Beatroute Magazine BC Print Edition - August 2017

FREE
AUGUST 2017

NO,
YOU’RE
WEIRD!
JOHN FLUEVOG SHOES 837 GRANVILLE ST 604·688·2828 65 WATER ST 604·688·6228 FLUEVOG.COM

August ‘17
PUBLISHER
BeatRoute Magazine
GRAPHIC DESIGNER
& PRODUCTION MANAGER
Alisa Layne
alisalayne.graphics
WEB PRODUCER
Jash Grafstein
INTERN
Emily Blatta
COPY EDITOR
Robin Schroffel
FRONT COVER DESIGN
Randy Gibson
DISTRIBUTION
Gold Distribution
EDITOR-IN-CHIEF
Glenn Alderson
glenn@beatroute.ca
MANAGING EDITOR
Jennie Orton
jennie@beatroute.ca
04
05
06
WORKING FOR THE
WEEKEND
∙ with Kathryn Calder
DESCENDENTS
MOUNT EERIE
JAMES VINCENT MCMORROW
18 CITY
-Ponderosa
-Monsoon Arts
-Mural Fest
-Avocado Bay
-Are We Screwed?
-Good Boy
-BOOZE: Sunday Cider + Sid’s
Vodka
-Levine Flexhaug
-Unbelievable
CONTRIBUTING WRITERS
Max Asper • Emily Blatta • Frederick Blichert
Louise Burns • Jason Corbett • Local Creature
Adam Deane • Andrea Demurs
Quan Yin Divination • Mike Dunn
Heath Fenton • Adam Fink • Slone Fox
Jovana Golubovic • Melanie Green
Theresa Gunkel • Sam Hawkins • Max Hill
Alex Hudson • Sarah Jamieson • Emily Jayne
Jeevin Johal • Karolina Kapusta • Charlotte Karp
Noor Khwaja • Tanis Lischewski • Sarah Mac
Travis Markozy • Brent Mattson • Paul Mcaleer
Jamie Mcnamara • James Olson • Jennie Orton
Liam Prost • Mitch Ray • Keeghan Rouleau
Yasmine Shemesh • Hogan Short • Justice Steer
Vanessa Tam • Willem Thomas
Brayden Turenne • Evan Wansbrough
Trent Warner • Brad Wilde
CONTRIBUTING
PHOTOGRAPHERS &
ILLUSTRATORS
Brandon Artis • Alison Boulier
Michael Corrubia • Lucien Cyr • Syd Danger
Genevieve Elverum • Pauline Johnson
Lisa Johnson • Don Levandier • Alison Lilly
Samantha Marble • Puppyteeth • Liz Rosa
Sawa • Dylan Smith • Leslie Van Stelten
Rob Zawistowski
ADVERTISING INQUIRIES
CITY
Yasmine Shemesh
yasmine@beatroute.ca
ELECTRONICS DEPT.
Vanessa Tam
vanessa@beatroute.ca
LOCAL MUSIC
James Olson
james.olson@beatroute.ca
THE SKINNY
Johnny Papan
johnny@beatroute.ca
QUEER
David Cutting
david@beatroute.ca
COMEDY
Graeme Wiggins
graeme@beatroute.ca
09 SPOON
10
11
12
15
MARIKA HACKMAN
JON COHN EXPERIMENTAL
TONYE AGANABA
KIM GRAY
SKINNY
-Swans
-Dead Cross
-Zaum
-Out for a Riff
BPM
-AC Slater
-Goodlife Sundays
-Clubland
-The Orb
24
QUEER
25 VQFF
26 FILM
27
-Alt Pride
-Pride Guide
-A Ghost Story
-This Month in Film
REVIEWS
-Arcade Fire
-Woolworm
-Eagles of Death Metal
-Perfume Genius
-The Psychedelic Furs
34 HOROSCOPES
Glenn Alderson
glenn@beatroute.ca
778-888-1120
DISTRIBUTION
We distribute our publication to more than 500
locations throughout British Columbia. If you
would like BeatRoute delivered to your business,
send an e-mail to editor@beatroute.ca
FILM
Paris Spence-Lang
paris@beatroute.ca
LIVE
Galen Robinson-Exo
galen@beatroute.ca
BEATROUTE MAGAZINE
202-2405 Hastings St. E
Vancouver BC Canada
V5K 1Y8
editor@beatroute.ca • beatroute.ca
©BEATROUTE Magazine 2017. All rights reserved.
Reproduction of the contents is strictly prohibited.
Rooney Mara is the sheet in A Ghost Story - Page 26
xxxxxx
August 2017 3

with Kathryn Calder
4
ALEX HUDSON
Like so many musicians, Victoria
songwriter Kathryn Calder works a
day job to support her solo career.
Unlike others, however, that day
job is being a member of the New
Pornographers. She joined the power-pop
collective in 2005, just prior
to their masterpiece Twin Cinema.
Initially tapped as a live contributor
and backup singer, she is now a core
member, and is one of the most
prominent voices on this year’s
stellar Whiteout Conditions.
Following the split of her formative
pop-rock trio Immaculate
Machine last decade, Calder has also
released a series of sweetly touching
solo albums, most recently a self-titled
LP in 2015.
Meanwhile, she has taken on a
new role: label boss. She has founded
a company called Oscar St. Records,
through which she is helping some
talented friends release albums.
Calder spoke with BeatRoute about
some of her early work experience
and what it’s like to be a musician
with so many roles.
BeatRoute: You've always juggled
jobs as a musician—Immaculate
Machine, the New Pornographers,
going solo. What do these projects
mean to you?
Kathryn Calder: Immaculate
Machine was my first real band and
we went through a lot together. We
played one show in Halifax where
the police memorably came and
shut it down. We travelled through
Arizona with no air conditioning in
our van in 40 degree heat. We drove
through a blizzard in Manitoba. We
snuck into public swimming pools
in Toronto late at night with friends.
I had the full real young band experience
with Immaculate Machine.
We're all still very close. Joining the
New Pornographers was an entry
into a different world. Twin Cinema
was about to come out, and I felt I
was picked up and carried along for
this crazy ride. And at some point, I
wanted to figure out what my sound
was. I had only ever collaborated
before, so I decided to try my hand
at making my first solo record. We
set up a recording area in my home,
because my mother was very ill at
the time with a terminal illness called
ALS, and my soon-to-be husband
and I made my first record.
BR: What day jobs did you have
before your music career?
KC: I was quite a shy teenager and
young adult. I had to learn a lot
about working and communicating,
especially with adults. One particularly
ill-fated job I had was cleaning
a five-star B&B, and considering I
wasn't very tidy as a young person,
I'm not sure what compelled me
to try to work there. I think my
highlight of genius decisions there,
of which there were a few, was when
I put a couple of red fleece coats
in the washing machine with their
beautifully soft white fluffy towels.
Oops. The owner of the B&B spent
the next day picking white fluffs out
of her fleece coat. I did finally end up
with two great jobs that helped me
through university—both were as a
nanny for two separate families. The
kids were great, and I didn't have to
worry about ruining their laundry!
BR: With your busy music career,
what inspired you to start a label?
KC: Last year, I started doing some
radio hosting at an Alberta radio
station called CKUA. I got to understand
the radio world a little bit, and
it was an interesting insight into a
world I had only been part of from
the musician side. I've also spent the
last few years watching my friends
release beautiful records on their
own, and watching them struggle
with that process a little bit. It's hard
to advocate for yourself. For a lot of
people it's generally easier to express
how great someone else's music is
than your own. I thought perhaps
I could help some friends out by
being the person telling people how
wonderful their records are!
BR: What new releases is the label
working on?
KC: I've got a new release from an
incredible artist called Peach Pyramid
coming up. She has kind of a
‘60s surf-y dream pop thing going on.
She's got her debut album coming
Kathryn Calder has found a new day job for herself in music as the founder of Oscar St. Records.
out September 22, and I'm really
excited for her. It's a gorgeous record.
BR: What's next for the label?
KC: I'm pretty focused on Peach
Pyramid for now. Earlier this spring
I helped Vancouver artist Cascade
Falls with his latest album, which
is also very beautiful. I've also been
talking with Andy Bishop from Twin
River/White Ash Falls about teaming
up. He's got his own label he's
starting, so that's something we're
working towards together!
BR: What's next for you as a musician?
KC: I've been collaborating with my
friend Mark Hamilton, who is a beautiful
songwriter and who performs
under the name Woodpigeon. We're
hoping to finish our album together
in August. We spent ten days in Calgary
at a residency at the National
Music Centre this past winter and we
had a blast. We're going by the name
Frontperson.
August 2017

DESCENDENTS
influential punkers are still turning college kids into hyper spazzes
MUSIC
SARAH MAC
Descendents are creators of the fast and
melodic hardcore punk style. Hailing
from Manhattan Beach, California,
their first full-length album, Milo Goes
to College, remains one of the greatest
and most influential punk albums of all
time. 34 years later, their newest album
Hypercaffium Spazzinate resonates
with long time listeners, who saw it as
as a nod to the Descendents’ innovative
1982 debut. BeatRoute chatted with the
band’s key songwriter and drummer Bill
Stevenson about all things Descendents.
“You’re not the first person to tell me
it reminds them of Milo Goes to College,”
Stevenson reflects. “It wasn’t intentional,
but there isn’t quite as much
overdrive on the guitar so Spazz sounds
a little cleaner, like College. Stephen
[Egerton] is playing a lot more parts
where he’s using all six strings and that’s
how Frank used to play. But, if anything,
that’s just respect towards Frank.”
Frank Navetta was the original guitarist
of Descendents, performing with
the group from 1977 to 1983.
“He passed away a several years ago
and he’s been on our mind a lot. Maybe
there’s a little bit of Frank’s spirit on
there and that’s what people are picking
up on.” Stevenson pauses. “And for
whatever reason, we ended up with a
handful of songs that were really short.
That’s one of the identifying factors of
early Descendents.”
Hypercaffium Spazzinate was produced
by Stevenson as well as guitarist
Stephen Egerton in three different
studios over three different states:
Colorado, Oklahoma and Delaware.
Five bonus tracks were released on the
accompanying EP: Spazzhazard.
“We were fortunate with Hyper
Spazz, because people kind of loved
it. We were hoping for ‘oh cool, new
Descendents and it’s not so bad.’ That
would have been enough for us. But the
fact that everyone loved it was great.”
Concentrating on the upcoming tour
and almost 40 years of recordings, the
big question on everyone’s mind is what
the set list looks like.
“We’re practicing about 39 to 42
songs. It’s a good random sampling of
what we think are the better songs on
each record. Some albums will have
more songs played than other albums.
There are about 11 off the new album.”
A band that has gone under several
hiatus’ throughout their career, this
new record and tour has given hope for
a Descendents-filled future. Adding fuel
to the fire, frontman Milo Aukerman
departed from his full-time gig as a Biochemist.
It seems the stars are aligning
for long-time fans.
“We’re going to be quite a bit more
active than we have been in the last 15
to 20 years, but we’re not going that
hard. We want this to remain fun for us.
We’re going medium. We’re doing it in
a marathon way, not in a 50-yard dash
kinda way.”
Stevenson concludes: “We really appreciate
the support and we don’t take
any of it for granted. We know we’re
just one step away from being that
band that can’t sell out the telephone
booth. We’re all too aware of that.”
Descendents play two shows at
the Commodore Ballroom on
August 24 and 25.
Thirty-four years in to their career, Descendents are still an over caffeinated and important pillar in punk rock.
photo by Lisa Johnson
August 2017 MUSIC
5

MUSIC
MOUNT EERIE
the all-knowing crows come home to roost
photo by Genevieve Elverum
MAX HILL
“Death is real.” These words open up A Crow
Looked at Me, Phil Elverum’s latest album under
his moniker Mount Eerie. From this first moment
on, it doesn’t let up. The record’s eleven songs
centre around Elverum’s experience of grief and
trauma after losing his wife Geneviève to pancreatic
cancer last year, documenting his process in
careful detail. It’s a difficult — but worthwhile —
listen.
“I can’t compare it to any other things I’ve ever
done,” Elverum says about recording and releasing
the record. “For me, I don’t really put it in the same
category as my other work or my other songs,
which were entertainment. It’s not entertainment.”
While the album shares many musical cues with
Elverum’s other work, it’s set apart by its minimal
instrumentation, stream-of-consciousness lyrics,
and nearly absent production: each song sounds
like you’re listening to him play it in a quiet room
with you. “It happened out of necessity, because
my life is crazy and I don’t have the opportunity
to fiddle around in the studio for months,” he says.
“I could just take five years to make a record, but
I needed to get this one out, just for emotional
reasons. That’s why it’s so sparse.”
Throughout the album, there are moments that
hit like gut punches: the lyrics describe Elervum’s
reluctance to throw his late wife’s clothes away,
searching questions from their daughter, awkward
silences in grocery stores. For Elverum, these
details are perhaps an attempt at finding a truth
beyond metaphor. “I sort of felt like disowning all
of that and just focusing down on, well, what is
happening in my household right now, day to day?
Just talking about washing the dishes, whatever —
truth, simple reality.
“These songs are just me expressing what’s going
on in real time. I wrote them in real time, and
they’re me just focusing on the present moment
around me.”
That’s not to say that the album lacks symbolism.
It’s full of images of birds, all of which seem
to exist as omens — Canada geese, crows, ravens.
And much like his other records, the landscapes
of the Pacific Northwest, specifically of Elverum’s
home in Anacortes, WA and his frequent visits to
Haida Gwaii, loom large. “Even when I’m making
albums that aren’t making geographical markers or
landscape words, people say that just the sounds
themselves sound like this place,” Elverum notes.
“I don’t know how that works, but I acknowledge
that it’s probably true.”
For Elverum’s upcoming show in Vancouver, he
chose the Christ Church Cathedral, an unconventional
venue that will inevitably suit the songs
perfectly. “These songs are so quiet, and they don’t
work in usual venues, it just isn’t the right atmosphere.
Most venues are geared towards people,
Phil Elverum mourns a huge loss with the help of his craft and the results are gutting.
you know, enjoying themselves [laughs]. That’s not
my intention.”
He stops, rethinking his statement. “I think that
there’s something redeeming about the songs,
something beautiful,” he says. “That’s what I was
going for, even though the world in which they
were made is a very harsh and traumatic experience.
They’re not entertainment, but they’re
enjoyable.”
Reflecting on how his life has changed since
releasing the record, Elverum is hesitant to call it
a turning point. “It does feel different. But I think
that’s just because time is progressing — every day
feels different in the process of digesting this trauma,”
he says. “If you’re asking whether this album
was an emotional landmark or a barrier between
two different eras, the answer is no. It feels more
like part of a continuum.”
While the album might seem like a difficult
one to follow, Elverum is already working on new
music — in fact, as we spoke, he was sitting at his
writing desk, crafting a new song. “I’ve been writing
a lot more songs, and I’ll probably play some
new songs at the Vancouver show. They’re in the
same category as the songs from A Crow Looked
at Me — pretty wordy and specific.
“I don’t know what’s next. I’ll just go with the
wind. I would like to make some really loud music
again — that sounds fun to me.”
Catch Mount Eerie at The Christ Church
Cathedral August 18.
JAMES VINCENT MCMORROW
an accurate depiction of reality not an easy task
ADAM DEANE
True Care is James Vincent McMorrow’s love letter to instinct and the imperfection of reality.
With buzzwords like organic
and real popping-up around
every corner nowadays, it
seems we as a society have stapled
monetary value to these
concepts. Unbeknownst to
us, there are artists that come
around every few moons who
remind us words like these are
not specific to that bag of gluten-free
quinoa vegetable puffs
we’ve been inhaling faster than
a Vancouver Summer. No, true
to form, these artists knock us
right out of our cork-bedded
sandals sending us tumbling
to the ground to rethink our
relationship with whoever
bestowed vocal gifts among
us. James Vincent McMorrow
is one of those lucky Irish lads
chosen in this otherworldly
lottery.
Ask anyone who has heard his
vocals; after they collect themselves,
they’ll tell you of his falsettos
that could bring the burliest
of individuals to tears. They’ll tell
you of his prolific ability to release
studio albums at record-breaking
rates; quality albums, at that.
They may even compare him
to other Irish greats like Damien
Rice, Lisa Hannigan or Glen Hansard.
The best part is that his head
appears to be screwed on just the
same as you or I. He appears to
deal with the same problems all
of us are struggling with, and he’s
pretty damn open about it.
Having the opportunity to
catch-up with James after a
fresh swim in the Irish Sea, he
confirmed he is in fact a human,
not an angel.
Of his new album and fourth
studio release True Care, he made
sure to drive the point home that
nothing we create is perfect, and
he wouldn’t want it to be.
“This album is life, it’s the life
I’ve lived up to this point, it’s the
one that might be ahead of me.
And sometimes life is magical.
But other times it’s scary and
fucked… honestly most times it’s
scary and fucked. It moves in and
out of rhythm constantly. It’s rarely
slick, rarely untouchable. Yes,
you can capture some of those
ideas in words, sounds; but if this
album was going to feel like a true
life, have it deep in it’s bones, then
it needed to be instinctual and
not laboured over to the point
where it became that intangible
unreal thing… real things are
always a little fucked up is what
I’m trying to say I guess.”
With that being said True Care
is an accurate depiction of the
reality we live in today. One human’s
portrayal of a deep-set, at
times agonizingly lovely journey
that we have somehow all been
fortunate enough to embark on,
together, at this time. This is the
record James is most proud of.
If you’d like to cross paths with
a human who’s heart is firmly
nailed to his sleeve, you should
probably grab someone you love
(and you’re not embarrassed
to cry in front-of) and catch
McMorrow live in concert while
you can.
James Vincent McMorrow
plays the Vogue Theatre
(Vancouver) on August 15.
6 MUSIC
August 2017

August 2017 7

Rodney Graham Actor/Director (2013) painted aluminum light boxes, transmounted transparencies | 91 ⅝ x 148 x 7 in
Rennie Museum | 51 East Pender St | Vancouver

SPOON
BY JAMES OLSON
Austin rockers keep their hot streak
Spoon have been on an upward trajectory
during their quarter century long
career. The last four records released
by the Austin based indie/art rock
unit have been critical and commercial
successes with Spoon’s fan base
steadily increasing since the release of
2007’s Ga Ga Ga Ga Ga. Speaking with
drummer and core member Jim Eno on
the phone in his hotel room on a tour
stop in Toronto, the band’s latest album
Hot Thoughts served as the centerpiece
of our conversation. Willfully experimental
with an emphasis on synth
and keyboard driven songwriting, Hot
Thoughts can be viewed as a microcosm
for everything that has allowed
Spoon to flourish creatively, maintain
longevity, and succeed on their own
terms.
The distinctively different and
varied sound of Hot Thoughts is tightly
connected to Spoon’s previous album
They Want My Soul (2014) in a number
of ways. Eno identifies They Want My
Soul highlight track “Inside Out” as a
throughline to the sounds and ideas
that the band would explore in greater
depth on Hot Thoughts. On what is
an otherwise streamlined and precise
pop/rock record punctuated by crisp
guitar work and restrained percussion,
“Inside Out” stands out as a keyboard
and effects heavy cosmic ballad. “You
can kind of hear us building from there,
building from that song” Eno says “You
can hear that in songs like ‘I Ain’t the
One,’ ‘Pink Up,’ and a little bit on ‘First
Caress.’ While it wasn’t really conscious
you can look at it now and see it was a
sort of progression.”
Eno emphasizes that Spoon is
always trying to “discover new, stylized
approaches that make the song stand
on their own,” with the greater goal
to never repeat themselves; especially
after releasing nine albums. The
addition of keyboardist/guitarist Alex
Fischel in 2013 has opened up the band
to a greater number of opportunities as
songwriters and performers. Fischel’s
influence can be felt throughout Hot
Thoughts. “He’s a great keyboard player
and he opens up a whole new sonic palette
for us” Eno explains “It used to be
that Britt would come up and have to
play the keyboard part for us, now Alex
is like a hook generator. He generates
great ideas and great melodic parts to
the songs.” “I Ain’t the One” morphed
from an acoustic number into a dark
pop number with a haunting synth lead
thanks to collaboration between Fischel
and vocalist/guitarist Britt Daniel.
Elsewhere, Fischel wrote the entirety
of the music for the bouncing, groove
leaden “First Caress.”
Spoon joined forces with producer
Dave Fridmann (Flaming Lips, Mercury
Rev, Sleater-Kinney) for a second time
to Hot Thoughts to life. Fridmann has
been not only an excellent producer
and engineer for the band, Eno identifies
him as a valued collaborator. Eno
vividly recalls Fridmann’s input on the
track “WhisperI’lllistentohearit” as a
prime example of the producer’s innovative
and at times peculiar recording
techniques. “That song [has] two major
sections and we knew we needed some
sound to bridge section one and section
two” Eno explains “So Dave told
us to go out and grab any pedal that
we thought would be exciting and to
make sure that we got ten of them. We
brought in ten and Dave hooked them
all up and somehow came up with
that crazy sound that bridges the two
sections together.”
Eno has described Spoon’s music as
psychedelic on a number occasions,
a term that Eno is inclined to use in a
very broad sense when it comes to the
band’s body of work. Studio effects,
reverb, guitar effects, and experimental
song structures all makeup Eno’s qualification
for Spoon’s off kilter sound. “ I
feel when you listen to something like
The Soft Bulletin [by the Flaming Lips]
you hear so many different sounds and
otherworldly sonic events. That’s sort
of what I’m talking about as a listener
when you’re listening to a 3 minute
song you want things to keep your
interest” says Eno “That’s one thing
Dave [Fridmann] is really great at in a
studio is creating certain moments that
keep you interested and keep things
surprising and unexpected.”
Spoon’s music has been used in a
variety of TV shows and movies, most
recently an instrumental version of
“The Underdog” can be heard in the
superhero blockbuster Spider-Man:
Homecoming. There is indeed a
cinematic quality to the band’s music
that Eno says comes from a need for
dramatic moments within their songs.
“When you’re making music for a record
you have to figure out a way to get
a listener’s attention. Often someone is
listening to your stuff with earbuds on
a subway for example. It’s obviously different
from playing a live show where
you have the energy of the crowd and
the four walls of the venue” says Eno.
Eno name drops “Can I Sit Next You”
as a specific example of the band’s desire
to create surprises and unexpected
moments for the listener. This standout
track off of Hot Thoughts features
an instantly memorable and ethereal
string solo halfway through the song
that Eno calls a real moment of payoff
for the song and for the listener.
Reflecting on the band’s 25 year long
career, Eno emphasizes that the band
has learned to never take anything
for granted and to always be pushing
themselves in new and exciting directions
as musicians and songwriters. “Everything
that we’ve done we’ve worked
really hard to achieve and we get fans
slowly but we keep getting more fans.
That being said we would like to have
more people hear our music. We would
like to hear more of our songs on the
radio, we’re not opposed to that. We’re
constantly trying to find new ways to
get new fans and get people to hear
our music because we believe in it and
we only put stuff out that we think is
great. Hopefully more people will check
us out” says Eno. Eno agrees that the
band’s last two records are likely their
strongest to date and expresses excitement
at what the future holds for their
tenth record.
Eno and Daniels have been the only
core members of Spoon. While Eno
can’t specify what exactly has allowed
the band to last for so long he expresses
tremendous gratitude at the opportunities
that this creative partnership
with Daniel has afforded him. “For me
I’m just happy to be in a band that has
amazing songs that’s putting out great
records. That’s all I can really hope for.
I’m honored to play on Britt’s songs.
They’re exciting to me. I think a band
works when it has great songs. That’s
what I feel this band is about.”
Spoon perform at the Malkin
Bowl on Sept. 2.
August 2017 MUSIC
9

MUSIC
MARIKA HACKMAN
finding the cathartic beauty in letting go
MAX ASPER
You used to be able to find Marika Hackman playing quiet folk sets
in small, smoky venues. Like a candle burning slowly in the centre
of the room, Marika would provoke a depressing sentimentality
from audience members – but those days are in the past. 2017 has
seen Marika depart from her toned down ways, focusing on a more
upbeat, poppy folk sound instead. Most recently, the Hampshire, England-born
artist has teamed up with beloved record label, Sub Pop
Records, to release her new album, I’m Not Your Man. Early reviews
have been kind, and Marika is excited to take her new stuff on tour.
I’m Not Your Man, released in June, seems to represent a step towards
more freedom and simplicity for Marika. “It was one of those
things where I kind of let go a little bit more…I think when it came
to actually writing, I was trying my best to push myself and the chord
progressions to a weird abstract kind of place just to make them
unique. I kind of just let the music flow, which is always going to give
you something a bit more poppy and a bit more upbeat. I think I was
less prone to overthinking it maybe this time around.”
The idea of ‘letting go’ is felt musically through the album’s range,
sometimes offering wild jam sessions (“Time’s Been Reckless”) and
other times sounding very tamed (“Apple Tree”). Marika suggests
that her newfound freedom can be attributed to being in a better
headspace than she was during the recording of past projects, namely
her 2015 debut full length album, We Slept At Last, which was
charged with a much darker, melancholy sound. Marika offers insight
as to what brought on her positive mindset.
“I think that, over 2 years you grow a lot, and you grow into
yourself and you find out more about yourself as a human being.
On the last album [We Slept At Last], I had just come out of a long
relationship and the photography is kind of heartbreaking on that
JON COHEN EXPERIMENTAL
kooky creation takes many forms
With I’m Not Your Man, Marika Hackman embraces her freedom and comes out swinging.
album. This time around I was and am still in a very strong relationship
and kind of just - I’ve been enjoying life and I left my manager
and my label the day I started writing it. I don’t know, there was a lot
of change and shifts, but I feel like it was all positive and very much
all my decision and I felt very empowered by that. So yeah, I think it
was very much a confidence thing, and I just came from being in a
better headspace.”
We Slept At Last also lacked the instrumental accompaniment
that I’m Not Your Man embraces. Marika provides all the vocal and
instrumental elements to over half the album’s tracks, with indie
ADAM DEANE
rockers The Big Moon supporting her on some of the other songs
and her live performances. The whole gang is about to embark on a
North American tour before heading back home to the UK for a couple
more shows. Marika admits to being weary of being on the road
for long periods of time, away from her family and girlfriend, but
she is eager to throw herself back into the fervor of tour life. To keep
positive in the chaos, Marika advises “enjoying things while you’re
doing them, and not wishing you were somewhere else.”
Marika Hackman performs at the Biltmore Cabaret on August 3.
Jon Cohen takes everything he has learned and sinks it into the very unique new release Go Getters.
Defiance has been a growing trend as of late in
Canada. Resisting governance, legalizing weed,
and perpetually giving Uber the cold-shoulder.
If you’re a visionary, at some point in your life
you’ve defied at least once. If you’re a musician
chances are you’ve broken at least one law, and
if you’re not into the whole law-breaking thing,
you could always defy something else; like genre,
for instance.
Just look at Jon Cohen of JCEX (Jon Cohen
Experimental). His music routinely defies genre,
and he doesn’t even have to break any laws,
regularly. Pinning him down for an intelligent
exchange is tougher nowadays as he is in the
process of birthing two babies. Go Getters, Jon’s
shiny-new album, has a due-date of August 11th
pending all goes well with labour and delivery.
Jon also has a human-baby on the way set to
be launched in November. Of his new baby, he
stresses that it’s been a long-time coming. Wait,
scratch that, reverse them.
This album will mark the 10-year anniversary
of his favored Montreal band which has
had what Jon refers to as a “revolving-door of
talented musicians” move through over the
decade. Staying trendy in one of the world’s
most vibrant music scenes ain’t easy though.
Upon further prodding, Jon offered-up a few
of his secrets to staying the right amount of
relevant enough to break new and weird ground
on a routine-basis. Thought-provoking cover-art
for instance. Go Getters was the result of a few
madly creative minds coming together to form
a whole and making some killer tunes along that
route. Cohen is keen to the connection between
all forms of art, so the cover was very important
to him; important enough to change the name
of the album to better fit the portrayal. “The art
represents the innocence we are killing. Our ability
to have any kind of freedom taken away piece
by piece. It depicts the purest manifestation of
good taken away by Swat officers.”
And it does the trick; provocation at it’s finest.
Jon has something that a lot of other artists
are in constant rabid, unconscious-hunt for,
and that is a comfortable restraint. Both his
voice and lyrics lift you to a place akin to your
grandmother’s garden on acid. It’s pleasantly
satisfying with just the right amount of kooky;
like biting into a ripe-plum with your pants
on your head. If you dig a smooth, hypnotic,
soul-moving beat that allows you to transcend
and tip-toe over the daily trials and tribulations
of this whole thing we’re all living in right now, I
would strongly suggest not missing the birth of
one of this man’s babies.
Jon and his Experimentals will be at the
Astoria (Vancouver) on August 16.
10 MUSIC
August 2017

TONYE AGANABA
she’s a queen
photo by Liz Rosa
MELANIE GREEN
The title of Tonye Aganaba’s
next single is “Queen”, dropping
on August 4. And it’s fitting,
because after all, she is one.
Signed to 604 Records, her debut
EP, Villain, was recorded two
years ago but has not yet been
released. “I’m really happy with
the songs,” she says, “but the
person who wrote those songs is
long dead.” Writing Villain in her
early years of sobriety, the songs
are about love and the process
of falling out, something she
finds inspiring. The result is an
upbeat and dancey EP.
The first single “Villain” debuted
earlier this year with the
second, “Get Up”, announced
just before her performance at
Montreal’s Jazz Fest — an experience
she describes as magical.
Often dressed in all black
sporting a cane, the bald Aganaba
with a diamond-cutting gaze,
is reminiscent of Nina Simone,
commanding every ounce of
energy on a stage functioning
as her throne. The connection
with her band is symbiotic: they
feed off her, reigning on floors
together for years as working
musicians.
Aganaba carves out a unique
sound with classic ‘90s hooks
packed with RnB and pop
melodies.
“Music is alive. If you’re
playing with it right, you can do
powerful things,” she says. You
can change someone’s moment,
second, hour, afternoon, day,
or life. It’s not about perfection,”
she explains, though she
once was “obsessed with being
flawless.” Instead, music is about
an unleashing of truth. Her
personality is no different — uncompromisingly
self aware and
humour filled with gratitude
for pain.
Last year, Aganaba was diagnosed
with an aggressive form
of Multiple Sclerosis right in the
middle of a potential album
release. The attacks have left her
hospitalized with the worst of
which occurring this year. Aganaba
had a seizure in her childhood
home of Dawson Creek
(there to record a show for CBC)
and fell down a flight of stairs.
Then, on the way to the hospital,
she was in a car accident, taking
months to recover.
She says her struggle with MS
had been a blessing. “There’s
nothing like a healthy dose of
Tonye Aganaba has overcome many hurdles to bring her debut EP to life.
poo-poo salad to send you into
hiding,” she notes. “What do you
do when you hide? You either
burrow deeper into yourself or
you grab the thing that helps
you express it.” Though Aganaba
has evolved, “Queen” shines
through as soulful, with a hook
you want to belt out.
Excited for the eventual
release of her full EP Villain, she
says “MS and other adventures”
kept it sitting. The next
project Promethea Rising: Songs
about a girl I loved is completed
with plans for a band-focused EP
in the near future. “Tonye, minus
the guilt, that’s what’s coming
out next,” she says, ready to shut
down the “old her” for good.
Tonye Aganaba will be
opening for Queer As Funk
at The Commodore on
August 4.
KIM GRAY
a summer cocktail for your jetlagged mind
photo by Lucien Cyr
Trevor Gray confronts his compulsions on his latest release.
LOCAL CREATURE
In need of a holiday from the modern
kaleidoscope? Is the world at large
frying your brain and leaving you choking?
Are you needing more and more
distractions from your distractions?
You might want to take a leaf out of
Kim Gray’s book if any of this sounds
familiar, or better yet their new LP, the
bright and floral, soul-saving Compulsions.
It’s summer of resplendent synth
that welcomes you on opening track
“P.I.G,” and it whirls onwards through
the album as singer, songwriter and figurehead
Trevor Kim Gray lullabies your
restless mind. Stand out tracks like
“Restless Legs” and “What’s In A Smile”
are similarly bleached in a peroxide
fervour for groove.
Chatting with Gray he mentions
“wanting to do something with the
initial appeal of garage music, with
limitations, and making it work.” Compulsions
was recorded in day dreams
at the psychedelically renowned Lido
with Tascam wizard Malcolm Biddle
handling all the vintage equipment and
production. “I love that guy,” Gray says
of the easeful approach of Biddle and
its effect on his past two albums. The
two would vibe on direction and, once
satisfied, call upon the full Kim Gray
live band. The result is a consistent and
driven album, with grooves and bass
lines any lo-fi rhythmic nerd will die for.
(Necessary shout out to bassist Joon
Baek here for his magic.)
Meditating on the lyrical themes of
meaningless sex, substances, memes,
and internet dating, Gray offers, “I
don’t think people need to be saved
necessarily, but maybe laugh once in
awhile at how ridiculous all of this is.”
So go on baby, bleach your eye balls
and buy some new shades, cosmically
out do yourself on this Compulsive parade.
“Connection, I think that’s what
its all about,” Gray notes on a closing
remark. Disconnect to connect honey
and give this record a spin. You deserve
it. Cheers.
Compulsions is out August 11 on
Bad Diet Records. Kim Gray perform
at the Cobalt on August 17 with
Tracy Bryant and Roy's Bag.
August 2017 MUSIC
11

THE SKINNY
SWANS
follow the sonic path to a transcendental experience
BRAYDEN TURENNE
It could be argued that music is the art-medium
that permits the greatest opportunity for
exploration and experimentation. It is as potent
and moldable as it is abstract and arcane, and has
the power to influence our emotions and way of
thinking. The musical group, SWANS, has become
synonymous with this idea: the power of sound.
Formed in 1982 by Michael Gira, the band has
gone on to release fourteen monolithic full length
albums that truly test the boundaries of music and
genre, emulating shades of dark country, blues,
industrial and noise, among many others. SWANS’
songs are commonly very long, forging vast sonic
landscapes that build over time. “It’s like if you
imagine something continually morphing.” Gira
noted. “I look at the last four records as being one
body of work… a gradual growth of sound.”
While the live experience is crucial for an active
band, SWANS have come to utilize the medium to
an even more extreme degree. “At the highest moments
when we perform, it’s like the music is playing
us,” mused Gira, “We’ll be playing something
and following the sonic path it’s leading to, then
something else will occur. We’ll start to explore
that throughout a tour [so] it eventually becomes
a new thing and we discard the old thing.”
SWANS have truly taken the live concert experience
and given it greater depth as a grounds for
improvisation and discovery in a moment for both
the band and the audience to share in. “The audience
is crucial,” Gira emphasizes, “the audience
is participating, in a way, just as much as we are.
It’s as close as I get to some sort of transcendental
experience. That’s what rock music is all about.”
After a lengthy hiatus, SWANS reformed under
Gira back in 2010, maintaining a steady collection
of band members. That is about to change as
the band’s latest album The Glowing Man is to
mark yet another lineup reformation. “We’re very
familiar with each other’s ways of working, as well
as with our own particular ‘odours,’” Gira reflects.
“Things become maybe a little too familiar… I feel
it’s time to shake things up. I don’t want it to become
too safe or predictable.” Given the semi-improv
mode of writing that has shaped the last few
SWANS records, “unpredictable” is gospel.
From its inception, SWANS has been like a
sonic spectre amidst the world of music, leaving
Still glowing, SWANS have gone on to release fourteen monolithic albums throughout their prolific career.
its haunt and influence in the minds of countless
contemporary artists, spanning genres of all kinds.
Gira and SWANS have become monuments to
artistic freedom and purity that goes unhindered
by accepted convention or template. With the
imminent shift in members, SWANS is soon to
abandon the accepted norm of a stable band. Gira
photo by Samantha Marble
is truly letting go and seeing what will happen,
embracing the chaos of it all in order to find something
meaningful and potent within the maelstrom.
“To be honest, I have no idea what’s going to
happen next.”
SWANS performs at Venue on August 26.
12 THE SKINNY
August 2017

DEAD CROSS
pure punk rock fury drenched in hardcore ethos
HEATH FENTON
Only someone like legendary former Slayer
drummer Dave Lombardo can get a stellar, kick ass
band to fall from the sky right in his lap. Last year
Lombardo had some shows booked with another
project of his, when that project would fall to the
way side, a random meeting with producer Ross
Robinson would hook him up with some new cats
to play with, including bass player Justin Pearson
whose played in bands such as The Locust, Head
Wound City and Retox. Fellow Retox bandmate,
guitarist Mike Crain would join the fold as well
as The Locust vocalist Gabe Serbian. Right there
they decided to form a band and complete the
commitments that Lombardo had booked.
“We had a band name, we had a logo and we
had posters overnight,” Lombardo reveals. “I was
really excited because I saw the creation of a band
from out of nothing. These guys are very much
in tune with the DIY underground mentality,
so everything came together quick. We started
writing music and I was really pleased with how
heavy it was.”
They eventually got down to recording an
album with Robinson at the console. Shortly
afterwards Serbian would opt out of the band.
Rather than just release the record as is, Lombardo
had other ideas. What started out as a friendly
text with his old friend Mike Patton, the diverse
frontman known for performing with such groups
as Fantomas, Tomahawk, Dillinger Escape Plan,
Peeping Tom, Mr. Bungle and most famously, Faith
No More, soon turned into a recruitment pitch
for a new vocalist. So what was coined early on as
“Dave Lombardo’s new band” turned instantly into
a “supergroup” with Patton now at the helm.
Patton would take the recordings and make
them his own, like only he can, writing all new
parts as well as lyrics and what turned out is a
marvelous thing. Make no mistake, this is not a
metal album. It is also not some weirdo spastically
warped noise project. This recording is pure punk
rock fury drenched in hardcore. Hardcore punk
music is not really something that Patton had
dabbled in before.
Lombardo, who had previously worked with
Patton and Melvins frontman Buzz Osborne in
the 90s supergroup Fantomas, knew the eccentric
vocalist would be a perfect fit.
“Patton can pull anything off. We all know his
capability. Within the catalogue of Fantomas’
music we had snippets of hardcore, even though
they were only like two bars,” Lombardo chuckles.
“I was always really excited when those parts came
up. There was no doubt in my mind that Patton
was fully capable of doing something like this.
We gave him free reign. As we were receiving the
songs, we were noticing the development and the
excitement behind how he was approaching the
songs. It was beautiful. It is without a doubt, Mike
Patton at his best.”
When it comes to the music, Patton does
hardcore like a demonized eagle in full shrill hunt
mode. You can hear Lombardo’s characteristic
tasty fills, his style is there but a lot more unhinged,
surrounded by swirling rigorous riffs. Dead
Cross is something different than all the sum of its
band member’s parts. It is full of rage and that was
Lombardo’s intent.
“I was at a time in my life where I was tired
of playing music softer than what I am known
for. Due to the current state of the world and
everything that is going down, including the Paris
attacks at the Bataclan venue, that just pissed me
right off,” Lombardo explains. “That stage is a stage
I have shared. For something like that to happen,
it hits very close to home. I was angry and wanted
to play aggressive music again. To play punk, to
play harder and heavier. Playing with these guys,
that goal was attainable. I wanted to make sure
this album was brutal from beginning to end. It
makes you drive fast, it makes you want to wring
someone’s neck.”
From the get go, this album cooks like meth
that makes you eat the flesh of a bath salt user.
It’s relentless and by press time you will be able to
hear the results as the self titled record is out on
Aug 4. This is not some chump change supergroup
that doesn’t live up to expectations. Dead Cross
rewrites the term and they do it in an amazing
fashion all their own.
Dead Cross plays Vancouver at the Vogue
Theatre on August 25.
photo by SAWA
Slayer drummer Lombardo and Patton create a deaf defying statement with hardcore supergroup.
August 2017 13
THE SKINNY

ZAUM
transcend ethereality through the medium of meditative doom
SLONE FOX
Although it is nearly impossible to
confine the multifaceted sounds of
Zaum to a single genre, if you had
to narrow it down, the most fitting
option would likely be “walking
through the underground caverns
of an ancient temple while someone
plays the sitar three chambers over.
There’s an ethereal voice chanting
at you from seemingly nowhere and
everywhere at once.”
New Brunswick-based Zaum is the
otherworldly product of Christopher
Lewis’ slow and purposeful drumming
as well as Kyle Alexander-McDonald’s
hypnotic chants, all of which are
accompanied by intricate layers of
meditative bass, synth and hints of
woodwind.
As for the band’s name itself,
Alexander-McDonald describes the
meaning of Zaum as, “communication
between two people or two
entities without a commonly spoken
or human known language. Communication
via the mind or through
universal means.” This rings true, as
their transcendental sounds paired
with droning yet melodic chants
penetrates the deepest layers of one’s
consciousness and burrows into some
ancient, untouched part of the brain.
Zaum seemingly creates meditative
journeys rather than just mere songs,
starting with drawn out caliginous
sounds which seamlessly morph into
an audible light at the end of the
tunnel. Somewhat surprisingly, Alexander-McDonald
cites Peter Gabriel’s
“Passion of the Christ” as a source
of inspiration for these old-world
sounds.
“The middle eastern vibes were so
heavy in a non-metal or a non-conventionally
heavy way,” Alexander-McDonald
explains. “I felt like
maybe I could harness some of that
vibe and then add something that
is kind of conventionally heavy and
doomy. Applying it all together was a
total experiment in sound for me.”
photo by Don Levandier
East Coast two-piece Zaum create a sound too big for this world.
While it may initially seem as
though recreating the dense sounds
of their albums could potentially be a
struggle when it comes to live shows,
the duo is already countless steps
ahead. While recording, Zaum makes
a conscious effort to keep things minimal
and recreatable to produce the
best live experience possible without
compromising the end result of the
album. Armed with a 70-something
pound “mothership” of a pedalboard,
the duo is able to weave together various
layers of synth, sitar effects and
bass in order to achieve an end result
that sounds like a complete legion of
performers, rather than just the two.
“I don’t want to be that classic
band that has this huge epic record
and then live it totally falls short and
feels kind of empty,” Alexander-Mc-
Donald concludes. “If anything, I want
it to be right on par, or maybe even a
little more with the energy of the live
presence.”
With their Canadian tour set to
kick-off in Ottawa on August 4th,
Zaum already has their sights set on a
European run in the fall and thoughts
of a new album for early 2019.
Zaum perform at the Astoria on
August 14.
artwork by Alison Lilly
design by Rob Zawistowski
OUT FOR A RIFF VOL. 1
filling a heavy void in Vancouver’s summer festival catalogue
14 THE SKINNY
Mitch Ray has created a party for the oft forgotten Vancouver metal head.
BRENT MATTSON
In a summer filled with outdoor EDM and
folk fests, the elusive Vancouver metalhead
is normally relegated to its nocturnal
habitat of black light basements and dives.
Vancouver promotion and artist management
company Art Signified founder Mitch
Ray wants to summon headbangers from
their dank pit.
“We want to throw the party of the summer
for the local heavy music community,
with a good mix of local and touring talent,”
he said of the inaugural Out for a Riff festival
on August 24. “There aren't many, if any
outdoor events for heavy music in Vancouver,
so this is intended to fill that void.”
The event, created by Ray, Art Signified
co-founder Taya Fraser and Scott Bartlett
of Black River Productions, has expanded
13 of the heaviest acts they could find and
tossed them into the Waldorf’s parking lot
with 500 rabid metal fans. At the top of the
bill are stoner kingpins Weedeater as well as
soon-to-be local legends Black Wizard and
Haggatha.
“The lineup this year is one legitimate
banger after another,” Ray said. “When
measured against any of the lineups we
had in the past for Burger Fest, this one is a
substantial leap forward, even though we're
very proud of all previous lineups as well.”
Burger Fest was another collaborative festival
between Art Signified and Black River.
Also in the lineup are Serial Hawk, Heron,
Neck of the Woods, Wormwitch, Hedks,
Satan’s Cape, The Hallowed Catharsis and
Craters.
The event also includes food from The
Heatley, Jackalope’s Neighbourhood Dive
and What’s Up? Hot Dog.
Beyond sun, snacks and supreme riffage,
Bartlett also emphasizes Out for a Riff’s goal
of fostering a sense of community in the
city’s metal scene.
“It’s about bringing the scene together
for a giant summer party celebrating heavy
music in Vancouver [and] cramming many
skids as we can into the parking lot of The
Waldorf. Everyone is welcome.”
Out for a Riff Vol. 1 takes place on
August 26 and 27 at the Waldorf in
Vancouver.
August 2017

AC SLATER
the party that won’t quit
KAROLINA KAPUSTA
Blame it on the wobbly bass, the UK
warehouse party-inspired vibes or the
tight-knit house music community, but
there ain’t no party like a party thrown
by AC Slater.
“My name is Aaron Clevenger, I
was born in West Virginia and live
in Los Angeles,” the bass music DJ
and producer says over Skype from
what looked to be a darkened studio.
Clevenger – better known as AC Slater
both privately and publicly – is known
for his underground house sound
that’s inspired by UK garage and old
school rave.
Touring like mad these past few
years, Clevenger has been sharing his
party-ready reverbs with club and
music festival circuits around the world
from North America to the UK and
even Japan. “When I DJ, I’m showcasing
my own music as well as music from
my label,” he explains. “Most of my set
is unreleased music [too] so it’s almost
like [each performance] is a trial.
Getting those positive reactions from
all over the world, it feels really good to
see it connect.”
His now signature Night Bass started
GOOD LIFE
welcome to the Good Life
JUSTICE STEER
It’s hard to think of Vancouver’s nightlife
without Future repeatedly banging
in the background or Hennesy on the
rocks, but the city hasn’t always been
as welcoming when it comes to hip
hop culture. Flash back to 2006 with
Matt Perry, Ian Pelen, Rico Cunanan
and Michael Henry, also known as DJ
Kutcorners, DJ Seko, DJ Rico Uno and
DJ Marvel.
As previously established DJs in
Vancouver, the four friends joined
forces in 2006 to create a foursome of
talent. Naming themselves The Freshest,
they made their main objective
bringing hip hop and reggae culture to
the mainstream in Vancouver starting
with their popular Wednesday night
programming at the now defunct Lucy
Mae Browns.
As the unnamed night coontinued
to grow in popularity, the crew moved
the weekly event to Republic nightclub
and in the fall of 2007, established the
name as Good Life. “The song ‘Good
Life’ by Kanye West was introduced on
an episode of Entourage,” says Culu,
one of the hosts of Good Life who also
goes by the name Curtis Lum. “We still
Always an innovator, AC Slater is still making the bass go bump in the night.
three and a half years ago as an alternative
to the mainstream EDM and
celebrated the music that Clevenger
was into, but didn’t really exist yet in
North America at the time. “I was kind
of frustrated [as] I didn’t really fit any
event,” he shared. “At festival stages
I was too heavy for the house stage
but wasn’t heavy enough for the main
stage.” Transforming his frustrations
into productive energy, Clevenger
decided to throw his own party in LA
and it quickly resonated with so many
people that Night Bass emerged out
of the dark naturally. “I really, deeply,
invest my time into people who love
and are dedicated to the music, and
who I’ve known for a while,“ he says. “I
want to take it around the world more,
I want to take it everywhere. I want to
do my own festival, eventually.”
AC Slater performs at M.I.A.
Nightclub on August 19.
haven’t stopped playing that song,”
added Henry.
From low key to one of the biggest
club nights in Vancouver, GoodLife
Sundays at Republic has grown with
the city, continuing to capture the attention
of varying demographics. They
have kept their tactics simple; implementing
an authentic hip hop feel and
creating a community within the night.
Believe them when they say, “Love us
on Sunday, Hate us on Monday.”
Join Good Life in celebrating their
10 year anniversary at Republic
on August 27th.
photo by Brandon Artis
Vancouver’s hottest hip hop night celebrates its 10 year anniversary.
Is a good live concert universal or subjective to the viewer? Does context matter?
Personal history and taste? Do the technical specs of a live show matter?
While you ponder those questions, be sure to check out these five shows that
are guaranteed to be universally good. You can trust us, we’re professionals.
SG Lewis
August 12 @ Fortune Sound Club
Once called a “white boy with soul” by Pharrell Williams, SG Lewis is a British
DJ and producer originally hailing from Liverpool. With an uncanny ear for
pristine vocals and knowledge on how to wrap them up in a cozy blanket
of synths, Lewis is most well known for his groovy remixes of tracks by label
mates Disclosure and Jessie Ware.
Bryson Tiller
August 18 @ Doug Mitchell Thunderbird Sports Centre
A contemporary R&B singer and songwriter, the title of Bryson Tiller’s debut
record “trap soul” best describes his style as an artist. Cosigned by both
Timbaland and Drake, Tiller won over the majority of his fans with the singles
“Don’t” and “Let ‘Em Know” over Soundcloud from his home in Louisville,
Kentucky.
Quantic
August 19 @ Imperial
Under the name Quantic, Will Holland is a British multi-instrumentalist, DJ
and producer who creates electronic music that is globally inspired. Known
to create most of his own original samples himself instead of sampling other
works, Holland is known for finding inspiration from a wide range of genres
including but not limited to cumbia, salsa, bossa nova, soul, funk and jazz.
Die Antwoord
August 27 @ Doug Mitchell Thunderbird Sports Centre
Preparing to release what they say will be “their final album” this year, Die
Antwoord is an experimental rap group from South Africa comprised of Ninja,
Yo-Landi Visser and DJ Hi-Tek. Pairing Yo-Landi’s super sonic vocals with
Ninja’s rhymes layered over techno inspired beats, prepare to have your mind
stimulated to the highest power if planning to catch this show.
Chaos in the CBD
September 1 @ Open Studios
CLUBLAND
your month measured in BPMs
VANESSA TAM
Specializing in the production of classic house grooves with a touch of jazz,
New Zealand based brothers Ben and Louis Helliker-Hales come together to
form Chaos in the CBD. Mad scientists behind the decks, believe that Helliker-
Hales brothers will be settling in for a long night of endless grooves and
prepare to dance till the wee hours of the morning.
Die Antwoord
BPM
August 2017 BPM
15

BPM
THE ORB
defying the boundaries of mainstream electronica
JEEVIN JOHAL
The Orb’s Alex Paterson was born with
an affinity for the dark and peculiar. In
his hometown of Battersea, England,
heavy industry pollutes the skies
with thick, grey smoke, offering only
momentary glimpses into the bright
and colourful world beyond the haze.
Depressing and artificial to some,
Paterson used these surroundings to his
advantage, harnessing their ominous
power to help shape the vision for his
musical career.
The Orb have never been a household
name, yet the group’s conception
in the early 90’s had a burgeoning affect
on the underground electronic music
scene in the U.K. Often dubbed as the
“Pioneers of Ambient House,” Paterson
and longtime collaborator Thomas
Fehlmann, recently celebrated the 25th
Anniversary of the groups debut studio
release, The Orb’s Adventures in the
Ultraworld, which includes their breakout
single “Little Fluffy Clouds.” Still,
no veil of celebrity sheaths their egos
as they continue to experiment and
manipulate sounds not always accepted
by mainstream audiences. “[The Orb]
have been laying ourselves on the line
[for years] and being told off by critics
that we’re making shit music or being
told by electronic wizards that we’re
still the mainstay of electronic music,”
proclaims Paterson. “[None of that]
bothers me as long as I’m happy.”
Having spent the latter part of their
careers signed to independent record
companies like the German-based
Kompact and leaving powerhouse
labels like MCA and Columbia, freedom
of experimentation remains the driving
factor in their decision to sign to
smaller, lesser known labels. In a scene
dominated by arena artists like Diplo
and Deadmau5 who create pulsing
dance anthems for the masses, The
Orb find solace in the underground,
uninterested in these kinds of beats
and lifestyles. "A lot of these bands just
go along with the flow, being told by
record companies to do this, do that,”
Patterson says, sighing. “So sad really.
The way they manipulate bands. I’ve
seen it all before; every year it becomes
another scene.”
The Orb harness their ominous power to help shape the vision for their impressive musical career.
On their latest release Cow/Chill
Out World!, the duo continue to follow
their path of unpredictability. “[In the
beginning] we were just learning, and
if we can unlearn it all, it’ll be just as
much fun again,” claims Paterson. The
record itself includes many field recordings
from their travels, often taken
simply with an iPhone. Though it’s not
the tool used to record the sounds that
matters to Paterson, but what is done
with them after. During a live show, it’s
not unusual for Fehlmann to take some
of these samples and “slow [them] right
down, making [them virtually] unrecognizable
to whatever anyone would ever
think it was,” explains Paterson.
The album itself has been referred
to as a peaceful protest, challenging
listeners to momentarily free themselves
from the burden of political forces that
plague our countries. “Its an anti-politics
album,” declares Paterson. Now in his
late 50’s, Paterson is wise to the slimy,
backwards thinking arrogance of those
in charge of the world’s most powerful
nations, asserting that, “They’re a bunch
of school kids just shouting their heads
off.” He contemplates for a moment
before asking, “What’s so wrong with
being a person for the people? It’s not
such a bad thing.”
Next year The Orb will celebrate
their thirtieth year in the electronic
music game, and are already at work on
what will be their fifteenth studio album.
But the milestones and accolades
haven’t gone to their heads. Patterson
jokes, “Every year another [person] is 25
years old and all that malarky.” A purist
at heart, Paterson dreams to “go back to
the British, weird way where [structure]
doesn’t matter. The early Orb was all
about that.”
The Orb performs at The Biltmore
Cabaret on August 16th.
16 BPM
August 2017

August 2017 17

CITY
PONDEROSA
music and arts festival maintains good vibes with curated, community-minded focus
CHARLOTTE KARP
A music festival with homecooked
meals, helicopter rides,
tipis, secret swimming holes, art
installations, pancake breakfasts,
and loads of live music? Hell
yes! Grab your sleeping bags
and head to Rock Creek this
summer, because Ponderosa is
where it’s at.
This music festival/giant party
was created by Kia Zahrabi,
Kris Hargrave, and some friends
who wanted to chill out with
people, food, and beats. When
100 people showed up, they
joked about turning it in to a
music festival, and a few weeks
later — boom! They booked the
site and Ponderosa was born.
“In our minds, Ponderosa is a
big outdoor house party and as
hosts we take it on personally to
make sure everyone is having a
good time,” says Hargrave.
“It’s also a bit of a family
affair — my dad working the
main gate, Kia’s dad setting
up and selling local fruits and
In its second year, the Monsoon Festival
of Performing Arts continues to spotlight
South Asian talent in an industry where
opportunities rarely escape from the realms
of the Euro-centric model. The festival was
founded by two theatre enthusiasts, Rohit
Chokhani and Gurpreet Sian, who both
identified an unfair disconnect between the
talent of South Asians in the community and
their representation in the performing arts.
veg, so it’s got a real family feel.
We also put a lot of effort into
making sure our volunteers and
artists are having a great time
— the sense of community and
vibe at Ponderosa kind of just
happened all on its own. A good
party is all in the details!”
What makes Ponderosa so
fresh is the location, the chilled
vibes, and the cost. You can
get tickets to the festival, take
a helicopter ride, sleep in a tipi,
and have cash left over to make
it rain all summer long.
“Having a historic site right
by the river is a great start for
any festival,” says Hargrave. “Get
up, do some yoga, get in on
the pancake breakfast, maybe
a river float, then you add
Ponderosa’s careful curation of
live music with a heavy focus on
home-grown BC talent and you
find yourself immersed in a one
of a kind BC experience.”
Along with sets from artists
like The Courtneys, Wolf Parade,
Speaking with Chokhani and Sian,
they explain that the festival’s vision is to
“create a space…for South Asian artists
to perform in a manner of their choosing.”
This space allows repressed forms of
expression to thrive, highlighting “diverse
backgrounds” and “unique methods of
creation,” which do not always have a
place in our local mainstream arts culture.
and Gang Signs, the festival has
some new additions this year,
including more markets, vendors,
surprise pop-up sets and
artist jams, an Art Installation
Program, and a collaboration
with Sofar Sounds, who will
be around the site recording
acoustic songs from some of the
artists.
“We always put so much
thought and effort into just
how we want our lineup to flow
throughout the weekend because
each band plays a special
part of the festival mix-tape,”
says Hargrave. “Although, I must
admit, I am insanely excited to
see Wolf Parade outside under
the stars!”
Grab some tickets, get your
friends together, and road trip
your way to this three-day extravaganza
in the heart of BC.
Ponderosa runs from August
18-20 in Rock Creek, BC.
Ponderosa is a big outdoor house party for music lovers.
MONSOON FESTIVAL OF PERFORMING ARTS
diverse local, international South Asian talent takes centre stage
NOOR KHWAJA
photo by Leslie Van Stelten
One headlining performance of the festival,
Burq Off!, is playing at the York Theatre
on August 11 and 12. Nadia Manzoor’s
one-woman show of impersonations perfectly
embodies this year’s theme of eastern
feminism and classical Indian art form.
Featuring an autobiographical exploration of
the clashing cultures of Pakistan and England,
Manzoor bravely tells all. She explains that
while similar ideas of cultural “yo-yoing” have
been addressed in the past, it still feels “significant
and fairly novel that a Muslim Pakistani
woman is on stage…sharing her sex life, her
confusion, her drug use” and more.
The transposing value of South Asian
performance is represented beautifully in the
metaphor of rain. Monsoons in India, Sian
and Chokhani explain, “take over the country
on an annual basis…[causing] damage and
destruction.” However, amidst the destruction
is a festive surplus of “celebration including
dance, music, theatre, and film.”
Similarly so, the rains of Vancouver create
a mirrored environment, leaving room for a
celebratory space that the Monsoon Festival
of Performing Arts can artfully fill.
VANCOUVER
MURAL
FESTIVAL
culture celebration emphasizes first nations, female artists in second year
THERESA GUNKEL
"A vessel of culture." This is how David Vertesi describes the murals
in the streets of Vancouver. The young musician is the co-founder
and executive director of the annual Vancouver Mural Festival,
which is in its second year taking place from August 7 until 12.
BeatRoute talked to Vertesi about this year's celebrations, which will
not only include the transformation of over 50 walls across Strathcona
and Mount Pleasant into huge works of art, but also feature live
music, walking tours, street parties, and a variety of artist-led talks.
The festival’s purpose, according to Vertesi, is to make people recognize
the young and energized culture scene of the city. "We would
like to see Vancouver identifying as an arts and a cultural hub," he
says. The event already kicked off with a street festival in Strathcona
where a building covered in murals was unveiled. Vertesi describes
the work of his team as event-based art-activism. "We are trying to
give people eventful experiences with art and culture to give them a
feeling to be a part of what is happening."
The event team's main tasks are to fill in bureaucratic holes, as
well as pick the right participants out of over 350 applications. "We
always look at the art first but we think that it is also important to
empower a broad range of artists to express their stories," says Vertesi.
This year, they especially encouraged First Nations and female
artists to participate in the festival — artists like Bracken Hanuse
Corlett and Jeska Slater will be making contributions. The team is excited
about the works and hoping for the same amount of positive
feedback as last year.
"Art in public space makes people feel like their neighbourhood
got infused with energy and simply feels more alive," says Vertesi.
"They have their heads up looking at the murals, not just at their
phones."
Vancouver Mural Festival takes places from August 7 – 12
throughout the city.
Nadia Manzoor’s Burg Off! embodies this year’s theme of eastern feminism.
Monsoon Festival of Performing Arts runs
at various locations in Vancouver and
Surrey from August 6 to 13. Visit monsoonartsfest.ca
for more information.
50-plus walls will be blessed by the brush this year.
18 CITY
August 2017

AVOCADO BAY
new eatery finds innovative way to celebrate everyone’s favourite green thing
WILLEM THOMAS
Have we hit peak avocado? Avocado Bay, recently
opened in the West End, gladly tests the limits of
Vancouver's infatuation with the fatty, water-crisis-causing
fruit. Less than a decade ago, these
delicate, fleshy objects the world now values more
than financial stability were slotted a third tier grocery
store desirability rank. Guacamole was dutifully
eaten every few months and then it was back to
whatever low-carb mess you could make in a slap
chop people ate back then. A few years and Serious
Think Pieces later, plus a “superfood” labeling and
now we can't get enough of them.
Memo Bañuelos, chef and co-owner of Avocado
Bay, sees potential for avocado that extends far
beyond just toast. “Avocados can be a lot of fun to
work with in the kitchen, and there's so much more
to them than what's being done by most restaurants,”
he says. The menu, while not fully finished
when BeatRoute visited, presents a number of
creative takes on presenting the fruit. A sampled
avocado margarita worked well, with the smoothie-like
texture benefiting a well-rounded flavour
combo of avocado, tequila, and sharp hints of fresh
pressed juice. Avocado burgers (each contain an
entire avocado), tacos, ceviches, and cheesecake
all will contain generous amounts of the namesake
fruit. Of course, guacamoles are present, with an
equal casting of meat and veggie options available.
Having worked at some of the best Mexican
joints in Vancouver (La Mezcaleria, Los Cuervos),
and having owned his own restaurant in Mexico,
Bañuelos always planned on opening his own place
once fully settled here. He also has real experience
with limes and avocados — he spent a few years
importing both directly from Mexico and selling
them to bars in Vancouver, during the lime shortage
a few years ago.
“The bigger food distributors we're basically like,
‘You're the only one with limes right now...what else
can you get?’ and I found avocados being grown in
my hometown of Guadalajara.” Bañuelos had been
eyeing Avocado Bay's current English Bay location
for a few years, and eventually worked out a deal to
take over the space from it's previous owners who
had been operating it as a sports bar.
Avocado Bay seems like an interesting concept,
and Bañuelos really cares and plans to have the
restaurant in summer-ready mode when the full
menu is launched. As for the lime and avocado
importing business? “I now need all those limes and
avocados,” he says, “everything we make uses them.
Avocado and lime together is a beautiful thing.”
Avocado Bay is located at 1184 Denman Street.
photo by Alison Boulier
Tacos, ceviche, and margaritas are just some of the avocado’s new faces by chef and co-owner Bañuelos.
August 2017 CITY
19

CITY
ARE WE SCREWED?
Geoff Dembicki finds hope in millennials when it comes to fighting climate change
ADAM DEANE
Hope is a hot commodity lately, seeing as the
general consensus is that millennials consume
it faster than we can make it — that and a few
hundred other important commodities. Walk
out there and you’d be hard-pressed to find an
activist who is standing up for this generation,
screaming into the void that millennials, as individuals,
are trying to do their best for our planet.
Geoff Dembicki is one such activist. Stemming
from a background in journalism, Dembicki has
travelled far and wide through the hills of the
Silicon, over the Sands of Tar, to Wall Street,
Washington, D.C., and even Paris to witness
the climate talks. His findings? As a generation,
millennials aren’t the problem. In fact, millennials
are are essentially responsible for building the
resistance. And who better to use as their toy
soldiers than the politicians. Dembicki believes
the quickest way to the monster’s heart is
essentially through the blood; the folks who are
guiding Mother Nature to her deathbed.
Maybe we aren’t as screwed as we thought.
Hope was a big theme throughout any conversation
on the subject Dembicki, has. He is a young
man who has been to the frontlines; he has seen
the worst of what the enemy is capable of; he
has met with our best soldiers and he’s returned
hopeful. Are We Screwed? will blur those bold
lines of your existential crisis and remind you
just why you bike to work. Dembicki reminds
us that we have “the most to lose from climate
change, but we also have the most to gain from
fighting it.” Think about that one the next time
you feel that impending sense of doom, alone, in
your Prius. The numbers are in our favor: the last
election saw an 18% increase in millennial voters.
The book, which is widely available for pre-order
right now, is worth a read. Let it stew in your
mind for a while, and then, just when you’d
generally shelf it, give it to a friend. Tell them
your honest opinion. Tell them it’s a bit of hope
for this generation; a manual for the resistance,
and an important one. Why? Because we all live
on this planet and people like Geoff Dembicki
are looking out for and standing up for this
generation.
Are We Screwed? by Geoff Dembicki will be officially
released on August 22. Check out bloomsbury.com
for pre-order and release details.
Geoff Dembicki reminds us that we have the most to gain from standing up for our environment.
20 CITY
August 2017

GOODBOY-COLLECTIVE
shop supports local rescue, provides ethically-made goods for dogs
YASMINE SHEMESH
Since she was a little girl, Dayandra Elrod knew she wanted to work
with dogs. She’s an advocate of the adopt-don’t-shop movement and
calls her rescue, a Boston Terrier named Bowie (christened so for her
two different coloured eyes), her angel. Now, dreams have become
reality for the Vancouver-based entrepreneur with Goodboy—Collective:
a curated shop of ethically-made goods for dogs that benefits
Thank Dog I Am Out, a local rescue society.
Finding most readily available canine accessories cheaply made
with low quality materials, Elrod wanted something that aligned with
her eye for style. Something that would look good in her space and
that she could feel good about giving to Bowie. So, six months ago,
she took matters into her own hands.
"Originally, I started to make dog beds,” Elrod says. "I had this idea
to have a really simply designed bed and I wanted to use as many
Canadian materials as I could and have it be all ethical and have a
modern look. Something that kind of resembles a floor pillow.
Because that’s what happens with owning a dog, too — they come
with a lot of things and sometimes these things don’t feel as nice in
your home.”
Elrod took up sewing and, after positive responses from friends
(both furry and non), the idea developed into a project that
would combine thoughtful design and giving back. She partnered
with Thank Dog I Am Out and, through friends and by scouring
Instagram, sought out like-minded vendors who create in small
batches. Included are Edition 12, a leather brand that handcrafts
collars and leashes, and local talent Annie Arbuckle, who refurbishes
vintage sweaters. Elrod laughs as she describes how she and Arbuckle
go vintage shopping together for dogs.
Thank Dog I Am Out will receive 10% of the proceeds from the
GB—C in-house line. Elrod calls the pairing the most important
aspect of her venture. She’s looking forward to the non-profit’s
adoption event on November 4, #Save80DogsNov4, where Goodboy—Collective
will hold a pop-up.
"I think it’s really rad what they’re doing,” Elrod says. “That’s a lot
of dogs! And they work really hard on making sure that all of them
get homes, only pre-approved adopters can come to the event, and I
think it’s going to be fun and exciting. As we know, there’s definitely
a lot of dogs that need homes and, honestly, having a dog is one of
the biggest blessings of my life.”
Next, Elrod plans to expand her vendor roster and make even
more efforts towards helping Thank Dog I Am Out. "I just want to do
as many things as I can to support the adopt-don’t-shop movement,”
she says, “and have [Goodboy—Collective] grow in a positive way.”
Support and shop Goodboy—Collective at shopgoodboy.com.
photo by Michael Corrubia
clothing by Garmetory
Bowie approved. A love for dogs becomes a project for Dayandra Elrod.
August 2017 CITY
21

Media partner
TICKETS ON SALE NOW!
DEMETRI
MARTIN
LET’S GET
AWKWARD
TOUR
“Martin’s unique blend of comedy,
music, drawing and off-centre
anecdotes help him keep it fresh.”
– Prairie Dog, Gregory Beatty
BOOZE
SUNDAY CIDER
keeping cider local and within walking distance at all costs
JENNIE ORTON
Still in its infancy, Sunday Cider has spent
the last two years building up a solid relationship
with the East Vancouver brewing
district and the people who call it their
hoppy home away from home. One of the
only cideries in the city with a commercial
cider license (forced by the government on
any cidery not operating on the land the
apples are grown on) Sunday carries a 73%
markup just to operate within the brewing
district. The urban element is a key aspect of
the brand’s identity and it makes the absurdly
successful Sunday Cider Summer Sizzlers
hosted at the facility on a select Saturday
every month during the summer sublimely
possible.
“That’s what puts wind in our sails; we
open our shop up and people come down
and it’s a good time. It’s a great relationship
with the customers and talking about
fermentation,” laughs co-founder Patrick
Connelly. This description is very accurate: at
the lively and FREE events, which feature live
DJs and food trucks from local faves like El
Cartel, craft fans can bring their four-legged
companions and their wee ones and get
growlers filled with whatever small batch
brew is currently tapped.
“People really seem to like the product
and interesting cider is becoming a category,”
says Connelly.
“A lot of people who like sparkling wine,
who like crisp BC style wine, are discovering
cider and realizing ‘hey there is something
cool happening here on the cider side too’,”
Connelly says.
The high-cost input for craftsmanship
like this creates its own challenges but the
main culprit against cideries like Sunday
thriving and pulling a profit is the current
tax rates for commercial cideries. Most
cideries with the commercial designation are
very high output companies like Mikes Hard
Lemonade or Hey Y’all Iced Tea, companies
that distribute exponentially more product
than any small batch producer could muster.
Just by wanting to have the cidery be local,
as many craft breweries are within the same
area, Sunday must swallow the same markup
as those large distillers.
Sunday Cider aims to build a world-class cider industry in BC.
“The reality is if we want to make good
money off of making cider in BC in a
commercial environment we would have to
cut corners; we’d have to use concentrate
and encoded flavors and we don’t want to
do that; we want to make really nice small
batch craft ciders.”
Until the law is relaxed to encourage
more cideries to open and gain representation
alongside their craft beer counterparts
in the districts, Sunday Cider will hold the
mantle and continue to offer a refreshing,
inventive, and decidedly local take on everyone’s
favorite naughty apple juice.
Check out Sunday Cider’s next Summer
Sizzler on August 12 at 1575 Vernon Drive.
VICTORIA
SEPTEMBER 8 - 7:00 & 9:30 P.M.
McPHERSON PLAYHOUSE
TICKETS AVAILABLE AT
250-386-6121 OR 1-888-717-6121
RMTS.BC.CA
VANCOUVER
SEPTEMBER 9 - 7:30 P.M.
CHAN CENTRE FOR THE PERFORMING ARTS
TICKETS AVAILABLE AT
604-822-2697
TICKETS.UBC.CA
HAHAHA.COM/DEMETRI
SID’S VODKA AND SID’S SOMETHING ELSE
bringing craft spirits to the masses despite the tax man
JENNIE ORTON
Have you met Sid? You’d likely
remember if you did. Sid’s Vodka,
a part of the roster at Goodridge
& Williams Independent
Craft Distillers, is an excellently
smooth local craft product that
is priced below the profitability
line for all of us to enjoy. So
basically Sid is like Robin Hood
for those of us with Grey Goose
taste and Smirnoff wallets.
The sweetness on the palate
comes from locally sourced
wheat from the South Peace
River Valley which is stripped
and distilled at the GW facility
in Delta. The 76-step distilling
process that follows, care of the
38 plate rectification plate “Carl”
copper still and lovingly repeated
twice, exposing the spirit to
“an abundance” of copper. The
result is what G&W Marketing
guru Paul Meehan describes as
“great local craft vodka” that is
affordable.
And as with Robin Hood
himself, Sid’s is at the mercy
of the tax man in a fight to be
profitable. Craft distilleries in
BC must walk a delicate balance
between production levels and
profitability. 2013 regulations
passed by the BC government,
initially made to encourage
small batch distilling in the province,
have ended up creating
a very large tax problem for
distilleries that produce more
than the tax-exempt amount of
50,000 litres per year. Offering
an affordable spirit while being
stifled to 50,000 litres a year (lest
you pay a 160% markup on your
product) while still turning a
profit is impossible.
As Sid’s gingerly moves forward
on the tight rope walk that
Sid crafts a delicious and affordable spirit that helps out the little guy.
is a 160% markup, they DO offer
an option that is not only well
crafted but also turns a profit:
Sid’s Something Else. Referred to
as “Craft vodka refreshers” these
canned vodka coolers sweetened
with cane sugar are a good
way to satisfy your sweet tooth
and help out the little guy while
doing it.
22 BOOZE •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
So next time you are looking
for refreshment at the beach,
maybe consider “something
else” instead of reaching for a
Mike’s Hard Lemonade. Pretty
sure Mike can afford to lose a
couple; just ask yourself “what
would Robin Hood do?”
Grab Sid’s and Sid’s Something
Else at BC Liquor Stores.
August 2017

LEVINE FLEXHAUG
exhibition shines light on social, cultural history of Western Canada
YASMINE SHEMESH
Distinguished by thick evergreens surrounding
a lake and powdered mountain, Levine
Flexhaug’s landscape paintings could be
found at resorts and national parks between
Manitoba and British Columbia from the
late 1930s to the 1960s. It's a scene that the
Saskatchewan-born artist replicated an infinite
number of times as he spent summers
travelling through Western Canada selling
his work, often living out of his car as he
rambled the road. And while showing essentially
the same vista, his paintings always
differed in detail: an extra peak; a cascading
waterfall. A cabin nestled in the woods. The
silhouette of a moose.
Flexhaug’s landscapes brought a kind of
warmth into people’s homes during a time
that it was greatly needed. “He was selling to
people who had gone through the hardships
of the Depression and were living on the
prairies where there are no trees in many
places — particularly in the southern part
of the prairies, where he came from, there
are no mountains,” explains Peter White,
co-curator of A Sublime Vernacular: The
Landscape Paintings of Levine Flexhaug, an
exhibition of Flexhaug’s work now showing
at the Contemporary Art Gallery. "This
would have been very refreshing. It’s the
perfect, ideal image, almost like a paradise
or sanctuary.”
A Sublime Vernacular is the first all-encompassing
overview of Flexhaug. This isn’t
surprising, White says, because his images
tend to be regarded as kitschy, which is
generally looked down upon from a high
culture perspective — even though Flexhaug’s
landscapes are not manipulated in
the way the genre is known to be. Works like
Flexhaug’s, that hail from a rural background
with nostalgic subject matter, present a challenge
to institutionalized thinking.
“That’s one of the reasons why we wanted
to do the show,” White says. "To take this
material which we believe has great value —
it’s not that it has more value or less value
than anything else, but it has a lot of value
and it’s an important cultural achievement
— and to put it in these places where that’s
kind of questioned."
With the Art Gallery of Grande Prairie as
the organizing institution, White and fellow
curator Nancy Tousley sourced over 450
paintings through dealers, collectors, and
members of Flexhaug's family to bring the
artist deserved recognition and shed light
on who he was. It’s been about seven years
since the project commenced. “We also felt
that there’s something in this work that’s
very compelling,” adds White. “And a part of
it is its capacity to compel you in a bit of an
obsessive way. It’s sort of the opposite of less
is more. More is always more.”
The staples of Flexhaug's unspoiled landscapes
— snowy mountains, an abundance
of trees, a water body — feel definitively
Canadian. But Flexhaug didn’t base his
work on a specific location. It was simply an
ideal that he dreamed up. "It’s a distillation
using the constituent elements of romantic
landscape painting sort of massaged into
his sense of things and what he thought his
customers would want,” White explains. The
image's denotation as a symbol of national
iconography speaks to a collective consciousness
in how we, as Canadians, seem to
identify ourselves with landscape. "I think it’s
a trope in our culture,” White considers. "It’s
reassuring, it’s a peaceful image. I think that’s
why people respond to it."
Even though Flexhaug was a commercial
artist, the intention behind his landscapes,
paired with the fact that he also gave many
away as gifts, displays an engagement
and benevolence that is intrinsic to the
integrity of his work. "I think it’s not that
Flexhaug had some passionate attachment
to natural beauty and the land,” White
says, “and that doesn’t lessen the authenticity
of them because, again, it has to do with
the whole nature of…how he interacted
with his customers. He was giving them
something that they wanted and that was
partly the nature of what was authentic and
meaningful in what he did.”
With A Sublime Vernacular, Flexhaug
is no longer a best-kept secret. He is now
entered into the catalogues of art history
and the exhibition marks a significant
change in how he’ll be understood. His
work, beyond being a colourful feast for
the eye and soothe for the soul, provides
fascinating insight into a specific chapter
of Canada’s story. Work, White says, that is
really remarkable as a prism through which
to look at social and cultural history of the
West and of the Prairies.
A Sublime Vernacular: The Landscape
Paintings of Levine Flexhaug
runs until September 3 at the Contemporary
Art Gallery.
The intention behind Levine Flexhaug’s landscapes display anengagement and benevolence intrinsic to the integrity of his work.
UNBELIEVABLE
exhibition encourages critical thinking of stories and history
photo by Pauline Johnson
Unbelievable is “the power of story and what people choose to believe.”
SARAH JAMIESON
A new exhibition at the
Museum of Vancouver takes a
provocative look at Vancouver’s
history and future through
iconic artifacts, replicas, and
symbols, each of which have
shaped the city’s narrative and
identity.
Unbelievable, which runs
until September 24, is all about
the “power of story and what
people choose to believe,” says
Gregory Dreicer, Director of
Curatorial & Engagement.
Dreicer organized the
artifacts in four months as
collaborative partner with
HCMA Architecture + Design,
a private company specializing
in architecture and design
management. He hopes the
exhibit encourages people to
think critically about the stories
they choose to accept or reject.
He calls the collection “of the
moment,” inspired by a posttruth
society where fake news,
alternative facts, and falsehoods
are now commonplace. As a
historian, Dreicer knows that
there are multiple sides to a story
and what constitutes as truth
may be more complex. To illustrate
this further, the interactive
exhibit lists several ‘facts’ where
visitors can post sticky notes
rating how true they believe
each statement to be.
Other well-known Vancouver
objects also make an
appearance, like the original
“R” from The Ridge sign. The
storied Arbutus Street theatre,
CITY
shopping, and entertainment
complex was a “heart in the
community” according to
Dreicer, but has now been torn
down and replaced by condos
and a grocery store.
The exhibit also explores
Vancouver’s history of activism.
One of the artifacts includes
the costume of the official
Olympic Games mascot, Quatchi,
contrasted with Squatchi,
an imitative mascot used by
protestors. As well, the display
explores how activism halted
the once-planned highway project
that would have destroyed
present-day Chinatown.
Another aspect shows
Vancouver’s complicated
history with First Nations. A few
artifacts include the Thunderbird
totem pole that appeared
Edward Curtis’ 1914 work In the
Land of the Head Hunters, originally
commissioned by Chief
Tsa-wee-kok for Gway’i/Kingcome
Inlet, and the costumes
of actor Pauline Johnson, who
designed her clothing to play to
an ‘authentic image’ that white
fans expected.
Unbelievable shows visitors
that there isn’t a single version
of history — it often involves
conflicting narratives and
perceptions, all of which may
be true.
Unbelievable runs at the
Museum of Vancouver
until September 24.
August 2017 CITY
23

QUEER
PRIDE GUIDE 2017
You’ll find this pride season jam-packed with parade favourites, new festivals
and celebrations more inventive than Lady Gaga’s wardrobe itself. Here
is our official list of must-sees and must-dos to get you inspired, connected
and in the spirit of loving yourself.
Davie Street Party
On the eve of pride weekend, all LGBTQ+ community members,
their families and allies are invited to a party spanning multiple
blocks through the heart of The West End. Don’t miss the local art,
good eats (like the $2 pancake fundraiser at Denny’s!) and DJ beats.
Happening Friday, August 4 from 6 p.m. to 12 a.m. between Burrard
and Jervis. This event is free.
Honey Soundsystem Davie Street Pride Party
After Party
Celebrities and Pacific Rhythm are set to host the after party of after
parties, featuring San Francisco’s very own Honey Soundsystem and
special guests Body Party and Nancy Dru. Music until 4 a.m. provides
a sweet escape, like you’re in Berlin or something. Happening
Friday, August 4 at Celebrities Nightclub. Doors at 8 p.m., free entry
before 10 p.m.
Queer as Funk!
Kick off pride and get down and funky with high-energy dance and
vocal ensemble performances by super troupe Queer as Funk! Also
featuring special guests
Dawn Pemberton
— the New Queen of
Canadian Soul — and
East Van’s own acapella
soul quartet What Is It.
If you’re looking to start
your pride weekend off
with a glitter-twist and a
shout, Queer as Funk! is
something you won’t want to miss. Happening Friday August 4 at 8
p.m. at the Commodore Ballroom. Tickets are $41.50 in advance.
14th Annual Vancouver Dyke March
This classic East Van event demands your attention this year, whether
you’re watching from the sidelines, marching with your loved
ALTERNATIVE PRIDE
celebrating diversity with complementary programming
EMILY BLATTA
The Vancouver LGBTQ+ community has a lot to be proud of this year,
but what’s cooler and more important than anything is its determination
to create safer, more accessible spaces that are equally fun to
play in, only more diverse and fresh-faced. Now in its second year,
Vancouver Art and Leisure’s Alternative Pride is at the forefront of
that movement, and flaunts a list of events that could draw even the
homiest of home bodies out of their shell.
Despite offering alternatives, the festival isn’t about putting down
any of the traditional pride events that other facets of community
have worked to build, and Alternative Pride director Bradley Michael
makes clear that what they’re creating is actually a complement to
what already exists. They do however offer something a little bit
different--artists are given complete creative autonomy to perform
and involve all aspects of their identities, while audience members are
made to feel totally welcome by staff that are like-minded and from
the LGBTQ+ community itself.
one or walking to the beat of your own unique drum. The Vancouver
Dyke March fits and fights for boots of all colours, identities
and sizes. Happening Saturday, August 5 from 11 a.m. to 5 p.m. in
McSpadden Park. This event is free.
Love Disco - Little Boots DJ set
Gorg-O-Mish is hosting pride
events all weekend, but if you
love disco, we recommend
checking out this disco set by
UK-based DJ Little Boots. Also
featuring performances by
Sappho and David Sylvester,
this event is all gold lamé,
suede and corduroy. Happening
Saturday, August 5 from 11
p.m. to 8 a.m. at Gorg-O-Mish.
Pride Parade
Come hangout where the sun meets the rainbow and celebrate
who you are, who you love and where you live at the Pride Parade
through Vancouver’s gay village. There’s no event hotter, sweatier,
more colourful or exciting than a decked-out Pride Parade during
the middle of summer, and nothing more rewarding than a post-parade
beer at Sunset Beach. Happening Sunday August 6. This event
is free.
Sunset Beach Festival
Whether you’re walking in the Pride Parade or watching from the
sidelines, you might as well have run a marathon through the desert.
Celebrate at the finish line with a beer and experience the festival’s
Vendor Village, Community Zone and live music on the main stage.
Happening Sunday, August 6 from 11 a.m. to 6 p.m. at Sunset Beach.
To get things started is the much-anticipated Drag Carnival, where
all drag queens, kings and wannabes can come perform, mingle,
watch and be seen. After that, it’s a jam-packed few days of the queerest
vintage, bike tours, techno, disco and hip-hop that Vancouver has
to offer.
“I think finding accessible spaces for LGBTQ+ artists to present
their work is something the community will always have to fight for. It
has been amazing to see the creative side of our community flourish
with drag and performance art the last few years and I feel a lot of
credit goes to drag performers such as Alma Bitches, Jane Smoker,
Jaylene Tyme, Carlotta Gurl and Dee Blew who have created wonderful
shows,” says Michael.
If you’re on the hunt for something new to do this pride season,
Vancouver Art and Leisure’s Alternative Pride programming is guaranteed
to keep your wheels spinning all week long.
For tickets and more information visit www.artandleisure.ca
O PRIDE with LADY BUNNY
Drag performer, comedienne
and creator of Wigstock Lady
Bunny is all fierce lashes and
potty-mouthed humour. Renowned
in New York City and
around the globe, she’s here in
Vancouver this month to electrify
our hearts and turn things up
a notch. See Lady Bunny perform
Sunday August 6 at the Odyssey
Bar & Nightclub. Show at 10 p.m.
Advance tickets are $40.
Ice-T Pride Patio Party
Hosted by XYYVR, Ice-T Pride Patio Party features a sweet line-up of
DJs including DJ Leanne, Almond Brown, Diana Boss and more. Kick
back with a Long Island Iced Tea at the coolest patio party of the
summer, you’ll need one after all that dancing. Happening Sunday,
August 6 from 1 p.m. to 9 p.m at XYYVR.
Bye Felicia The SheQuel (Pride Edition)
Once the patio gets too cool, head indoors for a SheQuel and
continue partying through the night with Resident Queen Alma B
Itches. This bearded Queen will have you saying bye-bye to all those
things no longer meant for you. Happening Sunday, August 6 from
11 p.m. to 4 a.m at XYYVR.
Coconutz & Bananas
Hosted by Vancouver’s first-ever Trans Bar (finally!), Coconutz and
Bananas is an inclusive dance party for trans and non-conforming
bodies to feel safe and get crazy under one roof. Jam-packed with
performances by some of the hottest trans DJs, go-go dancers,
strippers and drag performers, Coconutz & Bananas provides a long
overdue scene for those who feel unseen. Happening Friday, August
18 at the Odyssey Bar & Nightclub. Doors at 9 p.m. Entry is $5.
Jaik Puppyteeth’s Drag Carnival is well worth the price of admission.
24
QUEER
August 2017

VANCOUVER QUEER FILM FESTIVAL
pushing queer cinema in new directions
QUEER
FREDERICK BLICHERT
The Vancouver Queer Film Festival has
long had the goal of telling the stories
of the international queer community.
“In many ways there has been an
utter lack of recorded history in queer
lives, and film has really filled that gap,”
says Amber Dawn. Dawn, alongside
Anoushka Ratnarajah, is in her first
year as Artistic Director for the festival,
and the two intend to make true on its
promise to tell the unheard story.
Now in its 28th year, the festival has
seen plenty of change—much of it in
this decade—and queer representation
has spiked in mainstream film and TV,
but oftentimes with straight, cis filmmakers
or performers. Recently, this has
affected the role of the festival, whose
job is no longer just to raise awareness
of queer film, but to push the boundaries
of what’s considered acceptable in
the mainstream.
“Festival audiences get to see something
unique,” says Ratnarajah. “Oftentimes
they get to see something a little
bit edgier.” The festival understands this
role as well. “I think many of our viewers
love the daring and the innovation and
the buttons that queer films and queer
filmmakers push.”
The duo pegs this on the gate-kept
programming of the mainstream channels.
Many films don’t have the chance
to make it to those audiences, and the
VQFF offers them a home. But it’s not
just for the filmmakers—audiences also
desperately want to see these lineups.
Dawn is all too familiar with the scant
and one-sided programming of the
past: “When I started watching queer
cinema, which was only about 15 years
ago, going to a [queer] documentary
film usually meant you were going to
walk out of the theatre devastated. You
can go see a queer documentary now
and leave the theatre feeling uplifted,
feeling empowered.”
Ratnarajah agrees. “I think it's really
important for queer folks to be able to
go and see a romantic comedy, to go
and see a murder-mystery, to go and
see a musical.” She regrets that there
will be no musical hitting the screen
this year, but it’s not just about checking
boxes—it’s all about broadening the
collective perspective. “There's lots of
queer folks––most of us, hopefully––
who are having fulfilling, joyful lives.
And it's as important to see that as it is
to see our struggles.”
The lineup really is formidable, and
while all the films look great, there are
some must-see standouts. “The Indigi-
Femme program,” says Dawn, “especially
for those audience members who are
really looking for an interdisciplinary––
not just sit back and watch a film––
experience. Fathers from Thailand is a
love story, so sweet, and this is your one
time to see it. This is not going to go on
Netflix, it's not going to go on iTunes.”
Ratnarajah chimes in with her own
favourite: “B&B, which is having its
Canadian premiere with us and will go
on to a theatrical release. For those of
us who enjoy Miss Marple or Poirot,
it's going to be fun to see some queer
people in that kind of film genre.”
The breadth of the festival reflects
its desire to showcase interdisciplinary
work that brings depth through the
conversations they ignite—one of the
most important goals of an undertaking
like this. “Film can be thought of as
VQFF Artistic Directors Amber Dawn and Anoushka Atnarajah want to tell the untold story.
a finished project,” says Ratnarajah, “but
actually it's still very alive, whether it's
the conversations that audiences have
with each other afterwards, whether it's
Q&As, whether it's in conversation with
the folks who made the films, or whether
it's other artists responding to it as
a piece of art. There's still generative
energy left in a film even if it's ‘finished.’”
Depending on how you measure it is
easy to see the VQFF’s mission as “finished”,
but a closer look shows there is a
long way to go. But with each showing
of queer cinema, from underground
documentaries to foreign features to
mainstream Netflix series, we get closer
to a united viewership. And that, really,
isn’t so far away.
The Vancouver Queer Film Festival
kicks off on August 11. Check
out the full festival lineup at
http://queerfilmfestival.ca/.
August 2017 QUEER
25

FILM
A GHOST STORY
a sad specter makes for a haunting film
TRAVIS MARKOZY
Most people have, at some point, become a ghost—a sheet over
their head, with two holes cut for eyes. But our brief flirtations with
death are (hopefully) played out over an evening, at which point
we return to the world of the living. But for C (Casey Affleck), who,
killed in a car accident, leaves behind a grieving lover (Rooney Mara),
the sheet does not come off. Instead, he waits in his home and
watches, the days passing like seconds, as his lover moves, his home
crumbles, and the world passes his limboed spirit by.
With the film’s minimalistic performances and moody music,
director David Lowery has found a way to make ghost stories fresh,
and somehow more realistic. After all, why would a ghost still be
angry enough to haunt a house after 200 years? Surely they’re more
likely to display C’s melancholy while watching his entire relationship
from under a sheet, or the ennui that engulfs him after his third
century sitting in the same room, waiting for—something, anything
to deliver him.
A treatise on love, patience, and above all, closure, A Ghost Story
leaves us with the impression that we should do the important stuff
while we can still exist in our surroundings and still hold the ones we
love. Maybe then we wouldn’t have so many moody ghosts flicking
our light switches. But whether or not you have something to live for,
or something to hang around for after you’re dead, drop the sheet
for a while and make some time for this film.
A Ghost Story is in theaters now.
THIS MONTH IN FILM
HOGAN SHORT
Lift Off Festival
The Lift Off festival is coming to Vancouver and
offers you, the viewer, a chance to become a movie
critic. The audience gets time to judge and leave
comments for the filmmaker, and films will be
awarded based on the audiences choices. Any film
buff should jump on the chance to be a part of
that process and see these elusive independent
films. Whether you see a thought-provoking short
or a heartwarming feature, there is a burning story
at their heart and talented filmmakers at their
helm. Catch the festival August 7th-9th.
Double-Bills at the Rio Theatre
I am a sucker for double features so if you have
five hours to kill then embark on an adventure
with Overboard and Big Trouble in Little China
(August 10th), or experience chest-rending fear
with Alien and Aliens (August 19th).
Film Gets Dark at the Cinematheque
For the entire month of August the Cinematheque
will be showcasing films from the American film
noir genre. Picking any of the eleven available
showings spanning from 1941 to 1955 is not just a
great reason to finally see these forgotten classics,
but a rare opportunity to see them on the big
screen.
support your local cinemas
Upcoming Releases
Detroit
The duo behind The Hurt Locker and Zero Dark Thirty are sure to set the bar
higher yet again with this film on the Detroit Rebellion, setting
the standard for thrillingly factual films that are important to see. (August 4th)
Wind River
An FBI agent and local wildlife tracker team up to solve a murder on a Native
American reservation. Coming in second at Sundance, this intense thriller will put
Taylor Sheridan (Hell or High Water, Sicario) on the map as a director. (August 4th)
Good Time
This is the film that received a six minute standing ovation at Cannes this year.
Following the desperate Connie (Robert Pattinson) as he tries to break his brother
out of jail after a bank robbery completely fails. Connie must do this while still
staying clear of the law that is also actively still looking for him. (August 11th)
Logan Lucky
I love Steven Soderbergh. This is the man who made Ocean’s Eleven, and the cast
of Logan Lucky includes Channing Tatum, Adam Driver, Seth McFarland, and Daniel
Craig playing a boisterous, loud mouthed, ex-con southerner. Clear your calendar,
quit your job, do whatever you have to do to see this movie. (August 18th)
Debut of Vancouver film The End of the Road
This documentary follows the band of draft-dodgers, hippies and misfits who
left civilization for the freedom of Lund, Canada where they traded electricity for
psychedelics and community. Often telling the story through the artwork of those
who were brave enough to be free, this film paints a brilliant picture of life as we
don't know it. (August 7 & 27, Vancity Theatre)
A Ghost Story
Casey Affleck struggles with life, death and the supernatural.
Logan Lucky
FRIDAY LATE NIGHT MOVIES!
19+
VALID ID FOR
BAR SERVICE
VISIT WWW.RIOTHEATRETICKETS.CA FOR SHOW TIMES & TICKET PRICES
AUG 11
HAUSU
AUG 18 HELL BOY AUG 25 NIGHT OF THE LIVING DEAD SEPT 1 THE BREAKFAST CLUB
26 FILM
August 2017

Arcade Fire
Everything Now
Columbia
It’s hard to think of an album in recent memory that has garnered as much hatred before its release as
Arcade Fire’s Everything Now. Granted, the post-ironic content skewering and self-aware media campaign
hasn’t been particularly enjoyable, but the band has managed to enter a new level of internet infamy
located above Father John Misty, but below Azealia Banks. While it may be en vogue to hate Arcade Fire’s
unaltered pretension, it’s hard to hear any reason for such rage in the music alone.
With an oddly-indicative album cover that displays a billboard of a neon-hued, desert mountain range
blocking the view of an actual mountain range, Everything Now is a perfectly competent indie-pop album
that has been covered in a shroud of marketing cynicism and content nausea. Luckily, if you can manage to
look past the billboards, you’ll find an album that demonstrates that, even at their worst, Arcade Fire are
still capable of greatness.
Everything Now builds on Reflektor’s cold, synth-heavy sonic interiors, but opts to knock down the
warehouse walls, revealing wide open landscapes of the American south. From New Orleans-style horn
stomps (“Chemistry”), to gritty, chugging synth pop (“Creature Comfort” and “Electric Blue”), the band has
managed to cover a wide range of contemporary pop sounds while still making them sound exactly like Arcade
Fire. Everything Now is an album that sits alongside the anthemic bombast of The Suburbs, the gothic
dread of Neon Bible, and the slinky dance punk disco of Reflektor.
Throughout its 45-minute runtime, Everything Now shows a band that has a remarkable sense of sonic
identity, while simultaneously presenting themselves as completely out of touch with broader pop culture
in 2017.
The result is an album that is often textbook Arcade Fire: Anthemic, slightly cloying, and ultimately a
little heavy handed. Yet, where Everything Now feels different than the band’s earlier work is that when
the band indulges its schmaltziest self, it pays off significantly less than it used to. Credit it to the quality of
their past work that Everything Now feels like the least important album in the band’s discography, even
when they seem to try and make it feel like the most.
That kind of self-reverence results in Win Butler indulging some of his most groan-inducing lyrical tendencies.
On the twin tracks “Infinite Content” and “Infinite_Content,” Butler’s subtle-as-a-hammer message
of internet content making everyone (content)ed (see what he did there?) and bored doesn’t add much to
a discussion that has been going on since the start of Facebook.
Elsewhere, “Creature Comfort” is marred by awkward vocal cadences and ham-fisted self-mythology
(Assisted suicide / she dreams of dying all the time / she told me she came so close / filled up the bathtub
and put on our first record), but is saved by the fact that it’s flat out the best instrumental on the record.
Credit that to Portishead’s Geoff Barrow, who co-produced the track alongside Pulp’s Steve Mackey (who
worked as producer on much of the album). It’s an amazing instrumental that sounds like a chugging,
electro pop “Keep the Car Running.”
It's telling that instead of coming off as a grand treatise on internet culture and media saturation, the lyrics
of Everything Now end up sounding like the mindless content the band presumably set out to critique
in the first place.
Luckily, the album sounds a lot better than it reads. “Signs of Life” sounds like an Oingo Boingo classic
produced by Soulwax. The latter comparison being especially apt for much of the album; a hodgepodge of
chintz reworked through kaleidoscopic electronica. Blaring horns and the same disco-indebted drums that
appeared all over Reflektor anchor the track in a way that conjures the image of Oingo Boingo frontman
Danny Elfman flashing a trademark deranged smile.
“Chemistry” starts with a King Tubby-esque reggae stomp before morphing into a Billy Squier guitar
track akin to “The Stroke” at the chorus. It’s among the best tracks on the album, and instantly earns a
place alongside “Month of May” as one of Arcade Fire’s most rock-centric moments.
The track also marks a shift in the album overall, the computer-centric gloss of the first half of the album
fades away to reveal desert-folk landscapes complete with an Americana twang that is a refreshing look for
the band.
Fortunately, for all its misgivings, Everything Now does deliver with one of the most flat-out affecting
songs of Arcade Fire’s decade-plus career. Late-album stunner, “We Don’t Deserve Love” is a gorgeous, electro-twanging
ballad that somehow combines a Roland CR-78 drum machine with an Owen Pallett string
arrangement and lush, swelling pedal steel courtesy Daniel Lanois. It’s a bright spot on an album that has
plenty of them, but still ends up feeling disappointing.
• Jamie McNamara
•illustration by Dylan Smith
August 2017 27
REVIEWS

Grizzly Bear - Painted Ruins
Lana Del Rey - Lust for Life
Gordi - Reservoir
Jay-Z - 4:44
Kacy & Clayton - The Siren’s Song
Grizzly Bear
Painted Ruins
RCA Records
2017 appears to be the year that all of
the indie rock heavy hitters of the late
aughts came back to the table. Painted
Ruins is Grizzly Bear’s fifth release, and
in the five years since Shields (2012),
the band’s success has morphed into
individual successes for its members.
As such, this new record feels like a reunion,
even if much of it was recorded
without the band in the same room as
each other.
Since 2006’s Yellow House, Grizzly
Bear has been a band of competing
frontmen, with Ed Droste’s languid
moan and backroom longings tying
up half the songs, and Daniel Rossen’s
high-register ruminations rounding out
the rest.
The two voices mesh best on
“Mourning Sound,” where Ed Droste’s
beautifully pitched backing vocals can
mope through the verses and carry Rossen’s
unsettled and haunting vocals in
the chorus. The rhythm here is simple,
but pulsing, punctuated by producer
Chris Taylor’s ruthless bass guitar. The
soaring synth melody is the oddity of
the song, but it’s wavering pitch is just
weird enough to keep it from being too
strong of a hook.
Despite their indie credibility and
swath of imitators, Grizzly Bear has
never sounded contemporary. Their
success is largely attributable to their
uniqueness and sheer virtuosity. This
isn’t psychedelic pop at its most complex,
but almost certainly at its most
dignified. There is no wall of sound
here, no undefinable pitch effects or
kilometers of reverb. Even the vocals
are remarkably clean on most tracks.
This is indie music for people who listen
to jazz and classical, it doesn’t veer too
far out of genre to be inaccessible, but
it’s musicianship and song-writing are
timeless and striking.
• Liam Prost
Lana Del Rey
Lust for Life
Interscope Records
On a fourth studio album, most artists
would reinvent themselves in some
small, noticeable way; reveal a new look,
change up their sound, or work with
a new team. With Lust for Life, Lana
Del Rey is back with more of the same,
though decidedly. She knows herself
and for her, that’s enough.
Her output is constant – always
pushing her exploration of the gloomy
glamour of California dreaming and
the dredges of American melancholia.
Oddly, on the album’s cover she is
sunny-eyed and smiling, with daffodils
in her hair, embodying the eponymous
‘60s flower-child. In the 1967 essay,
Slouching Towards Bethlehem, writer
Joan Didion integrated herself within a
group of San Francisco’s ‘hippies,’ (the
people Lana often embodies) finding a
generation lost and in search of something
greater, though none could really
define ‘what.’ Lana finds herself in a similar
position throughout Lust for Life.
Standouts include “Summer
Bummer” featuring A$AP Rocky and
Playboy Carti, where Lana is at her
most Lana – “wrapping you up in
[her] daisy chains” atop a trap beat
and her signature withdrawn coos. As
an antithesis to her hip-hop lenience,
she offers “Beautiful People Beautiful
Problems,” featuring Stevie Nicks, which
is an inspired-‘60s girl group song for
two artists that could not offer better
synthesis. The song is setting aside one’s
own day-to-day distractions and seeing
your larger connection to the world.
Sadly, Lana offers no solutions, just the
lamentation “We gotta try every day
and night.”
Lust for Life is an album to make one
feel less alone, though it doesn’t bring
any strong realizations about life itself,
just more questions.
• Trent Warner
Gordi
Reservoir
Jagjaguwar
It’s rare that you see a debut LP so
ambitious. Sharing a label with Bon Iver,
S. Carey, and Volcano Choir, Australian
songstress Sophie Payten shares many a
production quirk with her label-mates.
Ample use of auto-tune, soft horns
and quirky samples that sound almost
directly lifted from the most recent Bon
Iver release layer Gordi’s effervescent
singer-songwriter pop.
Every song is treated very specifically,
without a coherent set of instrumentation
or production style linking the
tracks. Even Payten’s rippling and raw
vocal delivery, which sits at the centre
of the mix on almost every song, varies
heavily in terms of production effect,
sometimes pitched, sometimes doubled,
often with a hefty dose of reverb.
It hits violently on tracks like “Aeon,”
and gently on moments like the closer,
“Something like this.” This is a studio
record through and through, with very
little indication of how it might present
live. Tracks like the single “Heaven I
Know” and opener “Long Way” present
strongly as headphone experiences,
rewardingly close listens with tiny
auditory ticks.
The highlight here is the sparse
“I’m Done,” featuring a subtle guest
appearance by S. Carey. Led with a
simple guitar pattern, her songwriting
comes through most strongly, concisely
laying out an optimistic narrative about
clearly bookmarking a relationship.
Reservoir is dense and of-the-moment,
a layered and temperate piece of
work that will probably not be reproduced
in either her live performances
or future recordings. That said, it’s a
tremendously well put together and
impressive debut work.
• Liam Prost
JAY-Z
4:44
Roc Nation
JAY-Z announced 4:44 with clarification
on how his rapper alias is stylised, but
by the end of the opening track, it is
clear this new album is about dissecting
what the name represents. The name
has brought him unparalleled success
and, at times, misfortune. 4:44 is a study
of what makes JAY-Z one of rap’s legendary
figures, but it is perhaps the first
album told through the perspective
of Shawn Carter, a human no different
from the rest of us. It is everything Magna
Carta Holy Grail is not, producing
some of the best material in his vast
discography.
At first, the conversational style of
rapping on this album seems like a
questionable choice for someone who
gave us classics like “Dead Presidents”
and “Empire State of Mind,” but after
a few listens everything clicks. No I.D.
handles production duties, providing
Shawn Carter with the soulful backdrop
he needs at this point in his career.
There are no forced attempts of trying
to copy the trap-infused hip-hop dominating
radio waves, opting for timeless
samples and originality instead.
Lyrically, JAY-Z seasons his rhymes
with fresh references of events that
occurred a few days before the album
dropped. Whether he recorded this
whole thing recently, or if it was only
a few bars, is irrelevant because the
quality speaks for itself. 4:44 deals with
themes of betrayal, family, lust and, of
course, wealth, but this time around it
feels genuine. Every song delivers an important
message that doesn’t diminish
in value with each consecutive listen.
Killing JAY-Z might be the smartest
business move Shawn Carter has made
Platinum Era (’96-’09)
HiP HOP + R&B
EVERY FRIDAY
10:30pm - 19+
2755 Prince Edward Street
biltmorecabaret.com
HOUSE JAMS FOR THE YOUNG,
RESTLESS & BORED
CAN I LIVE + GUESTS
EVERY SATURDAY NIGHT
10:30pm - 19+
28 REVIEWS
August 2017

1
Jokes feat.
Benji Rothman
2
Happy Hour
$
3 Beer til 3pm
$
5 Beer til 5pm
3
Mr. Boom Bap
presents
Boogie Nights w.
Mud Funk
4
The Railway
Stage presents
Dried Out
w. Milkers Wanted
5
Lust for Life
presents
The Cut Losses
& Wax Cowboy
6
Happy Hour
$
3 Beer til 3pm
$
5 Beer til 5pm
7
The Take Back
DJs Khingz,
Mic Flont
& Guests
8
Jokes feat.
Kevin Banner
9
Happy Hour
$
3 Beer til 3pm
$
5 Beer til 5pm
10
Mr. Boom Bap
presents
Boogie Nights w.
Puff Puff Beer
Oakland, CA
11
The Railway
Stage presents
Ron Artis II
12
Lust for Life
presents
Sintra &
Dream Cars
13
Happy Hour
$
3 Beer til 3pm
$
5 Beer til 5pm
14
The Take Back
DJs Khingz,
Mic Flont
& Guests
15
Jokes feat.
John Cullen
16
Happy Hour
$
3 Beer til 3pm
$
5 Beer til 5pm
17
Mr. Boom Bap
presents
Boogie Nights w.
X Presidents &
Mark Woodyard
18
The Railway
Stage presents
Kyoto
EP Release
Party
19
Lust For Life
with special
guest bands
20
Happy Hour
$
3 Beer til 3pm
$
5 Beer til 5pm
21
The Take Back
DJs Khingz,
Mic Flont
& Guests
22
Drag Show
feat.
Karmella Barr,
Dust, Rose
Butch, Syren
Deputy
23
Happy Hour
$
3 Beer til 3pm
$
5 Beer til 5pm
24
Mr. Boom Bap
presents
Boogie Nights
25
TODDcast Podcast
presents
The Wild!
w. Cobra Ramone
& No Liars
26
Lust for Life
presents
Cloudhood,
Brutal Poodle
& More
27
Happy Hour
$
3 Beer til 3pm
$
5 Beer til 5pm
28
The Take Back
DJs Khingz,
Mic Flont
& Guests
29
Jokes feat.
Marito Antonio
Lopez
30
Happy Hour
$
3 Beer til 3pm
$
5 Beer til 5pm
31
Mr. Boom Bap
presents
Boogie Nights
August 2017 29

30
August 2017

Mark Kozelek & Sean Yeaton - Yellow Kitchen
Catherine MacLennan - If It’s Alright with You
Rainer Maria - S/T
Avey Tare - Eucalyptus
in recent memory, paving the way for
many more to come. After all, he’s
not a business man, he’s a business,
man.
• Paul McAleer
Kacy & Clayton
The Siren’s Song
New West Records
Following up an album which saw
your band ascend to some truly
rarified air for a Western Canadian
group might be daunting for some,
but Kacy & Clayton's latest, The
Siren's Song, finds the southwestern
Saskatchewan duo not only meeting
the promise shown by 2015's Strange
Country, but exceeding it. Produced
by legendary Wilco frontman Jeff
Tweedy, The Siren's Song sees Kacy
Lee Anderson and Clayton Linthicum
continuing to expand their sound,
deftly combining the many strains of
traditional acoustic folk music with
the sunny feel of ‘60s California folk
and the lean edge of ‘70s country
rock. While Anderson and Linthicum
have often worked with sepia-painted
vignettes of the past with cleverly
cloaked references to more modern
times, The Siren's Song tends to do so
a little more clearly, with a welcome
transparency.
The first single, "The Light Of Day,"
kicks off the record with a gentle pull
in the beat and a tasty, twanging riff
from Linthicum. Anderson sweeps in,
recounting the narrative of a woman
finding an old photo of happier times
in the bottom of a drawer, before the
chorus drops with a timeless lament
in which it's often "proper" to keep
quiet and not be misrepresented by
other people's perceptions of what
they have to say.
Tweedy wisely resists throwing
all the bells and whistles onto the
production and arrangements of
The Siren's Song, giving the band a
lean, live sound, with Anderson and
Linthicum adding their own fiddle
and pedal steel parts sparingly. The
Siren's Song crackles with smart vocal
and instrumental hooks and the classic
warmth of its influences, firmly
establishing Kacy & Clayton as one of
Canada's most tuneful and musically
engaging folk rock groups.
• Mike Dunn
Mark Kozelek & Sean Yeaton
Yellow Kitchen
Caldo Verde
For a well-known grump, Mark
Kozelek (Red House Painters, Sun
Kil Moon) certainly collaborates
a lot. The man is nothing if not
prolific, his solo records and under
the Sun Kil Moon moniker are often
seriously long and verbose, and so it
makes sense that he would want to
put out some spoken word. Don’t
mistake this, Yellow Kitchen, his first
collaboration with Parquet Courts’
bassist Sean Yeaton, is not music.
Kozelek does “sing” on a few tracks
overtop of some light woodwinds, or
quietly mixed guitars and drums, but
it’s hardly in a conventionally musical
manner. The music is somewhat
sparse, but experimental, and often
goes in several different directions
over the course of a single track.
The tracks themselves and
extremely honest and gruff, which
is roughly on par for Kozelek, but in
this context the humour comes out
more strongly than in his otherwise
beautiful folk songs. On “Somebody’s
Favorite Song,” Kozelek describes
a totally innocuous and awkward
conversation about buying vitamin D
at a drug store and having to explain
to the clerk why he needs it.
This record is required listening for
the Mark Kozelek completionist, but
it’s mostly just a strange distraction,
a fun thing to smile about on the bus
on your way to serve our corporate
overlords.
• Liam Prost
Catherine MacLellan
If It’s Alright with You –
The Songs of Gene MacLellan
True North Records
Catherine MacLellan has been overfilling
her father’s shoes for a long
time now, but that doesn’t stop every
bio and review written about her
from referencing her lineage. Gene
MacLellan is Canadian royalty, having
written songs recorded by Elvis, Joan
Baez, and Bing Crosby. His daughter is
every bit as good a songwriter, having
picked up a Juno for her most recent
full length The Raven’s Sun (2014).
Gene’s songwriting is decidedly
more traditional than Catherine’s,
and she effectively softens songs like
“Biding My Time” with a clean and
unaccented delivery. The record is
nicely paced with mostly heartfelt
numbers, but plenty of driving moments
with drums and electric guitars
to keep the listening experience
consistently entertaining.
The centrepiece of the record is
undoubtably Gene’s most famous
song, “Snowbird” as made famous
by Anne Murray. Catherine’s version
is reserved, softly performed solo on
electric piano, elongated with a verse
only ever recorded by Gene. It’s immediate
and resonant, heartbreaking
even, with the allegory of the winter
snowbird as the forever-feeling periods
of grief, of untrue love, or of loss.
At 13 tracks it’s a good value
record, and as a tribute album, it’s a
reverent and polished effort.
• Liam Prost
Rainer Maria
S/T
Polyvinyl Records
When bands reunite for a “comeback”
album, the end result is often
shallow compared to their earlier
work, grasping at former greatness to
no avail. Life will take unused passion
and ruin it, chewing it up and regurgitating
an uninspired mess in its place.
The new Rainer Maria record proves
otherwise, establishing the urgency
of an origin story, a youthful rock
band with genuine enthusiasm and
emotion frothing from the mouth.
Rainer Maria started out in 1995,
becoming an influential emo band
until their hiatus in 2006. With both
a male and female vocalist singing
their hearts out over pounding,
guitar-driven melodies, the band’s
earlier work is raw in every sense of
the word. Although the production
and mixing of S/T sounds refined and
clean compared to what we’re used
to, Rainer Maria is still jagged and
imperfect, bleeding beauty louder
than ever before.
Caithlin De Marrais handles the
majority of vocal duties, howling out
resentful lyrics over slower and frantic
moments alike. The three band
members are synched up throughout
the entire project, combining for an
explosive sound ready for a stadium.
Tonally, the album is cohesive, leaving
a small desire for the band to branch
out, but it is also dense with intricacy
demanding more than one or two
listens.
S/T feels like a natural progression
of Rainer Maria’s 2006 Catastrophe
Keeps Us Together, erasing the time
between and preparing us for whatever
comes next.
• Paul McAleer
Avey Tare
Eucalyptus
Domino
Three years removed from his last
solo release, 2014’s Enter the Slasher
House, Animal Collective’s Avey
Tare has returned with Eucalyptus, a
sunset dreamscape that sounds like a
hallucinogenic trip put to wax. While
this may be an Avey Tare solo album,
he’s enlisted the help of an 11-member
band, featuring Angel Deradoorian
(who also played in Avey Tare’s
Slasher Flicks), Jessika Kenney, and
Eyvind Kang. The massive band
results in an album full of seemingly-infinitely
sustaining guitar strings,
sampled sounds and machinery that
can be hard to identify. Altogether,
Eucalyptus yanks you deeper into its
haunting lull.
Lyrically, Tare fills the album with his
perspectives on the day-to-day, and
the societal constructs we all live in.
Yet, Avey Tare’s music is about much
more than the lyrics, his vocal talent
is bolstered by layered production.
Eucalyptus displays Tare’s ability to
confuse, yet still sooth the listener by
anchoring his calm voice with digital
percussion.
Eucalyptus plays like a cold margarita
in your hand while sizzling warm
sand nests between your toes. It’s
sweet and relaxing in a way that few
modern albums achieve. This is an
album for a long drive in the sun,
an afternoon spent in a hammock,
or whatever relaxes you in times of
confusion and stress.
• Keeghan Rouleau
August 2017 31
REVIEWS

Woolworm
Deserve To Die
Mint Records
Dark and brooding,
smart and somehow
mysteriously
poppy, until now
Woolworm has always
been a happy
little secret in the
Vancouver music community. Their new album,
Deserve To Die, is being released this month via
Mint Records and it won’t be long before the rest
of the world takes notice. Recorded at the Hive in
Vancouver by the incomparable Jesse Gander, all
ten tracks shine with a newfound level of polish
and professionalism that make this pleasantly cynical
four-piece come to life in a way we’ve never really
heard before. Everyone at BeatRoute loves this
record so much that we thought it would be cool
to reach out to some key players in the local music
scene to see what they thought. Here’s a track by
track synopsis of Deserve To Die that is making us
and everyone we talked to very happy to be alive.
Give it a spin and see for yourself!
Track: Unwise
Reviewed by: Andrea Demurs - Glad Rags
“Unwise" opens Woolworm's Mint Records debut
like a yawning beast with feedback and slow,
deliberate guitar. You’re being invited to cross the
threshold into Deserve to Die’s landscape, which
is gloomy like a warm summer sky that suddenly
turns quiet and heavy. Once the drums kick in, you
are fully in the world Woolworm have built with
the opposing forces of longing and dread. You are
cursed to feel the weight of the future, and it takes
the form of surprising musical contrasts: hopeful
melodies and bright harmonies that are nested
between passages of lyrical pessimism and bitter
distortion. Palindromic, the song ends the way it
started, feedback ringing out like wet pavement
after sudden rain.
angry, it’s sung as bluntly as possible. It’s exciting
when a band doesn’t pander and Woolworm
certainly do not which is one of the qualities that
help make “Seer” a second track all-timer.
Track: Judgement Day
Reviewed by: Brad Wilde - If We Are Machines
Some part Jimmy Eat World, some part Dinosaur
Jr, I'm transported to the best bike ride I ever had.
I'm riding with my pals down to the beach and
right into the ocean. We just float in the waves
until the tide rolls us back onto the shore. When
I listen to this song I feel calm, centered, happy
but also a little introspective. It's so consistent
with its driven rhythm it would be impossible to
not dance a little with "Judgement Day" blasting
through your headphones. I'm smiling right now.
Track: Come With Me In
Reviewed by: Jovana Golubovic
A gentle melody ebbs and flows in a duet of
guitars whose scratchy distortion lends the charm
of a fuzzy radio. An intimate interlude, no drums,
over as quickly as it came like a brief romance or a
passing cloud. The elusive form and simple instrumentation
is striking on its own, but the best part
is the chord change into the song's second section,
framing the title line, "Come With Me," with
anguish and satisfaction at once. It is the music of
a midsummer night I am already nostalgic for as I
listen with all the windows open in late July.
Track: Sun Rock
Reviewed by: Sam Hawkins - Dead End Drive-In
For a record so obsessed with self-destruction,
“Sun Rock” strikes me as a bit subdued. Rather
than dive headfirst into reasons why we deserve to
die, Woolworm grapple with issues of self-doubt
and decision-making. Believe me, it’s still pretty
bleak. Beneath frontman Giles Roy’s heavy hearted
hollering, one can hear a last shred of hope.
Sounding something like a modern-day Morrissey,
he pokes and prods at an unknown audience,
voice undulating like ripples on the water. It’s dark
and dazzling, depressed and danceable. Three
thumbs up.
Track: Deserve to Die
Reviewed by: Evan Wansbrough - The Isotopes
It’s dark, and personal, and what you might have
called "emo" 15 years ago (If I had to compare it to
something else – which I don’t, by the way – I’d say
Hole meets Jawbreaker) but it’s got this particularly
interesting part in the hook that sort of makes
you want to smile. It goes: “And I deserve to die”
*happy chord change* “And I’ve earned it, believe
me.” It’s a nice little moment.
Track: Body
Reviewed by: Mitch Ray - Art Signified
"Body" is the seventh track on the album and, as is
the case with much of the record, the guitar playing,
tones and production are instant standouts.
The song feels urgent, even desperate, and carries
a sort of uplifting bleakness that Woolworm does
better than most, helped in large part by the lyrics
and the great vocal harmonies - another consistently
noticeable aspect of the album as a whole.
Track: Morbid Obsession
Reviewed by: Emily Jayne - Pet Blessings
In high school when I got the compilation Fat
Music for Fat People (Fat Wreck Chords, 1994),
there was a track, "2RAK005" by the band Bracket
that totally stood out with their melodic hooks
and less bro-esque approach. The first 30 seconds
of "Morbid Obsession" transported me to that
memory from the mid '90s, then kept me there.
Not in a dated way, but in a way that when you're
hearing something new and it magically reminds
you of old favourite bands that you might have
not heard in awhile. Good trip.
Track: Catbird
Reviewed by: Jason Corbett - Actors
There’s a warmth and comfort to "Catbird."
Vocalist Giles Roy invites you in to his world with
melody and an endearing sense of matter-of-factness.
The feel is melancholy without the infinite
sadness. Woolworm's album may be called
Deserve to Die but this group is having too much
fun mining some '90s gems and I’m loving it. The
no-frills production showcases the bands strengths
as they sound like a formidable well-oiled live unit.
I'm willing to bet they have even more up their
sleeve. Woolworm is another shining example of
why Vancouver should be regarded worldwide as a
hotbed of great music.
Track: Gender
Reviewed by: Louise Burns
One of my favourite things about Woolworm is
that they are secretly a pop band. At least to my
ears. Their melodies are effortlessly catchy, and their
hooks equally tasty. “Gender” is a track that contains
neither hook nor melody (it is an instrumental)
yet I still am somehow drawn in, despite being
a basic melody bitch. Charcoals, maroons and navy
blues swirl around like a dust storm for the whole
two minutes and 11 seconds. It is a blizzard of vibes,
equal parts high and hangover.
photo by Kate Forbert
Track: Seer
Reviewed by: Adam Fink - Gang Signs/Girlfriends
and Boyfriends
Ah the second track. That’s the true test of an
album. Sure “Smells Like Teen Spirit” is a great song
but “In Bloom” was the real hit. While “Seer”, the
second track off of Woolworm’s Deserve To Die,
may only clock in at just two minutes, it certainly
makes the most of its limited time. Shrugging
off the rush of feedback that closes out album
opener “Unwise”, “Seer” kicks things into gear with
a steady drumbeat before the guitars really set the
track into motion. Expounding on the album’s
overall theme of DEATH, vocalist Giles Roy lets us
know, “It’ll happen to you, it’ll happen to those
that you love” but it’s not mean spirited or even
32 REVIEWS
August 2017

Eagles of Death Metal
The Rickshaw Theatre
July 15, 2017
There’s something different in the air at Vancouver’s
Rickshaw Theatre, a course of electricity
perhaps, creating shivers throughout
your body. A sense of familiarity overcomes
you as the Eagles Of Death Metal take the
stage and get comfortable, Hughes sporting a
red cape that he quickly tosses to the ground.
There’s the count in from drummer Jorma Vik,
filling in for Josh Homme on tour, and suddenly
you’re taken away with a pounding four
on the floor. Moments later you find yourself
repeating “I Only Want You” at the top of
your lungs over and over while gliding across
the dance floor as if nothing else existed, as if
EODM were the only band on earth.
Across the entirety of Vancouver’s East Side
the crowd roars and cheers as frontman Jesse
Hughes orchestrates a human tidal wave of
voices throughout the venue. Unable to move
in the packed venue, Hughes’s energy on stage
is impossible to match. Similarly, his vocal
The Psychedelic Furs
Commodore Ballroom
July 19, 2017
If you were wondering where your parents
were on July 19 and why they came home
smelling like the front steps of the Vancouver
Art Gallery, chances are they were gettin’
down at the sold out Psychedelic Furs show
at the Commodore Ballroom.
If the reaction to the playlist pumping
through the speakers was any indication of
how the night was to unfold, it was destined
to be one for the history books. The crowd
boogied down to the likes of New Order,
Depeche Mode and an array of other
’80s bangers, all the while taking precisely
choreographed selfies that would make any
teenager’s Instagram feed look pedestrian at
best. But all eyes and phones turned towards
the stage when Modern English was cut
short for the Furs.
The band walked on stage with style and
photo by Bryce Hunnersen
range and capacity leaves audience members
breathless and defeated, chests heaving. He
sings each lyric powerfully, with purpose, and
seemingly at each and every single person
in attendance. Arms are raised high, bodies
clashed together, bouncing around like one
weightless unit.
Whether it’s the guitar on tracks like
“Whorehoppin,” or going without instruments
on others such as as “Skin-Tight Boogie,”
“Complexity” and “Silverlake (K.S.O.F.M.),”
their entire performance was wildly electrifying
as well as completely unpredictable. Also
playing such hits as “Wanna Be In LA,” “Boy’s
Bad News” and “Speaking in Tongues,” as well
as a tribute to David Bowie with their cover
of “Moonage Daydream.” It seems as though
despite their wild success and reception over
the last near two decades, EODM haven’t
forgotten the spirit of what laid the foundation
for their music, what pushed the limits
for what was acceptable or the fans they pour
their souls out for.
•Tanis Lischewski
Perfume Genius
The Imperial
July 15, 2017
The warm and inviting glow of pink lights
cascaded over the stage at the Imperial
this past Saturday, as fans calmly waited
for the return of Perfume Genius. Currently
on tour for his third album No Shape,
singer Mike Hadreas gracefully took the
stage surrounded by palm fronds, transforming
the room into a desert oasis as
they slowly wilted away in the heat.
Immediately the band soared into the
album’s opener, “Otherside,” as a blinding
white light shone intensely during the
song’s thunderous piano arpeggios. Like
a slinky, Hadreas arched his back, almost
able to touch his head to the stage, before
shooting back into an upright position
for the next verse. The guy can wiggle!
Contorting his body in ways only an
elastic band can, Hadreas wormed his way
around the stage as if Mick Jagger was
grace, jumping right into “Dumb Waiters.”
Only one song in and fans were already
shouting at them to play the songs they’d
waited years, maybe lifetimes, to hear live.
“Love My Way” and “Pretty in Pink” would
prove to be two of the most cherished
moments of the evening, inciting venue wide
singalongs.
Singer Richard Butler sparkled, giving life
to each lyric as if presenting a Shakespearean
sonnet, his voice containing the majesty of
Bowie but with the grit of Johnny Rotten.
Virtuoso Saxophonist Mars Williams served
as the melodic backbone to many of the
evening’s songs, giving his reeds a workout
with fury and steamy hot soul.
Although the Furs have never reached
the heights of some of their peers and
predecessors, they were truly praised by the
Commodore crowd. An evening of Greatest
Hits was just the mid-week work break Mom
and Dad needed.
•Jeevin Johal
photo by Bryce Hunnersen
REVIEWS
photo by Darrole Palmer
dodging bullets in The Matrix.
The constant rumble of the rhythm
section kept the walls of the Imperial
reverberating, as tom-heavy drums and a
distorted bassline introduced “Grid,” off
of his 2014 album Too Bright. Juxtaposed
by glistening synth melodies and Hadreas’
tender vocals, all elements rose together
for a fierce finale that had the slender
singer screaming. A definite highlight of
the evening.
Throughout the show, a lone keyboard
sat in the middle of the stage that was
mostly neglected until the encore, where
Hadreas treated the audience to a cover
of Neil Young’s classic “Helpless.” The
stripped back cover offered a glimpse into
the artist’s past, alluding to the conception
of his work as Perfume Genius. A
skeleton in which he continues to expand
upon, creating more lush and daring songs
album to album.
•Jeevin Johal
RIO
THEATRE
1660 EAST BROADWAY
MAR
5
MAR
8
MAR
9
MAR
15
MAR
16
MAR
20
MAR
23
MAR
24
MAR
25
MAR
27
MAR
31
APRIL
2
APRIL
4
APRIL
6
MARCH
HIGHLIGHTS
WWW.RIOTHEATRETICKETS.CA
THE RED TURTLE
TONI ERDMANN
LA LA LAND
INTERNATIONAL WOMEN'S DAY
THE HANDMAID'S TALE
THE ORIGINAL JAPANESE
NOODLE WESTERN!
TAMPOPO
THE FICTIONALS COMEDY CO. PRESENTS
LADIES AGAINST
HUMANITY!
#IAHATRIO
THE GENTLEMEN HECKLERS PRESENT
ARNOLD SCHWARZENEGGER IN
THE RUNNING MAN
THE LURE
PEELERS
JONAS ÅKERLUND'S
RAMMSTEIN: PARIS
ONE NIGHT ONLY!
THE SHAWSHANK
REDEMPTION
THE LURE
THE ROCKY HORROR
PICTURE SHOW
THE GEEKENDERS PRESENT
WE ALL FLOAT DOWN HERE:
A BURLESQUE TRIBUTE TO
STEPHEN KING
HAYAO MIYAZAKI DOUBLE BILL!
SPIRITED AWAY
PRINCESS MONONOKE
KITTY NIGHTS WEST PRESENTS
KATE BUSH:
LIVE BAND BURLESQUE TRIBUTE
BLADE RUNNER
MY LIFE AS A ZUCCHINI
EYE OF THE STORM XII
AN INTERACTIVE A/V EXPERIENCE
JOHN HURT & SIR RICHARD BURTON IN
NINETEEN EIGHTY-FOUR (1984)
PAUL ANTHONY'S
TALENT TIME
FIRST THURSDAY OF EVERY MONTH!
COMPLETE LISTINGS AT WWW.RIOTHEATRE.CA
August 2017 33
REVIEWS

NEW MOON RISING: your monthly horoscope
Month of the Earth Monkey
At last! Relief from the hectic Fire cycles as we enter heavy Earth. The
Monkey brings fun and foolery to the Rooster year and these two
animals combine joyfully, inviting celebrations of all kinds. The energy
of Earth represents integrity and loyalty, but can also cause things to
become slow or stagnant. Expect a slower pace this month. Adaptability,
forgiveness, and positivity are the keys to success at this time.
Rabbit (Pisces): The world is full of
things that you might never understand.
Cultivate tolerance and good
will towards all, despite the apparent
differences.
Dragon (Aries): Emotions can be
a clue to our hearts wishes. Listen
deeply to your heart and work to
release any repressed feelings that
might be lingering from the past.
Snake (Taurus): Lucky extra money
or added expenses make or break
you this month. Stick to your plans
and don’t take any unnecessary risks
with your finances.
Horse (Gemini): Move and run freely!
Lighten your commitments and
travel to a place you haven’t been or
seen before. New horizons inspire
your life.
Sheep (Cancer): Happiness can
be found in solitude or with close
friends and family. Taking time
with the people who matter to you
can be a perfect complement this
month to an unexpected time of
success.
Monkey (Leo): Work pressures
mount and playing games in
relationships might make some
enemies, as well as friends. Be careful
not to offend.
Rooster (Virgo): Wheeling and dealing,
you are strutting around with a
beaming grin. Play fair and all will go
your way now.
Dog (Libra): Work smarter not
harder, as they say. Use your time
wisely as pressures that surround
you now might leave you feeling as
if you’ve been outplayed or outsmarted.
Pig (Scorpio): What brings us to
healing? Sometimes the only way we
will pay attention to our wellbeing is
when something goes wrong. Rest,
recover, and seek help from the healing
community.
QUAN YIN DIVINATION
NIGHTLY CONCERTS
FREE WITH ADMISSION
UPGRADE TO A RESERVED SEAT STARTING
AT JUST $20 AT THE BOX OFFICE OR
PNE AMPHITHEATRE | NIGHTLY AT 8:30
Wristbands required for general admission*.
•illustration by Syd Danger
Rat (Sagittarius): Friends, work,
and family keep you active and
social this month. Enjoy the activity
but be careful not to allow unnecessary
drain on your time and energy.
Ox (Capricorn): Discipline, hard
work, and tenacity mean that
you are always on top of things
and it’s okay occasionally to take
a break. Pick up a book, take a
stroll, or ease up on your commitments.
Tiger (Aquarius): Change and
challenge arrive this month
and you’re ready for it. Maybe
a new relationship, career path,
or friends are just around the
corner. Chin up!
Susan Horning is a Feng Shui
Consultant and Bazi Astrologist
living and working in East Vancouver.
Find out more about her
at QuanYin.ca.
AUG 19
MOTHER MOTHER
AUG 20
BILLY CURRINGTON
AUG 22
THE POINTER
SISTERS
AUG 23
HIGH VALLEY
PRESENTS
AUG 24
ZZ TOP
AUG 25
CHICAGO
AUG 26
COLIN JAMES
AUG 27
HUEY LEWIS
AND THE NEWS
AUG 29
TOM COCHRANE
WITH RED RIDER
AUG 30
THE B-52s
AUG 31
THE
DOOBIE BROTHERS
SEP 1
RICK SPRINGFIELD
SEP 2
THE GIPSY KINGS
FT. NICOLAS REYES
& TONINO BALIARDO
SEP 3
PLUS SHAWN HOOK,
SCOTT HELMAN + MORE
NO FREE
ADMISSION.
TICKET
PURCHASE
REQUIRED.
INFO & TICKETS
AT
SEP 4
PLUS THE PHILOSOPHER
KINGS + MORE
NEW
THIS YEAR!
Reserve a
private suite for
the nightly show!
Details at
*NEW THIS YEAR: Wristbands will be required to access free general admission seats. Wristbands will be
handed out starting at 2pm day of concert and will be timestamped to ensure guests get into the venue on
a first come, first in basis. Visit pne.ca/wristbands for details on how to obtain a wristband.
34
August 2017

August 2017 35

UPCOMING
SHOWS
AUGUST & SEPTEMBER 2017
WEDNESDAY AUGUST 2 WEDNESDAY AUGUST 2
PINEGROVE
WITH OK VANCOUVER OK
The Biltmore Cabaret
EVERY
TIME I DIE
Rickshaw Theatre
THURSDAY AUGUST 3
MARIKA
HACKMAN
WITH THE BIG MOON
The Biltmore Cabaret
TUESDAY AUGUST 8
A-WA
WITH DESI SUB CULTURE
THURSDAY AUGUST 10 THURSDAY AUGUST 10
MAKE THEM
SUFFER
WITH ENTERPRISE EARTH, SPITE
THE
MATINEE
The Biltmore Cabaret
The Biltmore Cabaret
Fox Cabaret
8/12 - WE ARE THE CITY
THE BILTMORE CABARET
8/12 - SG LEWIS
FORTUNE SOUND CLUB
9/2 - TAVIS E TRIANCE
THE BILTMORE CABARET
9/22 - THE PAINS OF BEING PURE AT HEART
THE BILTMORE CABARET
8/12 - BASIA BULAT
FOX CABARET
8/16 - THE ORB
THE BILTMORE CABARET
9/8 - AGAINST ME!
THE VOGUE THEATRE
9/24 - WIDOWSPEAK
THE BILTMORE CABARET
8/12 - OPERATORS
THE COBALT
9/1 - HONNE
COMMODORE BALLROOM
9/12 - TOPS
THE IMPERIAL
9/30 - MAYDAY
FORTUNE SOUND CLUB
/MRGCONCERTS @MRGCONCERTS @MRGCONCERTSWEST
FOR MORE INFO & TICKETS
~
GO TO MRGCONCERTS.COM
~