I first heard A Tribe Called Red about four years ago. One afternoon I wasin my bedroom and suddenly loud drum beats shook my walls from the stereo in the living room; BOOM BOOM BOOM BOOM. Then, as the First Nations inspired chanting kicked in over the electronic music I burst into my living room to find a room mate flailing his arms and legs jumping to the beats. The two of us jumped and danced – invigorated by the tribal sounds. This was the power of their music. Music that is an evolution of Native sounds with modern dance and hip-hop . The drum beats create a sharp energy that hits on an instinctual level, making it near impossible to sit still.
When A Tribe Called Red announced that they would be performing in Vancouver, a friend of mine from the First Nations community of Klemtu in Northern BC immediately bought tickets for their show. The tickets sold out within the first day, so the band announced that they would add a second show to their Vancouver line-up and I purchased my ticket to join him on the second night. Before the show, I met my friend at his hotel and we reminisced about other A Tribe Called Red performances we had attended. He pointed out how one of his favourite things about the band was their appeal to all ages. Last summer, as we danced about to the tribal beats at PNE, a toddler approached us to dance with us and bounced along to our jumping. In the back of the crowd folks using wheelchairs and elderly people bopped their heads and clapped their hands. Every person had a big grin on their face.
When we arrived at The Commodore last weekend we caught the tail end of the opening act, El Dusty; sexy beats with a hispanic flare. I found myself instinctively dancing with my hips. Even though it was Sunday night, the crowd was awake and alive, driven by the sultry sounds. I thought it was a perfect opening act for A Tribe Called Red, with trap/hip hop mixed with a specific cultural flare (in this case, Mexican influence). The crowd was feeling sexy. After his set, the lights came up in the room and the music turned low. Most of the dance floor went off to line up for beers and the bathroom. I stood with my friends, making sure we had our place marked on the dance floor.
I remembered the last time I saw A Tribe Called Red they were chanting to the crowds, and prompting us to chant along with them, “FUCK ENBRIDGE, FUCK KINDER MORGAN!” Kinder Morgan is an oil company that is illegally planning on building more pipelines through unceded Native territory. This issue is only a more modern one in a long history of First Nations Rights land being used without consent. ATCR is an outspoken advocate of Idle No More, a grassroots movement bringing advocacy to Native peoples and their supporters. They speaks of this plight in some of their songs including “Burn Your Village to the Ground” or “We Are The Halluci Nation.”
The lights turned off on the dance floor, and the stage lit up in an immediate frenzy as the music kicked in hard and fast. A Tribe Called Red opened with a remixed version of “Electric Pow Wow Drum.” The beat was hyper and the crowd jumped along with it. A friend of mine once said that there are three ways of dancing; you can self-consciously move along with the beat, you can dance in a way that exudes sexiness, or you could do what she called ‘mint’ dancing. ‘Mint’ dancing, as my friend put it, was when you’re ‘just give’n er‘. In other words, dancing hard and fast; not caring what you look like. The crowd was going mint. I was going mint. The music itself never relented in it’s beat; never slowed down, even a notch. A couple songs in just as I was starting to feel tired from dancing so hard, a group of break dancers took to the stage in front of the sound desk that the two musicians of A Tribe Called Red stood at. The break dancers acted as the hype, making the crowd go wild and giving us a second wind.
There was a noticeable absence from any sort of political message at this show, other than the continuous images of war running across the wall behind them. An image of warrior men in headdresses riding on horses raced on the screen. There were clips of Native men holding machine guns draped in feathers, with neon yellows, pinks, and white psychedelic patterns in between. The break dancers returned to the stage to hype up the crowd a few times. The dancers were a cast of approximately 8 people, and were some of the best dancers I’ve ever seen – all of whom were of Native descent.
The show overall felt like they were revisiting their root sounds and amped up the bpm. It was hard to keep pace with them the entire time but it was a welcome evolution of songs with which I was familiar. I get the impression that they are pulling away from a political message, for what reason, I do not know. I look forward to seeing what they’ll bring next time they’re in town.
Lights pixie pop phenom has been creating pop jams since the since the late 2000’s, becoming popular with the rise of toy-synth musicians like Owl City.
Imagine it is the late late 2000’s. A slew of angsty self-entitled millennials occupy the world’s high schools. Post-scene-pop-rock is what they listen to, and they’re emotional. I know because I was one of them and I loved it. I often listened to bands such as the All-American Rejects and Yellowcard, bands which preyed, or rather appealed, to my high school worldview of mostly confusion.
I remember Lights being somewhat of a fringe scene kid, occupying the niche left in the wake of the aforementioned POP ROCK BOYZ, sporting scenester hair and resembling early YouTube virus boxy. She blasted onto the scene with quirky and smooth pop hits like Saviour and Ice, with equally surreal bedroomcore music videos.
I arrive just as the second opener is finishing. I wait. It is dark, and I don’t know what to expect.
The crowd is murmuring as Lights enters and they all go wild, and then she begins. Wild pink lights are happening, flashing, and the opening song is what you would expect: energetic, captivating, loud. It is not reminiscent of the soft pop I was used to hearing from her.
She appears to have evolved into a super Christian version of Kesha, in the best way.
Second song is a pop rock jam, what I imagine a saloon-style club from the future would sound like, with a little country twang going on.
The third song is a throwback. ‘Second Go’ from her first full length release in 2009, ‘The Listening’. This is the Lights I remember and it brings back some melancholic memories of lonely teen walks I had around the park where I grew up.
Further into the set we go, and I notice that the music she’s making has matured. It’s fun. It has certainly transformed from what in retrospect was a naive attempt at something emotional, to a refined pop rock. Her aesthetic is where her creative and weird core shines through. With huge long orange hair, I can tell she feels very comfortable with her image. And she is a heck of a performer.
The visuals are great. At one point the screen behind her begins to play a graphic novel scene which I later learn is a sort of fantasy she has enrolled herself in- she being this mysterious flame haired sprite. As the comic is playing, all sorts of candles are brought out on stage to form a sort of shrine. It’s theatrical and interesting- a mid-show séance really, and then out comes Lights with an acoustic guitar and a costume change. She begins interacting with the audience and playing old school hits such as ‘February Air,’ once again from her first full length release.
This show is really an experience. I feel like if I were a die-hard Lights fan I would be getting my money’s worth.
Post-Séance, Lights once again goes backstage briefly for a costume change. She starts performing her newer pop-rock songs, once again bringing the energy in the venue up. I have to say the energy dynamics of the show are really well executed. The acoustic set in the middle of served as an intermission between two different climaxes.
Overall, the show was an incredibly nostalgic experience. Lights has really refined herself and she’s doing her- whether it is in the imaginative fantasies she’s thought up or dying her hair random magical colours or jamming to pop blasts, she has come a long way from the amateur bedroom pixie she once was. Some would say a Kesha from a different dimension where flaming unicorns and colourful surreal wastelands and bass are the norm. Lights now- a musical phantasmagoria. Yup.
There’s no slow build up in this review- no beating around the bush: Passion Pit delivered one of the best acts we’ve seen since 987 came to be. I’ll give the band most of the credit, but shout out to the crowd who gave me hope that the Vancouver crowd scene isn’t dead. (credit: 87/13).
While eagerly waiting in the photo pit for the show to start, I admit, I had no idea how this set was going to go. I’ve heard mixed reviews about Passion Pit, including one not-so-great review from yours truly (circa: 2010).
Oh my goodness, how they’ve redeemed themselves. They started off with the banger, “I’ll Be Alright,” which got the fans jumping. I honestly forgot I was supposed to take pictures momentarily. Throughout the whole set frontman Michael Angelakos knew exactly when to stop singing and point the mic to the crowd, to which we all would respond by singing our hearts out.
Next came “Sleepyhead,” a track that I consider to be Passion Pit’s magnum opus of songs. It seemed almost a shame to be at a Passion Pit show and not in the “pit of passion” that was The Commodore Ballroom’s dance floor that night. We were allowed to shoot the first 3 songs, but I got the shots I needed after 2, coat checked my camera, grabbed a cheeky pint, and rushed back to my pals.
They started off at 100 km/hr and showed no signs of slowing down. Although I’m a fan of their new album, “Tremendous Sea of Love,” I was a little nervous they would dedicate most of the night to it. It’s safe to say they heard my prayers and played every single song I was hoping to hear. Banger after banger after banger.
If the sweat on Angelakos’ back was any indication of how hard he was giving it on stage, he earned Passion Pit a whopping 9.87/10. (If you haven’t caught on by now, that’s the highest honour on this blog).
It’s been a few years since “Take a Walk” was over played on the radio, and I was ready to embrace it once more. It was the perfect end to one hell of a night.
There are blue lights as the ensemble enters. Five boys walk on stage and the crowd shrieks.
Hippo Campus, an indie rock group hailing from Minnesota, have been touring since their first full-length release, ‘Landmark’ in early 2017.
It is blue and then dark and then Jake Luppen, the 22 year-old frontman, becomes spotlit.
A mature and impressive voice rings shrill in the opening few lines of their set. Jake calmly swaying as the rest of the band bob their heads, rather fiercely resembling pigeons. This is indie rock- and I am not entirely sure what’s more impressive, the at times perfect addition of trumpet segments to the fierce array of twang, or Jake’s own confident, appropriate presence.
I say appropriate because often indie leads just don’t know what to do with their bodies. They over-contort in attempt to match the often wacky ‘n poppy cadence of the genre; however, Jake does not over-do it. It seems he is focused on other aspects of the performance: his rhythmic shredding and maintaining that angelic tenor voice of his.
The first song incorporates a soft trumpet interlude to which I am generally flabbergasted. I often fixate during performances on things that I find impressive or eccentric. First song- totally innovative indie banger. Great, great opener. Honestly this trumpet is killing it.
The second song, called “Suicide Saturday,” hits with snappy and clear drums about. It is somewhat of an ode to the traditional indie track, with a wickedly catchy chorus:
“Oh oh, oh oh oh, oh oh oh,
it was a Suicide Saturday,
oh oh, oh oh oh, oh oh oh…”
Something this catchy is dangerous and kind of has me wanting to commit.
Throughout their set, they are constantly setting different moods- whether changing from quippy verses to soft asides, or catchy choruses to slow outros. But I think the brilliance of the act is in the way they transition from one to another in an engaging and honestly unnoticeable way. Which is impressive, considering their diverse soundscape, at times even with incredible bass lines literally shaking my very bonesies.
The climax arrives when after a lengthy built up intro, and they begin playing “warm glow”, which showcases the impressive vocal range of Jake and the groups overall ability to hold musical tension.
So what sets Hippo Campus apart from the indie sea of almost indistinguishable riffage twangboys? Their songs are a balance of the energy that the genre has to offer as well as the sensibility of musicians that want their songs to be dynamic. Full of not just energy, but all kinds of emotion. Each song offers a string of sad-happy, slow-energetic, interlude-segment compositions. These guys ain’t brainless, these songs ain’t brainless, these boys are mad talented.
Now for obvious reasons, any show having to follow up Mickey Avalon at the Cobalt (Saturday Oct 7th) was going to be a tough play for this reviewer’s heart, body, and soul. Nevertheless, on a crisp Saturday evening, I made my way down to the Cobalt with my friend Brittney* as co-pilot to review Shabazz Palaces. Unlike at Mickey Avalon‘s set, she was not throwing up around the corner before going inside.
I think the best way to describe the crowd at The Cobalt for this show would be a collection of people who looked vaguely Australian, artsy bros you met 5 years ago in Montreal, and your parents coolest friends.
First and foremost, if you haven’t seen Shabazz Palaces live: do it. I don’t know if it was the live bongos, the soulful bass vibes, or the occasional maracas but they are one of those acts whose live sound adds another dimension (maybe even 3 or 4) to their recorded sound.
Palaceer Lazaro at times reminded me of a mix of Eazy E, Kendrick Lamar, and your favourite neighborhood beat poet who doesn’t shower (in sound only). He delivered his usual experimental verses, but also dropped a few freestyles that showcased his traditional capability on the mic.
Tendai “Baba” Maraire handled most of the instrumentals and showcased impeccable stagemanship that really made this show such a joy to watch. I’d say that when the two of them broke it down, their abilities could even rival Spoon‘s (whose jams are mentioned here).
I was told by one of the aforementioned Montreal artsy bros that their live show had some interesting variations, like a sci-fi sounding remix of their own sci-fi sounding song. I was already convinced, but little details like this are what really make me recommend this Seattle-based duo.
Shabazz Palaces provided just the right amount of hip hop and soul to accompany this eclectic crowd.
2 bongo drums out of 2!
* Some names and identifying details not changed to protect the privacy of individuals 😉
The Devil Makes Three, a California-based bluegrass and ragtime trio, played a passionate set at the Commodore Ballroom (Sunday Nov. 12th). The stage was set in long string lights, and the floor of The Commodore, notoriously packed with springs, was the perfect venue to experience this Americana group.
The foot-stomping of the crowd was set to a mixture of their more recent material (Redemption & Ruin / released 2016) and some older tunes (The Devil Makes Three / released 2002). The trio’s harmonious vocals were paired with the twang of a stand up bass (Lucia Turino), guitar (Pete Bernhard), and Banjo (Cooper McBean), simultaneously complemented by a guest fiddler and percussionist. The crowd swayed in response to some of my favourites: “Old Number Seven,” “Hallelu,” and “Graveyard” to name a few. This performance put bluegrass hot on 987’s radar!
The musical and cultural impression of The Devil Makes Three is less reflective of their home state, California, and more so of South Carolina. Similarly, the atmosphere felt less like Vancouver and more like…let’s say…Vernon? The Devil Makes Three brought out the down-to-earth side of the Vancouver music scene and the crowd clearly adored the opportunity to appreciate some simply and impeccably performed old-time country music. Here’s to The Devil Makes Three for broadening our musical horizons, and showing us a damn good time.
There are live performances, and then there’s live entertainment. Vintage Trouble‘s entertainment factor – the band’s energy, incredible musical talent, and raw connection with the crowd – made this weekend’s show at The Rickshaw Theatre remarkable. The audience, spurred on by lead singer, Ty Taylor, jived its way through the set-list from the first bluesy note to the last rocking chord. Taylor’s unwavering oomph, complemented by guitarist Nalle Colt, bassist Rick Barrio Dill, and drummer Richard Danielson, led to an unexpectedly astounding show full of dips, swings, handstands, dives, and twirls. The singer also skipped rope with the mic cord, crowd-surfed while belting out powerful vocals, and got every viewer to high-five a stranger.
The L.A. band formed in 2010, and has since gained international acclaim while opening for bands including The Who, The Rolling Stones, AC/DC, and Lenny Kravitz, among many more. This was Vintage Trouble’s first headlining show in Vancouver, and its strong fan-base in Hollywood North was utterly apparent.
From a six-minute instrumental in which every band member played a solo, to a collaboration with their opening act, Desi Valentine (a powerhouse heartthrob in his own right), the hour-and-a-half performance shook with every note. Beyond rock and rhythm and blues, the band is hard to classify; the shows are a bit of everything, and the tunes are sometimes difficult to label. What isn’t hard to see is the soul that they pour onto the stage, and the spillover that flows into the crowd’s feet.
All in all, Vintage Trouble’s performance, rounded with songs like “Run Like the River”, “Pelvis Pusher”, and “Nancy Lee”, was a refreshing take on a classic style. Gotta be 5/5 pinstriped suits, and a recommendation to check ‘em out.
Rifflandia 2017 was a banging success, and we were so stoked to cover it!
One of the 987 highlights…J GRGRY, a 4 piece Dark Pop group from Seattle. They’ve been touring to support their debut 9 track EP, ‘Gold Teeth + Glass Eyes,’ an album we’ve been blasting on repeat since we first heard it.
Fresh off the stage at Bumbershoot, they travelled up north to Victoria, BC to perform for Rifflandia concert-goers on September 14th at Lucky Bar for their first ever show in Canada. The bar may be lucky, but in fact, we’re the lucky ones. 987’s Ashley Yip got to sit down and chat with J GRGRY’s Joe Gregory before their performance:
How was playing at Bumbershoot in your home town?
It was a dream come true. Bumbershoot was my first show I went to as a kid, so when we got the offer sheet for that, I was like “oh my god I can’t believe I’m playing Bumbershoot”! That whole weekend was out of this world. It felt like a real turning point for me. Something clicked on stage that hadn’t ever clicked before. I stayed all 3 days. There was so much good music and great people.
Was there one band or artist that stood out to you?
I’d have to say The Roots. I was standing side stage. I really took my musicianship to another level because of them so seeing them live was unbelievable.
What inspired your look with lines and the colours?
It refers back to meditation and visualization stuff I’ve been doing to keep myself on track and grounded and in good spirit. Whenever I close my eyes, I have this white gold, but it’s more gold, and it’s this upside-down triangle that I see when I meditate. When John and I were talking about the concepts for make up, I told him a little bit about myself and it coalesced and then it evolved – the rhinestone tears, the triangles. There’s bruising around the triangles and a distressed feel. It’s the feeling when I’m singing or writing; I want that to be inside the audience. The more textures and tactile things that people can incorporate into their experience, the more it becomes this whole event for everyone.
This is your first record that you’re touring around with. Have there been other records you have had under different names?
I did a couple records under the moniker The Drama and Dustinblood; both of those were through major labels. I made three records that got shelved, which was a good 10 years. I was making these records and never able to tour and never got to go out because the labels controlled everything. This is when I was 19.
What was different with this record?
It was the first time I ever felt like “ok, no one is watching and no one cares and so I can do whatever I want to do”. I could write these really honest pop songs about my alcoholism and depression and different things that I’ve been dealing with in my life. It was a real freedom.
These songs came together in batches of two. All of a sudden, I had this record. It just felt like me instead of labels being like “You have to get to the chorus in 30 seconds” or “You have to do this”. You don’t have to do anything when you’re making art.What you have to do is just trust yourself and be yourself. This record is the first time I’ve really been able to do that.
Yeah, it must feel like less of a job and more fun.
It sucks the soul out of it. Although this is work – we’ve travelled all day and put a lot of work into the songs and rehearsing and all that – I could do that 20 hours of the day and be like “ok let’s do it tomorrow”!
You met up with Ryan [bandmate] in Seattle?
Robert
Sorry.
No totally. I met him actually when I first moved to California. That was kind of the impetus of that relationship. When we reconnected, it was like all these feelings of when we started and before we got signed to major labels. We came together and we were like, “let’s go back to that. Remember when we were just like sleeping on your couch, making music, drinking”? It was fun, you know. We took that vibe into the studio.
That energy was really cool for me. I felt like I could be open and honest and not, “Am I writing for someone else who’s going to write a cheque so we can go on tour”? It really cut a lot of that fat out so that I can just be me and do the record that I wanted to.
I think it’s very admirable what you did, speaking out about depression, alcoholism. That also opens the door for you to receive other people to reach out to you with their experiences. Have you had any moments on your tour since that have really stuck with you?
It’s unnerving to talk about it. I look back and regret decisions that I made with drinking. But I feel like it’s so important because when I was that age and when I was doing that stuff, no one was telling me that minds like mine, with alcohol, can be really dangerous and hurtful. I want other people, and younger people to know, that it’s ok if you don’t want to drink. It doesn’t have to be some social thing that you have to do to be accepted. I hang out with drinkers all the time, every day and I don’t drink because it’s not for me.
No one told me that depression is what it is. It’s a really heavy beast that hangs on your back. With music, that was what helped me open up with myself about these concepts. It’s important even though it’s uncomfortable for me to talk about. I really appreciate what Michael Stipe, Perry Farrell and Kurt Cobain were doing in the 90s – talking aboutblurring gender lines, sexuality and racism and uncomfortable things that we don’t want to talk about but we have to.
I’ve become more comfortable because I’m finding that the more I talk about it, people are ok. You’re not alone and there are resources in community.
Outside of music, what’s your life like?
My dog is my life outside of music, first and foremost. Her name is Vox. Vox is the word voice in Latin. In the music world, it’s an amplifier that the Beatles use, and it’s my favourite amplifier and in the studio, it’s the shorthand for vocal. She’s a Boxer. I got her right before I got sober, like “I probably won’t take care of myself but I will take care of a dog”. She totally helped me on that really difficult part of the journey, especially.
We go to the beach a lot and do a lot of hiking. Going to the beach is about writing songs. A lot of the time, I go to the San Juan Islands. That’s where 90% of the record was written. I’ve been finding these weird random places in the middle of Oregon and the San Juan.
What can we look forward to seeing from you in the next year?
I’m moving down to LA in about a month. I’ve got about 10 new songs I’m working on and really excited about. I’m going to do a new record December, January, February and then hopefully hit the road hard all of next year. Hoping to get into the European festivals and just tour the US as much as possible.
Keep an eye out for these guys, and if you have the time, you can catch J GRGRY along side The Killers, The Lumineers and more on December 5th in Seattle at Key Arena!
As my first piece for Nine Eight Seven, I was asked to review Youngblood, followed by Bishop Briggs at The Vogue Theatre in Vancouver’s entertainment district. Being one of the only women in the media pit, I tried not to let myself be intimidated. I needn’t have worried – the two acts were respectively spearheaded by two of the most badass, empowering women to hit the stage I’ve seen in a long time.
Youngblood, as the frontwoman Alexis Young describes, is “what the ‘60s thought the future would sound like”. The eclectic, electronic waves and Young’s fiery vocals make it near impossible to believe that this Vancouver-based band is barely a year old. If you want to read more about Young personally, stay tuned for Nine Eight Seven’s interview with her – you’ll fall in love with the laidback siren that is Alexis Young.
Young’s range coupled with the rest of the band’s raw talent made for a commanding set in the 70-year-old theatre. Her trendy vibes and throwback style were met with enthusiasm. In her silky voice, Alexis Young interacted with the audience with quiet humour. Youngblood’s future is bright, and budding rapidly. Garnering hundreds of thousands of listens on Spotify, and watching a snowballing following, the band is striking all the right chords. Cozy but punchy concerts like last night may soon be in the past for this Canadian band. 4/4!
As the stage crew set to work, and a banner dropped behind the drums, the crowd began to buzz once more. In the just-grungy half-light of the venue, I waited patiently.
No amount of Spotify browsing or background reading could have prepared me for the sheer power and dynamism Bishop Briggs brought to the stage. From the white kicks to an iconic pair of pigtails, Briggs’ persona filled Vancouver’s Vogue Theatre from her first note to her dual encore.
Sarah Grace McLaughlin (aka: Bishop Briggs) is a British performer now based in LA. Her style, an electric mix of powerhouse vocals, synth, and heavy base make her difficult to categorize into one genre – her badass moves, killer outfit, and raw energy make her easy to adore. She’s a fresh, trendy singer poised only to keep rising.
Bishop Briggs opened with “Dark Side”, a chilling, eerie track cut with her stunning lyrics and synthetic base; I was sold.
A lion of a performer, she played hits like “Wild Horses”, “Pray”, and “Be Your Love” to an eager crowd of festival-goers. The intimacy of The Vogue allowed her to reach every single audience member at Westward Festival’s opening night.
Briggs performed “River”, arguably her most well-known song, as her second encore. The kick in the tune, and her bouncy dancing had everyone at the show on a high. The atmosphere, a head-banging, hand-clapping, high-jumping attendees made it clear that she stole the night.
All in all, Bishop Briggs’ first ever show in Vancouver was a huge success, and has had me listening to her on repeat since. I can’t begin to convey how in awe her show left me. I can say that the founder of Nine Eight Seven leaned over during her set to say that he hadn’t been so impressed in a very long time. I’d give her 2/2 whipping pigtails, and tell you that you need to catch this powerhouse chick’s performance as soon as you can.
September 2017 could be one of the best months this year for Vancouver concert-goers. One of the many reasons why: Westward Music Festival. Running September 14-17, Vancouver will be host to Westward Music Festival: a festival which will happen at multiple venues in the city (Vogue Theatre, Biltmore Cabaret, Venue, The Imperial Theatre and Fox Cabaret) and feature 14 different events over the course of the weekend. Don’t be fooled by the fact that this is their first year, WMF is bringing some world class acts such as Vince Staples, A Tribe Called Red, and Gov’t Mule.
Among the many rad acts, Little Destroyer: a 3 piece group formed in Vancouver. They’ll be playing along side Dear Rouge at The Imperial on Friday September 15th (more info here).
When we first heard Little Destroyer, many questions formed in our heads. Luckily for us, we got them to answer some for us!
987’s Alli Bridges got in a lil’ Q&A with Little Destroyer’s front-woman Allie Sheldan to help us learn more about the act:
1) You guys have a really unique style that I had a hard time describing. In terms of genre how would you define what youre doing here?
Haha ya – we tend to have that response from people! Short answer: we make alternative music. Long answer: We make music that reflects a long list of influences but ultimately tries to create alternative/pop music that pushes the set boundaries. Sometimes we tell people we’re like if NIN and Miley had a baby fronted by a Yolandi+Gwen mashup. For us it’s about genre mashing, distorting sounds and perceptions but making music you wanna listen to over and over, in the way the pop can hook you – but ultimately being catalyzed through the rawness and energy of punk.
2) So far you’ve released a couple singles from your upcoming EP. When do we get to hear more?
Very soon! To date, we’ve got three songs released – Bad Cell, Rattlesnakes & Savages. Within the next 2 months we’ll be releasing our next single, shooting the video for the following release and dropping some remixes!
3) Allie, you’ve made a point of speaking to the importance of authentic and meaningful lyrics in your music. What is your favorite lyric- in your own and others’ work?
I definitely tend to be fairly candid when writing, I grew up obsessing over lyrics and liner notes and for me, it’s the first thing I notice about a song. It can be uncomfortable being honest but if you can say, (for example) hey listen to this fucked up thing I did/thought/experienced you’re showing people it’s okay to be vulnerable, it’s okay to talk about this stuff. And it helps us all realize we aren’t alone in it. Novel done.
favourite lyric of my own: “All my friends are buying mansions now, they got a kid on the way and it’s reminding me how, I fucked up my life by breaking your heart and the path that I chose has been wrong from the start” – from our song MANSIONS
favourite lyric of someone else’: “The debt you owe is just your soul, and some hotel bills, we’re both just victims of our own free will, and it’s through, you know it’s true, so go and find yourself something to hold onto” – The Reigning Sound “Something to hold onto”
4) It really feels like you’re making music that has yet to be made because it’s so unique and defying of genre. That said, you all must have some artists that you’re inspired by that have informed your music and its direction. Who are they?
Kanye West, Portishead, Tricky, Suicide, The Kills, Die Antwoord, Frank Ocean, The Clash, Anohni, Lou Reed, NIN, Death Grips, Ho99o9, Santigold, MIA….
5) Speaking of musical inspiration, who are you listening to right now that we should check out?
Vince Staples, Peach Pit, War on Drugs, Anohni, Jay Z, King Krule, Against Me!
5.5) Craft Beer or Bud Light Lime?
Tequila! Budwiser Picante Chelada.
6) Let’s get you to play DJ for a second. Pick a song for the occasion: 1) driving 2) dancing 3) drinking
1) Driving: Lift me up – Vince Staples
2) Dancing: BBHMM – Rihanna
3) Drinking: Drinking With the Jocks – Against Me!
7) You’ve been a part of some amazing shows, including opening for Mother Mother and an upcoming show with Dear Rouge. Who would you dream of opening for? And who would you love to open for you?
We have been part of some amazing shows – we feel so lucky! Honestly opening for Against Me! was a dream come true. It was our first time playing at the Commodore and Against Me! is one of our all time favourite bands. So that was incredibly special. And who would we wanna have open for us? Victories, Two Towns or LEGS.
8) What is on the horizon for shows? (what we really want to know is when can we Vancouverites see you next?)
In terms of Vancouver shows: we are playing Friday September 15th at the Imperial with Dear Rouge for Westward Festival which we are very excited about. Great venue and great lineup. And we also have an intimate, limited capacity show in the works, which we’ll be releasing details for soon!
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There you have it. One of many shows next weekend NOT to miss.
