Music | Sad Mag

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Before it became a Canadian music sensation, HUMANS was just two people: Peter Ricq and Robbie Slade. When they first met at an art show in 2009, Ricq was an electronic musician, Slade, part of a folk band called Family Room. But after bonding over a shared love of high singing voices, the unlikely pair started jamming together. Six years, two EPs, and one national tour later, they’re still jamming—as two halves of the dynamic indie-electronic duo HUMANS. Using synthesizers and instruments to combine indie-pop and electronic elements, HUMANS is known for their unique sound and uncanny ability to get people dancing. Ricq and Slade promise that their newest album, Noontide, will be something new altogether. To be released February 24th by Hybridity Music and followed with a North America tour, Noontide is “a synthesis of time and space,” an “innovative mix of heavy electronics and modern pop sensibilities.” SAD Mag sat down with Ricq and Slade for the scoop.

SM: Where are you from and how did you meet each other?

RS: [Pete’s] from Montreal, and I’m from Nelson, BC. We met at an art show in 2009. He had a really disturbing bunch of paintings—I wont get into the details of what they were—but I was really intrigued, so we started talking. I got Pete to do [merchandise] for my band, Family Room, because I liked his paintings so much. We started jamming at the first meeting and I was kind of blown away.

PR: I invited Robbie to come over—well actually I invited the whole band to come over, and Robbie’s the only one who came. We did a track and then he biked home, so I called the track “Bike Home.” That was our first song.

SM: And so you’ve been HUMANS ever since?

PR: Yeah, Robbie was going to go firefighting, [until] I told him, “Hey, I got us a good show at Glory Days. I’ll do a music video, and we’ll print CD’s and everything. Let’s actually try and do it. ”

SM: Tell me a little about your new album, Noontide. What was it like recording your first LP?

PR: Some of these songs on the LP are about four years old, and some of them were done fresh at the studio. So it was just like taking a bunch of scraps from over the years and [putting them together]… What was fun about it was actually having good gear.

RS: And that we had more know-how; we came at it with fresh minds.

PR: Yeah, it was fun to go to a studio and experiment with the better gear—gear that we’ve always thought of using but didn’t have the means to [buy]. It was fun; it was actually like what “real” bands do.

SM: What makes you not a real band?

RS: Well I think we are now. Now that we had that experience—now we’re a real band.

SM: Are you excited about your upcoming tour? What are you most looking forward to?

PR: It’s going to be fun. We haven’t been on the road in a while.

RS: We’re working such long days right now between working and jamming everyday to make our set really rad. Our set’s really different from our album, which I’m actually really happy about.

PR: You know the last time we played [a set], we played it for like two and a half years. But this is going to be a brand new set that we’ve never played before and that’s exciting.

SM: What does your new set sound like?

PR: I think it’s housier, the live set is definitely housier.

SM: And the new album? Will you be playing any of those tracks during your tour?

PR: We are, but we’ve just basically remixed every single song. When we were in the studio, we had all the gear that we wanted, but we obviously can’t tour with all that. So when we made the live set, it was like taking another look at all of those songs that we took from the studio to figure out how we [could] play them like they sound on the record, but using crappy old gear. It was like writing another album, to be honest.

SM: How were you able to do that? Learn to play your set like it sounds in the studio, but on “crappy-ass” gear?

PR: Some of it has been rewritten. We’ve changed a lot of the endings or added endings. And we got a pretty nice sampler, so for some of the elements we can’t recreate, we just sampled [them], straight from the stems.

RS: I think [the audience is] really going to like that. Because it won’t be exactly like the album, it will be like all these strands [going] in different directions, while always keeping in mind that we want to keep people moving.

SM: Yeah, people definitely dance hard at your shows. It’s pretty amazing.

PR: To be honest it’s something we had to work on. But now we’re getting better at the sound, at keeping people dancing. That’s basically the qualifier—whether people are dancing or not.

SM: Are you nervous for your tour at all? Do you guys get stage fright?

PR: No, but we do get nervous when our music equipment isn’t working—when our cheap-ass gear isn’t doing what it’s supposed to do.

SM: Does that happen often?

PR: Once we played in Calgary, and one of the samplers that had all of our songs wasn’t working. So we could only play this really old set. Another time, the mixer was broken and we had to plug everything into DI’s (Direct Boxes). They’re really unreliable!

SM: I hope you can fundraise some money for new equipment!

PR: Yeah, but we’re so used to it. It would take forever to [learn our set on new gear]. We’d need like another two months.

RS: We have three keyboards of the same keyboard in the shop and we had to buy a new one because it’s still not repaired! It’s been there for years.

PR: In the beginning I was telling Robbie, “Okay we need two of everything.” “Why?” “Because they always break.” And he said, “Why don’t we just buy something that doesn’t break.”

RS: We should have done that!

SM: Well at least if the whole band thing fails, you two could always start a music gear repair shop?

PR & RS: Noooooo!

SM: Okay, okay! Sorry, I take that back. Your tour will be awesome, I’m sure. Any last words before I let you go?

PR: Yeah, we love you guys!

HUMANS will be performing in Vancouver on March 28 at Celebrities Night Club.
Tour dates & tickets on their website.

We are now well into the winter months but the phrase “Winter is coming” (not just a pop culture reference!) is one that haunts us Canadians even on the balmiest summer days. Love it or hate it, we can’t avoid having some kind of relationship with the winter.

Brie Neilson and Ian Moar are local artists and musicians who recently collaborated on a show exploring the connections we have with our longest season. The exhibit ran from November 20–December 19 at the Lookout Gallery. These two are worth keeping on the radar—it’s always a pleasure to see what they’ll be up to next.

Catch Brie’s solo music project on February 6 at Skinny Fat Jack’s on Main Street.

SadMag: What was your process for coming up with inspiration for this exhibit?

Brie Neilson:After moving back from Montreal last year, I was over for a visit at Ian and Tracy’s (Ian’s wife). We were talking about project goals and Tracy said, “Hey you two should do a painting show together!” We were lightly brainstorming different themes and someone jokingly blurted out something Game of Thrones related and we ended up settling on ‘Winter is Coming’.

Ian Moar:We instantly started getting cool winter images, so we decided to go with that theme.

SM: Do you feel that there’s something about the experience of winter that is quintessential to a Canadian artist’s identity?

BN:When I lived in Montreal and winter was especially long and cold, it was very important to get out into it. To embrace it and use it—go skating and skiing and walking, and not hide inside. It was the only way to get through it. Many of my childhood winter memories growing up in BC were from our cabin at Whistler where we were always outside. Going back in was so nice, so cozy. I guess I like the contrast, the extremes.

Because we experience true winter here in Canada, I think it can make us more active people. And maybe more creative, because having seasons provides boundaries and limitations. Summer is wide open, while winter binds us—having the flow from one to the other is interesting and inspiring and provides momentum.

IM:Winter in Vancouver is such a different experience than the rest of Canada (with the biblical rains here) but I think winter shapes all Canadians, and the colder harsher places can turn out great artists because you’re not sitting around sunbathing on the beach, you’re escaping winter via music or painting or whatever.

SM: You each took a unique perspective on the winter theme. How has your relationship with winter shaped your pieces?

BN: I have a very positive relationship with winter. My paintings are all inspired by family photos: old and current and from all of my ‘homes’: Vancouver, Whistler, Montreal and Nova Scotia (where my husband is from). I went with a more literal interpretation of winter and ended up painting snowy landscapes and cabin scenes, my parents on the ski hill and friends in fur coats. I was hoping to evoke in the viewer the kinds of feelings I get when I think of winter.

IM: Winter for me has a bleak, dark vibe. Aside from skiing I could really do without it altogether. My pieces have a bit of that moodiness and darkness. I tried to combat my natural inclination to paint only ruins, graveyards and the like with some things a little more life-giving as well.

SM: Did this particular exhibit present any new challenges for you as artists?

BN:Timing was an issue! We thought we had so much time when we planned the show, but we both ended up cramming which is challenging and exciting, and almost always inevitable. Also, it was an interesting approach to plan the show and then make the work. Usually a show comes out of work, I think.

IM: I really have not painted much since I finished my fine arts degree in the late ’80s, so it took a bit to get my groove on. Hopefully this will kickstart me into painting on a regular basis as I really enjoyed the process of creating pieces for this show.

SM: Do you have any projects lined up next?

BN: I’ll be back to focusing on my music again. I have a gig coming up on February 6 with Arnt Arntzen at Skinny Fat Jack’s on Main Street.

IM:Not right now, but I want to keep the momentum up and try to get a show together in the not too distant future.

Skye Wallace is a national treasure. Her third studio album “Living II Parts” is a melodic, raw and orchestral beauty that tells an untold narrative about the vast Canadian landscape. Skye has the ability to reel you in for story time, paint portraits of barren vistas and give the illusion that all things are dead. Her music and performance elicit power and beauty, coupled with vulnerability. She’s currently traveling the country but we caught up with Skye to ask her SadMag Local Musics Q’s:

If life weren’t filled with music it would still be filled with stories and art, some way or another.

A good show means heat and heart and soul and barely remembering what it is that you’ve done—not due to any kind of intoxication, but due to being lost in what you’re creating.

Your backing band is a very talented bunch. Devon Kroeger is my right hand (wo)man. She’s been there through thick and thin. The release show is an excellent example of what the ideal setup tends to be: myself on vocals and guitar, Devon on violin, Alex Hauka on cello, Stevie Beddall on drums, Wynston Minckler on bass, Owen Connell on keys, and Ben Doerksen on electric guitar.

Bedtime is nice, if it comes naturally.

My daily rituals include definitely brushing my teeth twice a day.

Touring is hella enjoyable; having moved around a lot when I was younger, I have certainly practiced detachment when it comes to things and homes. I don’t find it difficult to shed domestic comforts.

Best city to eat in while on the road: Burrito Jax in Halifax makes this answer Halifax

The musician to make babies with would be: Tom Waits. I like to think we’d get each other.

Favourite music video as a teenager: Sun 41 – Fat Lip/Pain For Pleasure

Favourite much music VJ: George Stromboulopoulos

Name of your favourite pet: Gummybear. A funny anecdote regarding pet names: I saw a chain email once saying your stripper name is your first dog’s name and then your first street name. This lands me at Willy Putsey. Not very sexy.

Skye is headed to Toronto to release “Living Parts” at the Horseshoe Tavern on June 4, 2014. Listen to her new album on Soundcloud and escape into the beauty that is skyewallace.com.

There is something distinctively charming about listening to a bearded, glasses-clad, hipster cowboy singing songs about ponies–in a venue also called Pony. Sad Mag caught up with Tenderfoot before his afternoon ‘salon’ show at Seattle’s most geometrically acute gay bar.

How long have you been playing as your current project and where are you from?
I’ve been making music under the name Tenderfoot for 5 years now, with different iterations of bands and accompaniment. I was born in Valdosta, GA and grew up in the South until I was 21, then made my way up north to the Detroit, MI area where I Iived for 6 years. After living on the road for a year with a partner in a vintage travel trailer, I spent some time in San Francisco, then finally settled in the PNW.

What draws you to ‘Mo-Wave?
I love the artistic diversity Mo-Wave represents in their line-ups and events. There are so many ways to be a queer artist, and the festival crew really tries to cover the spectrum of the more underground and above-ground queer movements. Mixing in internationally recognized headliners with local queer bands and artists helps elevate everyone involved, and pollinates our scene creatively.

What do you think can be done to make more stages for queer artists?
I think queer artists need to make their own stages. I just finished a small tour in Los Angeles and San Francisco, and met with a lot of movers-and-shakers in the queer creative community. I’ve noticed a cultural trend: people are thinking smaller and bigger at the same time. Small, well-curated art & music shows are popping up in backyards, homes and dive bars, and these smaller shows resonate on larger levels through word-of-mouth and online. As has been the historical norm for queer artists, we can’t really wait for people to be ready for us and what we have to offer, we just have to do it ourselves.

To read more about Tenderfoot and his Whitmanesque ways, check out his website here: http://tenderfootmusic.com/

Sugar3 — Top Less: a sneak peek at our "Glamour" shoot // Photo credit Brandon Gaukel

Sad Mag loves Top Less. Getting to know the seven-piece Vancouver-based band for our “Glamour” issue (#11), for which they graced the cover in sparkle-tie dye glory, it’s been a joy watching them grow and evolve ever since. Herewith, a little insight and a little excitement from Mike Shindler, Top Less’s vocalist and guitarist. NEW ABLUM! NEW SHOWS!

Sad Mag: Who are you?
Mike Shindler: Mike from Top Less

SM: How did you get involved in the music scene in Vancouver?
MS: I started making hot beats with my friend Donne (Top Less). Also hanging out with some of the Vancouver music crowd through our friends Hey Ocean. They intro’d us to Shad and Dan and some other sweet folks.

SM: What was the first musical performance that you felt proud of?
MS: When we opened for Natalie Portman’s Shaved Head at Media Club. It was such a sweaty little party but it was incredibly fun. We ended up becoming really good friends with that NPSH after this gig and remain really close. They’re amazing people.

SM: What do you think the music scene in Vancouver is lacking?
MS: Venues!!! We had one perfect venue, Richards, and then it was torn down for condos. We need more venues. More small venues for small acts to play in, more of a focus on indie music, art music, and less liquor laws. Everything will be alright Vancouver if we relax some of these anti party laws.

SM: Favourite Vancouver musicians?
MS: Shad, Hannah Epperson, Dave Vertesi, We are the City, Hey Ocean, Humans

SM: Favourite musical genre?
MS: Dancey Pop right now.

SM: Best Vancouver venue/night for seeing said genre?
MS: I guess Biltmore always has pretty good music but it’s slim pickings out there for venues in this city. Celebrities is great.

SM: Where are you as you answer these questions?
MS: In my office—fully clothed.

SM: Last album you listened to?
MS: I’m super behind the times but the last album I listened to on my phone was Penguin Prison… the last album I listened to on vinyl was Black Star.

SM: What are you most excited about right now?
MS: Really excited about our upcoming shows in Victoria Sept 4, Vancouver at VENUE Sept 5, Calgary at Hifi Sept 8.

AND our album came out yesterday!!!!!!!!!!!!!!!!!!!!!!!!

Square Sun — "Glory," Directed by Charley Wu

Directed by bassist/synth-wizard Charley Wu, “Glory” captures a casual disregard for blazing forest fires in British Columbia’s interior through projected and resampled archival footage. Working with a dream team of Vancouver’s young talent in film, the video was shot at Malcolm Levy’s (New Forms Festival, Hybridity Music) Open Studios.

On June 22nd, the brand-new Poor Planning EP will be released on cassette in a limited run through a collaboration between LGWR (Toronto) and Skylantern (Vancouver). The release show will be held at the Skylantern Studio (4359 Main St., Vancouver) and will feature an interactive live projector-looping exhibit, expanding on the effects used in the “Glory” video.

SQUARE SUN (formerly Gunshot Wounds) was formed in a garret on Vancouver’s Main St. between two empty storefronts. Their “fuck it” brand of weird folk/soft punk has drawn comparisons to Bonnie Prince Billy for the song writing, Destroyer for the bass lines, and Tokyo Police Club for no real reason. Featuring two members of Vancouver mainstay The Ruffled Feathers, but playing different instruments, Square Sun will deliver within a 20 mile radius (for orders over $20).

This spring, Sad Mag mailed disposable cameras to various Canadian electro-pop bands so we could see what they see and wander where they wander. Maya Postepski, drummer of Austra and one half of goth duo TRST, was one of the lucky participants in Sad Mag’s Disposable Camera Project.

Get a sneak peek–before Saturday’s Mad Mad World Party–of the various objects, subjects and locales on Maya’s radar, and read her thoughts on music, feminism and feeling like a rock star.

ARIEL FOURNIER: Maya, you toured with Vancouver artist and musician Grimes, who holds strong opinions about stereotypes in music. What did you think about Grimes’ open letter about sexism in the music industry? Did you identify with any of her points in particular?

MAYA POSTEPSKI: Touring with Grimes was awesome, I think what she’s doing is relevant and interesting. Her open letter was brave and refreshing. So many female artists or public figures are afraid to even say they’re Feminists—I found her letter very intelligent and compassionate, and powerful. I liked how she specifically explained how being a feminist does not make one a ‘man hater’ and how she went into details about her family, her father and brothers. Being a feminist does not make one a man hater. I am in line with that and I think the word Feminist has way too many negative connotations, which is a such a shame. Being a feminist, in my mind, means I’m looking for women and men to gain equality

AF: What was it that grabbed you about The Organ’s music before you went on tour with them?

MP: I liked the sound, the aesthetic, [and] the nostalgia in Katie’s performance of the vocals. I loved how sad and romantic the songs were. I also loved how greatly they’re crafted—the pop structures in each track are impressive and sophisticated. Each song is barely over three minutes long and hits you where it hurts. Wicked songwriting and awesome musicianship.

AF: How influential was The Organ for you?

MP: They took me on my first real tour. That’s a huge deal—I felt like a real rock star, like my dreams came true, like they saved me from all the horrible thoughts I had of failure as an artist. I felt like I was finally real, like I mattered, and that was very empowering. As a fan I was also very inspired because I finally found a band that I looked up toward, that I could relate to on some distant level, and that I believed was writing music for people like me: young, gay, and confused.

AF: Maya, we talked about how Vancouver used to be less associated with an innovative music scene in your mind. Did Vancouver seem like a more interesting place to you when you were a teenager or when you joined up with The Organ’s tour? Do you feel now that that has changed?

MP: I don’t know Vancouver intimately enough to comment that deeply but I think it’s been a city that people in Canada consider to be kind of sophisticated or fancy, bourgeoisie. I guess it’s quite expensive and getting really developed with condos and the nouveau riche, as is Toronto. With money comes innovation, so there you go. I don’t think any of that affects the art scene though. In fact, I think it draws artists away because artists are generally not wealthy so they leave and go to cheaper cities like Berlin or Montreal. I might do that soon as well, heh.

***

More photos from the Disposable Camera Project will be on display at The Gam Gallery on May 18th. Come hang out with us at the Mad Mad World Party and peruse photographs by HUMANS (Robbie Slade), MODE MODERNE, AUSTRA and CITY OF GLASS; Lauren Zbarsky, Alex Waber, Brandon Gaukel and Matty Jeronimo.

{cover photo of Maya c/o Hannah Marshall}

“Sad Mag’s Disposable Camera Project is like a behind the scenes from the folks who are in the scenes you wanna get behind.” –Katie Stewart, Sad Mag’s Creative Director.

hi-res cog large sitting — photos c/o Christop Prevost

CITY OF GLASS

with special guests

† BLACK MAGIQUE †

MAY 10th

Doors at 8pm

$10 at the door
19+
Cheap beer
Stunning visual FX
A truly unique and rare concert space

Arrive early! This amazing and intimate studio has extremely limited capacity.

Click for beautiful videos of past Anchor shows:

ANCHOR GUITAR STUDIOS
103-339 Railway Street
Vancouver, BC
______________________________________________________________________________________________________________

CITY OF GLASS
Pop melodies, minimalism and dance

† BLACK MAGIQUE †
Music – Film – Art – Sound and Vision

Our third ‘Mo-Wave interview also comes to you from the very noisy but very friendly Chop Suey greenroom. Tyler Morgenstern stole a few moments with Bryn, lead vocalist and guitarist of so-called “queermocore seagaze” four piece Wishbeard, who hours before hard charmed the room with their dreamy, heavy, driven, noirish pop.

How long have you been playing together as a band, and where are you from?
March 17^th was our one-year anniversary as a band! I’m from Seattle, Brighton (bass) is from Marysville, Washington, Res (keys) is from Florida and Jude (drums) is from Maryland. And I guess I moved here from Mississippi.

What draws you to ‘Mo-Wave?
Well. Being gay for one. But also I think a lot of us recognized, around the issue of marriage equality, when we were having that conversation in Washington…there were a lot of fundraisers and benefits and shows and concerts for marriage equality, but there were no queer bands. No gay bands. Not that it’s not good to be behind a cause, and it’s important to have allies, but I think that, at least for me, I see ‘Mo-Wave as an opportunity to be queer and be with other queer musicians and be just as good as anyone else.

But also, being queer is a part of who we are, but it doesn’t define us. And I hope that even though we’re recognized as a queer band, that we’re seen as a really great band, and that people hear our music for what it is. I think all my band mates would say that.

What do you think can be done to make more stages for queer artists?
I think a lot of that is our responsibility in identifying as queer. There’s been a lot of shows we’ve played that have not been queer-oriented. And it’s funny, as a band, we joke. Because it’s always the shows where we’re playing to straight bro-ey dudes with beards (which is funny because we’re called Wishbeard), but they’re always the ones who come up and go “Oh man I love your stuff! It was so good!” And it’s funny for us, but I still think that there’s a lot of responsibility for queers to be visible.

We have to make an effort to be visible, and something like ‘Mo-Wave gives us an opportunity and a platform to do that. We all identify as queer in our bands, and it’s something that we talk about and hold close. But we still take being good musicians as something really important–practicing good musicianship and being a good band and being dedicated to that. If people connect with us for being queer, that’s awesome. But if they connect with us for being queer and for our music, that’s awesome, too.

JOJ_Press — in which paper feathers, bowler hats, and patterned collars queerily coexist

On April 12, the Sad Mag crew piled into a car and headed for Seattle to take in ‘Mo-Wave, Seattle’s brand new, all-queer music festival. In between comically oversized whiskeys and late night street meat breaks, we found some time to interview a few of the festival’s outstanding artists. We took the same (sort of) three (or so) questions to all of them to see what made this amazing celebration of queer art and culture tick.

Over a beer at The Wildrose, Tyler Morgenstern chatted with Jordan O’Jordan, a Seattle transplant with bluegrass charm and a penchant for the personal as political.

Read on! and have a listen to Jordan O’Jordan seduce you with his banjo…

How long have you been playing as your current project and where are you from?
My name is Jordan O’ Jordan. I’m originally from Ohio, but I live in Seattle now.

What brought you to Seattle?
Originally I wanted to make the pilgrimage to the Mecca of grunge rock. Long ago, after college, I thought, “I wanna get out of Ohio, where do I wanna go? Oh. Seattle.” So many bands. Singles is one of my favorite movies of all time. And I know it’s not actually Seattle. It’s like falling in love with LA from movies like LA Story or like…watching Joan Crawford in LA. It’s not real LA, just as watching Singles is not real Seattle, but I still really liked it.

This project (Jordan O’Jordan) started in 2002. So I’ve been doing that for about 11 years now.

How do you go from making a cross-country migration to the city of grunge and end up playing blue grass and doing slam poetry?
I grew up in southern Ohio—in Appalachia—so I grew up listening to a lot of blue grass music. But I played in a bunch of punk bands in high school, then went to college. And it’s hard to play solo punk drums in your dorm room. So I thought “I’ll pick up a string instrument. I’ll pick up the banjo so I can take my culture wherever I go.”

What do you like about ‘Mo-Wave?
One, it’s a bunch of friends of mine who put it together. And it’s always nice when your buddies do something really cool. And I think it’s awesome to have a queer music festival in Seattle. There’s a ton of queer artists around here and we’re all playing music, so just to have a space that’s specific for a moment is awesome. To just say “hey, we’re integrated most all of our lives. But every once in a while we just want it to be us. This specific, tiny, discrete moment–for just a moment–where we can feel completely comfortable.”

As an artist, how do you think we go about creating more queer stages?
Sometimes I think it’s about making specific choices. Touring according to specific choices, about who we listen to, who we are around. It’s so easy to go into a town when you’re on or booking a tour and be like “Who’s gonna draw the most people? Who’s the popular band I wanna play with so lots of people will be at my show? I don’t care if it’s straight people.”

But then sometimes you think, “You know what? No.” Let’s contact our friends who are the queers and the gays in town and let’s play the dive gay bar, rather than the cool, hip joint. Let’s take these spaces, where we’d be anyway and then let’s make them into show spaces or let’s do guerilla art stuff. Some of my favorite shows have been in non-traditional venue spaces like queer houses, parks, galleries, or in tattoo parlors, or on top of a building. People put it together just for a moment.

And it builds community, too. Those spaces are more close-knit. And at the risk of sounding preachy, it’s not about selling booze. When you play a bar or a venue, the goal of why you’re there is to sell booze. Let’s call a spade a spade. You need to pay all the bartenders, you need to pay the door people. You need to sell a lot of booze.

Which, thank God. Everybody likes to get fucked up. But every once in a while, it’s important to make specific choices about the things we’re saying with our careers…that maybe aren’t the things we want to say.

If you’re only playing venues or only playing with straight people…take a minute. Get a little political. Get a little meta.

The Sad Mag Archives

Interview // Humans

Vancouver Notables / Brie Neilson & Ian Moar

Local Musics / Q&A with Skye Wallace

‘Mo Wave Interview / Tenderfoot

Top Less Gay Love Tekno Party Wants You to Want Them (Their New Album, that is)

“Glory”: new music video by Vancouver’s SQUARE SUN

SNEAK PEEK! Disposal Camera Project w/ Austra’s Maya Postepski

CITY OF GLASS this weekend? We couldn’t agree more

‘Mo-Wave Interview // Bryn

‘Mo-Wave Interview // Jordan O’Jordan