Monday, 27 March 2017

Woodhawk: Soaring beyond the sun

Woodhawk launch their full length 
Beyond the Sun

by Christine Leonard
27 March 2017

 If Woodhawk was the boy next door, they’d be that denim-clad rogue who revved his motorbike in the driveway on Sunday mornings and dumped you on the eve of your Junior Prom. Or, at least that’s how you’d imagine the events leading up to bassist Mike Badmington and guitarist Turner Midzain’s first time on stage together in Grade 9. Fast-forward to Halloween of 2014 and they’re showing off a tight-but-curvy six-track debut album with a title to match their band’s smokin’ new moniker, Woodhawk.  Breaking hearts and throwing sparks, the freewheeling trio may have experimented with different percussionists, but it was the heavy ‘n’ steady Kevin Nelson (Nosis, Doberman) who rose above the throng.
“We kind of pretended that the part before Kevin never happened,” says Midzain. “There’s no bad blood, or anything. I just think we didn’t figure out which direction we were going until Kevin joined the band. Honestly, since he started with us in September of 2015 we’ve got more momentum and found what we wanted to do.”
So… it was you and not them after all. Not surprising really, given Midzain and Badmington’s playful approach to laying down stony causeways and volleying big, bold riffs back and forth between them, it was only a matter of time before someone snapped them up.
“Kevin had been to a bunch of our shows and knocked at our door asking to join the band after hearing about us through the grapevine at our mutual barbershop,” recalls a well-coiffed Badmington.
“He came in, and had a bit of catching up to learn some of the previous stuff, but we pretty much started writing right away. And the rest is… Woodhawk!”
Anchored by Nelson’s technical prowess and capacity for effortlessly shifting from ‘70s grooves to punked-up blues, the collaborative three-piece has already been trying out material from their upcoming full-length album, Beyond the Sun, in live performance. Staying close to the realms of fantasy and science fiction, the much-anticipated album appropriately features the cosmic designs of artist Mark Kowalchuk.
“This album represents a year’s worth of our writing and pushes into a more evolved sound,” articulates Badmington. “I think it was more about trying to avoid restricting ourselves and seeing what we could do.”
Trusting their instincts, Woodhawk traveled to Vancouver to recording their forthcoming LP with producer Jesse Gander, who graciously received the band at his Rain City Recorders facility.
“The quality that he can produce instantly was amazing! I’ve never seen someone work a studio so quickly,” Midzain recalls. “So, it was exciting from day one, because we knew it was going to be a big sounding album. Every day we woke up ready to record and we actually ended up finishing a couple of days ahead of time.”
By his account, one good thing about having time to burn was that it gave Woodhawk the opportunity to explore the hospitality of the abundant breweries that surrounded Gander’s studio. The other benefit was that it freed the energetic threesome up to accept the gig of a lifetime. So far.
“Jesse stopped me mid-take while we were recording and said ‘Hold on, you’ve got to check your phone. They’re calling you to open for Airbourne at The Commodore Ballroom tomorrow!’”
The memory is clearly sweet.
“Trying to focus after that was kind of hard; we tried not to shit our pants and managed to finished the recording.”
Woodhawk release Beyond the Sun in Edmonton on Friday, April 7th at the Sewing Machine Factory in Edmonton with Mothercraft and Iron Eyes. They perform at the Palomino Smokehouse and Social Club on Saturday, April 8th in Calgary album release with Chron Goblin and Mothercraft. 

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.