HELL OF A STORY, OR IS IT BORING?

Salad Days refers to the time in one’s life when they have reached the peak of their abilities — Their heyday. Shakespeare used it in Antony and Cleopatra: “My salad days / When I was green in judgment, cold in blood.” And as I sit here and write this on my 36th birthday, a contemplative sigh washes over me. Listening to lines on Mac DeMarco’s latest offering, Salad Days, it’s impossible to not feel reflective. Hearing lyrics such as “Acting like my life’s already over” sung by an incredibly successful 23-year-old, I can’t help being a little introspective. Recalling hanging out with Mac on Third Beach back when he lived in Vancouver, I think about my own salad days. Have they passed me by? Sending questions for him to answer in Amsterdam or Paris, I ‘m reminded of the Smiths song, “We Hate it When Our Friends Become Successful.” I’m not jealous that he’s famous or an amazing musician and frontman or whatever. I’m jealous that he’s got it so figured out.

But then he whispers in my ear, “Calm down sweetheart, grow up” and “Let it go now brother.” I feel a little better, after all it’s no use worrying. The chip up on my shoulder slides gently to my lap as the laconic guitar lulls me to complacency. I light some lavender incense as my media copy of Salad Days hits “Goodbye Weekend.”

“Don’t go telling me how this boy should be leading his own life / sometimes rough but generally speaking I’m fine.”

A remarkable insight for someone thrust into the spotlight under the suspicious banner of “weird.” How does he do it? How does he sustain it?

“I don’t think I’m particularly weird, but I think compared to the way the people tuning into my music are, I probably look very weird. So I can just be me, I guess.”

But in this age of commercials berating millennials with clichés, telling them to ‘be unique’ or ‘chart your own course,’ that is easier said than done. Letting your freak-flag fly might as well be a tagline for a Sailor Jerry’s ad. And yet, Mac bottles his personality for us to consume so effortlessly. Indeed the press release for Salad Days uses that same word — “Effortless.” I asked him about it.

“(It) wasn’t effortless. I was super stressed out and worried that I wouldn’t have enough time, but I got it together in time in the end. I guess I’ve been writing these guitar pop songs for a while though so I’m maybe getting a little better at it, not sure.”

Ah yes, pop. He understands it well. On the sardonic “Macumentary” Pepperoni Playboy he dissects an ’80s pop gem by Ryan Paris called “Dolce Vita.”

“Longing. Sadness. He’s all alone in the ‘Dolce Vita.’ He’s pleading… which he’s leaving it a little open ended… Why? So I can feel his emotions. I can paste this song onto my own life… And I feel his pain. And that’s what good pop music is made of. Pure, human, feeling.”

Despite his cheekiness, it’s a perfectly apt description of his own record. Nowhere is this more apparent than on the track “Let Her Go,” a deceptively upbeat pop tune that belies a sorrowful recompense reminiscent of Orbison or even Elvis — Hawaiian Elvis that is.

You actually get a lot of Blue Hawaii on this record. That nostalgic mix of forlorn crooning and laid back golden sunshine vibes. It’s like if the Beatles skipped India and went to Hawaii instead. Or if the Kinks played a Tiki-themed wedding. Or Kurt Vile playing a Ukulele wearing a puka shell necklace. Ironically, “Puka Shell Necklace” is also a song by Walter TV which features members of Mac’s backing band; ex-Vancouverites Joe McMurray and Pierce McGarry. I wondered what role they played in the making of Salad Days.

“They don’t come up when people are talking about my music that much. I think most people know I record alone, but they’re definitely a huge part of the live show and personality of our band.”

And what huge personality it is, as evident in Pepperoni Playboy. From sharing a ridiculous meal of lobster tails, sweetbreads, and bubbly; to cliff jumping in Australia, one gets a sense the band keeps Mac’s spirits high and his ego in check.

This brings me to “Passing Out Pieces,” the first single on the album. It’s a song that reconciles this so-called kooky personality with the realities of being an adult, and being alone versus the massive expectations put upon him

“Watching my life, passing right in front of my eyes/ Hell of a story, or is it boring?/ Can’t claim to care, never been reluctant to share/ Passing out pieces of me, don’t you know nothing comes free?”

And in one fell swoop he codifies the dichotomy that exists within all art and artists. It’s like Rainier Maria Rilke’s Letter’s to a Young Poet set to an Alesis microverb four multi effects rack.

It recalls Elliot Smith’s “Pictures of Me,” if Conan Mockasin did a sleazy cover of it. It is pop, and it is perfect. “Longing. Sadness. He’s all alone in the Dolce Vita’” Again, I must quote the documentary (you really must watch it): “What kind of fucking normal person locks themselves in a little box, in a shoebox fucking room, to make music man?” Isolation. Alone in a crowded room. Lost in a hall of mirrors. Locked in “Chamber of Reflection,” recalling its lonely lyrics echoing like a cave. “Alone again/ Alone again/ Alone again/ Alone.”

But what is a pop album without girls? “Let Her Go,” “Treat Her Better,” “Let My Baby Stay,” and “Go Easy” (“So when you’re feeling rough, I’ll be right behind you/ To pick you up until you come around”) are all slotted in between the contemplative angst of Salad Days. We’ve all seen that video where Mac brings his girlfriend on stage, right? Who is this mystery muse?

“I write love songs a lot, so even if they aren’t about her, or anything for that matter, people assume they are. It’s fun to do things like that at shows sometimes, but it can also complicate a relationship.”

Once more, he deftly encapsulates the tensions inherent in the life of a musician. Where is he happiest?

“I’m happy at home, for a while, then I wanna get out and tour again, until I get tired of that too. It’s a weird cycle,” says Mac, completely aware of the bizarre paradox life has placed him in. “Honey that’s the way that life goes.”

Where does he find relief? “Lately in the shows. Everything else in my life’s been stressing me out lately, but when we’re on stage and it’s going well I feel relaxed.” “Honey that’s the way that life goes.” Hell of a story. Definitely not boring.

It’s clear that Mac’s salad days are an exercise in self-awareness. He’s in the eye of the storm and he is having a blast. From Edmonton (“Hi Jon, hi Catlin.”) to Vancouver (“I still love Vancouver a lot. I miss living there, maybe I will again someday.”) to Montreal (“Montreal on the other hand, fuck Montreal.”) to his current base in Brooklyn, it’s been quite the Odyssey.

“I like to think of this album as a self check for myself. It’s easy to get grumpy or jaded, so this is my way of going ‘snap out of it you brat.’ Y’know?”

Yeah man. I know. Thanks for that.

Catch former Vancouverite Mac DeMarco as he headlines Park Theatre (Winnipeg) on June 24, at the Starlite Room (Edmonton) on June 27 and at Republik (Calgary) on June 28 and the Vogue Theatre (Vancouver) on Canada Day, July 1.

By Sean Orr
Photos: Jackie Roman

SHIP AND ANCHOR PUB – JUNE 4, 2014

As a boxing announcer would say, “We arrrrrrrrre live!”

Calgary Metalfest fired off to a sold out Ship and Anchor pub on 17^th Avenue. Nowhere could you go without bumping 20 people and saying, “Excuse me,” 40 times. The evening was headed up by hard rock group Open Air, warming up the venue with an almost radio-friendly styling with elements very reminiscent of classics like Deep Purple and Black Sabbath.

Moving on to hard rock group in Million Dollar Fix, the crowd only wanted more. The power chords were enough to knock your socks off with a high-energy drive that got the people jumping and the beer flowing. The first mosh pit of Metalfest was brought on by our next group, ALKATINE, and there was no holding back. Their long buildups and hard crashing tracks sent both people and beers flying. Next, Throne of Vengeance brought it with an Iron Maiden-esque feel of power metal with more double bass than the entire night. Attendees in the pit ate up every minute of it.

Starting off with a classic feel, Calgary Metalfest is in full swing. If there is one lesson to be learned from this evening, it’s to always wear shoes to a metal show, as one poor girl wearing light sandals ending up with glass in her foot would attest. Metalfest gains its first casualty!

Words by Matt Telgen

Clearly, this will be the grumpy counterpoint to my colleague’s praise.

The Ship and Anchor was packed already by 8:15 p.m., and a lineup of metal heads snaked around the corner as drinking revelers soaked in the last rays of sunshine. Open Air began the festivities, performing a ‘70s style of rock briefly reminiscent of the keyboard-laden sounds of Supertramp. The crowd seemed largely that of the pub, rather than that of metal, which was also reflected by the rock-oriented line-up. A wise decision on behalf of organizer Nathan Renaud given the location, though somewhat of a head scratcher given the event was intended to kick off a metal festival.

Million Dollar Fix was up next, and although the rock band is generally strong (though doesn’t cater to this snotty shithead’s taste), this set was particularly bad, a comment echoed by quite a few patched legions in attendance. Though the many attendees perched front stage would not agree, the butchered Metallica cover didn’t help. ALKATINE was much stronger, though it would have been perfect had they loosened up that snare and allowed that wet, sloppy and powerful sound to really resonate. The crowd paid no mind: dozens were pogoing.

Throne of Vengeance was the first truly suitable band of the evening, with rollicking rhythm and dueling guitars. Though their grungey vocals would have been better replaced by either soaring or roaring styles, they were undeniably tight, and the crowd was thrilled to accommodate their requests to go crazy on the floor as the band filmed a live video.

Calgary favourites Chron Goblin capped off the night. As their scheduled start time of 12:15 came and went, Black Sabbath blared over the speakers and attendees screamed along for the opening verse, then grew silent until collectively capping it off with “SATAN, LAUGHING, SPREADS HIS WINGS.”  The weed-addled denizens then drew the evening to a close with their tight stoner rock, stopping only to chug beers and clink glasses with the many still in attendance. All in all, the evening was a success on paper, despite being somewhat odd.

Grumpy shithead out!

Words and photos by Sarah Kitteringham

WHEN ART IS A POLITICAL ACTION

When it comes to the gender inequality in heavy music, Vanessa Gloux doesn’t mince words. When I ask her if she has any final words, she replies diplomatically before responding with “fuck your boys club.” I’m taken aback. It’s a reaction I should have been expecting, given La Luna’s proclivity for jagged, concise post-hardcore. However, it’s delivered with the tired deadpan reserved for journalists who ask silly questions about girls in rock bands.

But, aren’t things getting better for women in aggressive music? It’s a loaded question if there ever was one, but Gloux is gracious enough to indulge me. “That’s a really hard question to answer. I would say, ‘yes,’ because awareness has become a bigger thing in hardcore, but also ‘no,’ because a lot of people don’t see it as a problem or don’t acknowledge it as a thing that needs to change.”

Still, Gloux acknowledges the dichotomy with surprising positivity, “It’s a much more welcoming environment, especially for women making music nowadays. It’s kind of unfortunate still that we need our own page because there’s women in bands.” It’s a sentiment that rings true throughout our conversation.

Though, with a rigorous touring and recording schedule, it’s clear that La Luna is far more interested in pushing boundaries than agendas. Gloux is far more interested in the band as a medium of creative expression even if she remains somewhat unaware of the effect it may be having. “From an ego standpoint, I have no idea. But just from some people who have communicated with me, even if it’s made a difference in one person’s life where they’re like, ‘I was going through this hard time and I just listened to this album a lot and it helped me get through it,’ to me that’s amazing that it even changes or helps one person.”

Catch La Luna at the Canadian Legion No. 1 on Friday June 20. 

By Aaron J. Marko
Photo: Daniel Torres

THE STRANGE SOUNDS OF PSYCH FOLK

Getting an artist to define herself can be a difficult topic to approach. With Simone Schmidt, a soulful voiced singer-songwriter who’s made an effort to explore different genres while fronting alt-country stalwarts, One Hundred Dollars, and psych-rockers, the Highest Order, a self-reflection can be an honest exercise.

“Much more dignified than alt-country or roots-y,” she writes in agreement with the label of psych-folk for her latest project. “‘Psych’ is right because this record draws on certain tones and recording techniques present in ‘60s and ‘70s psychedelia – backwards tape, delays, plate reverb, repetition. Folk is also right: the lyrics are very character driven, structured with verses and choruses.”

Fiver, Schmidt’s newest project, was formed as a new arm on the creative spiral, allowing her to explore a more solo-oriented route and introduce herself as a guitar player. “I could play with whatever musicians and sounds I was interested in, without feeling the limitations of other people’s wills,” Schmidt explains. This can be felt immediately on the debut LP, Lost the Plot, which finds Schmidt exploring new ground sonically and removing herself from being labeled merely as an alt-country crooner. The lyrics, however, continue on with her style of storytelling and having the ability to grow on you after repeated listens. “Much is hidden in the songs by way of double and triple entendres and so they call you to listen and try to understand.

“I think my earliest influences are buried deep in me and keep rearing their heads anew.” Schmidt lists Michael Stipe of REM, Gene Clarke, the Gosdin Brothers, and Jackson C Frank as frequent points of inspiration. “You can hear Clarke in some of my chord changes and Frank in my picking.”

Schmidt, a Sled Island veteran, has toured this project as a solo project and with a backing band. So how does Fiver fit in with the festival this year? “I’m doing this Sled with Will Kidman (of the Constantines) and I assure you it will be strange.”

Strange is good. Perfect, really.

See Fiver on Thursday, June 19, at Local 510 and Friday, June 20, at Wine-Ohs.    

By Cory Jones
Photo: Jeff Bierk

HOT TALENT, SEXY SUITS

If you’re a musician, it takes guts to get up onstage and perform in front of a bunch of assholes. But it takes a whole lot more than guts to put on a swimsuit on a cloudy day in May for BeatRoute’s inaugural local music swimsuit edition photoshoot. Breaking new ground in the ever-so-profitable world of print publishing, we invited some of our favourite Vancouver-based musicians to take part in this wet and wild feature. Pairing them with local designers and other pieces of swimwear that can be purchased from various ‘cool’ boutique shops around the city, we took to the pervert-infested beach at Crab Park with a purpose. Most opted to stay out of the questionable waters but Samantha Blondtron was the one brave soul actually willing to put the wet in wet and wild.

Vancouver is bursting with talented designers who can pack a punch of style, attitude, and glamour into a relatively small piece of nylon. Beth Richards creates looks for the pool party diva; Nettle’s Tale is the newest novel swimwear designer to cater to tasteful women of different sizes and modesties; and Daub & Design hand tie-dyes colourful panties that double as bikini bottoms in a pinch. As for the beach bros, there is no shortage of stylish trunks in the city designed for you as well. For the bro’s bro, head down to West 4th for the tried and true Boardroom in all their board short glory. Sitka is really getting in to it this season with their west-coast swim and surf gear. And for all the chill bros, Lifetime Collective is riffing hard on Van City styles with some really unique designs and patterns that pay homage to local landmarks such as Third Beach a.k.a. Club Third. We hope BeatRoute’s somewhat safe but super sexy swim style guide here has got you covered -or uncovered- for this year’s trendiest #trends. See you at the beach!

By Jessica Brodeur and Glenn Alderson
Photos by Ryan Walter Wagner

JUST STUCK IN THE PAST

“Sled Island is probably going to one of our only shows this summer.”

If Bryan Nichol sounds fatigued, it’s because the Vancouver band has just arrived home from their third European tour in just over a calendar year. “We’re not burnt out, but we knew that we couldn’t party every single night,” the lead singer continues. “We still did… but, yeah.”

The recent heavy touring schedule was largely a result their sophomore LP, Can’t Get No, which was released in 2013 on Burger Records, a California-based label that has quickly established its place in the West Coast music scene. “We’re not like an L.A. band and we weren’t really in that whole scene.” But Nichol explains that the label proved to be the perfect fit for the band’s classic rock and lo-fi aesthetics. After releasing their debut self-titled LP to cassette, an early relationship was formed. “At the time, it wasn’t like this huge thing,” Nichols reveals before humbly stating, “We did it before they had gotten so big and kind of benefited from all their hard work.”

The touring streak has also shed light on the band’s tendency to be lumped in with the recent rush of garage bands, which exposes a possible dualistic struggle with the band’s classic rock and punk influences. “It’s kind of weird because we have that battle internally sometimes, too. We’ll be going through a border and the guards always ask us what kind of music we play. Half of us will be like, ‘garage rock,’ and half of us will be like, ‘No, no, no, it’s just rock and roll.’ We don’t mind being called that, we like that stuff, we just don’t want to be pigeonholed. We think we could do more. We all draw in different stuff, like ‘70s punk, ‘50s doo-wop and just ‘60s rock and roll.”

Can’t Get No, in particular, relies on live eight-track recording to give it a certain nostalgic feel. “We were pulling from a lot of classic influences and we just wanted to see if we could make a record that sounded old.” Nichol finishes, “And we always kind of do that.”

Dead Ghosts play the Palomino on Wednesday, June 18 and at The Golden Age Club on Friday, June 20.    

By Cory Jones

PARTING WATERS AND DEFYING DEATH

“I am into juicing,” explains Erin Jenkins, after being asked how she keeps her voice in shape. I assume the Catholic Girls singer/guitarist is talking about extracting nutrients from vegetables, but based on the superhuman screams that punctuate the band’s self-released debut EP, Sheila Joined A Cult, a listener should not be faulted for suspecting Tour de France-levels of performance enhancement.

The Calgary four-piece formed last year in the aftermath the June 2013 flood that displaced three of the four members. Jenkins “literally lost almost everything except a guitar and her minivan.” Singer/synth player Cian Haley had actually been out of music for nearly three years dealing with health issues including a heart transplant surgery that doctors said would leave him unable to speak or sing ever again.

Against the odds, Haley’s voice returned and he was working with long-time collaborator Ted McCormick on some new music when he met Jenkins at a TRST show and the foundation of the band was laid. The trio recruited Galen Colbeck, an established bass/guitar player who essentially learned to play drums for Catholic Girls. As far as origin stories go, not many bands can count catastrophic floods and near-death experiences among the events that led them to where they are, and Jenkins believes the band’s difficult genesis provides motivation.

“We suppose our past influences who we are as people and a band, and for some reason these tragedies/miracles seemed to only fuel us further,” the singer explains, with a positive outlook that contradicts the shadowy themes of the band’s music.

Sheila Joined a Cult is four songs of dark, heavy synth punk that is equal parts accessible and punishing. Heavy, dense and melodic, the EP recalls ’80s new wave and 2000s dance punk. Jenkins’ vocal delivery is especially captivating, as she alternates between cheeky neurosis and unhinged ferocity. The record is intense, and the band has gained a reputation for fantastic live shows and are embarking on a short tour of the West Coast this month.

In Calgary, Catholic Girls will play two shows during the Sled Island Music & Arts Festival, one at the Republik on Wednesday, June 18, the other at the National Music Centre on Friday, June 20. In BC, they perform at Shake/Arama Festival on Thursday, June 26 in Vancouver (venue TBA) and Friday, June 27 at the Copper Owl in Victoria.

By Justin Penney

VERN’S PUB & DICKENS PUB – JUNE 5, 2014

The official first day of Calgary Metalfest started off at Vern’s with all female duo Perception of Pain. The name was an unfortunate ruse, as the acts simple hard rock edge was lacking. Up next was Calgary-based Mass Control. The three-piece band blurred the line between speed metal and hard punk to create a somewhat one-beat set. It’s decent, if you are into that, but it’s not this reporter’s forte.

Next was evening highlight AfterEarth. This progressive black metal band was a breath of fresh air with some melodic movements that ground into heavy down-tuned double kick patterns, tech oriented guitar syncopation, with excellent black metal vocals to highlight. This was all pieced together seamlessly with tight writing, I recommend you check these guys out when you can!

With the pub becoming full, Lethbridge deathcore group The Avulsion brought their genre with a lot less shirts than should have been onstage. Blastbeats, breakdowns and guttural vocals from this younger band show some serious promise for the future. Netheriel was on next, also bringing a solid death metal set but with a more classic, yet somewhat dry feel.

Time constraints and a bad public transit system unfortunately caused this reporter to miss Naraka, Vicious and Scythia… no matter, another night of metal awaits!

Words by Matt Telgen

The crust is already starting to set in on day two of Calgary Metalfest. After a very metal, and utterly delicious Chinese food buffet courtesy of Mrs. Noctis, known colloquially as Terese Fleming, a squadron of bangers descended upon Dickens. The pub was mostly empty given the early time, but it might have also been the two-vocalist core band onstage. After the Prophet had strong musical elements, but need to subtract a vocalist. The ever-consistent False Flag was up next, billed early despite their headlining capabilities. With their punkified Meshuggah-esque guitar judding, and powerful howling vocals, they got the crowd moving. The only song whose delivery left wanting was their self proclaimed “ballad,” an awkward track with a wavering whammy pedal effect unbefitting of their sound. The only thing to recommend is as such: stay heavy my friends; you’re so good at it.

With that, we departed for Vern’s, where AfterEarth was delivering an blackened set that ended far too short given the late appearance on our behalf. No matter – time to go again. Doberman was about to play at Dickens! One of the undisputed highlights of the evening, this band incites listening schizophrenia. In the past I’ve heard smatterings of grindcore, death metal, hardcore, and several other genres, this time around they reminded me of early 2000 era hardcore à la Converge or very early Ion Dissonance. No matter what comparisons they garner, Doberman is excellent, and deserves all the recognition they can get. The crowd knew it too; they ate it up as vocalist Aaron Mayes nervously paced the stage barking, drummer Kevin Nelson delivered his goofy dum-drum faces, and the guitarists hammered notes home.

Back to Vern’s yet again for the last notes of Netheriel. This was possibly the best set I’ve ever seen from the death metal band, which are frequently inconsistent in a live setting. Old school death metal was belched from the speakers, making me wish I had seen the entirety of the set. The changeover was quick, and Medicine Hat’s Naraka began. Their vocalist and guitarist delivered growls reminiscent of ‘80s Hetfield while the band did their best Metallica, then suddenly it transformed into death metal via double kicks and guttural howls.

Finally, Halifax’s Vicious came onstage, and it was immediately obvious that Calgary’s speed metal contingent should have been in attendance. The East Coast equivalent of Gatekrashör, Vicious was hugely entertaining, contorting their faces ridiculously while their drummer provided vocals. Despite having a last minute member change, resulting in a Calgarian taking up the torch, they sounded excellent.

Overall, it was a great evening for those willing to make a frequent trek between venues. For those who didn’t, faces were longer given the abundance of “core” bands with several word names on the bills. To those people I recommend voting with your feet.

Words and photos by Sarah Kitteringham 

WEIRD PUNKS TOUR THE WORLD; GET CONSIDERABLY LESS WEIRD WITH DEEP FANTASY

White Lung were born out of Vancouver’s “weird punk” scene, and cut their teeth alongside arguably weirder and punk-er bands like Nu Sensae, Twin Crystals, Shearing Pinx, and the Mutators, playing in meat lockers-turned-music venues like Emergency Room Strathcona and other now-defunct art and music breeding grounds once tucked in alleys and behind padlocked doors throughout East Van.

The band is a far cry from the rats and doorway-hookers of Vancouver, and with a new album set to drop June 17^th, and a world tour already underway, White Lung are well on their way to shedding any vestiges of “weird” or “punk” as they loosen up their tightly wound, strangled vice grip-sound, coax out a few melodies and move out to L.A. all in the upcoming months.

Their new album Deep Fantasy is the stuff you’d expect from a White Lung release: high-strung, sleepless vocals competing with even-sharper jabs from guitarist Kenny William – all buoyed by drummer Anne-Marie Vassilou, who carefully paces and shapes the whole thing, keeping it from collapsing in on itself.

“Kenny got really sick when we started writing this album. Sitting in bed playing with a fever and the songs reflect that,” said Mish Way.

Of the title, she says, “We all have a section of our heads that’s our own deep web. You know? Our sick parts’ the stuff you aren’t supposed to admit. The wants you have that you can’t talk about.”

In proper fashion, Deep Fantasy is full of perverse, self-conscious, abrasive guitar work and songs about sex, bodies, and the rift between both.

And as the band grows into its own sound, the addition of bassist Hether Fortune, pulls the band into new territory, coaxing out harmonies where their previously were none, providing listeners with a bigger, smarter, buffer zone in between the harsh rasp of Way’s voice and William’s panicked guitar.

“We sing together. It’s cohesive. It’s just better energy.” Way says, “Everyone is excited again. There’s no inner tension and negativity.”

Fortune’s additional harmonies round out a sound that has progressed from the grimy punk thing out of East Van warehouses, and balanced itself with melodies and two-part harmonies that are a telltale sign of ¾’s of the band’s new home (once their tour ends this summer) in sunny Los Angeles.

White Lung may be far from home these days, but the friends and fellow musicians who’ve toured with them, slept on floors with them, and given them places to play – like Emergency Room Strathcona co-founder Justin Gradin – are still the go-to weirdos the band calls on.

As they did for their most recent video, which is a collaboration between the band, Gradin, and fellow Vancouver musician and artist Ben Jacques.

“I have big expectations for that video because Justin and Ben had a really clear idea of the weird things they wanted to do and they made it happen,” Way says. “I imagine it’s going to end up looking like Justin’s art: dark and funny and uncomfortable. All I know is I had to ride a horse made of two men while lip syncing twice the speed by a green screen.”

And when asked about a favourite musician or band, Way named Nu Sensae and Heavy Chains guitarist Brody Mcknight – of whom Way said, “[Brody] has been doing a solo project Gretchen Snakes and it’s really beautiful. Brody will play forever and always make great music because no be just loves to play more than he does. That’s what makes a real musician”.

Vancouver still has a few things up on L.A., and many of those who started in the Strathcona meat locker-venues are still here, happily, far removed from the sun-soaked, photogenic punk rock clubs in California.

Musicians like McKnight, Gradin, and weirdos like Nu Sensae, Shearing Pinx, Twin Crystals offshoots Mormon Crosses and Inherent Vices all have shows or new releases set for this summer, and they’re all in town right now.

Keep Vancouver weird, and go see White Lung during their world tour, which wraps in June.

Deep Fantasy is available June 17^th.

By Hannah Myrberg

VEGGIES ‘N’ GROOVE

Tom Heuckendorff is spending a lot of time alone these days. Not what you’d expect from a charismatic sideman-about-town in Vancouver. Especially curious, considering Heuckendorff created and fronts Soatoa, a rock/reggae/soul project involving loads of musician friends from around the city.

But there he is, when BeatRoute reaches him at his home studio in East Van, sitting at the piano, eating asparagus.

“Not exactly at the same time,” Heuckendorff laughs over the phone, later admitting to practicing classical music 10 hours a day. Still, the vegetables-and-solitary-artist vision makes for a good story. Heuckendorff, as it turns out, is full of them.

Even the name Soatoa (pronounced So-ah Toe-ah) came from a story, a book from Heuckendorff’s childhood he can’t remember the title of now.

“Soatoa was a character in the book,” he says. “I think it was this little rat sort of thing. It was a weird word that just stuck in my mind.” For Heuckendorff’s unique blend of saucy guitar jams, traditional reggae bass lines and organ-based soul, it works.

Indeed, the Soatoa debut full-length album Latent is a surefire cocktail of tunes, more a Jesus Juice concoction than a straightforward martini. Its 10 lush tracks slide from greasy rock riffs to bright Bob-Marley-influenced rhythms. Surprises abound, especially on chilled-out indie track “Swinging Trees,” a product of late night experimentation in Heuckendorff’s home studio, where Latent was engineered and produced over the course of two years.

“That was the best part of being able to record in my own home studio,” says Heuckendorff. “I’d be in there for hours and hours, editing, re-recording, messing around with the sets. It was the best experience ever.”

Fruitful, but did Heuckendorff have much of a social life while he was bringing Soatoa together?

“Uh, no,” he laughs. “My ex-girlfriend will attest to that!”

Catch Soatoa’s album release show with Hot Panda and Buckman Coe at the Fox Cabaret June 12.

By Sarah Bauer

WISDOM COMING WITH AGE

Hanging out with three members of Young Liars for an afternoon is a really fucking cool experience, one that we recommend to all of you.

In the middle of Storm Crow Tavern (surrounded by Game of Thrones and Doctor Who paraphernalia), we sat down with Andrew Beck, Jordan Raine and Tyler Badali to discuss all things music, art and nerd culture – as well as their new EP Night Window, and upcoming full-length album Tidal Wave, out June 24^th.

It’s immediately evident that these three 20-somethings have been building the foundation of not only a great friendship, but also a bond as bandmates that is tremendously respectable.

“It was a formation of other bands. It started with us three, and then we added in Angelo (who left the band just last year), and he brought in Wes, which gave us a synth player,” says Raine. He goes on to add: “We’re still refining the details of how we all work together, and it’s only getting better. I think it’s going to show with these new releases. It’s been an organic, steady pace between Homesick Future (their first EP) and today.”

Beck chimes in: “We went from very loud noise rock to catchy pop songs. A lot of that is because we realized we aren’t punks anymore, we’re no longer 20 and thinking constantly about getting beers.”

The creation of Tidal Wave brought new and exciting ways of production to Young Liars, something they’ve always wanted to find.

“We had the opportunity to work with producer Tyler Johnson, and he has a suite we were able to go to essentially whenever we wanted,” laughs Raine.

“We probably had the album done twice, mastered it both times and then re-wrote it all again right before we knew it was finished,” adds Beck.

“It only takes one person to hear something a little off and it becomes more of a work-in-progress than an actual finished product,” Badali chimes in.

Before the release of Tidal Wave in June, the band has released Night Window, an EP that consists of two tracks and two remixes of said tracks.

“We were in a bind for remixes,” says Beck. “We were throwing it out to as many people we liked as possible in hopes to find some cool things. It was originally just going to be a single and one remix, but that evoked into a full EP to help promote the upcoming album. It’s a great way to come back and remind people who may have listened in the past that we’re still making good music.”

Catch Young Liars’ album release show June 14th at The Fox Cabaret.

By Camille Vega

This year’s Shambhala takes place Aug. 8-11.

YOUR GUIDE TO THE HOTTEST FESTIVALS IN BC AND ALBERTA

Vancouver Jazz Fest, June 20^th – July 1^st

If you didn’t think ‘jazzercise’ was for you, reconsider. This year’s line-up is hot; don’t miss Montreal’s Yamantaka//Sonic Titan at Fortune Sound Club for their avant-garde, high-energy art rock. If free is your thing, get down to Granville Island for the Plimley/Babin/Poole experience for some real time, improvisational jackin’ jazz.

Vancouver Folk Music Festival, July 18^th – 20^th

Dust off those Birkenstocks and head down to Jericho Beach for a stunning view of our fair city and some world-class music! Prepare to get crooned by the iconic Joan Baez, gracing us with her presence. Also make sure to check out homegrown Fish and Bird, sure to stun you with their intimate alt-folk melodies. Much to see.

Tall Tree Music Festival, June 27^th – 29^th

Rave under a mountain at this non-profit, pro-community festival. Good times are sure to ensue when Monolithium takes the stage – expect deep, dark dance floor techno. Check out Pickwick for your dose of soulful, off-kilter indie. But no matter what, don’t miss Philthkids for their eclectic take on booty bass, and footwork techno. Bounce.

Salmon Arm Roots & Blues Festival, Aug. 15^th – 17^th

What’s roots if not tempered with a bit of blues? You’ll definitely get a dose of southern comfort when Alvin Youngblood Hart’s Muscle Theory takes the stage with his definitive brand of hard-hitting acoustic blues. Tanika Charles & The Wonderfuls are sure to lift your mood with a powerful vocal range and that irreplaceable old school, jazzy cool charisma.

Keloha, July 11^th – 13^th

Soak up some sunshine in Kelowna at this feel-good music festival. The Naked and Famous are headlining and will be sure to get you grooving with their infectious dance floor, summer-anthems. Nothing but good vibes when The Funk Hunters take the stage, checking you with everything from funky glitch-hop to jazzy jams, the party won’t stop! Stay posted.

Squamish Valley Music Festival, Aug. 8^th – 10^th

Squamish – home to some breathtaking British Columbian views and this festival hard-hitter. Where do we begin? First off Bruno Mars is out to melt your ears with his smooth vocals. Arcade Fire will set your hearts ablaze with their orchestral indie rock. Nas is going to break it down when he performs his pivotal album Illmatic, and Austra will sooth ‘n’ groove with their haunting electro-synth anthems. Wow.

Shambhala, Aug. 8^th – 11^th

Do you even rave, bro? It’s almost time for your annual get down. Sprit Hood, check. Water bottle, check. Okay time for that PK Sound, bass for your face with Bassnectar! Kaminada’s world-beat galaxy-step is sure set your feet stirring. Emancipator for some of that forest-charm and who? Moby – DJ set? Bring it. At Shambhala, anything could happen.

Basscoast, Aug. 1^st – 4^th 

West Coast culture is made up of a lot of things, but one that has really skyrocketed is bass music – from subs to dubs, catch it all at this epic festival. Feel the atmosphere with Kline & Michael Red, spice things up with El Papa Chango’s Latin, hip hop vibe, dial into Dan Solo and step your shit to Daega Sound. So much good.

Bushwacked Music and Arts Festival, June 26^th – 30^th

Find yourself at this jam-packed, four-night, five-day festival in sunny and warm Beaverdell, BC! Get your dancing butt out for Woodhead’s hip house and Neighbour‘s futuristic take on the dancefloor. You’ll wanna bliss out to MetaphOracle’s sunny bass lines and get down to the heavy hittin’ Self Evident. Check it!

Golden West Music Fest, Aug. 1st – 3^rd near Ardmore, AB

All-independent-everything is how Golden West Music Fest likes to keep it. You can expect everything from laid-back musical acts like The AwesomeHots’ unique blend of nostalgic parlour-folk to heavier acts like Black Thunder’s heavy stoner prog rock riffs. Don’t miss The Lad Mag’s grungy art-pop whose beachy feel will catch you off guard.

Astral Harvest, July 3^rd – 6^th near Driftpile, AB

With workshops during the day and a PK Sound augmented electronic dance party by night, head to Astral Harvest. Prepare for a realm of pure vibration when Tipper takes the stage. Kalya Scintilla’s enchanting ethno-crunk will make your feet feel like they came home. Much to see and not to be missed!

Pemberton Music Festival, July 18^th – 20^th, Pemberton, BC

The Pemberton Music Festival is back with a vengeance. Headlining is the potent Nine Inch Nails. No doubt the blunts will roll with the infamous Snoop Dogg, Kendrick Lamar, and Outkast. Cult classic Modest mouse for vigorous head-nodding & XXYYXX for abstract future-garage. So. Damn. Much.

Motion Notion, July 24th – 28th, Golden, BC

Crave the rave? Head over to the Rockies for a beautiful weekend at Motion Notion. Get to know yourself with Bluetech’s ambient sonic geometries or get to know your neighbour with Grouch’s playful, driving psy-dub. Watch out for LongWalkShortDock’s eccentric, high-octane electro & Knight Riderz future booty-bass quaking sounds. Rounding things out, Dubconscious keeps the dancehall jungalism alive.

The Field Gathering, Aug. 15^th – 17^th, Slocan Valley, BC

If you consider getting bright-eyed and bushy-tailed a favoured pastime of yours, you may want to consider this intimate gathering at the White Crow Farm; it’s pretty much definitive of the term ‘grassroots.’ Attendees will enjoy swaying to crooning vocals over folky riffs by Tarran The Tailor and dancing late into the country night to dancehall-inspired beats by Sweet Anomaly. Stay posted.

Victoria Ska Fest, July 1^st – 5th

Head to our fair capital for this skankin’ fest! Kicking off the festival with some dub plate, rasta action is Major Lazer’s Walshy Fire; as well as the dynamic violinist Kytami. Watch out for Lynval Golding of The Specials – he might just get together with festival favorite The Aggrolites for a jam. Ending the festival with none other than Shaggy, setting the mood with his bombastic dancehall and lyrical talents. Big!

Luminosity Gathering, July 11^th – 13^th

Manifest a ferry ride for yourself and find yourself in Vancouver Island for this intimate westcoast gathering. Get down to some serious jams with Nico Luminous and get lost in Whitebear’s sonic jungle. Tor will be laying down some heavy bass charms and Commodity is nothing less – complex tribal rhythms to seduce. Winning.

By Maryam Noorazi
Photo: Oliver Gosselin

BRINGING BIKING TO THE PEOPLE

Eastvan Kickstand is a co-operative space that departs from the for-profit bike shop norm. Focused on learning, socializing, and “demystifying the bicycle”, the space offers services such as bike theme movie nights, Friday night social rides, and drop-in hours where you can learn to fix up or even build your very own bike.

“We’re a community resource,” co-founder George Rahi says. “People should come by if they’re interested in group rides, learning about mechanics, or just being part of Vancouver’s cycling community.”

Before starting Kickstand, Rahi was studying geography at UBC and “getting interested in transportation.” The school’s Bike Kitchen was a big influence on how Kickstand is run today.

Rahi says that he has seen a definite expansion in the way the average person views bicycling. “The trends are definitely upward for people who cycle as a means of commuting,” he tells me. “That’s exciting for us, because more than seeing a bike as just a sport, a thing for recreation, we want to promote cycling as a means of transportation that’s economical, fun, and easy.”

Opened in September 2012 in the basement of the Astorino’s building at Commercial and Venables, Kickstand operates as a program of Britannia Community Centre and is working towards one day functioning as its own co-operative. After the building was sold three years ago and the new owners proposed a redevelopment and teardown, the community centre stepped in, seeing the building as an opportunity for more community space. The building now houses the bike shop as well as Astorino’s ballroom, used for events by groups such as the Safe Amplification society.

A completely volunteer-run effort, Kickstand now has a large enough staff base to allow drop-in hours four days a week from 4 to 8 p.m. If they need to use the shop’s tools, attendees pay per hour on a sliding scale, from just five to 15 dollars an hour. The rate of pay depends on how much help you need – 15 dollars would cover one-on-one assistance, while somebody who just needs space and tools to carry out work they’re already familiar with would pay the lower end.

In addition to people volunteering their time, Rahi says that the space has been “running on the generosity of people donating their old bikes.” The bikes can either be dismantled for their parts, or refurbished by customers into a new, custom ride. “If people see one that’s not finished, we can help them build it,” he says.

“It was a little chaotic at first, just this huge empty basement…that filled up with donations really quickly,” he goes on. “It was a challenge to keep that up as a volunteer-run organization.”

Rahi says that the focus is on empowering people to work on their own vehicles. “When someone comes in for the first time, we give them a quick intro, and put the emphasis on the individual actually doing the labor involved,” he says. “The community part is really foundational.”

With transportation that’s both planet- and wallet-friendly becoming a more important topic in today’s world, it’s wonderful to see organizations like Kickstand making biking into an even more accessible and collaborative pursuit, taking the focus away from profit and commercialism and towards learning, co-operation, and community. It seems only natural for cycling, already imbued with a do-it-yourself spirit, to organically bring people together.

Find Eastvan Kickstand on Facebook or on their website, eastvankickstand.org.

By Genevieve Michaels

SPACE TRUCKIN’ WITH THE WALT WHITMAN OF CANADIAN ROCK ‘N’ ROLL

There’s no denying it: fame is a public animal. Coming to terms with the crux of his mid-life meets mid-career crossroads, Canadian rock icon Ian Blurton is determined to take his music to the next level. Coming off of the 2011 dissolution of his incendiary hard-rock outfit C’mon, Blurton was itching to forge a new group that would share songwriting work and accolades equally. Bella Clava’s dauntless keyboardist, Caitlin Dacey was amongst the first to ascend the ranks of Blurton’s private party of four. Swiftly joined by Tricky Woo’s Eric Larock on bass and The Lying Cheats’ Ryan Gassi on drums, Dacey surmises that, “You’d have to be a blind fool to pass up a chance to collaborate with an artistic workhorse like Blurton!”

“When Ian mentioned that he was interested in putting band together based on friendship and musical compatibility, I jumped at the opportunity before I had even heard his full vision,” says Dacey.

Beaming from behind the keys of her Korg CX3, Dacey is proud to showcase Public Animal’s depth and range. The outfit’s shared appreciation for the spirit of ‘70s classic rock has been captured on vinyl thanks to their recent, 12-inch Deep Purple cover album with in conjunction with fellow rockers, Mokomokai. June 2014 will see Public Animal’s feral fracas descend upon Calgary’s Sled Island just in time to spread the joy with copies of their super-duper self-titled debut; a full-length tribute to none other than Alice Cooper!

“Performing with Public Animal has been one of the easiest most natural things I’ve ever done,” Dacey confirms. “No matter where we go, audiences, especially those who are already familiar with Ian’s body of work, have been incredibly supportive.”

Public Animal play on Friday, June 20 at the Palomino and on Saturday, June 21 at the Ship & Anchor.    

By Christine Leonard

‘HERE COMES THE FUZZ,’ INDEED

WolfCop knows it could sell itself on name alone – the title is the character is the premise is the appeal. The Canadian indie horror-comedy boasts a strong, modern marketing presence, with the YouTube trailer (see below) boasting hashtags right in its title, and the website urging you to check out the “trailer, gallery, and MOAR!”

But there’s the flip side to all this: it’s a good film, and it takes itself…well, exactly as seriously as it should. Writer/director Lowell Dean and star Leo Fafard talked with BeatRoute about the horror genre, Canadian film, and, of course, fake blood.

BeatRoute: You were working on a werewolf script and a cop script separately and decided to combine them.

Lowell Dean: I just jokingly said, “I should smash them together.” And then the image of WolfCop was in my head, and he has not left since. But it completely started as a joke. It’s one of those things where you laugh about it, and then you lie awake at night thinking, “What the hell would a werewolf cop do?”

BR: Leo, you have lots of credits behind the camera. Was acting always something that you were going to transition into?

Leo Fafard: I actually went to U of R and took performance theatre, so I started out as an actor. I had taken a position as a trainee electric one summer just so I could get a feel for film sets. It sorta just snowballed on me and I ended up being a technician for the better part of 15 years. This is sort of a dream come true. You can start losing sight of your dreams after over a decade.

BR: There’s been quite a trend, especially with the advent of relatively cheap digital effects, for companies to market an attention-grabbing horror premise and then attach a really shoddy movie – not to name names of certain shark-themed horror flicks. WolfCop’s not leaning on the “so bad it’s good” label but then you’re still working with that same kind of inherently silly central premise.

LD: We didn’t want it to be a one-trick pony. I’ve been saying from the very beginning that the name is silly, and it’s gonna hopefully get attention and get people in the door. But our dream was that people would walk out and say, “…well, holy shit, that movie called WolfCop was actually good.”

BR: A big question with horror is CG versus practical effects, and part of what makes WolfCop work is that there’s a real triumph with the prosthetics, makeup, etc.

LD: You can stare at WolfCop, an inch away from his face, and it looks good. That’s why I love physical effects. It’s not just the cheap thing…it’s not always cheap. But it always looks good, it’s dependable, and most important, it’s tangibly real.

BR: How about on the actor’s side?

LF: You’re basically stuck. With the WolfCop uniform and all the prosthetics and stuff on. It’s kind of a nightmare trying to stay cool all day, and not dehydrate. Or on other days, you’re lying outside, on a cold day, there’s snow on the ground, and someone’s pouring fake blood on you that’s been sitting out in the cold. So, there’s both extremes. They’re not hardships, just practicalities. And there are scary parts where you’re trying to do a jump out of a tree, you’ve had contacts in for several hours and your vision’s starting to close in on you and you’re thinking, “I hope I land this all right…because I can’t really see the ground very well.” [Laughs]

BR: Lowell, how does WolfCop fit in with Canadian film as a whole?

LD: I think Canadian filmmaking has been in a bit of a rut. We were banging our heads up against the wall even with this project trying to get it made. It’s so bizarre now to go into a new city, and be walking down the street, and have people look at Leo and say, “WolfCop!” In my humble opinion, Canadian cinema needs more heroes; we need more ridiculousness.

A slick standout in its subgenre, WolfCop’s exactly the sort of laugh-then-scream fun that a Friday night at the movies should be. WolfCopmay not be destined for next year’s Oscars, but he’s a Canadian hero worth getting behind.

WolfCop’s now playing at Scotiabank Theatre Chinook.

By Chris Shalom

RIOT GRRL-INSPIRED TRIO BUILDS A SCENE IN THEIR OWN VISION

They say you should never meet your heroes. So the argument goes, expectations seldom meet reality. What if the people you admire from afar reveal the gritty warts of humanity up close? Thankfully for Katie Miller, frontwoman of Roman Polanski’s Baby, expectations would not simply be met, but exceeded, when the band was handpicked by Kathleen Hanna to play Sled Island.

“I was really excited. I’ve fucking loved Kathleen Hanna since middle school. She’s always been a huge hero. I mean, Bikini Kill’s always been very important to me my entire life. Riot grrl’s a big part of my life and also the two people in my band, Rachel & Carter. We’re all riot grrl fans. It’s completely and totally surreal and awesome.”

And the interest isn’t without merit. In a brief two years, the band has managed to independently release more than a handful of full-lengths and singles. More importantly, the group has helped inspire others within the local music scene.

“We started the band because we lived in a college town where there were basically no bands with girls in them. There really weren’t any. We lived in this house and were throwing all these house shows. We were really just really fucking tired of a bunch of dudes playing around all the time and nobody else doing anything.

“We started playing in this town called Murfreesboro and then a bunch more women started playing as well, I don’t know if it was timing-wise, but we basically kind of started this bad-ass scene with a bunch of female bands and it kind of took off.”

Given Hanna’s history with all things noisy and politically forward thinking, it is unsurprising Roman Polanski’s Baby found listenership with Julie Ruin. And the band with their relentless DIY approach is sure to turn heads, regardless of gender.

Catch Roman Polanski’s Baby at Tubby Dog on Thursday, June 19, at Local 510 Parking Lot on Friday, June 20 and at the #1 Legion (upstairs) on Saturday, June 21.

By Aaron J. Marko

Sled Island returns after last year’s apocalyptic deluge wreaked havoc on Calgary and the festival. Out of the chaos, makeshift shows were quickly organized in Calgary and in Edmonton, where they called it Shred Island and showed how our Albertan can-do, will-party attitude goes into full effect even in the face of the craziest situations. This year, Team BeatRoute Edmonton asked some of Edmonton’s Sled Island acts about their past experiences, advice for attending and about playing this year’s Sled Island. The old days are played out. These days, we shred and transcend the Calgary/Edmonton rivalry of our parents’ generation.

BeatRoute: Who are you? What type of band/artist are you? Describe yourself/yourselves.

Slates: We are Slates. We play rock and roll music.

The Betrayers: The Betrayers. We’re a rock ‘n’ roll band! Just really primitive stuff, a bit of psychedelia and some ye ye and R&B and garage rock all mixed up together. For fans of ‘60s pop, early punk, paisley underground, you know… the good stuff.

Diamond Mind: Diamond Mind is a four-pronged divining rod oscillating in many directions, seeking a potable source of pure underground pop.

Stepmothers: I am Troy, from the band Stepmothers, we play punk infused rock and roll, I guess you could say. We have been a band for about two years now.

Brazilian Money: My name is Garrett Johnson, a serious recording artist, founder of Brazilian Money, the live band who are friends who don’t hate each other.

Doug Hoyer: I play indie pop, sometimes leaning towards some tropical vibes, sometimes I rock out a bit more. I just write and sing about things that are on my mind, little things that I notice along my way in life.

Jom Comyn: I will be playing with my lovely band — Jessica Jalbert, Renny Wilson and Tom Murray.

Lad Mags: The Lad Mags are a five piece psych-soul-garage outfit out of Edmonton, Alberta. We are heavily influenced by ‘60s girl groups, scuzzy garage punk, surf, soul and I’m pretty sure there is a bit of shoegaze in there, too.

PostNamers: My name is Matthew A. Wilkinson. I am the inner head of The Canadian Security Intelligence Service (CSIS). My concerts are a front for making and maintaining contacts with local representatives of Maurice Strong, Power Corporation of Canada, the Desmarais family, and what remains of the Reinhard Gehlen spy ring. Obviously, I can’t discuss this in much depth. Musically, POSTNAMERS is an atheist-mystic-junky invasion of Catholicism, Pentecostalism and Witch House music. Left Hand Path Pop songs.

Renny Wilson: I am a solo artist who plays with a familiar bunch of folks. I make “pop” music. Every few shows, I like to drastically change up my approach to the set. Usually, it means a costume switch-up, or me playing a different instrument. This time, I decided to flip it on its head, keep it interesting: new song, set and sound and yeah, essentially no similarity whatsoever.

Tee Tahs: We are Tee-Tahs. Punk band. We’re a band of buddies.

BEN DISASTER: We are Ben, He is Disaster. Dis-functional artists/dis-satisfied band.

BR: If Sled Island was a Jeopardy answer, what would the question be?

Slates: No idea, but we’ll make it a true daily double.

Stepmothers: What is: A super fun week with your best buds, getting wasted and watching the best bands?

Diamond Mind: Pitchfork Media once said of this Canadian festival: “It could only sound funner if it were called ‘Pizza Island.’” I can’t find the exact quote, but it’s true.

Lad Mags: How did I lose my voice, my pants, my tuner pedal and my mind all in one weekend?

Renny Wilson: How are Jeopardy questions posed again? C for 10 billion dollars!

Doug Hoyer: This aural archipelago thrills listeners by housing many inventive, fun, and exciting migratory musical acts from all over Canada and around the world.

BEN DISASTER: What is Most Tubby Dogs consumed in a weekend?

BR: What can Sled Island goers expect from your show? Any special things planned for your set? Tell us why people should check you out.   

Diamond Mind: Although there will mostly be brand new ears hearing us, we’re constantly cooking up new arrangements and interludes for the tunes in our repertoire. If it looks like we’re a) navigating an asteroid belt and b) having fun, then it’s probably something we wrote two hours before the show. We also unfurl strange covers (Sade, Philip Glass and Link Wray), smash our shit up and make out. I don’t know what more you want!

Stepmothers: We try to put it all out there every time we play. We’re told we are really loud, we try and play with as much energy and heart as possible. Super sweaty, super fun? If you like loud anthemic rock and roll, hopefully you’ll find what you were looking for at our show.

Brazilian Money: Two drummers! New ones! Jenni and Renny! That’s special. I guess check it out because we’re going to rock. Maybe we’ll play a Weezer cover, or the James Bond theme. People like covers.

Lad Mags: We have some new songs that we are really excited about that will be going into people’s earholes for the first time at Sled Island this year. We have some new merch too, although we almost always forget to tell people about that at shows. Our Sled Island show last year ended up being a total ripper. We opened for Burnt Ones and we played with our band soulmates, Betrayers, as well. I think the Palomino was one of the last venues that wasn’t yet flooded, so it was really packed and, because the weather outside seemed utterly apocalyptic, everyone was kind of wild-eyed. Obviously, I hope nothing like that ever happens to Calgary or to Sled Island ever again, but I would really love another night of total gonzo party magic this year.

PostNamers: There will be speaking in tongues, sex magick, outfits and make-up worth gawking at and it’s my first time playing with a band: God The Father (David Ferris) on percussion and laptop, and God The Holy Spirit (Mary Wood) adding synth and spooky lady-voice textures. Also, during our final song, mescaline pills will fall from the ceiling like manna from heaven. Say no to drugs.

Tee Tahs: Special because we are so deep and yet so fun. You can expect the best quickie of the season.

Renny Wilson: Well, it’s going to be one of the last times (if not the last time) I perform with my current band.  It’s a dang good sounding band. I’m going to be playing guitar (I think), which is strange for me, although it’s the obvious choice of instrument for any band-leading solo musician, I don’t think I’ve ever really played one in any iteration of my band before.

BEN DISASTER: A huge Elephant in the room. Spots lots of spots. Check us out to tell your kids what not to grow up to be.

BR: What band are you most excited to check out at Sled this year?

Slates: Burma!

Betrayers: Everyone! We’re especially lookin’ forward to La Luz, Spiritualized, Bass Drum of Death, the Fresh & Onlys, and the B-Lines.

Diamond Mind: Well, St. Vincent is an undeniable favourite and a mistake to miss, Julianna Barwick is fascinating, Calgary’s own Kris Ellestad is too good to ever miss.

Renny Wilson: Booing St. Vincent.

Brazilian Money:  Probably most excited to see Un Blonde and also see what Freak Heat Waves and Each Other is up to these days.

Doug Hoyer: Where do I start? I’m a St. Vincent fan boy and I didn’t think that I’d get a chance to see her play any time soon, so I’m super excited to see her this year. Joel Plaskett puts on a great live show that I always love seeing, so he’s a shoe-in. I’m also looking forward to hopefully catching Stefana Fratila (I saw her play when she was like 17 in 2008), Jon McKiel, Quaker Parents, Crosss and Royal Canoe’s irresistibly moving live show would be great to see.

Jom Comyn: St. Vincent.

Lad Mags: La Luz are the queens of my heart at the moment. Shannon and the Clams and Hunx and his Punx will be amazing. I was pretty excited about seeing the Julie Ruin and trying to make Kathleen Hanna be my best friend, but sadly that will have to wait until another time. (We’re all sending that lady our best.)

PostNamers: Natasha Kmeto, whose record, Crisis, is a big deal for me, and Chelsea Wolfe, whose track, “The Warden,” I’ve been listening to once a day for half a year. Perhaps it’s just me, but I’m pretty confident it’s a perfect pop song.

Renny Wilson: I’m pretty sure I play in them all. Jokes aside, definitely cop the Betrayers, and my boy Liam’s (formerly of my Sugarglider band) nü band, Diamond Mind. Also, Tee Tahs. I play in this band but [am] not “really” creatively involved, please check this band out.

BR: If you have attended OR played Sled Island before, what was a favourite moment for you?

Slates: Yep! So many great shows — Reigning Sound/Obits/Breeders/Biz Markie — running from venue to venue and meeting up with pals from across the country.

Betrayers: Oh man, there are so many. The year before last was pretty special and just the sheer chaos of the 2013 festival was quite memorable. A lesser city would have crumbled into some dystopian Mad Max-type shit, so it was cool to see everyone looking out for one another in Calgary. What a classy town!

Diamond Mind: Though not necessarily favourite, some very fond memories are: playing sweaty, shirtless disco to a packed Tubby Dog audience, making toddlers bop at Market Collective, having a house show be busted up by the cops, telling us to get the hell out before the whole place floods (not so fond, that last one actually).

Stepmothers: Well this will be my third year attending the festival, and my “second” time playing. Although last year we were slotted to play the Friday night until all that stuff happened and didn’t end up playing. But one of the highlights from last year was seeing OFF! at the House of Vans, as well as Glitter, who played a super rowdy set. Another highlight (though not festival related) was sneaking into an abandoned movie theatre one night. But, those are the type of high jinks that you experience when roaming during Sled Island.

Brazilian Money: Favourite moment was being on mushrooms at this tikki hut-themed after hours venue trying to force myself to puke on a dirt mound for the laughter of a friend, listening to Sans Aids play. It really revealed the absurdity of life. Or riding bikes through three-foot puddles last year.

Doug Hoyer: My favourite moment would be seeing Gobble Gobble at Tubby Dog. The energy at the show was amazing and things were falling off the walls. Their set felt like a very special moment. I also remember being super relaxed when watching Jose Gonzalez. I mostly looked up at the sky and just soaked in his hypnotic playing and calming vocals. Jonathan Richman played later that night which was so fun, too.

Jom Comyn: Actually some of my favourite concert experiences have been at Sled. Constantines, Deerhoof and Grizzly Bear, Deerhunter, Mogwai. I actually drank Mogwai’s beer. Two of them gave me and my friend their beers because the guy from Azeda Booth bought them beers, but they didn’t want it. I didn’t recognize them, but I could tell from their accents they were from Scotland, so I asked them if they came all this way to see Mogwai, and they just looked at me like I was an idiot and walked away, haha.

Lad Mags: Eating BBQ with Wire at Palomino a few years ago was sort of an all-time life highlight. There have been so many brain-melting shows that it is kind of hard to narrow it down. Nardwuar and Andrew WK at the Ship & Anchor was some of the most amazing audience-dazzling I have ever seen. And the Blind Shake. God. I am so happy they are regulars to this festival now. That band is so good that they make me feel crazy. Watching people come together and tough it out after the flood (with the house shows in Calgary and with Shred Island in Edmonton) really highlighted how lucky we are to have the scene and the people we do out here.

PostNamers: I was invited to play Sled last year, but was unable to perform due to Noah’s flood. My favourite moment before the total destruction of humanity were seeing TAIWAN play a mind-bending set to a mostly-empty room. It seemed fitting for the best band in Canada.

Renny Wilson: The very first day I’d ever sold my own music in a physical format (like, ever in my life) was the first day of Sled Island in 2012. I had 50 copies of my Sugarglider on cassette, and I made it a priority to sell them all by the end of the day. I accomplished this, starting with Ryan Bourne (of Holgans, Extra Happy Ghost, Devonian Gardens) in the Palomino parking lot. ALSO: Right before the city flooded last year, I saw Jon Spencer at the Legion. The year before, I saw Reigning Sound there. All my teenage heroes play the Legion.

Tee Tahs: Attended Sled before, mostly to be cool and get laid. Prince Rama 2012, the general solidarity of 2013. Feeling like my ribs were gonna vibrate into dust from the pipe organ drones of Tim Hecker, 2012.

BR: What advice would you give to someone popping their Sled Island cherry? (Attending or playing their first Sled Island.) 

The Betrayers: Drink lots of water. Have a Tubby Dog every day. No shots after midnight. Keep all the promises you make when drunk (it’ll teach you to keep your big mouth shut).

Diamond Mind: Make sure that after party you’re headed to isn’t a basement full of stoned teens playing half-baked reggae! Also, buy a wristband and do as much as possible, big and small shows.

Tee Tahs: Leep your cool and party on. Cum 2 our show. Don’t get seconds at Tubby Dog, even if it’s free.

Renny Wilson : Just fockin Giv’ r.

BEN DISASTER: Follow your nose. The stinkier the crowd, the better the show.

BR: Are there any bands or artists that you secretly hope catch your set at Sled Island? (It won’t be a secret now.)

The Betrayers: Mostly, we hope to see the friends we’ve made from playin’ in bands over the years. We’re heading out on tour with the Backhomes right after the festival and we can’t wait to catch up with those rascals. We met Swami John Reis a couple of years back when he was here with the Hot Snakes and that guy is the new king of rock ‘n’ roll. He makes Elvis Presley look like Barry Manilow, y’know? It would be pretty cool to see him at our show.

Diamond Mind: I hope Neko Case does and shows us pictures of her dogs and horses after the show.

Stepmothers: Haha, maybe St. Vincent or something. I would love to meet her because she is a very attractive lady.

BEN DISASTER: Forgotten Rebels.

BR: What did you think of last year’s Shred Island?

The Betrayers: It was awesome. Seeing everyone come together like that, basically organizing an entire festival in a fucking afternoon, it was bonkers. We’ve got a lot of true believers in this town and everyone did their part whether it was throwing a show or lending out gear or having bands crash in their living rooms… We’re always proud to represent Edmonton, but it really meant something that weekend.

Diamond Mind: Speaking only for myself, I had so much (too much) fun last year so as not to necessitate any kind of “consolation prize,” but it was a such a welcome way to see any band who got screwed out of a set and to kind of get a head count after the flood to make sure everyone made it out.

BR: If you were stranded on a Sled Island, what three things would you bring? 

Diamond Mind: One bourbon, one scotch and one beer.

Stepmothers: Beer, smokes, guitars.

Lad Mags: Ibuprofen, Dexedrine and lipstick.

BEN DISASTER: A water purifier, Tanning lotion and a box of matches.

By Levi Manchak and Jenna Lee Williams

HULLABALOOZA! KONDABOLU BRINGS HIS BIG APPLE BANTER TO THE PRAIRIES

Contentedly situated amidst the hustle and bustle of Brooklyn, New York, stand-up comedian Hari Kondabolu is heard around the world, thanks to his mercurial podcasts. A cunning linguist who holds a Bachelor of Arts in Comparative Politics and a Master’s degree in Human Rights, the erudite Kondabolu has broken down racial and geographic barriers in finding new ways to disappoint his parents. More often than not, his accomplice of choice is his brother, Ashok, who routinely accompanies Hari on his conversational misadventures. Discussing everything from having one’s wallet stolen to the hot-button of cultural appropriation, “The Untitled Kondabolu Brothers Podcast” has introduced an international audience to the candid, fraternal side of his rather astute comedic demeanour.

“When it comes to podcasts, my brother and I have been strangely productive, professionally-speaking, despite of the weaknesses of our technical abilities,” says Kondabolu, who just finished his first full-length comedy album, Waiting for 2042, via Kill Rock Stars. “The natural chemistry between us allows us talk about our opinions in a manner that is very blunt, but also refreshing, because we are truly vested in the material. The balance to me is in the way in which we check each other’s personalities.”

Tapping directly into his listenership via his podcasts and live performances has empowered Kondabolu’s frank and perceptive expositions on race, religion, gender, and politics bring the issues of the day zooming into focus. Framed by his personal histories and backlit by the desire to provoke uninhibited laughter, the Brooklyn natives’ colourful anecdotes are patently all-inclusive. Often riffing on the perks of ethnic identity and pitfalls of social hubris, Kondabolu’s down-to-earth observations are as insightful as they are relatable.

“The gatekeepers have changed,” Kondabolu pronounces. “I feel like the Internet has a lot to do with people finding comedians who reflect their particular points of view. Before, you only had comedy specials and albums that spoke to the broader mainstream. Now the audience can seek out those specialty niches that appeal to them and comedy doesn’t need to be the canned thing you see on TV. Gone is the era when one late-night spot made a career: these days it’s about everything you do pieced together.

“Your strength comes from being comfortable playing clubs and mainstream spaces while being able to communicate to a wider audience found on the Internet,” he elaborates. “It’s now to the point where there are plenty of talented comedians who are doing fine without TV. Things have reversed and they are in turn being discovered by the mainstream because of the impact they’ve made through alternative media.”

Eager to step outside of the studios and into the limelight, Kondabolu will be featured at multiple events during Sled Island’s Comedy showcase. While “selfishly cherry-picking” his brother’s best lines is his go-to manoeuvre, Kondabolu’s second favourite tried-and-true methodology is sizing-up his audiences in and moulding his performance accordingly. Needless to say, his acerbic wit and Brooklyn charm will be in full-effect when he takes to the stage in Calgary.

“It’s my first trip to Calgary for any reason,” Hari confesses. “Realistically, I never imagined a scenario where I would be playing there. That’s part of the reason that festival season is such an exciting time for me. It’s nice to see something that was considered just an afterthought to a festival schedule for years finally start to get its due. Comedy isn’t competing with music for good venues in the same way that it used to at these events. We’re being given places to shine and space to be more interactive with our audiences. It makes a huge difference when we’re all in the right environment and enjoying ourselves together. Sled Island is a great example of finding ways to reach out to a whole bunch of new people and connect them with a diverse range of exceptional comedians.”

The transition from podcasting to performing live has been Kondabolu’s ultimate proving-ground, while his brother prefers to remain behind the scenes; he has embraced the slings and arrows of putting a face to his risky and politically charged humour.

“The pressure is totally different,” he says. “With live stand-up, you have to gauge if your audience is connecting with the material and picking up on the references. There are going to be times when they just aren’t getting a particular reference that’s too specific, or too deep. And it can be frustrating, because you’re trying to enter into a discussion about a specific culture or geographic region, but, sometimes, the explanations are the funniest part. Me having to try to explain and describe things to people is often much another way into that discussion.”

Not your typical attention-seeking class clown, Kondabolu has slowly built the momentum of his sets by testing the waters with his uncommonly intelligent perspective on a dearth of galvanizing global issues. Cultivating his public persona and bolstering his confidence one live set at a time, he has arrived at the summit of his creative powers where the street smarts of his Big Apple upbringing converge with adult understanding and book smarts.

“I really bombed first time out,” he admits. “It’s scary failing; your ego is going to get bruised and you’re going to take a beating, but you’ll get stronger if you stick around long enough. If it looks easy, it’s only because it wasn’t. I have some obviously polished jokes, but I’m happiest when I find something in the moment make people laugh without safety net. That’s one of the reasons I love performing with my brother: the journey is very unpredictable, but I know that I’m not alone in it. For me, it’s the sign of a good local comedy scene when comics come out and support each other. There’s camaraderie amongst the different range of styles, even though our stories are unique we have a strong influence on one another. We all have same goals and it makes me want to try to pay attention and see where this journey is taking us.”

Certainly, there are easier ways to make a living than by holding a mirror up to civilization’s shortcomings and the poking holes in the illusion of race, but Kondabolu is resolved to wait out the arrival of 2042 when whites will become a statistical minority in North America. Quick to recognize that there is room under the umbrella of comedy for anyone who wants to laugh; Kondabolu connects with the world around him by ruminating on the everyday and the absurd. And while he acknowledges that stand-up comedy has pervaded his existence to the degree that he is no longer to turn off his funny-filter, he whole-heartedly encourages comedy club-goers, and podcast listeners, to leave their hang-ups and preconceptions at the door.

“There is a broad spectrum to comedy and I believe there a place for all of these different people, whether it’s on the Internet or out in the clubs.  You don’t go to a concert and say, ‘I like music. Does this band play music?,’ but you can assume, with a fair amount of certainty, that you’ll get a chuckle out of whoever’s headlining a comedy bill. My style of rather verbose and kind of intellectual; I talk about race and gender a lot. That may not be your thing and that’s fine, the next guy might be right up your alley. My advice to the audience is to do their best to wipe their mental slates clean between performers. Be open-minded to different styles and backgrounds. Try to really listen to what they have to say. You may be amazed by things you would normally never have been exposed to.”

Catch Hari Kondabolu and the rest of this year’s Sled Island Comedy line-up at Wine-Ohs June 19 and the Big Secret Theatre (EPCOR Centre for the Performing Arts) June 20 & 21. 

By Christine Leonard
Photo: Karsten Moran

SASKATOON’S ANSWER TO SONIC DISMEMBERMENT

Anything but a shot in the dark, the straight-from-the-hip firepower of Saskatoon’s Shooting Guns gives them free reign to put a positive spin on the task of being harbingers of doom. Muted in their pursuit of concordant mayhem, the instrumental outfit excels at laying down heavy harmonies and gut-wrenching riffs that plunder the vaults of heavy metal history for molten riches and gritty glory.

“In short, we are Saskatchewan’s answer to sonic dismemberment,” says Shooting Gun’s bassist Jay Loos.

Plying his “instru-metal” trade in cahoots with coconspirators drummer Jim Ginther, guitarist Keith “Keef” Doepker, bassist Zach Low and guitarist Chris Laramee, synth-player Loos was thrilled to commit Shooting Guns’ heavy-psych railings to vinyl with the release of their towering sophomore LP, Brotherhood of the Ram, in October of 2013.

“Basically, as the name implies, we create somewhat deafening distortions that will leave you either incapacitated or extremely exhilarated.”

Capable of encapsulating the voluminous and the visceral, Shooting Guns’ shape-shifting grooves have proven to be an ideal match for the onscreen violence and pageantry of motion pictures such as the forthcoming horror-romp Wolfcop, billed as the “Citizen Kane of werewolf police movies.” A groundbreaking foray into the visual-arts, this exciting experiment is opening new doors for the mutable Sask-rockers’ possibly paving their way to fame as soundtrack purveyors to the scars.

“The intensity of Earth’s inner-core meets the cold vacuum of outer space when we take to the stage,” cautions Loos. “Expect a full-blown megaton explosion that will result in deafening silence.”

Having recently founded their own label, Pre-Rock Records, Shooting Guns can add releasing “the road-trip album of the summer” to their credentials. A throw-back to the prolific days of punk-rock compilations, Pre-Rock’s debut release, entitled House of Burners, features 19 of the finest doom, stoner and heavy rock bands from across Canada.

See Shooting Guns on Friday, June 20 at Tubby Dog and Saturday, June 21 at Dickens. Catch them live on CJSW 90.9FM at 8 p.m. Saturday, June 21.    

By Christine Leonard

KEEP BUSY, LET THE GOOD TIMES ROLL

Debuting in 2010 with the release of their “For Better, For Worse” single on a Fat Wreck Chords compilation, Old Man Markley quickly made a name for themselves as one of the San Francisco punk label’s most exciting new signings, immediately bringing their hyper-energetic live show to a slough of high-profile tour dates supporting the likes of NOFX and The Reverend Horton Heat.

Featuring members of Youth Brigade and Angel City Outcasts, the LA supergroup has pioneered their genre, trending away from what one may regard as the typical Fat sound, and breaking new ground with a tasteful blend of pop, punk and American folk songs delivered by a high energy seven-piece bluegrass ensemble, complete with banjo, fiddle and washboard.

Since the Better/Worse slab, the band has kept extremely busy, releasing five subsequent records for Fat, including two full-lengths and three more singles, for a total of six releases in four years, which includes their brand new 7-inch single, featuring an original number, “Stupid Today,” on the A-side and a cover of the NOFX tune, “Reeko,” on the back.

“We love doing covers,” states OMM backing vocalist/autoharpist, Annie DeTemple via phone as she runs pre-tour errands less than 24 hours before her and the gang are due in Las Vegas for a performance at the city’s legendary Punk Rock Bowling event. “The challenge is to make them our own without ruining them for fans of the originals, because those are our fans, too, and we love those songs as much as them.”

With their new record in tow, Old Man Markley is set to embark on their first North American headlining tour, which includes stops in Vancouver, Calgary, and Edmonton, as well as a few markets uncharted by most touring punk bands in recent years. Don’t miss out on the best punk bluegrass party around.

Catch Old Man Markley at the Pawn Shop (Edmonton) on June 18 and at Ship & Anchor (Calgary) for Sled Island on June 19.

By Evan Wansbrough