Showing posts with label YYC. Show all posts
Showing posts with label YYC. Show all posts

Saturday, 1 August 2020

Flashback "Heathen of Influence" - Album Review

Flashback
Heathen of Influence

There’s no dressing up a Heathen of Influence, so you might as well grab your best denim vest and join the festivities when Flashback throws down the proverbial metal-studded gauntlet.

A long, Sabbathy, drag off a perilously short cigarette, the Calgary-based outfit’s third LP burns from tip to filter with an arsenal of hemispheric headnodders.

Raised in the den of the Steppenwolf, the single “Widow’s Breath” is a sonic saga infused with a lust for life and liberty that would have Fonda and Hopper delivering drive-by high-fives from beyond the grave. Epic guitar swells and pounding percussion set the four-man warship a-heave as vocalist/guitarist Aidan Demarais’s commanding growl gouges through a sea of sludge.

The evil rip-chord chug of “Darkened Plague” recalls an outboard motor that runs on petrol and Pabst. There’s just enough time for a fat booty boogie guitar solo before all of the oxygen has been sucked from the room.

Forging a new mythos out of melody and madness, Flashback hurls venomous lightning bolts, navigates warp-speed tempo shifts and revels in dense mercurial meltdowns. From the harshly acidic “The Atomic Fog,” to the hair-toss gong-crash of “Fortune’s Guild,” and the Satriani honeybucket “Fortune’s Guild,” this old school hard rock outfit is clearly happy to flex its ample talent before stretching out for inspection like some fuzzy-lensed centerfold.

Best Track: “Widow’s Breath”

By Christine Leonard

Friday, 18 October 2019

Album Review: Little Lamb – Elephant Shoe Two

Little Lamb
Elephant Shoe Two
Independent


Blaze up in the saddle for a ride through a bygone era as singer/songwriter/guitarist Tad Hynes traces the bloodlines of American folk-rock and psychedelic pop through the hazy hills of yore.
As he explains, “Around the time I released the first Little Lamb album I had fallen head over heels for Buffalo Springfield, which lead my attention to bands like Poco, The Byrds, The Flying Burrito Brothers and many more. This late 60s surf/country/western/psych/rock sound had a great influence on the way I wanted the new album to sound.” 
The sauntering Morricone-tinged opener “Sun Dance Kid” lays the scene with a sultry Stratocaster strut. All the good vibes continue to shine down on “Mr. Squito” and “Thirteen Lined Ground Squirrel” with their weightless falsetto vocals and rippling strings. 
Fleshed out by the presence of singer/guitarist Sunny Dhak (Pride Tiger, Three Inches of Blood), who appears on the title track and a couple more, Elephant Shoe Two bounds through a Woodstockian meadow of honeyed harmonies and subversive lyrics. Bravely capricious explorations such as the rocky “Tiger Lily” and “Cool Autumn Breeze” find their counterpoint in melodies as delicate as spider webs on “Carnation” and “Needles of Green.” 
Reposed yet acutely observant of its environment, Little Lamb’s bespoke second release recalls the efforts of genre-kaleidoscoping bands like The 13th Floor Elevators and Ween while remaining entirely laced up in thread-puller Hynes’ daisy chain of thought.
Best Track: Needles of Green
Friday 18th, October 2019 

Tuesday, 8 October 2019

Black Mastiff - Interview with Clay and Bob

Black Mastiff Seize Control
with Loser Delusions

by Christine Leonard
“All of the songs in my head are Black Mastiff!”
It’s a common condition among those who have been exposed to the Edmonton rock band’s wide-bottomed grooves and soulful vocals. Renowned for their thick curves and intuitive rhythms, the heavy blues-metal trio has eclipsed their local scene and grown in stature and repute on a diet of beefy riffs and Alberta rye.
Far from the desert canyons and rocky peaks pursued by their headbanging brethren, Black Mastiff is most at home prowling the urban landscape and exploring Edmonton’s dark underbelly. It’s where they found the inspiration for their latest album, Loser Delusions; its name a cheeky tip of the bandana to Axl Rose, reflecting Black Mastiff’s state of mind.
“It was first thrown out as a bit of a joke,” explains bassist Clay Shea. “We had a giggle and then we thought about it for a bit and it just kind of made sense to us, with the way the writing process had been going and our dedication to the process of getting together. Our drummer, Allan (Harding), had been living in Vancouver and we were just trying to stay motivated and were a bit delusional about the future.”
It was a trial and a test for the sludgy outfit, who’s self-titled debut appeared in 2011. Working on Loser Delusions, Shea and guitarist/vocalist Bob Yiannakoulias knew they had reached a crucial stage in the band’s development, a high watermark that would see the fuzzy entity sink or swim for its melodic life.
“We’re always going for it, but we had to work hard to make this one happen,” says Yiannakoulias of working long-distance. “It took a lot of motivation because that cathartic thing you get from going to practice, turning up the amps, cranking up, blowing through your songs and having those rewarding jams wasn’t there. Sometimes it was less fun, but we had to stay really focused, and keep our shit together, and put in that time. Everybody had to pretty much step up the level of dedication.”
And step up they did, creating their own record label Grand Hand, in cahoots with tourmates Chron Goblin, along the way. It was a decision that put them in charge of their destiny and once Black Mastiff had the leash in their jaws there was no restraining their artistic impulses.
“We never really lost control,” says Shea, “but I feel like this was all just about regaining control and knowing we can keep doing this. We’ve got the chops to keep doing what we’re doing.”
Black Mastiff perform Fri, Oct. 11 at The Palomino Smokehouse (Calgary), Fri, Oct. 18 at Hard Luck (Toronto) and Fri, Oct. 25 at Temple (Edmonton).
Tuesday 08th, October 2019 / 07:00 

Friday, 20 September 2019

Déjà View : Chron Goblin Interview

Chron Goblin Dismantles the Past
on New Album, Here Before

by Christine Leonard
Photo by Sebastian Buzzalino
Good fences make good neighbours, but if you’ve walked down the rambling alleys of Brentwood, Calgary in the past two decades, you might have caught drift of a hidden skateboard ramp and the band that dwells nearby like an ear-blasting company of trolls.
So the story goes, but no one knows the legend of this secret suburban shred-spot better than Devin “Darty” Purdy, aka lead guitarist to Calgary’s preeminent psych-metal outfit, Chron Goblin.
“The Brentwood Ramp, which has consumed the souls of many missed tricks, was built in 1997 by the City of Calgary and acquired by the Goblins in 2006,” says Purdy. “It was the main feature for many parties and band photoshoots and provided a great mental break from jamming. Unfortunately, termites got the best of it and we had to take it down this year, but its memory lives on!”
Purdy’s generosity in sharing his good fortune and square footage made the ramp a destination for members of Calgary’s skateboarding and indie music scene, just as his basement became the rehearsal room of choice for bandmates vocalist Josh Sandulak, drummer Brett Whittingham and bassist Richard Hepp. 
“It formed a hub for weekly backyard skate sessions, barbecues and basement jamming. So many memories of watching some of Calgary’s finest skating the hell out of the ramp well past dark, wheels clacking and trucks grinding, people hollering and dropping off the garage roof into the ramp,” Whittingham says reminiscing. “The band photo in our album Life for the Living is an awesome shot of us sprawled out on a couch in the middle of the ramp with a million beer cans strewn everywhere. Also, those nasty maggots growing in the recycling!”
It’s enough to bring tears to your eyes. Listening to the group’s brand new release, Here Before, it’s hard to believe that six years have passed since that sofa-king-cool snap was taken of the ambitious young punks with their desert-rock-meets-thrash dreams. Having furthered the arc of their ascent with 2015’s Backwater, Chron Goblin are accustomed to challenging themselves to master new techniques, but it’s their interpersonal skills that have truly elevated their game.
“I think the only way we’ve gotten to that 10-year mark is by evolving our relationship as friends and as bandmates in terms of our communication and being crazy honest with each other. Probably more honest than we are with anyone else in our lives. That in itself has caused us all to reflect more deeply on who we are as people and what’s led to a maturing of our band,” says Sandulak. 
Wild at heart, but growing wiser by the minute, Here Before delivers exhilarating maneuvers that come close to the thrill of pulling off rad stunts on the old Brentwood Ramp, but this round comes without the consequence of bruised up shins and beer can maggots.
Friday 20th, September 2019

Thursday, 12 September 2019

Album Review: Chron Goblin – Here Before

Chron GoblinHere BeforeGrand Hand Records


Ascending from their role as local skatepark punks to that of Canadian psych-rock tastemakers, Calgary’s legendary curb-grinding garage band Chron Goblin isn’t the same old thrash ‘n’ grab outfit they once were.
Here Before, marks a deliberate recalibration from the hard-rolling crew as they crank the production values to eleven on volatile numbers like “Giving in to Fun,” “Slipping Under,” and “Out of My Mind.”
Singer Josh Sandulak’s raucous vocals and poetic lyrics are thrust into the spotlight as never before and his confident, yet bitter, mouthfuls come washed down with an unerring supply of acidic guitar riffs and dexterous rhythms. Haunted by a shared history and infectious back catalogue, the group navigates a jagged path through the dank underbrush on “Oblivion” before diving into the lazy river of the lumbering “Giant.”
Intricate, intentional and gritty to the bone, Here Before challenges the maturing quartet to supersede their former selves with dangerously divergent compositions; including eerie banshee ballad “Ghost” and pugnacious ripper “War.” The defining wallet-chain swagger, bluesy breakdowns and ballsy bravado that set them apart from day one may remain the same, but Chron Goblin’s best just got a whole lot better.
Best Track – Giant
by Christine Leonard
12th, September 2019 in • Record Reviews, MUSIC

Wednesday, 3 July 2019

Album Review: Tycho – Weather

Tycho
Weather
[Mom + Pop Music/Ninja Tune]


San Francisco’s dancefloor electrocutioner Tycho (aka Scott Hansen) returns with Weather, the radiant echo to the talented composer and graphic designer’s Grammy-nominated album, Epoch (2016). Introducing a new phase in Tycho’s industrial evolution, Weather drifts into previously unexplored territory for the Billboard-topping songwriter and producer and his synonymous music project with the introduction of vocals to his digital creations.
A marked departure from Hansen’s customary computerized soundscapes, the water-testing single “Pink & Blue” dips its delicate toes into the gender-fluid, bringing iridescent swirls of colour and light to the surface.
Chanteuse Hannah Cottrell’s (aka Saint Sinner) silky smooth crooning takes the chill off of synthetic spaces, infusing Weather’s cybernetic cinema with a warm breath of humanity and soul.
Expanding on the blueprint of Cottrell’s lyrical dreams, Tycho’s latest dispatch weaves its way through organic love notes like the conversational “Skate” and sleek futuristic moments such as “Japan” without differentiating between those two modes of transmission.
It’s a remarkable synthesis of flesh and fuses. An emotionally transformative formula Tycho is only just beginning to decode.
03rd, July 2019
by Christine Leonard

Thursday, 25 April 2019

Calgary Comic and Entertainment Expo 2019 - Preview

Calgary Comic and Entertainment Expo Set To Party Like It’s 1985

by Christine Leonard

Calling all wannabe Ghostbusters, Stormtroopers and Avengers, the Calgary Comic and Entertainment Expo is pledging to take attendees back to the future! Already celebrating its 14th year, the highly anticipated annual event is primed to welcome an impressive roster of cultural icons and stars of silver and small screens for their 2019 edition.
“I think one of the big marquee things that we’ve got is Michael J. Fox is coming through Calgary. He was supposed to come out last year, but due to medical issues, he just couldn’t make it. He was like ‘I’ve got to make good on this promise to come out to Calgary,’” says director Kandrix Foong, who emphasizes that the Expo isn’t just about science fiction and fantasy franchises.
“The thing we’ve always done with our shows is divide and conquer. Part of our objective is – if you bring a whole family then there’s something for everyone. Dad might be a big Star Trek fan, Mom might be a Vampire Diaries fan and the kids will have other stuff that they are into, as well. So, this is not just one genre or one thing. It is definitely about entertainment in general and we definitely like the idea of exposing people to different forms and genres of entertainment.”
Capitalizing on the fandom surrounding the hottest movies and television shows of today, the Expo introduces emergent trends and artists while showcasing classic characters and treasured titles of yesteryear. It’s a balance that keeps cosplayers and collectors coming back to the four-day marathon of pop media time and again, with over 90,000 people passing through its gates in 2018.
“There’s a lot of depth in terms of the types of celebrities and guests that we bring out. I think every year we bring out 80 to 100 different kinds of guests and you just get a chance to meet the people who are actually working in this industry.”
The year 1985 will be alive and well as the cast of Back to the Future are joined by members of the original Goonies crew. Additionally, the new Hellboy David Harbour will be appearing, as will Shazam’s Zachary Levi, Dr. Who’s Catherine Tate, Baywatch babe Pam Anderson and Robocop’s Peter Weller. And, don’t forget TV’s Wonder Woman, Linda Carter will be presenting “This Life. My Music. My Story.” as a special ticketed event.
“We definitely do offer a broad mix. There are a lot of classic guests who are still very active in what they’re doing and it’s just good to see,” confirms Foong.
Fans and guests will be granted the opportunity to walk-the-walk again this year as the enormously popular POW! (Parade of Wonders) is set to saunter through Calgary’s downtown core on the morning of Friday, April 26.
“It’s like when the Flames are on a championship run, you can feel the energy and momentum throughout the city. Now you’re proud that this is what’s going on in your own backyard!”
The Calgary Comic and Entertainment Expo runs from April 25 to 27 at Stampede Park (Calgary)https://www.calgaryexpo.com/en/home.html
25th, April 2019

Sunday, 30 July 2017

Pervcore: As Raunchy as They Wanna Be

Pervcore:
a weighty yet agile
six-piece raunchcore ensemble

by Christine Leonard
30 July 2017

You don’t have to be Tammy Wynette to know that sometimes it’s hard to be a woman, but that doesn’t mean you have to whine about it. Not when you can yell it at the top of your lungs while strange men guzzle draft beer from your cleavage. But, I’m getting ahead of myself. Meet Pervcore, the most inappropriate band at your friendly neighbourhood BBQ. Good thing they’re usually the ones hosting.
“The band obviously likes to have fun and is a sleaze-thrash party band and that reputation is still intact, but everybody realizes that we’re trying to put on a performance and equality counts,” says guitarist Mike Davies (2/3 of Nothing).
“I think of this band as being akin to something like Nashville Pussy; we’re all about entertainment and empowerment. The musical content has evolved to the point where you can’t really perform properly with 15 beers in your system. Everybody’s still having a good time, but it’s more about putting on a great show.”
Since being formed four years ago by co-vocalists TerraLee Doolittle and Emi Van Der Pol, Pervcore has become a genre-defining band that puts female talent upfront without pulling any punches.
“It’s how I get my anger out,” says newlywed Doolittle. “For example, the song “Get Fucked” is based on a true story. Some guy hit me with a bat, so I got up and hit him right back. Take that!”
Backed up by the instrumental support of Davies, along with Emi’s bassist/spouse, Kuba Van Der Pol (he took her name, how cool is that?) and TerraLee’s husband/percussionist Dallas Lobb (Electric Revival), and founding guitarist Craig Kubitzki, the band began generating some seriously vitriolic material.
“Craig makes up the metal contingent and I would be the punk rock component,” veteran string-slinger Davies elaborates.
“Like any good thrash band, we’re a punk-metal crossover. Most of the songwriting is done from the punk rock side of things and then it gets spiced up with some Iron Maiden-esque split guitar solos. We take the three-chord punk thing and put a really big melodic spin on it. Then you throw in the two female powerhouses and the dynamic of the two works together really well. They’re both tremendously vocally talented and have huge range and presence.”
Romancing audiences as a weighty yet agile six-piece raunchcore ensemble, Pervcore thrives on blurring that fine line between the provocative and the profane. Stepping off the curb on their forthcoming release, Tales from the Gutter Volume I, the sextet is primed to seduce new fans and reward the old with a combination of guile and gusto that has to be seen, heard and perhaps even tasted live to be truly appreciated.
“I get a lot of feedback from girls about how they love what we say and the way we say it,” reports vocalist Van Der Pol. “A lot of the lyrics and song content are based on things that a lot of girls want to say, but don’t normally get to, because of politeness.” 
Pervcore releases Tales from the Gutter Volume I will be released at Distortion on August 5 (Calgary). 

Monday, 17 April 2017

Wo Fat: “Texas Sized” Grooves

Wo Fat: Delivers
the Swampadelic Sounds

by Christine Leonard
15 April 2017

There are few things more enjoyable than digging into some salty, smoky barbeque and that’s exactly the kind of pure chewing satisfaction that meaty Dallas-based swamp rockers Wo Fat have on their proverbial grill. Turning raw blues rhythms and uncluttered doom grooves into sweet psych-rock sustenance for over a decade, this well-seasoned trio has hung in together through thick and thin. 
From the formative rumblings of their 2006 debut The Gathering Dark, to the fulsome darkness of last year’s full-length release Midnight Cometh, Wo Fat’s lead guitarist/vocalist Kurt Stump, bassist Tim Wilson and drummer Michael Walter have consistently brought home the bacon.
“The good thing about Texas is that it’s got a strong scene for our kind of music,” says jam-master Stump.
“There’s a bunch of good bands here and a number of excellent venues to play close by, so you can do a short weekend jaunt and hit a few places.”
Of course, the group who brought forth molten LPs Psychedelonaut (2009) and Noche del Chupacabra (2011) had little choice but to catch fire around the globe.
As welcome as the sound of fat sizzling on mesquite embers, Wo Fat’s heavy fuzz-laden emanations attracted riff worshiping legions to any stage that was willing to “Book ‘em, Danno!”
“We’ve built a fairly good following worldwide within that genre with fans of that type of music. We’ve played Desertfest in Berlin and London, and we’ve done Hellfest in France. Those are really amazing genre-specific festivals that feature a bunch of bands we know, so there’s always a reunion kind of vibe. It’s always fun to hang-out and we find a lot of comradery playing with bands that are similar to us stylistically.”
The perfect opportunity to do just that, while enjoying some Albertan hospitality, April’s 420 Music & Arts Festival will surprisingly mark the well-traveled Wo Fat’s first trip to up to The Great White North.
“It’s our first time to play in Canada, so I’m excited about that! We try to be strategic about the out-of-town gigs we play – like coming to Calgary. We’re just flying up there and coming back home, but that’s what we want to be able to do. To pick and choose cool gigs and do those. Cuz were not making our living off the band – we’re making our living off the recording studio.”
A Wo Fat run studio you say? We should have known that the proverbial enemy of the Hawaii Five-O task force was the one pushing the buttons all along.
“The drummer, Michael, and I run a recording studio together,” he elaborates.
“It’s called Crystal Clear Sound and it’s actually one of the oldest studios in Dallas. I’ve been working there for about 20 years. About four years ago, we bought the place from the previous owners. Yup, we bought the company. Now we run it ourselves!”
He continues, “That’s where all of the Wo Fat albums have been recorded. I’ve been recording professionally for a long time, so experience has taught me the dangers of becoming myopic and going down the rabbit hole too far.”
It’s not only anchored the band, but given them confidence in their jams: after all, when you’re making all the decisions, you’ve got to know when to pull the proverbial plug on a song, album, or jam session. It’s made Wo Fat the groovy juggernaut they are today.
“Having spent a lot of time in the studio, I know that you just have to make decisions and stick to them at some point. I would rather do that commit and go on than leave something open-ended and never finish it. I think we’re different from some people in having that attitude.”
Wo Fat are headlining the 420 Music and Arts Festival, which goes down on April 20th until April 22nd at Distortion. They are headlining day three of the festival on April 22nd alongside Wo Fat, Chron Goblin, Cowpuncher, Mammoth Grove, and more. Line-up and ticket information are available at www.420musicandartsfestival.com

Monday, 20 March 2017

Hammerdrone Reaps a Dark Harvest

Hammerdrone: Releasing the Seeds of Destruction

by Christine Leonard
20 March 2017

 It’s the kind of thing you’d read about in a spy novel, or at least that’s how Hammerdrone’s lead vocalist Graham Harris (Reverend Kill, Genepool, Rotschreck) first stumbled upon the clandestine tendrils of Operation Dark Harvest. Spurred on by the enigmatic trail, Harris would uncover a grassroots rebellion that had some serious dirt under its fingernails.
“I read a fair amount of crime fiction and Scottish author Ian Rankin makes a passing reference to the Dark Harvest Commandos (a proto-SNLA faction) in one of his novels. And I thought, ’Who the hell are they?’ I looked them up and came across an obscure and interesting piece of history that I’d never heard of,” says Harris of inspiration behind the title track of the melodic death metal group’s forthcoming LP.

Sources reveal that in 1981, a group of microbiologists from Scottish universities visited the condemned isle and removed 300 pounds of soil contaminated with anthrax spores. Infected by the British Government during World War II, the deadly toxification wrought upon Gruinard proved that Churchill could decimate a German city in the same fashion. The radical scientists threatened to distribute their dark harvest “at appropriate points that will ensure the rapid loss of indifference of the government and the equally rapid education of the general public,” according to letters the group sent to local newspapers.

Drawing its defiant name from that little-known act of civil disobedience, Dark Harvest is but the latest in a litany of hackle-raising releases from the Calgary-based Hammerdrone.
“When the guys wrote the music for Dark Harvest, it just came together really nicely and tied together a lot of the political themes on the album. ‘Join the Resistance!’ That’s our tag line for playing-up on the idea of ecologically minded terrorists. We wanted to make a political statement. I’m quite in favour of holding the government to account for its promises and actions, so I think there’s something to be said for that!”
Originally forged back in 2010, the intimidatingly intense outfit’s exploratory EPs A Demon Rising (2012) and Wraiths On the Horizon (2013) laid the groundwork for the Promethean ambition of their first full-length release, Clone of Europa, which materialized in 2014. Unfortunately, that victory was clouded by hardship, as the disruptive forces of the mass Calgary flood of 2013 besieged the band. Stepping away from the musical canvas, Harris was left to wonder if Hammerdrone would survive the turbulence that had heaved their world upside-down.

“My wife got transferred to Brisbane, Australia with her work in 2014 and I went too,” explains Harris, who welcomed a baby daughter while living abroad.
“It was kind of a two-year period of globetrotting for me and so from a band perspective, we didn’t know if we were going to continue to be. But we pretty much had the second album all written and we were determined that we were going to record it.”

Proving that long-distance relationships can yield tangible results, Harris found new ways to collaborate on the calamitous Dark Harvest with Hammerdrone bandmates, lead guitarist/songwriter Rick Cardellini, drummer Vinnie Cardellini (Reverend Kill) and guitarist/vocalist Curtis Beardy (Krepitus), while living overseas. Although frequently compared to the likes of Amon Amarth and Behemoth, Harris and company believe in clearing their own footpath when it comes to defining Hammerdrone’s apocalyptic tone and temperament.

“That’s the beautiful side of introducing technology into your music; you’re able to cross 12,500 miles and continue to record together,” Harris confirms.
The most recent addition to Hammerdrone’s arsenal, bassist Teran Wyer (Krepitus, Numenorean) was recruited to the fold for his winning persona and aptitude for anchoring the most aggressive of combos. According to Harris, Wyer’s weighty presence on Dark Harvest heaps another layer of anthemic heaviness upon Hammerdrone’s soylent machinations.

“After we recorded Clones of Europa we really need to find someone solid. Vinnie and I used to play with Teran in Reverend Kill, we knew his style, and what a great guy he is. Once we realized how much he was enjoying playing bass it was an easy choice to slot our good friend in.”

He confirms, “We have a very permanent line-up now.”
Hammerdrone release Dark Harvest on March 24th at Vern’s in Calgary with Votov, Concrete Funeral, and Widow’s Peak.

Thursday, 9 March 2017

Plumtree re-issue all three albums!!! : preview

Plumtree ‘90s Halifax pop trio re-issue all three albums on vinyl


by Christine Leonard
9 March 2017

Hindsight may be 20/20, but you can bet your boyfriend jeans that ‘90s Halifax popsters Plumtree didn’t anticipate a full-blown vinyl resurgence when they released their bomp-and-strum-filled sophomore album, Plumtree Predicts the Future, way back in 1997. Cinnamon Toast Records was a good fit for the sweetly introspective group, at the time. The existential ensemble quickly blossomed thanks to tours with the likes of Duotang, the Inbreds and Thrush Hermit, along with appearances at Halifax Pop Explosion! and Edgefest that pushed them further into the national spotlight. An original sister-act, Plumtree’s willowy emanations stem from Carla and Lynette Gillis’ (Absolutely Nothing) love of pop-punk melodies and playful rhythms. With Carla on guitars and vocals and Lynette picking up the drumsticks, Amanda Braden stepped up to provide supporting guitar and vocals while BFFs Nina Martin and Catriona Sturton would fill out the East Coast quartet, by respectively taking up the position of bassist.
It was a whirlwind decade for the band who wrote the song “Scott Pilgrim,” which inspired fan Bryan Lee O’Malley’s graphic novel and the subsequent film of the same name. Innocent despite their infamy, their kitchen haircuts and Noxzema-fresh faces declared Plumtree’s notable potential and hunger for personal liberty defined the edge of that fading millennium.
An unexpected, but well-deserved, flashback to those carefree days is set to arrive threefold. Thanks to a lavish remastering at Toronto’s Lacquer Channel, all three of Plumtree’s full-length albums are ready to roll off the line in vinyl format for the first time. Mass Teen Fainting (1995), Plumtree Predicts the Future (1997), and This Day Won’t Last At All (2000) have all be immortalized in acrylic and reissued under the auspices of Label Obscura and featuring new artwork by Yorodeo.
You can almost feel the wind in your hair as you travel down memory lane with the Gillis girls’ effortless harmonies, twisted humour and ridiculously catchy love notes echoing in your ears. Though cut short in 2000, Plumtree’s long lost oeuvre will ensure that future generations can cozy up to a career characterized by a cheeky band next-door appeal. As Ferris cautioned, “life moves pretty fast.” More so these days, but once you stop and look around you’ll discover that the biggest challenge ahead will be bringing that record player on your next road trip.

Monday, 20 February 2017

Riff riders Witchstone weather the winter storms

Ballad of the Sludgelands: Riff riders Witchstone weather the winter storms

by Christine Leonard
20 February 2017

Defrosting the frozen heart of winter with a searing spike of psychedelic doom metal, Calgary’s Witchstone has been delivering their febrile mutations since first appearing on the prairie moors in 2011. Stubborn enough to weather the upheaval of ongoing personnel changes, founding members guitarist/vocalist Sean Edwards and bassist/vocalist Andrew Sanderson fleshed out the banshee band’s thinning ranks with the complimentary talents of inventive drummer Marcello Castronuovo and emotive guitar ace Ian Lemke (Blackrat).
“We used to be sort of droney and stonery, where we’d all be playing the same riff. And now it’s a lot more inspired by ‘70s proto-metal like Iron claw, Coven, Black Widow and newer bands who are doing stuff like that, such as Blood Ceremony,” says lead guitarist Lemke of Witchstone’s unfolding aesthetic.
The intense quartet self-released a brooding bedroom demo EP recorded in February of 2012, and two years later surpassed that introduction with a Sabbathy four-song cassette, Tales of the Riff Riders. In May of 2016, the band tag-teamed it with Quebec despots The Death Wheelers to release a split album titled Summon The End (Sunmask Records). Witchstone’s contributions, the turbid “The Sludgelands” and the ten-minute mark toppling “Altar Riot,” propelled the quartet towards the realization of Witchstone’s highly-anticipated forthcoming LP, Mortal Fear of Infinity.
“Around [the] same time we were recording our split, we recorded our new material with Pat Palardy of Public Lunch Studios, so the two sessions overlapped a little bit,” reports Lemke.
“It was the most professional studio environment I’ve ever recorded in. We had a lot of different ideas and experimented a lot, it was nice having someone who was really open minded and honest when he thought something wasn’t working out.”
According to the dual guitarists, the material that comprises Mortal Fear of Infinity sees the band seeking out untrodden pathways and rising to new heights of self-actualization.
“On this album, we intentionally went for a different kind of heavy. We didn’t go with amps to 11 and high distortion. We actually went a lot cleaner than we ever have before,” Lemke observes.
“I think this is the first album where we’ve gotten through our voice as a band and it feels like this is what we’re supposed to sound like. Sean and I have really gelled together; I think we’ve finally figured out our sound.”
Thrusting their point across with a subtle blade, Edward and Lemke divided songwriting duties down the middle.
“It’s been great writing with Ian in this new way, because he’s such a talented lead player. The subject matter is pretty dark and reflects both death and love. It’s a serious album and not so fantasy or fiction based,” says Edwards, who also explored and refined his vocal techniques.
“We’re trying to establish a vocal sound, so that we’re closer to singing than just brutal screaming.”
“This album especially is way more full of occult metaphors for real-life hardship, so we thought we’d go with a witchy vibe,” agrees Lemke.
“I started to do backing harmonies, which is the first time I’ve ever sung on an album.”
A breakthrough album in many respects, the production experiments Witchstone conducts on Mortal Fear of Infinity necessitated the addition of a fifth dimension to an already hypnotic live set; a quest that ended at the hands of keyboard enchantress Jolene Toner.
“On the split, and this album, we are just a four-piece, but we all agreed that there should be some keyboards, treats, layers and little tidbits on the new album for extra effect,” clarifies Lemke.
“We approached Jolene [because] she’s an old friend of ours. She’s a Jack-of-all-trades-type character, a versatile musician, and very easy to get along with… We’re excited to have a future recording with her on it.”
See Witchstone at their album release party on Saturday, March 4th at the Palomino Smokehouse and Bar with Numenorean and Monolith A.B.

Friday, 3 February 2017

Woodhawk tease ‘The High Priest’ + ‘Beyond the Sun’

 03rd, February 2017  
By Christine Leonard

Alighting for the first time on BeatRoute’s windowsill, the freshest cut from Woodhawk’s forthcoming album – the exultantly named Beyond the Sun – delivers an adrenaline rush and a foreboding prognostication in one fell swoop. A toothsome package, the lead single “The High Priest” executes Woodhawk’s hard rock rituals with a precision that belies the band’s unjaded enthusiasm.
“’The High Priest’ was one of the first songs we wrote for the record and it was also the first one we laid down when we got to the studio,” says lead singer/guitarist Turner Midzain. “It’s a straight-ahead riff ripper and just an all-around high energy tune.”
Woodhawk release Beyond the Sun on April 7th. They play Edmonton that night at the Sewing Machine Factory with The Mothercraft and Iron Eyes. The Calgary release party is on April 8 at the Palomino Smokehouse & Bar with Chron Goblin and The Mothercraft.
Accompanied by a beer-cooled video, that collages together shots of Woodhawk’s live performances into one epic landslide of concert footage, the teaser track provides a glimpse of what the spellbinding trio’s forthcoming LP has in store. Scheduled for release on April 7th, the eight-song package was captured at Rain City Records in Vancouver by Midzain, alongside stone cutting bassist/vocalist Mike Badmington and intrepid drummer Kevin Nelson. You’ll even hear organ and synth segments by engineer, producer, and mixer extraordinaire Jesse Gander.
“The song’s lyrics take from the idea of putting someone in power, who really shouldn’t be there, and they take advantage of their situation. It was written on the tail end of our EP in early 2015. So, it captures the essence of what Woodhawk was, and now is.”
Woodhawk’s Beyond the Sun will be released on April 7th

Monday, 30 January 2017

PARTICLE + WAVE installs a new reality: Tasman Richardson looks both ways

A weekend of glitch and entire month of exhibition are on offer from
PARTICLE + WAVE

by Christine Leonard
30 January 2017

What do you get when you combine light, sound, texture, esthetics and philosophy into an immersive artistic experience? The answer itself is a fascinating equation; one that has been given life and room to breathe thanks to an immersive three-day celebration of multimedia art known as PARTICLE + WAVE.
“We started out in 2012, as sort of an experiment during Alberta Culture Days, and our second one was in 2015, so we’re trying to make it a biannual event,” says programming director Vicki Chau, “EMMEDIA wanted to do a festival that focuses on the realm of live audiovisual performances and more on projection art and sound art. It kind of emerged around the same time that Soundasaurus, the Multimedia Sound Arts Festival that was put on by Tammy McGrath, at the EPCOR Centre (now known as Arts Commons) was ending. When Tammy left, Soundasaurus died away and there was a need for a sound-arts festival in the city, so PARTICLE + WAVE picked that up; along with all of the other aspects of media arts, as well as sound, to give the Calgary community something that’s a little bit different.”
Offering a glimpse into the brave new world of multimedia works and installations, PARTICLE + WAVE is the ideal point of entry for those seeking to expand their knowledge of how digital technologies are being manipulated to create provocative works of art that challenge the limits of audio-visual presentation and performance. On the other side of the brain, the festival has been carefully curated so as to provide a frictionless transition between environment and experience, thereby rendering even the most intimidatingly complex examples both accessible and approachable.
“It’s interesting to be able to evolve a festival along with what the artists are producing and to be able to find the venues around the city, such as Festival Hall, that can facilitate their kind of work,” says Chau. “Our partners have been fantastic in supporting us in showcasing the kind of art that can’t be shown anywhere else. Because PARTICLE + WAVE exists in a celebratory mode it is the perfect vehicle for us to present to people who are not already familiar with EMMEDIA or media arts. Everything we do, except for the Feature Night, is free. So, we want to entice the public to come back to EMMEDIA and partake of the year-round events that we have to offer beyond the festival, as well.”
While PARTICLE + WAVE’s biggest soirée takes place on February 2nd, group exhibition Digital Artifacts runs February 4 to March 4 at U-Hall TRUCK, and Janus will run February 3 to 25 at EMMEDIA. Mapping artificial intelligence from the inside out, Janus, produced by Toronto-based multimedia pioneer and guest lecturer Tasman Richardson, is a prime example of using modern software “hacks” to reanimate obsolete computer systems. Richardson’s colourful and stimulating brand of technomancy involves stimulating vintage Atari 2600 consoles to give birth to their own original sounds and images. According to semiotic sampler Richardson, running a device through its virtual death throes in order to capture the “nowness” of the elusive binary life flashing before your eyes is just the tip of the cybernetic iceberg.
“I call it fishing for the invisibles,” Richardson elaborates. “Normally, in post-‘87 technologies, you’d get a blue screen that would censor (as in censorship) and stop any unstable static or noise that happens when you turn on your TV, just to make it more palatable. The problem is that it also cancels out any beautiful, subtle, nuanced glitches that the machines are building and generating. The glitches come straight from the console itself, with no cartridge inside it, and you have to use power failure and brown-outs to ween the machine off of its stabilizing power in order to generate the glitches. So, there’s a real movement of trying to harness those glitches and that’s called fishing for them.”

PARTICLE + WAVE’s main events take place February 2nd to 4th at various venues in Calgary. Shows Digital Artifacts and Janus throughout February at U-Hall TRUCK Contemporary Art in Calgary and EMMEDIA respectively.

Sunday, 29 January 2017

Distortion celebrates a decennary

Iconic hardcore venue Distortion celebrates 
a decennary of distorted memories

by Christine Leonard29 January 2017

 It’s not every day that a music venue gets to celebrate a landmark 10th anniversary and such an occasion is even more impressive when that nightclub is one that caters to a predominantly hardcore following. Fortunately for the citizens of Calgary, the venerable institution known as Distortion has endured a decade of slings and arrows while playing an important role in carving out the city’s cultural identity.
“The struggle is really. It’s really real!” says co-owner Sean “Taco” Close.
“When we bought the first Distillery Public House (a.k.a. D1), at 839 – 5 Ave. S.W., none of us had owned a bar before. We had to find investors, take out loans on our homes and start moving with what was happening on the music scene. We started doing weekend shows and then suddenly we weren’t just a pub for the lunchtime suits anymore. The landlords didn’t want us in there, so when it was time to renew our lease they pulled out an old clause and denied us. Which was totally bullshit. But we had momentum, so we started looking for another location.”
As fate would have it, a hot tip led close to a hidden gem in the form of the old Lucifer’s Ballroom underneath Quincy’s Restaurant on 7 Ave. S.W. Soon The Distillery (a.k.a. D2) was up and running with a glorious domed ceiling arching above 10,000 square feet of blistering sound and throbbing lights. The spot became a speak-easy destination for metal and punk fans who favoured the underground bar for its heavy act packed calendar and ‘70s throwback décor.
“We called it our Rock ‘n’ Roll Ballroom and it rocked in there,” recalls Close.
“But it also came with its own set of problems. We had a couple of floods, pipes blew up, and yet somehow despite dealing with all those things, while trying to put up with our slumlord, we had four or five years of awesomeness in that place. Just when there was a light at the end of the tunnel the carpet got yanked out from underneath us and we got shut down and kicked out.”
With commercial real estate at a premium in Calgary at that time the entire operation was put on hiatus for several months while the co-owners sought alternate accommodations. Concerts that had already been booked were diverted to other venues around town, as were loyal staff members, such as lifer Bonnie Parker, who waited to learn The Distillery’s fate.
“The whole bar was in the garage at my house; the sound system, everything,” Close recalls.
“Our backyards were full of chairs and all of the bar furniture, I even used one of our bar tables as my patio table, cuz there was no room for, you know, all this stuff. And then we found the bar in Eau Claire at 222 – 7 St. It was a small place, but it had a little kitchen and good potential and we thought we could make it work and called it The D.”
Sadly, the third incarnation of the venue was met with an unneighbourly shitstorm of political posturing and bureaucratic red tape that would make for an untenable situation.
“That threw us for a loop. We fought and figured out a way we could adhere to all the clauses and stipulations that were put upon us. But we had constant complaints from a handful of the community. They kept bullying us and it just came to the point where they severely restricted our operations. Our landlord knew we had gotten screwed and had lost a shitload of money, so he broke the lease for us and wished us luck. We weren’t sure we were going to recover or if The Distillery would just fizzle out. Once again, the bar got packed up, but this time it was a longer haul. We spent almost a year discussing finding another space. We were selling all our stuff and trying to survive and keep the dream alive.”
Things seemed bleak indeed after the collapse of D3. Business partner and friend Philly moved away, while Close, co-owners Andrew Jay, Mark Russell, and general manager Katie Bevan picked up the pieces. Given the traumatic transplantations of the past, the crew realized that finding the right setting for a loud-as-Hell nightclub was essential to the fulfillment and survival of their collective vision.
“We looked at a whole bunch of places, and a friend of ours mentioned that the Atlantic Trap & Gill was closing down. And sure enough, it was. So, holy shit! We decided to give it one more go! We got it put together and wanted to change the name but to retain the big D, so we came up with the name Distortion. When we went back to the city they actually welcomed us with open arms and gave us all our licenses without batting an eye. We’re two years at this address come April!”
Close continues: “This last year has been one of the hardest for the whole city, let alone to be up and running with a fresh lease, but we’ve always been DIY. The same staff has followed us from the old locations; our current team of ten is rad and has the same idea. We had to do a lot of cleaning and painting and soundproofing, so we all put on our overalls and jumped in there and did it ourselves. It’s really starting to feel like home.”
Finally ensconced in an ideal 280-person capacity locale beneath the Days Inn at 3828 Macleod Trail, the new-and-improved Distortion is a cozy opium-den of the west that also claims one of the most charming bathrooms on the nightclub circuit. At last, the tenacious team behind the bar, where they might very well know your name, can take a moment to reflect on just how far they’ve come.

“Way back in the day I was just a promoter working with Calgary Beer Core and putting on shows at The Underground, Point on 17th, The Castle and then The Distillery,” says Distortion co-owner Mark Russell.

“But instead of just being a music promoter, I wound up getting into the business, as the saying goes. I went from working as head bouncer to one day being appointed manager at D2, and it has just sort of grown from there.”
Quick to commend his colleagues for their “No bullshit attitudes,” Russell appreciates how close the staff has become and the personal milestones that have arisen along the way.
“These are my family members; they’re not just friends anymore. And the fact that they’ve trusted me for so long, and put me in the position I’m in, means a lot.”
Echoing that sentiment of belonging and sense of community, Distortion’s general manager (and wife to owner Sean Close), Katie Bevan, has come of age along with the business and has helped build The “D” from the ground up more than once. A former waitress and bartender, who moved up the ranks to promoter and booker, Bevan has seen a million faces come through her establishment’s doors and the thousands of bands she’s put on stage have undoubtedly rocked them all.
“Our directory of bands and contacts has grown very large over the years, so that makes it easy. As does dealing with the same people,” Bevan reports.
“I probably get a dozen messages a week from who are looking to set up shows. I try to find a place for them and make sure I’m building bills where the bands are complimenting each other. Sean has to trust me; we’re married. In fact, we just celebrated our 10th anniversary!”
A rare opportunity to comb through a mountain of gig posters and photographs from the many performances that have taken place at their four sites, Distortion’s tenth anniversary is not just an accomplishment for the staff and owners, but a testament to the resilient character of the scene they have worked so hard to foster.
“It’s quite crazy when you think about all of the killer shows we’ve had through the different rooms,” reminisces Bevan.
“Everything from the electronic and hip-hop nights to our bread-and-butter punk and metal. I’ll never forget how insane and packed Del tha Funkee Homosapien was. I remember one of the first big name we had in was The Real McKenzies and I was like, ‘No way!’ Since then we’ve done seven shows and formed a relationship with them. The Bronx was a super-wicked fan girl moment for me. The Mad Caddies, too. Such a party. Meanwhile, I’m finding all of these amazing posters for Anvil and Napalm Death and Pig Destroyer and the festivals we’ve hosted like Sled Island and Noctis. We’ve had a blast and we’ve had our setbacks. It’s not easy rebranding yourself and getting your name out there. The scene changes so quickly, we’re keeping our ear to the ground and watching out for up-and-coming bands. My goal is pretty much to keep making Distortion bigger and badder. As long as the ‘Man’ doesn’t bring us down this time!”
Masterminding the metal-fueled anniversary celebrations, Bevan has racked up an evening of debauchery that will entail performances by a pantheon of bands who have all come together to toast the iconic venue and commemorate ten loud years of blood, sweat and beers with an epic party.
“Our ten-year show is going to be crazy! It all started with looking for a list of ten Calgary-area bands who have played the scene for ten years, or more,” she says.
“I thought it would be cool if they could come together and share this accomplishment of being a very small business in the city of Calgary for a decade. I started messaging the list and everybody was on-board. I even persuaded [hardcore beer chuggers] BDFM and [local stoner rock icons] Hypnopilot to reunite. It’s going to be a busy evening with a freak show, contortionists and an experimental second stage that’s sponsored by Long and McQuade. And, of course, plenty of that special energy that hasn’t been duplicated anywhere else.”
Celebrate the Distortion / The D / The Distillery 10-year Anniversary Party on Saturday, February 11th at Distortion. Hypnopilot, Bloated Pig, Caveat, The Press Gang, No More Moments, BDFM, Exit Strategy, and many more will perform.