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A perfect death

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[dropcap]I [/dropcap]like to think that I am an empathetic person; I often put myself in the shoes of others in order to gain a better understanding of their thoughts and feelings. On a few occasions, I have caught myself wondering how I would think and feel if I were to be suddenly diagnosed with a disease that would cause me to be in pain for the rest of my life.

Would I want to wait until I succumbed to my disease? Would I want to take my own life? Would I want someone to take my life for me? The decision is one that I would not take lightly because it, obviously, is a decision that I would not be able to take back.

There are some individuals, as The Global and Mail reports, who feel that the recently proposed assisted-death legislation is “playing it safe.” I, however, feel that the legislation is perfect considering the weight of the matter.

Yes, medical assistance in dying is to become legal in Canada as a result of the Supreme Court’s recognition that parts of the Criminal Code violate one’s right to life, liberty, and security. The federal government has until June 6 to officially respond to the Court’s decision by passing the proposed law.

There are right-to-die advocates who are unhappy with the legislation. From their perspective, its requirements are too strict, and would result in people suffering needlessly. One particularly stringent eligibility requirement is that one’s natural death is “reasonably foreseeable, taking into account all of their medical circumstances.”

In other words, the legislation does not explicitly cover individuals suffering from degenerative mental conditions, such as dementia or Parkinson’s disease. That said, those suffering from such conditions may still be found eligible for medically assisted death in that the legislation does not require that one suffer a fatal or terminal disease. An individual suffering from dementia may still be found eligible, taking in other factors such as their age or frailty.

The legislation that already exists in California, Oregon, and Quebec is very similar to that proposed by the Canadian government.

In a way, the proposed legislation, though strict, also allows for some flexibility. It is ultimately important for people to remember that each case of medical assistance in dying will be considered individually.

Making the legislation more flexible may cause problems in that the right to physician-assisted death may be abused. One of the primary reasons that assisted dying was previously prohibited was because it was meant to “protect vulnerable persons from being induced to die by suicide at a time of weakness.” If the eligibility requirements were less strict, I fear that there would be vulnerable individuals quick to exercise their right to die in lieu of seeking other medical help.

Moreover, there are a handful of other jurisdictions in the Western world that already have physician-assisted death legislation in place, such as California, Oregon, and the province of Quebec. The legislation that exists in these jurisdictions is very similar to that proposed by the Canadian government.

So, rather than starting from scratch, the government has decided to take the successful physician-assisted death legislation in these other jurisdictions as a foundation for its own. Thus, I would not say that the proposed laws are too cautious.
At the end of the day, I think that it is important that people put themselves in the positions of individuals who would be exercising their right to medical assistance in dying. The decision is an irreversible one that carries a lot of weight. The strict nature of the proposed legislation is to ensure that individuals are able to voluntarily make such a decision with complete certainty.

Athletes should be allowed to use performance enhancing drugs

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[dropcap]“D[/dropcap]o drugs! Drugs are good for us!”

These statements look bizarre. That’s because the opposite has been enthusiastically drilled into our heads for a long time. We’re averse to the idea that drug use might actually lead to a positive outcome. This sentiment can be seen in how professional athletes are treated after being caught using performance enhancing drugs (PEDs). These athletes are seen as criminals, gaining an unfair edge. However, there is no logical argument for why PEDs should be banned.

The fact that athletes caught using PEDs are shamed and cast out of ‘sports Eden’ shows that the drugless athletes are held in a high-regard. The player who ‘cheats’ by using drugs is dishonourable. The public believes that their performance is not based on hard work and strength of will, but on the simple act of popping a couple pills.

If we consider a player’s worthiness of reward, I don’t think that athletes completely deserve all the accolades they get. Athletic talent is largely due to genetics — being born with the right body. One doesn’t choose the body they are born into. Athletes who have won the genetic lottery simply got lucky.

To deserve praise, the outcome has to have been brought about by choice, not accident. Even willpower is arguably largely determined by genetics. If we think our value of athletic achievement is predicated on desert, we’re deluding ourselves. Realistically, I think our value of athletic achievement has more to do with spectacle. Everyone wants to see a guy throw a ball over 100 m.p.h.

Is a PED like a magical potion that results in superhuman strength? No. It gives one the same edge another athlete has genetically.

We set a precedent by the way we treat athletes. We establish social values through the way we deal with athletes and talk about them in media. Our current shaming practices send out arbitrary and confused messages about what constitutes desert. We shouldn’t be publicly enforcing an athletic value that we don’t even have a clear and consistent conception of.

Is it fair that one athlete is born with a higher red blood cell count which allows them to run a sub-two-hour marathon, and another athlete with a lower count cannot take drugs to be given the same advantage? Suddenly the drugged athlete no longer deserves the praise for the sub-two-hour marathon because they chose to raise their red blood cell count?

I think the disapproval of athletes using PEDs is due to a lack of understanding. If we understand what taking PEDs actually amounts to, I think we will become more accepting of them. Is a PED like a magical potion that results in superhuman strength? No. It gives one the same edge another athlete has genetically.

What does it take to earn or to deserve reward? We’re taught value through social practices. We watch esteemed athletes get punished for choosing to level the playing field in order to make competitions fairer. We dole out reward and punishment without a coherent rationale. Here we seem to be perpetuating a system of values without an underlying logic, and that’s kind of scary.

“All you see is flames”

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This is what Brandon Tidy, SFU student, saw as he was evacuating Fort McMurray

Brandon Tidy just finished up his first year at Simon Fraser University. He played for the men’s hockey team, and is trying to transfer into business.

He went back home for the summer hoping to make some money for school. He was going to see friends and family, and spend more time with his girlfriend. A typical summer for a lot of SFU students, with one major exception.

Brandon’s home is Fort McMurray. Within two days of being back, he was evacuated.

“I got back Sunday night [May 1] and there was some smoke. On Monday, it was really smoky. Tuesday, it was all clear, but by the afternoon it was bad and we heard on the radio basically just ‘Leave town,’” he recalled. “I was only back for a day and a half, and then right away we had this problem and we had to leave.

“The initial shock is over. Now it’s just kind of frustrating.”

Within 48 hours, his entire summer plan was gone. Instead, he and an entire city now had to look ahead, and quickly. He had less than half an hour to figure out a plan to get what he could in one fell swoop, and leave his home for what could be the last time.   

“I was at the gym with my girlfriend and we got back to my house and they basically said on the radio that we had 20 minutes to get out. One minute you’re just planning lunch, the next minute you’re packing,” he said.  

Flames engulf homes which forced a mandatory evacuation of Fort McMurray
Flames engulf homes which forced a mandatory evacuation of Fort McMurray.

“My dad was at work and we were trying to go pick him up. We were trying to go north, but officers told us we had to go south. We actually drove through the fire, it was pretty crazy. Driving through town, you look to your left and you look to your right and all you see is flames. It was surreal. Once you get out of town, you drive 50 kilometres, and it’s clear blue skies again. It’s just really weird.”

 

A Family Divided

 

Brandon is now on Vancouver Island, where he grew up before moving to Fort McMurray seven years ago. He’s with family and his girlfriend, Sophie. While he and his family are all now safe, the evacuation was hectic as they were all split up. Brandon’s father was trapped for days by the fire.

“They’re safe now. My mom got out right away as well. I was worried about my dad, he got trapped north of Fort McMurray,” he said. “He was sleeping on a piece of plywood for four or five nights before they were able [to get to him]. He was supposed to fly out the next day, then eventually it cleared up enough for him to drive out.

“The smoke was so dense that even driving through the car they had to wear gas masks [. . .] The air quality was so bad, it was suffocating.

“That was a little tense, and my mom was having a hard time especially when my dad couldn’t get out of town, but now we’re all safe and out of town. Now we’re just waiting for when it’s safe to go home.”

 

The Next Step

 

It’s the waiting part now that could take up Brandon’s summer. With the fire still raging on, there’s no telling when evacuees can return to the city.

In an update on May 12, provincial officials said that there wasn’t going to be a way for them to tell for at least a couple of weeks when folks could return to Fort McMurray to see what remains of the city, which last month held more than 80,000 residents.

There’s no timetable in place for any sort of permanent return, which means Brandon and the tens of thousands of other evacuees are in limbo.  

“We’re trying to make a plan, but it’s tough. You want to get a job and save money for school but no one wants to hire you for as little as two weeks depending on what happens,” he said. “Right now, it’s been great getting support from everyone. The whole nation has been supporting this cause.

“So I just keep putting myself on Kijiji and trying to do odd jobs for cash, trying to save some money and hopefully I’ll have a job to go back to when I get home.”

Brandon is one of the fortunate ones whose home wasn’t touched by the fire. He said it got as close as 700 metres, but smoke damage is the worst he’ll have to deal with personally.

There is no telling yet when the fire will be put out or the extent of the damage it will cause
There is no telling yet when the fire will be put out or the extent of the damage it will cause.

“My home is likely going to smell like a campfire for a while, but at least I have a house to come back to so I’m really grateful for that,” he said.    

 

The Road Ahead

 

Another thing he’s really grateful for is the “overwhelming” support he and the rest of Fort McMurray have received from everyone. The drive from Fort McMurray to Vancouver Island was filled with fundraisers, and the donations and relief efforts hit home for him. The kindness of strangers personified itself in a bar the first night on the road after he evacuated.

“Me and my girlfriend and a buddy from Edmonton went to go for a beer and when they ID’d us, they saw we were from Fort Mac. They said ‘Everything is on us, don’t worry about it.’ Everywhere you go, everyone’s trying to help out the best they can, and it’s awesome how kind Canadians are,” said Brandon.

“I just want to say thank you to anybody [who supported Fort McMurray] and even if they have no ties, being a Canadian people are still supporting the cause and it means a lot.”  

Review Roundup: end of TV season

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HOW TO GET AWAY WITH MURDER - "Hi, I'm Philip" - Philip makes a threatening move and ADA Sinclair may have figured out a way to take down Annalise. Meanwhile, Catherine and Caleb are forced to make a life changing decision, on "How to Get Away with Murder," THURSDAY NOVEMBER 12 (10:00-11:00 p.m., ET) on the ABC Television Network. (ABC/Tony Rivetti) CHARLIE WEBER, VIOLA DAVIS, JACK FALAHEE, BILLY BROWN, KARLA SOUZA, AJA NAOMI KING, ALFRED ENOCH

Spoilers below.

How to Get Away with Murder, Season 2

This season felt like an absolute shit-show. I mean, it’s always a gong-show, but this season felt more driven by formula than creativity. Okay, Rebecca’s dead and it’s obviously not someone we’d expect. . . so Asher or Bonnie did it. Bam, it’s Bonnie. Then, surprise, Asher kills someone too, so now they’re all in this together. The only people not in on everything are Eve and Oliver. I plead to whatever TV gods there are, do not touch poor, innocent Oliver.

The copious flashbacks and criss-crossed plotlines were quirky in the first season, and though they still inspire adrenaline rushes with every cliffhanger ending, it’s also getting a little tedious. All that being said, this was another roller-coaster of a season that followed in the first season’s footsteps.

Lucifer, Season 1

Lucifer is flawlessly portrayed by Tom Ellis, taking nothing too seriously. Amenadiel and Lucifer’s sibling rivalry — though sadly not culminating in a devastating heaven versus hell showdown — did result in a brawl before they started working together. This season revealed that Lucifer was mortal, but only around Chloe. Sadly, this was expected. The two didn’t get together, though, which is fantastic.

Many jokes were cracked, a pair of angel wings set ablaze, and an overall great time was had by all. The finale ended on a cliffhanger, with the mother of the angels being set free from hell. No idea who it is, but I for one am burning to find out.

Shadowhunters, Season 1

Thank God the Mortal Instruments series’ screen adaptation found new life in this show by Freeform. Spot-on casting and an overall respect for the books’ plot launch this show into the small group of book-to-screen adaptations that are actually really good.

There’s magic, duels, demons, and even a little bit of gay to round the show out. Magnus and Alec getting together at Alec’s wedding to Lydia Branwell is a highlight. The writers haven’t shied away from the Jace-Clary incest subplot from the books, and Dominic Sherwood skilfully portrays Jace’s inner struggle with his feelings for Clary.

Supergirl, Season 1

Was it cheesy? Extremely. Is it unfortunate that Kara seems to mimic Clark in both secret identity and outfit? Of course. But I’ve got to say, in a TV landscape that’s filled with dark thrillers, crime shows, and series that try to showcase the good side to the bad guys, Supergirl’s cute and slightly over-the-top messaging about hope is a nice contrast.

The season-long battle with Non finally drew to a close after Kara battled her sister Alex, who was under evil Non’s mind control. Also, it was extraordinarily convenient that human Alex could pilot Kara’s Kryptonian space pod, but I forgive them that stroke of fortune — especially because Kara finally got a promotion at CatCo and, most surprisingly of all, Cat finally got her name right. Also, there’s a surprise new pod with something exciting in it, but we didn’t get to find out.

Young & Hungry, Season 3

Another satisfyingly comedic season with a twist of heartbreak. Josh, a dorky but super-rich tech entrepreneur, and his personal chef, Gabi, finally started dating. This happened after Gabi drove off with Jake, Josh’s brother, in their jointly-owned food truck. Alas, the Josh-Gabi couple we’ve seen coming since the pilot (where they slept together) hits a major snag when Josh realizes he’s afraid of commitment.

He goes to therapy to try and get over it, which provides the base of the comedy for the last few episodes. Though the season ended on a sad note, there were more than enough innuendos and one-liners to keep things rolling.

CENTRE STAGE: Ballet Kelowna teams up with Continuum Contemporary Music and Belgian choreographer Thierry Smits presents ReVoLt

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Nicola Leahey shines in Compagnie Thor's ReVoLt.

Renaissance – Ballet Kelowna

Chutzpah! PLUS

May 4–6, Norman & Annette Rothstein Theatre

Since becoming artistic director and CEO in 2014, former Ballet BC dancer Simone Orlando has led Ballet Kelowna to become a mature company presenting stunning contemporary choreography. Her dedication shows in the company’s production of Renaissance, presented in collaboration with Toronto’s Continuum Contemporary Music as part of the Chutzpah! Festival’s extended programming this year, Chutzpah! PLUS.

Musicians shared the stage with the dancers as they performed four pieces both new and old. James Kudelka’s Byrd Music, set to Rodney Sharman’s Pavane, Galliard and Variations, is a clever, symmetrical piece of choreography that features two dancers controlling the movements of two others as if they were dolls. Using every part of their bodies to manoeuvre the pair of inert dancers into different positions, this piece was performed with precision and wonderfully entertaining to watch.    

Another renowned choreographer followed with John Alleyne’s Split House Geometric set to Arvo Part’s piano and violin duo Fratres. The stark, repetitive music was paired with Alleyne’s sharp lines and geometric shapes, beautiful pas de deux sequences, and expansive solos.

The second half of the evening featured two new pieces of choreography set to two original compositions. Folie à Cinq by Heather Myers was accompanied by Folies d’Espagne by Michael Oesterle. The five dancers in this piece moved playfully around the stage with sharp, quirky hand gestures and eccentric group formations. Their unconventional movements elicited a few laughs from the audience, and the unique choreography, while lacking in elegance, was fresh and unique.

Orlando contributed the final piece of the evening, Before and After set to Jocelyn Morlock’s Night, Herself, which was inspired by Henry Purcell’s The Fairy Queen. The rich greens, blues, and burgundies of the costumes intensified the fluid choreography that gained momentum as the dancers moved in sweeping formations, filling the stage.   

While in the background for most of the show, the musicians of Contemporary Continuum Music filled the theatre with their interpretations of these compositions from Renaissance masters and current composers. Cellist Bryan Holt and violinist Carol Lynn Fujino had their moments in the spotlight with solo interludes between the dance pieces. They were both mesmerizing as they demonstrated the kind of skill that can only come after a lifetime of dedication.   

I look forward to seeing Ballet Kelowna continue to grow, and I hope they are able to make more frequent visits to Vancouver.

 

ReVoLt – Compagnie Thor

May 5–7, Scotiabank Dance Centre

This one-woman show is a barrage of hair-flinging desperation, and Australian dancer Nicola Leahey gave it her all both physically and emotionally. Belgian choreographer and artistic director of Compagnie Thor, Thierry Smits, has worked with her before, and Leahy approached him about the possibility of creating a show about female oppression. The result is a piece of relentless choreography that is a metaphor for female struggle and the necessity to fight back and revolt against existing power structures.

Wearing a short camouflage-print tunic, Leahey begins the show in a tormented state, being pulled and jerked in every direction by an unseen force and fighting for survival and escape. In a square of light she performs small stilted movements to a dissonant score of pops and static. Every so often the stage went black and the lights came up to reveal her in a new position of struggle.

One of the most impressive elements of this show was Smits’ use of hair as a choreographic element. Leahey’s blond tresses flipped, swooped, circled, and figure-eighted as she gradually gained more range of movement and repeatedly swung her upper body in circles. The hair often fell in front of her face obstructing her view and leaving her a faceless victim of her situation, but the choreography soon had her flipping her head to right it or using her arm to push it back.

Through the cyclical choreography, Leahey seemed to gradually become calmer and able to move more freely. Yet she was still not able to escape the cycle and was compelled to throw her body around, at one point throwing herself onto the stage as the lights turned off only to show her standing as they came back on and she repeated the motion over and over.

Leahey’s concentrated, resilient performance held this show for just under an hour as she seemed to be repeatedly pummeled by the choreography. Smits has created a powerful work that can’t help but hit you over the head with its message of fighting against oppression.

Toronto’s Harrison is a new kind of DJ

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You don't have to scream to be heard, is the embodiment of Harrison's sound.

For those who prefer a more chill form of club music, Harrison, a DJ from Toronto, came to Vancouver to fulfil your most laid-back dreams. On his Secret Songs Canadian Tour with Ryan Hemsworth and Ryan Playground, Harrison graced Fortune Sound Club on May 6 with his electronic vibes.

Describing his sound as “electronic uplifting melancholy music,” this Canadian sensation has over 30,000 followers on SoundCloud. He has a unique sound, proving that even in today’s crazy world you don’t have to scream to be heard.

“It took a while to figure out how I wanted my own music to sound. . . I’m just really happy with the way it sounds now,” Harrison told The Peak. This happiness is evident in his music, which reverberates with good vibes.

Growing up on the Eastside of Toronto was a pleasure, according to Harrison. “It’s very nice and quiet. . . I’m not very good with dealing with downtown, hectic situations,” he said. “I don’t even like playing music live because it’s just too much sometimes. . . but I’ve gotten over that over time.”

Before starting the tour, Harrison revealed that having “never been to Calgary or Vancouver. . .  [it] makes me nervous for these two small shows.” He said that his nerves stem from an “ultimate fear of being booed. . . I don’t know how Ryan Hemsworth’s fan base will react to me.”

Despite performance anxieties, “I eventually would like to have an awesome live set,” Harrison said. “I don’t wanna be a DJ forever. . . I really want to have my own set list of songs, and go up there and play the keyboard for people.”

Harrison’s musical talents go beyond his producing: “I play the piano and the guitar, I’m trying to learn the trumpet, and I’m also trying to learn the drums.” He said the drums are a problem, because “I have a really big issue with making noise. . . drums are just so loud, and I don’t want to annoy anyone.”

Yet with music like his, it’s hard to be an annoyance. Harrison’s sound is understated, with hints of funk and soul influences. His music is not your typical big DJ beats, a fact of which Harrison is proud. Like really cool elevator music, his songs are incredibly chill and soothing.
Live, Harrison’s sound is much more upbeat, with a heavy reliance on rhythm. The audience loved it, the crowded club filled with an eager audience. The receptive room took to dancing and drinking as he took to the stage and started his set. Overall, Harrison’s travels to Vancouver could be looked at as nothing but a success, with a huge line out the door of the club, and pleased patrons taking to the dance floor.

FOOD FIGHT: Timber falls like a freshly logged tree

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The food looks better than it ultimately tastes.

Timber, a relatively new gastropub on Vancouver’s Robson Street, is a thumbs-down from me.

Their brand is endearing, being a “Canadian comfort” gastropub, and they covered all the requirements: the waitstaff are dressed in plaid shirts and denim, the furnishings are polished wood and concrete with high ceilings, the TVs broadcast sports, and their menu is bursting at the seams with beer and Canadian comfort food. The ambience is as you can imagine: the interior very trendy, and reeks of the high-end hipster culture notorious in Vancouver.

So what went wrong? After trying three out of the four vegetarian mains they offer, I reluctantly gave up trying to love this place. What you get for what you pay doesn’t make the restaurant a worthwhile favourite.

Let’s start with the bannock, spicy maple, and haskap berry chutney: the bannock itself was well-done, neither too greasy nor too dense — really, how can you fuck up fried bread? The spicy maple was non-existent, though. The flavour impact just wasn’t there even with the chutney, making the dish rather bland and uninspired.

About Timber’s mushroom poutine: It was one of the most horrifying food experiences of my entire life. But first, let me defend the concept of mushroom poutine for a minute: poutine is great, mushrooms are great, you can do spectacular things when you put them together with maybe some sautéed mushrooms and spicy mushroom gravy. I had these high expectations, and they were crushed and marinated in a dense, cream-based, gritty mushroom soup just like my fries were.

Like the bannock, it had a good base: they didn’t screw up the fries, God bless them, and their cheese curds seemed to be high-quality. But they traded off gravy for this horrifying, cream-based, gritty soup and it was straight-up gross. I was actually quite confused when the dish arrived, for the menu clearly stated “mushroom gravy.” I gave it the benefit of the doubt and tried it. Moral of the story: don’t give it the benefit of the doubt, and try something else.

The mac ‘n’ cheese was super below-average. The taste was there, but the sauce should have been creamier and given some flavour. The idea of spicy mac ‘n’ cheese is fascinating, yet they just put a fetus-sized portion of sriracha-ketchup on top and that was it. The smoked potato crackling on top was flavourful but much too hard to chew and contradicted the soft mac and cheese too much to be enjoyed together.

Their happy hour snacks were satisfactory: the ketchup chips were their peak point, and their happy hour drinks consisted of but one beer. That’s offensive, though at least the beer was Canadian. Some of their cocktails were interesting and innovative, although the prices made me weep.

The vegetarian dishes were just the worst. My friend, who tried the duck burger on special, really enjoyed the potato salad, but found the duck to be so fatty she couldn’t bite into it and had to aggressively use a fork and knife.

Timber was, in a word, anticlimactic.

The Floating Points really are an experience

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Floating Points combines different music genres to create a chill electronic sound.

If you like electronic instrumental music, not dancing, and spirographs, then this was the show for you! The Floating Points sound like Pink Floyd travelled in a time machine to present day, studied jazz at Capilano, and acquired an assortment of synthesizers. Apart from Pink Floyd, these guys remind me of bands like BadBadNotGood, Explosions in the Sky, and the Whitest Boy Alive. Their sound is a mix of post-rock, electronic, instrumental, ambient, and jazz.  

They didn’t actually start playing until 1 a.m. — a little past my bedtime. But I’d say in the end they were worth staying up for. While waiting I eavesdropped on a conversation going on beside me. I overheard one guy say to his friend, “I’m so excited! I’ve never experienced the Floating Points live before, only on my iPod.” I couldn’t hold back a scoff at the comment — more specifically at how he used the word “experienced,” like this was going to be some spiritual trip. Unfortunately, he noticed my scoff, and I was eventually put in my place once the Floating Points started playing.  

It was an experience. The multi-layered landscape of sound, characterized by a driving, quick jazz beat underneath and waves of slow, stretching and whining synth melodies on top was the perfect backdrop for deep introspection. The music was hypnotic and soothing. It felt like aural Ambien.  

I really appreciate it when a band makes an effort to include visual elements in their shows. Capturing the senses in more than one way, and not just with the run-of-the-mill bits of smoke and spotlights. Part of the Floating Points’ performance included this giant circle on which intricate spirographic shapes were traced as they played. They were clearly conscious of the whole experience they were creating for their audience — one which I found both thoughtful and original.

Overall it was a pleasure to see the Floating Points perform. I’d recommend checking them out.

Five new-ish albums from Vancouver bands that demand your immediate attention

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Mu, Devours, Supermoon, Dumb, and Mark Mills have all released must listen LPs or EPs in the first part of 2016.

The year is less than half over, and already Vancouver’s music community has given us a wealth of memorable releases. Below are five top-notch albums — one for each month of 2016 so far — ranging from five-track debut EPs to 16-track dance marathons.

II, by Mu (Boompa Records)

Immediately from the album’s opening track, “Disarmed,” listeners are dropped back into the soundscape that duo Brittney Rand and Francesca Belcourt first constructed on their 2014 self-titled release.

While the exploration of relationships — both the welcoming and parasitic ones — remains a prominent theme throughout II, the sense of changing youth also rings true, from penultimate track “16 Years” to anthemic single “Debauchery.” As Rand and Belcourt serenade on the latter, “Debauchery ain’t what it used to be.” Thankfully, Mu prove they’ve not only maintained their charm, but they’re as potent and mysterious as ever.

Late Bloomer, by Devours (Locksley Tapes)

Full disclosure: I saw Jeff Cancade a.k.a. Devours open for another band back in February, and his set didn’t really stand out to me. There’s just something about Late Bloomer that commands attention, though. Maybe it’s Cancade’s haunting-yet-omnipresent vocals, or maybe it’s the undeniable catchiness of hilariously named tracks like “Freddy Krueger Honeymoon Suite,” but the synth-laden album makes for a hell of a first full-length for Devours.

Playland, by Supermoon (Mint Records)

A staple in Vancouver’s music scene since even before their debut album, Comet Lovejoy, four-piece Supermoon are back and more melodic than ever on their sophomore release Playland.

Distributed through long-standing Vancouver label Mint Records, Playland continues the band’s trend: pairing upbeat pop numbers with lyrics that take a second for you to register their intensity. More sullen tracks like “Witching Hour” and “Fast Fashion” provide a nice juxtaposition to songs like premiere single “Bottleships,” constructing an album that’s a cosmic treat for the ears.

Also, mark your celestial calendars, because Playland’s release party is happening on May 19 at the Astoria.

Beach Church, by Dumb (Independent)

Fantastic name aside, there are plenty of reasons to embrace the hype around the boys in Dumb. For one, they’re already three releases deep in a career that only started last year. Two, their cassette from earlier this year, Beach Church, while being a chaotic assortment of genres (notes of punk, shoegaze, grunge, and surf-rock, paired with unabashed vocals), somehow makes this medley work in a surprisingly listenable fashion. Add to the mix the accolade of having opened for grunge-rock golden boys Parquet Courts back in February, and you can see how Dumb has the potential to ride this wave of success all the way to shore.

1.6.16, by Mark Mills (Independent)

An import to Vancouver by way of Calgary, Alberta — where he’s already one of the sexier names in Canada’s dance-pop scene — Mills’ third full-length is his most ambitious yet, with 12 new tracks ready to quench your earbuds. Through a lens of “electro dance beats,” Mills explores themes you’d rarely find on a pop album, from pending personal mortality on “Dancing with Death” to Canada’s often glossed-over history of cultural genocide on “Colonial.” But moody lyrical overtones aside, 1.6.16 delivers a non-stop string of affectionately dubbed bangers, from the funky pop-onslaught “MRS.” to crown jewel “Bank Account.” There’s no dance party quite like a Mark Mills dance party.

Dream Alliance’s upbringing made for a true Dark Horse

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Dream Alliance's humble beginnings make for an exceptional true story.

It is 9 a.m., and I am passing out in the corner of a Starbucks located around Burrard and Broadway. The result of a sleepless night of dumb adolescence: I made a pact to see a documentary film called Dark Horse for The Peak, so I wanted to ensure I didn’t miss it.

I arrive at the theatre. A man in his 30s, wearing glasses, smiles at me as I ask him if he is here for the screening. He replies to me “yes,” as he adjusts his cap embroidered with a stallion in the middle of it. A conversation surrounding his past of working at the Vancouver horse racing track for 25 years ensues, before I look at my watch and make an excuse to sit alone in the left corner of the theatre.

Aside from my admiration of horse symbolism in Tarkovsky films, I’ve never found a particular interest in horse racing. I wonder why I even bothered for this in the first place. I begin to tell myself how bad of an idea this was and prep myself for a disappointing 88 minutes as the theatre darkens. Eighty-eight minutes later, I leave the theatre emotionally crushed with an admiration for the art of horse racing and a wakefulness that exceeds every expectation.

Dark Horse is a documentary film that explores the success story of Dream Alliance: a horse that gets bought and trained by a group of working class individuals and later goes on to win the Welsh National Race of 2009, reach the Grand National Race twice, and earn over ₤134,000 in winnings.

However, viewers should not be misled by the simple ‘rags-to-riches’ framework outlined here. The film does indeed follow the same narrative structure, yet within the overarch the film discusses many themes that I was shocked to witness. There’s the prominently classist hierarchy that moderates the professional sport of horse-racing; the attempt to create a legacy amongst impossible circumstances; the indescribable bond that holds a tight-knit community together; and even a self-awareness in animals that blurs theories of conscious differences between humans and other species.

Every time the film catches footage of Dream prancing in the shanty town grass fields or walking up to the start line, the horse peeks towards the camera with this sense of self-awareness of how its actions are changing the lives of others. It becomes downright frightening to look into Dream’s eyes and say, “You are leaving a legacy that is changing the lives of millions,” only to have Dream look back and say, “Yeah, I know. I’m honestly just as astounded as you are.”

Aside from the horse, the film focuses on the old breeder couple Jan and Brian Vokes, both of whom are working-class folk that run a bar in the depressed Welsh village of Cefn Fforest.

Through various interviews with the warm and light-hearted Jan, viewers explore her path establishing a syndicate of village friends to fulfill her dream of breeding a racehorse. Each member of the syndicate — all warm and working-class themselves — are interviewed throughout the film. This outlines the many sacrifices that went into Dream’s upbringing from birth, which includes many of them investing more money into the horse than they could even afford.

Then, through some incredibly emotional moments that instigate near heart attacks, the story becomes that of a horse tying a community together and creating moments of purpose and meaning within a grey world of anonymity.

This is a phenomenally good film that illuminates universal truths through the framework of a passion that sways between art and sport. I recommend this film to anyone passing out in the corner of a Starbucks — it’ll wake you up.