Bill Johnson contributes eight originals to his Still Blue, each one a fine example of a contemporary blues song, not merely a retread of a familiar 12 bar theme, and each sung in his evocative voice. The variety of approaches, from the sne...
CD REVIEW
The Bicycles’ Oh No, It’s Love is not the kind of record that warrants a large, wordy review filled with pretentious journalistic nit-picking. The fact of the matter is simple: Oh No, It’s Love is filled to the rim with h...
The Sweatshop, June 22nd
I walked into the dimly-lit Sweatshop to catch the tail end of System Shit’s wonderfully sloppy set. Who would have thought that a punk gig would start at 7pm? Fear of Tomorrow hit the stage and began to sonica...
Best of 2016: The Garage received a lot of blues CDs this year and all of them were above standard, but ultimately had to be judged for other reasons of personality, believability, skill and versatility, etc. Take a bow Michael Kaeshammer a...
Remembering the Summer of Love
A review of Everybody Left's Season One (2009 - 13) compilation album.
Deb Rhymer has worn numerous hats over the years, from Bette Midler impersonator to daycare operator. But the one that fits her best is blues booster.
Rhymer, a Victoria native, spends almost all her waking hours dedicated to blues, eith...
The Cobalt
Feb 29th, 2008
If Vancouver were a jungle and we were all chimps, Todd Serious and Chris Rebel would have their own separate little bands. Chris’ pack would be more violent and smaller, and would conduct raids into Todd’s...
Camille Miller
Somewhere Near the Truth
Independent
Camille Miller’s voice is the centerpiece of this recording. A finely honed instrument that's passionate, soulful, and downright riveting, without being overbearing. Camille's song...
There were moments of giddy transcendence a few weeks back when this very magazine held its official Launch Party featuring a host of Vancouver talent, among them a long-standing (but largely overlooked punk band) named Aging Youth Gang, wh...
This is the Sleep Factory, Trish Shwart’s exhibition at Martin Batchelor Gallery that opened on November 7th, with a persuasive performance by the artist as a marketeer, and continues with a visual smorgasbord of parodies that explore the commodificatio