berlin-based PAN imprint.

The playful interaction of vocalist

Chris Vargas and producer Tobias

Rochmann throughout the album’s

10 dancefloor-ready tracks flows

seamlessly between house, techno,

hip hop, Latin dance music, gabber,

UK bass, rave music and IDM

without getting bogged down in a

singular aesthetic.

Vargas’ vocal delivery ranges

from gentle singing and spoken

word to barking yells and grunts

bearing a distinctly hardcore punk

energy. And the lyrics, delivered

in an urgent Spanish, deconstruct

notions of privacy, gender and

sexuality against a backdrop of

state surveillance and “big data”

information practices by global

corporations.

Producer/multi-instrumentalist

Tobias Rochmann constructs a

positively globetrotting rhythmic

accompaniment to Vargas’ chant

that invokes the spirit of classic

electronic label Raster Noton as

much as it does the cumbia music

of Columbia. Elsewhere, icey

synths and decisive kicks complemented

by flavourful rhythmic

diversity that bounces between

genres with every track while remaining

universally accessible.

Hard-house-future-flex-funk-club

is the vibe —DJs take note.

Best Track: Ajetreo


Adam Piotrowicz

THEY ARE

BEAT HAPPENING

B

eat Happening have always

been the score for outsider

punks.

Maybe it’s the way Calvin

Johnson’s voice rolls in with that

first “yeeeeaaaah” on “I Dig You;”

how the song becomes, all-atonce,

a groovy ode to every crush

you’ve ever had, and a droning

backing track to many solo bedroom

dances. It makes sense that

all the weirder, funkier punks were

identifying with a band who, in

essence, rejected the abject aggro

notions and aesthetics of hardcore,

but who still expertly claimed

and interpreted the underground.

After playing their first gigs in

Japan, Olympia’s Beat Happening

later toured the UK, fostering an

alliance to kindred spirits alongside

groups like The Vaselines

and The Pastels, and shocking

fans when they toured with iconic

Washington D.C. punk outfit Fugazi.

Percussionist Heather Lewis

notably borrowed drums at gigs,

and oftentimes created makeshift

drum sets out of any bangable

materials at hand.

With a stripped-down sound and

a gentler DIY ethos, Beat Happening,

consisting of Johnson, Heather

Lewis and Bret Lunsford, created a

space in punk scenes everywhere

for a larger scope of identities,

presentations, and overall weirdo-types

to feel like they belonged

in underground music communities.

“At the time, there was no one to

do it for you. So you just did it yourself,”

Johnson says over the phone.

“The whole concept of punk,

from the beginning, was to be

original and express yourself in

your own unique way. In that sense

I just felt like I was following in the

tradition of iconoclastic artists,” he

continues referring to Patti Smith

and Television.

The much-anticipated reissue

of their entire catalogue, We Are

Beat Happening, will be released

on Nov. 29 on Domino and arrives

during a period where DIY, though

still meaningful, means something

largely different. Given that

millennial musicians have access

to SoundCloud and GarageBand,

interacting with analog media is a

stylistic choice rather than a community

necessity. And underground

music lovers of today are used to

exploring bands in a less catalogued

way.

Type “Beat Happening” into

YouTube and you receive a less

cohesive experience of the band,

with each song or album re-uploaded

separately and sporadically.

You can pick and choose what you

want to hear instead of playing a

tape or EP all the way through. It

doesn’t negate the experience of

experiencing underground music.

But it’s certainly different.

The reissue, which features seven

LPs, was remastered at Abbey

Road Studios by Frank Arkwright.

It’s the first time in a decade

that all of their work has been in

one place, including their 1985

self-titled debut, which Johnson

describes as their “ultimate statement”

as a band, and feels like

the most “potent” representation

of their work. It serves as both an

accessible journey through Beat

Happening’s evolution, and categorical

relic of the underground.

There is something about Beat

Happening’s anarchic approach

to humour, tenderness and punk

that’s outlived its expiry date. Their

ability to weave homemade percussion

and sparing guitar chords

into a longing, innocent narrative

of adoration is easy to love.

Johnson notes that the band

always had a clear idea about their

sound.

“We were attempting to write

classic pop songs. Hopefully we

were successful.” When asked

if timelessness was always the

intention for the band’s sound, he

affirms with the same casual drawl

he’s made his signature, “mhm.”

Best Track: Fourteen

Alessia Dowhaniuk

We Are Beat Happening is available

Nov. 29 via Domino Recording Co.

LANCE BANG

26 BEATROUTE NOVEMBER 2019


Live

MUSiC

DARROLE PALMER

Vancouver

TYLER, THE

CREATOR

October 15, 2019

Pacific Coliseum

T

yler, the Creator has taken his

alter ego, Igor, on the road and

he’s making all the right kind of

waves. Dressed in a baby blue suit

and blonde bob wig, the young artist is

showcasing his growth as a musician

and innovator to the world with his

latest jaw-dropping, sweat-inducing

performance.

Casually strolling onto the stage at

Vancouver’s Pacific Coliseum, Tyler

stood behind the first of many stage

transformations, a small shiny backdrop

reminiscent of a high school talent

show. Throughout the night his show

would slowly transform into a complete

arena rock experience, including pyrotechnics

and an elevated stage.

Opening with “Igor’s Theme,” the

young rapper stood barely moving

before bursting into dance for “I Think.”

The show was built on buildups and

crescendos, the best example being

him playing a slow rendition of “Earfquake”

on a white piano in the middle

of the stage, before getting the entire

crowd to sing and finish the song with

him.

Tyler has mastered the art of mesmerizing

his audience with minimal

interactions. After every song the arena

would go dark, then he would deliver

the next song.

Having gone from the mischievous,

offensive shock rapper to a love stricken,

sensitive artist in a blonde bob wig,

the former leader of Odd Future has

cemented his legacy in the Rap game

with style and substance. Tyler ended

the night with no encore, which only

left his fans more hungrier and eagerly

waiting his next seismic offering.


Darrole Palmer

NOVEMBER 2019 BEATROUTE 27


SCREEN

TIME

JAZZING IT UP: THE MUSIC

OF MOTHERLESS BROOKLYN

In conversation with Edward

Norton about how jazz is

the backbone of his new film

Motherless Brooklyn

By PAT MULLEN

E

dward

Norton juggles riffs and

rhythms as actor, writer, and director

of Motherless Brooklyn. The film, a

passion project 20 years in the making,

stars Norton as Lionel Essrog, a

detective with Tourette syndrome navigating

the criminal underworld of 1950s Brooklyn.

Motherless Brooklyn adapts Jonathan Lethem’s

novel of the same name as Lionel uncovers

a case of racial discrimination in the city’s

housing market, touring through jazz clubs

and political rallies while investigating the

death of his mentor and falling in love with

an activist named Laura (Gugu Mbatha-Raw).

Fuelled by the jazzy rhythms of the city, the

film is a symphony of racial tensions and altered

scales.

Norton, speaking with BeatRoute at Toronto

International Film Festival, says he adapted

Lethem’s 1990s-set novel for the 50s to

increase the audience’s empathy for Lionel.

“The novel is really about the experience of

being inside this character’s brain, knowing

him, and feeling empathy as you watch him

navigate this painful and funny affliction,”

says Norton.

The beat and syntax of Jazz help put the audience

inside Lionel’s head. “One of the arguments

for acting and directing was knowing I

could experiment with the condition, but also

sculpt the balance of the performance in the

editing room,” explains Norton. The rhythms

of jazz lend Lionel’s spastic tics a certain musicality

as Norton’s performance evokes a

musician riffing on the scales and echoes the

drum beats and trumpet toots of Daniel Pemberton’s

score.

The film makes the connection between

jazz and Tourette’s explicit when Lionel encounters

a trumpet player at a club. “I feel

about Lionel the way the trumpet player

communicates to him saying, ‘I know that

headspace.’ It’s a gift, but it’s a brain affliction

just the same,” explains Norton.

“Lionel says back to the trumpet player,

‘But you have a way to push it out and make

it sound pretty.’ If I laugh lots of times, I feel

lucky to have a vehicle for it. If the dial got

turned up a little bit, it could be a paralyzing

mental state.” Norton’s empathetic performance

draws upon Lionel’s unavoidable

awkwardness without making light of it.

Motherless Brooklyn further evokes Lionel’s

struggle through an original song,

“Daily Battles” by Thom Yorke. “Thom expresses

this duality of longing in the heart,

but also psychic terror, fracture, and dissonance,”

says Norton. “Musically, he expresses

Lionel’s headspace perfectly for me.”

“Daily Battles” echoes throughout the

soundtrack with classic and contemporary

variations, including one by Pulitzer

Prize-winning trumpeter Wynton Marsalis,

who curated the jazz selections in the club

scenes. “When Laura reaches out and is so

empathetic to Lionel, senses his distress,

and helps calm him down, I was nervous

about using a known jazz ballad,” explains

Norton. “The last thing you want to do is

take people out of that moment if they recognize

the song or get distracted. Wynton

did this beautiful arrangement of Thom’s

song and played it like a Miles Davis ballad

from the Birth of the Cool era.”

Norton says that Yorke’s ballad captured

the essence of the story so strongly that it

inspired a revision to the script. “I put it in

the scene when Lionel complains about his

condition and Laura says, ‘We all have our

daily battles.’

“Laura is a Black woman who’s a lawyer

in the 50s and everyone only sees her as a

secretary,” explains Norton. “You have to

pick yourself up and out of your personal

struggles and engage with the bigger fights.”

,

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28 BEATROUTE NOVEMBER 2019


EVERYBODY’S

EVERYTHING

REMEMBERS

THE LIFE AND

STRUGGLES

OF LIL PEEP

By PAT MULLEN

“T

his isn’t a normal

artist who just wanted

to make a hip-hop

video, with common

tropes, and make

money,” says director Ramez

“Mezzy” Silyan on emo-rapper/

hip-hop artist Lil Peep. “He wanted

to express himself and move the

needle forward.”

Silyan profiles his late friend Gus

Åhr, aka Lil’ Peep, in Everybody’s

Everything, directed with Sebastian

Jones. The documentary chronicles

the brief period in which Lil’

Peep became an international

sensation until an accidental drug

overdose ended his career at age

Jack Womack (grandfather) and

Lil Peep (Gustav Åhr) at Peep

Show tour April, 2017

21 in 2017. The film captures Lil’

Peep’s ambition, style, and swagger

with an electrifying collage that

keeps his voice alive.

Silyan says he first met Åhr

when making the video for the

single “Girls” and was approached

to be Peep’s live-in documentarian.

“When I got that phone call, I asked

to take it one step at a time,” says

Silyan. “It felt invasive, so I went

on tour in Europe and Russia with

Gus.” Much of this footage appears

in Everybody’s Everything to chronicle

Åhr’s unexpected reach and

struggles with addiction.

Jones says the proper feature

began with his mentor, filmmaker

Terrence Malick, an executive

producer on the film and a close

friend of Åhr’s grandfather, Jack

Womack, and mother Liza. “After

Gus died, Liza called Terry and

wanted to put together a documentary.

I was pretty much an outsider,”

add Jones, who worked on Malick’s

Voyage of Time, Knight of Cups,

and was lead film editor on 2019’s

A Hidden Life.

Jones recalls seeing Lil’ Peep’s

perform live three days before

his death and being struck by his

authenticity. “What he brings to

the table is so emotionally naked

and honest. There’s no bullshit,” he

says. “For young people, that’s a

voice you can trust.”

Everybody’s Everything draws

upon Åhr’s disorienting and

empowering method with an

intricate collage of professional

video, iPhone shoots, social media

stories, and fuzzy VHS tapes. “Gus

had so many videographers around

him all the time, so there was an

embarrassment of riches,” says

Jones, adding that Åhr’s mother

recovered countless videos from

his computer and from VHS tapes

that survived Hurricane Sandy. The

tapestry speaks the language

with which Peep reached his audience

through social media and

Soundcloud.

The archival collage has

echoes of Amy, Asif Kapadia’s

Oscar-winning portrait of Amy

Winehouse, who died at 27. Jones

says that no film influenced

Everybody’s Everything but cites

Brett Morgen’s kaleidoscopic Kurt

Cobain film Montage of Heck as a

music doc that fired him up.

Silyan thinks that Everybody’s

Everything and Amy, while different,

share philosophies. “Amy

made you feel like you knew her

on an intimate level,” observes

Silyan. “It wasn’t really about her

music. It was about demystifying

her. I hope people feel like they

got to know Gus. Not Peep, but

Gus.”

Both directors agree their subject,

like Cobain or Winehouse,

remains unique when social

media offers someone their 15

minutes of fame every day. “The

reality is that there’s never going

to be another Lil’ Peep, just like

there’s never going to be another

Kurt Cobain,” says Silyan. “These

are once in a lifetime artists.” ,

Everybody’s Everything is screening

Nov. 15 at The Rickshaw Theatre

(Vancouver)

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NOVEMBER 2019 BEATROUTE 29


TRAVEL

TUCSON, ARIZONA

EXPLORING THE VIBRANCY

OF THE SUN-BAKED

SONORAN DESERT

By MELISSA VINCENT

ALL PHOTOS: JEANINNE KAUFER

30 BEATROUTE NOVEMBER 2019

I

f you’ve never encountered

the hyper-specific experience

of inhaling Arizona’s

infamous dry heat, it’s

difficult to describe to Canadians

accustomed to life

on the periphery of great

bodies of water. In short, it’s clear,

oxidizing, and a blunt reminder

you’re now in cowboy country, so

buckle up.

In so many ways Tucson is

an example of a city in flux with

unique interest in the weird and

spectacular. Initially the ancestral

home to many nations of indigenous

people, including the Tohono

O’Odham and Pascua Yaqui, the

city experienced its first big boom

in the early 20th century when, for

a split second, it was larger than

Phoenix.

Due to its shape shifting identity,

in 2019 Tucson is a bunch

of things at once: It’s moderate

climate finds it reaching to be an

international conference hub; and

its stunning landscape, vibrant

art scene, and affordable housing

makes it attractive for both new

artists, and young locals who

have made their way around the

world before deciding to land back

home.

Each February, Tucson plays

host to the Gem, Mineral, and Fossil

showcase, one of the biggest in

the world. And for the last several

years, HOCO Festival has brought


How Sweet It Was

424 E 6th St.

Founded in 1974, How Sweet It Was

Vintage has curated its selection

for around a single mission: imagine

the way specifically found items can

have “meaning, soul, and a story.”

With racks organized by both era

and style, expect a blend of timeless

ready-to-wear finds, single-wear

show-stoppers pulled from America’s

sun-baked west, and matching

sets with prints inspired from just

south of the Mexican border.

Owl’s Club

236 S Scott Ave.

When this 86-year-old funeral

home was remodelled to make way

for the Owl’s Club, the idea was

to retain the glamour of the early

20th century. Walking up the super

lush, palm tree-lined corridor to

the doorstep of Owl’s Club feels

like an apt reflection of their menu

of “complex original” cocktails and

“Old world” wines. But don’t let

Owl’s swanky interior fool you, one

night during HOCO Festival this

year saw Deaf Kids and Vancouver

noise destroyers Minimal Violence

take the stage at the location of

the former pulpit and shake the

venue to its core.

ANDI BERLIN

Taqueria Pico De Gallo

2618 S 6th Ave.

Ordering from the takeout counter,

the menu is concise and, with most

tacos priced less than $2, the

menu is equally cost-conscious.

But what really makes these tacos

stand out are the tortilla shells,

thick and viscous rolled from a ball

of corn masa flour, and the sweet

and salty tamarind raspados.

The Boxyard

238 N 4th Ave.

Possibly one of Tucson’s most

unique local dining spots, the 10

intentionally painted shipping

containers feature four restaurants,

two bars and a courtyard to

connect everything together. From

Bronx-inspired BBQ to Vietnamese

fare, this dog-friendly new addition

to the city’s downtown strip boasts

dynamic open-air seating, capable

of withstanding Arizona’s many

changing climates.

RECORD STORES

Odds and Ends/ Don’t Forget This

some of the most forward-thinking

artists on the continent

including Dean Blunt, S.H.I.T.,

Bbymutha, and Omar Apollo to

the historic Hotel Congress.

But Tucson is much more than

a college town, or a sleepy place

to retire. It’s a community with an

underdog spirit, wrestling with its

newest period of development

while also making itself amenable

to inviting guests from outside,

squarely on their own terms.

DESTINATIONS

Hotel Congress

311 Congress St.

The folklore around the Hotel

Congress is largely derived from its

proximity to a crucial part of American

western history, and a tangled

relationship with supernatural.

Built in 1918, the Hotel Congress

first rose to national attention

when it became the site of capture

for the infamous criminal John

Dillinger, and almost 60 years later

when it acquired an in-house ghost

as a result of a death by suicide on

the premises in the early 90s.

Now named as a federally recognized

historic building, the Hotel

boasts an award-winning music

venue, Club Congress; two dining

spots, The Cup Cafe and Maynards;

and an impressive roster of

year-round programming including

as home base for HOCO fest.

Tucson Museum of Art

140 N Main Ave.

Located in the city’s Presido district,

the Tucson Museum of Art is

more than an impressive showcase

for Latin, Western, and Contemporary

art, it’s become a crucial

cultural epicenter of the ongoing

redevelopment of Downtown

Tucson. Comprised of an entire

74,000-square-feet historic block,

what sets the museum apart is its

clearly considered social mission

reflected in both the programming

and the structure of the space.

Throughout the year they offer

public lectures on the subject of

border politics and indigeneity, and

while the museum is undergoing

construction, they’re offering a pay

what you can model for all patrons.

Gates Pass

You can’t say you’ve been to

Tucson if you haven’t visited the

mountains that frame the Sonoran

Desert. Featuring a unique blend

of flora and fauna found nowhere

else in the world, from a distance,

the hills seem covered in grass

until you move closer and realize

that towering Saguaro cactus

populate the mountain’s highest

peaks. Walk, don’t run, or you’ll

miss it.

EATS AND DRINKS

Boca’s Tacos

533 N 4th Ave.

Recognizable by a puckering set

of lips adorned on both outside

the restaurant and on every menu,

Boca’s Tacos have been celebrated

by the New York Times and

the Food Network. Both open

late and conveniently located on

the historic and artsy 4th Avenue,

expect the usuals like pulled pork

and camaron tacos executed at

the highest level, their trademark

tri-colour tortilla chips, and truly

imaginative creations like the AM

taco topped with a hash brown

and fried egg.

Exo Roast Co.

403 N 6th Ave.

Bustling, laptop-ridden, co-working

cafe space by day, and smoky, live

music bar by night, Exo Roast. Co

is housed in a repurposed warehouse

with massive floor to ceiling

windows and mismatched rustic

furniture. But calling Exo a coffee

shop would do a disservice to

their ambitious event roster, which

includes Wednesday hatha yoga

classes on the patio, and Mezcal

tastings followed by traditional

cumbia and Mexican ballads on

Thursday.

NIGHTLIFE

191 Toole

What was once Skrappy’s, a

DIY-music scene devoted to

uplifting Tucson’s at-risk youth, was

renamed 191 Toole in 2013 with a

renewed effort to exist as one of

the few places in the city to regularly

host all-ages shows. A weirdly

angled venue, the stage is actually

on a diagonal, providing fantastic

sightlines for artists as diverse as

Cass McCombs and Gatecreeper,

to Chastity Belt and Maxo Kream.

Che’s Lounge

350 N 4th Ave.

Che’s states that they’ve been

located in Tucson since “forever,”

which seems hard to argue with

since its open from 12 pm to 2 am

every day of the year. From the

well-stocked bar stationed in the

centre of the room, to a gorgeous

back patio featuring live music and

the tallest and cheapest pour of

whisky on ice, this is your spot to

come early and stay late.

Wooden Tooth Records

426 E 7th St.

Depending on the night, Wooden

Tooth might be the place where

you stumble across a new Boris reissue,

or bear witness to a wild and

riotous in-store performance by

any of the city’s impressive group

of rising local artists. This year, the

record store levels up its ambition

as one of the city’s newest and

best record stores by hosting the

first annual Woodenstock, which is

exactly what it sounds like.

YOGA Annex

439 N 6th Ave.

When it comes to taking a yoga

class in a new city, comfort is key.

Newly opened, YOGA Annex is

the place where “the music goes

up and the lights go down.” The

vinyasa flow class we attended led

by Gabriela Pintado, featured live

electro-acoustic drumming by local

multi-disciplinary artist Quiahuitl,

and an intentionally malleable set

of poses. Both heart-pumping,

deliberately gentle and ultimately

restorative, the class was a necessary

reprieve from the hot desert

sun.

NOVEMBER 2019 BEATROUTE 31


Style

PLAY IT LOUD

32 BEATROUTE NOVEMBER 2019


Music and Fashion

Merge Explosively

In King Of Hearts’

Vivid Designs

Amber Mariel lives life in full saturation

and the young designer’s fashion line,

King Of Hearts, screams it from every

colour-soaked seam.

England born-and-bred, Mariel

infuses deliciously impractical yet

soulfully necessary pieces with the

musical subcultures of her British

heritage. As she says, “Who would the

Mods have been without The Kinks?”

It’s no wonder, then, that Mariel’s

loud and proud designs (boasting an

undeniable performative calibre) are

finding their way onto the bodies and

into the hearts of intrepid musicians.

Danielle McTaggart of Vancouver rock

duo Dear Rouge has performed in

numerous KOH outfits. “I don’t like to

be shy about style,” McTaggart says.

“People come to see an honest expression

of you and your music. Loud

is me and that’s what I try to wear.”

Learning to sew from a mother who

encouraged her at a young age to

alter clothing from local shop’s sales

sections in order to fit her (and the

family budget) ignited Mariel’s ardour

for design.

Later, despite years of experience

in the creative industry, she was

unqualified to attend a fashion course

at a prestigious university. She tucked

her dream away. But when Mariel unearthed

her sewing machine to make a

costume for Pride festivities one year,

people gushed. Ambition stirred anew;

King of Hearts was born.

The fashion line is a celebration

of expression and, less obviously, of

health. Depicting King Charles VII’s

descent into ‘madness’, the playing

card of choice represents a battle with

mental illness — something personal

for Mariel, an advocate of mental

health awareness. The heart imagery

reflects ideals of environmental and

ethical consciousness, as well as

shape and gender inclusivity.

Most importantly, King Of Hearts

embodies fun. “There’s always

a tongue-in-cheek aspect to my

designs,” Mariel says, who takes

seemingly dull or overlooked subjects

to alter how they are perceived,

and combines a love of satire with

“neck-breaking, eye-popping prints

and colour!”

By DAYNA MAHANNAH

Photos by LINDSEY BLANE

RHINESTONE

COWBOY

This canary yellow-andblue

sequin-and-rhinestone

suit is an uncanny nod to

the work of Nudie Cohen,

creator of the “Rhinestone

Cowboy.” With over 300

rhinestones hand-applied

to the two-piece ensemble,

Dani rocked this eye-popping

outfit during Dear

Rouge’s performance at the

Calgary Stampede.

NOVEMBER 2019 BEATROUTE 33


Style

PLAY IT LOUD

CROCODILLY

BLUES

Hand-picked on Dani’s travels,

this lustrous blue crocodile

print fabric was brought to life

by Mariel. The retro-mod crop

top and coordinating dress

shorts express versatility and

noticeability. Worn separately,

they amp up an outfit. Together,

they are unstoppable.


BOBBY

DAZZLER

Inspired by the strategic

‘dazzle camouflage’ used

in WWI on battleships to

disorient enemy ships, the

Bobby Dazzler print throws

passers-by off-balance and

may cause lost-train-ofthought

syndrome. Custom

created in collaboration

with graphic designer

Adam Gaucher, the draped

sleeves and cape-like

shape give the wearer

superhero confidence.

NOVEMBER 2019 BEATROUTE 35


36 BEATROUTE NOVEMBER 2019

TICKETS AVAILABLE AT THECULTCH.COM


YVR

11.19

Snoochie Boochies!

Kevin Smith Reboots

Jay and Silent Bob

One More Time

By YASMINE SHEMESH

We first met Jay and Silent Bob

in Clerks, Kevin Smith’s 1994

indie masterpiece, selling weed

outside the Quick Stop. The

funny, crude, and loveable slackers

went on to become a staple

of Smith’s View Askewniverse,

appearing in nearly all of its films,

and even starring in their own

movie, Jay and Silent Bob Strike

Back (2001). Now, 25 years after

their debut, Jay (Jason Mewes)

and Bob (Smith) are older, somewhat

wiser, still stoned, and back

with their very own sequel.

Jay and Silent Bob Reboot

has largely the same premise

as its predecessor, which saw

the “hetero-lifemates” set out

to stop a movie adaptation of

Bluntman and Chronic — the

superhero comic book based on

their alter egos. Only this time,

they’re hitting the road to protest

a Hollywood remake of the first

film they tried to sabotage. It’s

a timely satire of today’s reboot

culture and flirts with being

both sincere and self-aware by

winking at its intentional tropes.

There’s a sweet multidimensional

aspect to it, too, with an impressive

roster of cameos including

Smith’s own daughter, Harley

Quinn.

Smith and Mewes are taking

Reboot on tour, presenting it in

person at theatres across North

America. In Vancouver, they’ll be

showing it at the Rio — a historic

space that Smith, a Vancouver

Film School alum, played a role

in saving from demolition. The

location feels like an obvious

choice for Smith who seems to

do things because they mean

something to him. Case in points:

he makes the kind of movies

he does because he, himself,

is a superfan. He likes to work

surrounded by friends and family

— Jay and Silent Bob are the

quintessential buddies because

Mewes and Smith are in real life,

too. He’s been vocal about how

his near-fatal heart attack last

year spurred the earnest return

of two of his most beloved characters,

who, like all of us, have

grown up just a little bit. But are

still, unequivocally, who they’ve

always been: Jay and Silent Bob,

two of the good guys.

December 1 and 2, 2019 / Rio Theatre

/ Tix: riotheatre.com

VANCOUVER’S ESSENTIAL NOVEMBER HAPPENINGSk

NOVEMBER 2019 BEATROUTE 37


11.19YVRAGENDA

CARL WARNER

Transits

and

Returns

W

hether it be displacement,

migration,

visiting, or commuting,

movement can inform relationships

to history and place. In Transits

and Returns, an expansive

new exhibition at the Vancouver

Art Gallery, 21 Indigenous artists

from New Zealand, Australia,

Canada, and the United States

consider what movement means

particularly in relation to culture

through themes of territory,

kinship, and representation. Carol

McGregor’s Skin Country, for

example, bridges her Indigenous

and Scottish backgrounds with a

large possum cloak that features

a map of flora painted on its skin

instead of traditional territory

symbols. Drew Kahuāina Broderick’s

installation fills a wall with

YVRAgenda

Waikiki tourist t-shirts, speaking

to “paradise economics” in Hawai’i

and the commodification of

the land, sky, and sea. Meanwhile,

Hannah Brontë — whose practice

is based on hip-hop, women, and

performance — examines women

as warriors, with shells and woven

pieces adorning a dyed textile.

Until Feb. 23, 2020 / Vancouver Art

Gallery / Tix: vanartgallery.bc.ca

Eastside

Culture Crawl

Want to get up close and personal with your

favourite artists in the city? More than 500 of

them will open their studio doors to the public

as part of the annual Eastside Culture Crawl,

so you can see how they really work. Now in

its 23rd year, the Crawl provides a unique

opportunity to connect with Vancouver’s creative

community, particularly the hubs around

Columbia St, 1st Ave, and Victoria Drive.

Along with the open houses, there are also a

variety of special events happening throughout

the festival including DISPLACEMENT, a

multi-artist, multi-venue exhibition that confronts

the increasing losses of affordable artistic spaces;

a carefully curated series of artist talks; and

demos in chainsaw carving.

Nov. 13 to 19, 2019 / Various Locations / Tix: Free

HUMP!

Anyone can be a porn star. That’s the philosophy according

to HUMP!, an annual erotic film festival that screens short

dirty home movies and amateur sex cinema made by “people

who aren’t porn stars but want to be one for a weekend.”

Hosted by sex advice columnist and podcaster Dan Savage,

the festival is known for its loving and inclusive perspective

towards what can be a taboo or exploitative industry, with a

carefully curated lineup of submissions that don’t discriminate

against race, gender, age, body type, fetish, or situation.

Some are truly poignant, like Lost + Found, one of the

featured films in this year’s festival, about a mother rediscovering

her sexuality after experiencing a miscarriage. Others,

like the Pizza Topping, which is set in an alternate reality

where the pizzas order the delivery boys, are just meant to

make you laugh. Founded in Seattle in 2005, the touring festival

stops in Vancouver for the very first time this month.

Nov. 13 to 16, 2019 / Rio Theatre / Tix: boldtypetickets.com

BLACK

LIKE ME: AN

EXPLORATION

OF THE WORD

N—

Is it possible to redefine a racial

slur? Using a wide range of

dance forms from African and

jazz to tap and house, Seattle-based

dancer and choreographer

Jade Solomon Curtis surveys

historical context and raises

urgent questions about the power

of a single, blood-soaked word.

Nov. 20, 2019 / The Chan Centre for

Performing Arts / Tix: chancentre.com

NATE WATTERS

Vancouver

Podcast Festival

True crime stories, comedy, and some of the

most curious parts of Canadian history are just

a small handful of the offerings at the Vancouver

Podcast Festival, back for its second edition of

panels, live events, and creative workshops this

month. The top events on our list? First: Martin

Austwick’s Making Music for Podcasts masterclass

that has the award-winning podcaster

and composer share his secrets for designing

the perfect soundscape. And second: Listening

Party with Jennifer Schine, Brady Marks and Jen

Moss, at which they host a discussion on the

power of sound.

Nov. 7 to 10, 2019 / Various Locations /

Tix: vanpodfest.ca

38 BEATROUTE NOVEMBER 2019


Cindy Sherman, Untitled #92, 1981, chromogenic print, Courtesy of the Artist and Metro Pictures, New York

OCT 26, 2019

– MAR 8, 2020

BUY TICKETS AT VANARTGALLERY.BC.CA

Organized by the National Portrait Gallery, London

in collaboration with the Vancouver Art Gallery

Major support provided by

Cathy Zuo

Generously supported by

Artworkers Retirement Society

Supporting sponsor

Additional sponsor

Additional support from

Sheahan and Gerald McGavin

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2019-10-18 3:11 PM

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NOVEMBER 2019 BEATROUTE 39


11.19YVRAGENDA

Orquesta Akokán:

Real Life Magic By YASMINE SHEMESH

I

t’s

about a feeling. Passion that burns

through your body and sets fire to

the dancefloor. A spirit that Orquesta

Akokán, a Cuban-American big band,

evokes with bright blasts of horn and exuberant

vocals from José “Pepito” Gómez that

together recall clas sic 1940s mambo. After all,

“Akokán” means “from the heart.”

The collective recorded their self-titled

debut in Havana’s historic Estudios Areito

— where every important Cuban musician

from Chucho Valdés to Silvio Rodríguez has

passed through — in live ensemble takes.

Takes which were integral to capturing that

certain something, as producer Jacob Plasse

says.

“For Latin music, so much is about the

interplay between people,” he explains,

speaking to BeatRoute from New York. “When

you have one person going at a time, a lot of

the magic of it is lost because it’s really about

the interaction between human beings that

makes it so powerful.”

The Orquesta was a serendipitous product

of a project that Plasse, Gómez, and music

director Mike Eckroth were working on. The

three were writing songs that channeled old

Havana, but it wasn’t hitting the right notes.

Around the same time, Gómez was traveling

to Cuba to perform with legendary pianist

Cesar “Pupy” Pedroso and invited Plasse and

Eckroth to attend the show. Suddenly, they

were at Areito with 14 of the country’s finest

musicians.

The band employs specific techniques from

mambo’s golden age, using vintage equipment

and minimal overdub. The result is a vivacious

celebration of the past, with eyes that look

towards the present. “I think with the fact

that we live in different times, there’s naturally

something different, energy-wise, about the

music,” Plasse says. “These guys grew up

playing timba, which is like salsa on steroids,

so that element is always there. It’s sort of a

push and pull between the eras.”

Since they’ve been touring, Orquesta

Akokán sound better than ever. Especially

now, with time on their side, one must

experience the band in concert to truly feel

the effect of their enchantment. Because, as

Plasse says: “This is the type of music that’s

meant to be enjoyed in the flesh.”

November 16, 2019 / The Chan Centre for Performing

Arts / Tix: tickets.ubc.ca

PRUDENCE UPTON

at the Telus Studio Theatre

Black Like Me

An Exploration of the Word N -----

WED NOV 20 2019 / 7:30PM

THU NOV 21 2019 / 12:30PM

Dance artist Jade Solomon Curtis

takes a pointed and poignant look

at historic and ongoing oppression

through the lens of a singularly

powerful word.

BEATROUTE.CA

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40 BEATROUTE NOVEMBER 2019


PLAYWRIGHT TETSURO SHIGEMATSU

CHALLENGES SOCIETAL PERCEPTIONS

OF REALITY IN KUROKO By YASMINE SHEMESH

I

n Japan, there’s a troubling

epidemic of reclusive young

adults that has been gradually

becoming more prevalent.

They are known as hikikomori and it’s a

sickness that extends far beyond being a

loner or anti-social. Rather, it’s a refusal to

participate in society. Many hikikomori live

with their families and some only eat when

trays of food are left outside their door. A

recent survey estimates nearly two million

cases of the disorder in the country.

Writer, broadcaster, and playwright

Tetsuro Shigematsu explores this phenomenon

in his new show, Kuroko. The

protagonist, Maya, hasn’t left her bedroom

in half a decade and she spends her days

playing virtual reality video games — a

common pastime for the hikikomori. “This

particular social challenge is fascinating

to me because I think so much of our

communication is increasingly technologically

mediated,” Shigematsu says. “I

think the hikikomori are the canary in the

mine shaft of also what life is like in an

industrialized society, in this period of late

stage capitalism.”

In Kuroko, Maya meets a mysterious

man in a multiplayer video game who encourages

her to re-enter the real world to

help her father. This part of the storyline

highlights another thing closely related to

the hikikomori: the rental family industry,

where professional stand-ins fulfill specific

needs, which, in this case, comes in the

form of surrogate parents or siblings who

attempt to coax the hikikomori out of

isolation. But is Maya’s friend genuine or

is he hired? The play’s title itself winks at

that ambiguity, in an extension of the plot’s

overarching theme of subjective reality.

The literal translation of the word “kuroko”

means “child of darkness” and is used as a

poetic term for the stagehands of kabuki,

traditional Japanese theatre. Onstage and

dressed in black, the kuroko help actors

achieve a level technical virtuosity that

would be otherwise impossible without

assistance. Think marionette strings, but

ones the audience doesn’t acknowledge

the presence of.

“For me, that was the perfect metaphor,

because for each one of the characters

within the show could arguably be a shadowy

figure who is suddenly influencing

the actions of another person — but also

helping the players,” Shigematsu explains.

As much as Kuroko surveys the complex

inner sphere of the hikikomori, it also

comments on our digitally driven world.

Shigematsu’s interest on the subject

matter was spurred from personal experience

— After having laser eye surgery,

he uploaded audiobooks to his iPhone to

escape the total darkness of his recovery.

Despite being physically inert, he was able

to create a wholly vivid experience for

himself.

“I think, in a sense, our body and our

spirit are atrophying the more time we

spend online,” Shigematsu contemplates.

“And I’m not a declinist; I don’t think things

were better in the past. I just find it interesting

that we are moving from the world

of atoms and molecules as our primary

reality to ones and zeroes, and I’m really

interested in what kind of shift that will

bring about in terms of our interactions,

our human relationships.”

November 6 to 17, 2019 / Historic Thea tre /

Tix: thecultch.com

RIO

THEATRE

1660 EAST BROADWAY

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NEW ANIME!

FROM THE CREATORS OF

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NOVEMBER 2019 BEATROUTE 41


11.19YVRMUSIC

The Cheat Sheet BR PICKS THE 5 ESSENTIAL LIVE MUSIC SHOWS

R&B

INDIE

METAL

EDM

HIPHOP

1 MOONCHILD

Sun, Nov. 10 at Biltmore Cabaret

Sultry and smooth, this R&B trio

are a dreamy vibration.

2

SKI MASK THE

SLUMP GOD

Tues, Nov. 12 and 13 at Vogue Theatre

Once a member of the rap group

Very Rare with XXXTentacion, this

self-proclaimed Slump God is ascending

the ranks of rap royalty.

3

SNOTTY NOSE REZ KIDS

Thus, Nov. 14 at Venue

This First Nations hip-hop duo from

Kitamaat Village, BC use smooth

flow and dank beats to show us exactly

why they consider themselves

true “Boujee Natives.”

4 KILLY

Fri, Nov. 22 at Vogue Theatre

Born in Toronto and raised in

Victoria, Killy’s track “Killamanjaro”

smashed him into the music-sphere,

and now this breakout

star is quickly climbing the

rap-mountain.

5 DAVE

Sat, Nov. 23 at Fortune Sound Club

This young U.K. rapper beautifully

combines poetic lyrics and smooth

flow in a mesmerizing way.

ROCK

MIKAL CRONIN

Saturday, Nov. 9 at Fox Cabaret

1

Associated with acts like Ty Segall,

Wand, and Meatbodies, Cronin

adds a melodic flavour to dirty

garage rock.

2

THE PISTOLWHIPS

Wed, Nov. 13 at the Roxy

With catchy hooks and monstrous

choruses, this Sakatoon group is

ready and aimed to catch fire.

3

CINEMATIC ORCHESTRA

Tues, Nov. 19 at the Vogue

British Nu Jazz legends return with

a meditation on belief guided by a

communal spirit.

4 SLEATER-KINNEY

Thurs, Nov. 21 at Commodore Ballroom

Riding a wave of influences from

grunge and the riot grrl punk

movement, these Pacific Northwest

legends are riding the high of a new

album produced by Annie Clark of

St. Vincent.

5

MOUNT EERIE

Sat, Nov. 30 at Christ Church Cathedral

An acoustic guitar, voice, and

lyrics about loss, Phil Elverum’s

melancholic project will touch you,

break your heart, and give you a

new appreciation for the people in

your life.

1

CHON AND BETWEEN

THE BURIED & ME

Tues, Nov. 12 at Commodore Ballroom

A progressive-metal dream, this

massive double header will have

your head banging in odd time-signatures.

2 ALESTORM

Sat, Nov. 16 at Rickshaw Theatre

This pirate-themed band has the

perfect cure for what ails you.

Heavy metal. And beer.

3

KING DIAMOND

Wed, Nov. 27 at Queen Elizabeth

Theatre

Legendary Mercyful Fate frontman

rolls solo to haunt you with his

nightmarish lyrics and classic metal

sound.

4

SHOW ME THE BODY

Thurs, Nov. 28 at SBC

A mix of sludge metal, noise rock,

and hip-hop hits hard enough to

put listeners in a body-bag.

5 GATECREEPER

Thurs, Nov. 28 at Fox Cabaret

This death-metal band is so devilishly

heavy, you might think they

creeped through the gates of hell.

1

TOM MORELLO

Thurs, Nov. 7 at Commodore Ballroom

Rage Against the Machine

guitar-icon continues to fight the

power with his new dance-music

project: the Atlas Underground.

2 1NF1N1TE

Fri, Nov. 8 at Celebrities

This EDM festival superstar will

unleash his big room mixes of

trap, dubstep, and house inside an

intimate venue.

DJ PAULY D

Tues, Nov. 12 at Venue

3

From the Jersey Shore to the DJ

booth, Pauly D aims to turn Venue

into his very own smoosh-room.

4 TROYBOI

Sat, Nov. 16 at Commodore Ballroom

Multicultural and multi-stylistic,

TroyBoi has produced for some

of today’s biggest R&B, rap and

hip-hop artists while also writing

his own party-grooves.

5

DIRT MONKEY

Thurs, Nov. 21 at M.I.A.

Don’t let this monkey fool you, his

colossal dubstep beats will make

you go bananas.

PUNK

1

DUNE RATS

Fri, Nov. 8 at Rickshaw Theatre

Coming to you straight from the

Australian sewers, Dune Rats will

infest you with their catchy and

dirty sound.

2

BLACK FERNS

Fri, Nov. 8 at Astoria

Undeniably trippy, this post-punk

band will thrust you into another

dimension.

3 RAZORVOICE

Thurs, Nov. 21 at Railway Club

Inspired by punk, metal, and grunge,

this eclectic Vancouver band

has a sharp sound that will have

you raising your voice.

4

THEO AND THE THUGS

Fri, Nov. 22 at SBC

Featuring members of Gob, this

group of punks looks to pay

homage to their popular band while

unleashing kick-ass new tracks.

5

THE OFFSPRING

AND SUM 41

Sat, Nov. 30 at Abbotsford Centre

Two of the most popular punk

bands of the early 2000s, this

wicked double-header provides

more than nostalgia.

42 BEATROUTE NOVEMBER 2019


new album includes “strangers” & “astronaut”

out now

canadian tour

11.08 — victoria, bc @ save on foods memorial centre

11.09 — vancouver, bc @ pacific coliseum

11.10 — kelowna, bc @ prospera place

11.12 — calgary, ab @ scotiabank saddledome

11.13 — edmonton, ab @ rogers place

11.15 — regina, sk @ brandt centre

11.16 — winnipeg, mb @ bell mts place

11.19 — sudbury, on @ sudbury arena

11.20 — windsor, on @ the colosseum at caesars windsor

11.22 — toronto, on @ scotiabank arena

11.25 — ottawa, on @ canadian tire centre

11.26 — kingston, on @ leon’s centre

11.28 — moncton, nb @ molson canadian centre at casino new bruswick

11.29 — halifax, ns @ scotiabank centre

each ticket purchased online includes a CD or digital copy of the new album

$1 from each ticket will be donated to MusiCounts & Indspire cityandcolour.com


CANADA’S LARGEST INDEPENDENT CONCERT PROMOTER

UPCOMING SHOWS

JAY PARK

Nov 10 - Orpheum

FKA TWIGS - MAGDALENE

Nov 2 (On Sale) Nov 3 (Soldout)

- Vogue Theatre

SEAWAY

WITH SPECIAL GUESTS

Nov 5 - Rickshaw Theatre

BÜLOW

WITH SPECIAL GUESTS

Nov 6 - Imperial

LOUISE BURNS

Nov 7 - Biltmore Cabaret

Nov 9 - Lucky Bar

MOONCHILD

& KIEFER

Nov 10 - Biltmore Cabaret

SKI MASK THE SLUMP GOD

Nov 12 (Soldout) Nov 13 (On Sale)

- Vogue Theatre

LIL PEEP

EVERYBODY’S EVERYTHING SCREENING

Nov 15 - Rickshaw Theatre

CHELSEA WOLF

& SPECIAL GUESTS

Nov 21 - Vogue Theatre

KILLY

& SPECIAL GUESTS

Nov 22 - Vogue Theatre

TICKETS ARE AVAILABLE AT MRGCONCERTS.COM

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