While East Vancouver celebrated the demise of a beloved venue with abandon, a smaller gathering in the West End launched an unexpected new haven for fun-having. Though it certainly wasn’t the first show hosted by Googly Eyes Collective, Elsethings Arts Festival—a collage of performance, film, art, and cozy hangouts—was charged with expectation, light, and new beginnings.
At a sold-out Wednesday night show, whilst a snowstorm swirled outside, it was obvious just how much frontman Ryan Guldemond of Mother Mother enjoys the drama associated with a perceived apocalypse. Forces both natural and amplified came together in theatrical tension on the Orpheum stage, beginning with a foreboding opener (and new album title) “The Sticks.”
For many of the musicians I know, band practice is an intimate weekly ritual. One member taps out a rhythm overheard on the bus, while another articulates some severely internet-centric lyric. Sometimes it’s all lighbulbs and fireworks. Other times ideas are ridiculed and abandoned as quickly as they’re expressed.
The Adulthood graciously shared a jam session with me, and even let me point a camera at their faces. When I stopped by, they were jamming out a new song called ‘Til Death do us Part. This is the resulting video/jam/document/thing.
You might think it takes a lot of equipment to record and edit vocals, instrumental tracks, field recordings and music videos for half a dozen different bands. But for one Vancouver performance artist with a penchant for singing on her bike, all it takes is an iPhone.
Prophecy Sun is a singer, dancer and creator whose curiosity keeps her moving. “For me it comes down to accessibility,” she says of her pocket-sized piece of gear. “First and foremost, it’s so immediate. I don’t have to worry about getting someone else involved, I can just press record and start doing it.”
Crafted by a pair of local boy/girl two-pieces, this split seven-inch pressed on white vinyl has a dark side and a goofy side—both of which may cause you to unwittingly sing in public.
First up is Lightning Dust, one of the many successful side projects spawned by hometown stoner-rockers Black Mountain. Amber Webber and Joshua Wells explore their ‘80s goth-pop side in the moody, half-whispered affirmation “Never Again.” With quiet beginnings, the track swells into several timpani and thunderclap-accompanied moments fit for a particularly tragic scene of a John Hughes flick.
South African indie music has rarely crossed the ocean to North America’s mass markets—but the genre is developing, and the sound is big, bright and bold.
Gazelle frontman, Xander Ferreira, says South African indie music is in a renaissance period: “We believe this is the future for African music, for people to gather a scene here first and then go and take over the world.”
Creative spellers and Milwaukee four-piece Jaill sound like the type of band that “practices” rather than “jams.” Every song on their big label debut That’s How We Burn fits into a cohesive garage-pop aesthetic; the riffs are watertight, the drum licks indestructible. Never mind improvising — everything from lead singer Vincent Kircher’s conversational melodies to the subdued hints of Wisconsin twang — feel polished and calculated . . .
This is not really a Sufjan Stevens album. And it’s not really new, either. Run Rabbit Run is a sometimes-epic classical reworking of Stevens’ 2001 release Year of the Rabbit, composed and performed by Osso: a New York-based string quartet. Like the original, Osso’s interpretation offers an entirely instrumental take on each year of the Chinese zodiac calendar . . .
Strap on your party helmets because Music Waste is back for another five days of weird and wild music, art and performance.
Despite a cold and steady drizzle, a crowd some 4,000-strong gathered at the corner of Hastings and Main streets on December 6th for an outdoor concert in support of Insite, Canada’s sole safe-injection site.
Held on the date of Insite’s fifth anniversary, the music and barbecue’s mission was to demand that Stephen Harper’s recently prorogued government keep the site operating. Vancouver rock quintet Black Mountain and Bedouin Soundclash lead singer Jay Malinowski were there to perform right on Insite’s doorstep.