Beach Party 2019: Official Pride Week Kickoff!

Grab your bikinis, board shorts & tanks cause Gouda’s bringing back some queso jalapeño energy from Vallarta for the OFFICIAL Victoria Pride Week 2019 Kickoff with BEACH PARTY

Beach Party 2019: Official Pride Week Kickoff!

House of Gabor and King Fling present
Beach Party 2019: The Official YYJ Pride Week Kickoff!
Hosted by the legendary Gouda Gabor PVR & Mr. Chaz Avery YYJ
with DJ Nims YVR
special guest Lola Maneata YYJ
and the return of Victoria’s Queen Jiz Zelle YYZ!!!

Saturday, June 29 10PM Doors
Capital Ballroom 858 Yates Street
$12 Advance | $17 at the Door
Available online via bit.ly/beachparty19
Hard copy details to come ASAP
Partial proceeds will be donated to the Victoria Pride Society Youth Initiatives
19+ Only

Grab your bikinis, board shorts & tanks cause Gouda’s bringing back some queso jalapeño energy from Vallarta for the OFFICIAL Victoria Pride Week 2019 Kickoff with BEACH PARTY at the city’s most beautiful venue, Capital Ballroom! Joining her is King Fling’s Chaz Avery as co-host and together they are THRILLED to welcome the stunning and talented Jizzelle BACK to Victoria from Toronto, along with the always mesmerizing Lola Maneata! With DJ Nims keeping you on the dance floor and prizes for best BEACH DRAG, this is a party you don’t want to miss! Grab your advance tickets once they become available on Monday, June 3!

This event is taking place on the traditional unceded territory of the Lekwungen people, now known as the Songhees and Esquimalt First Nations, on which we are guests.

ACCESSIBILITY:
– The main entrance has a long flight of stairs and at this time there is no ramp; however, if you require assistance with accessing the space, arrangements can be made with the professional and courteous security staff. Please contact us with any questions.
– There is seating once inside which is typically on a first-come-first-served basis. If, due to mobility restrictions, you require seating to be able to attend the event, please contact us at King Fling and we can look into making reservations.
– Both washrooms are located on the main floor once inside and will be for all genders.
– If there is anything we have missed please send us a direct message at King Fling.

Ocean Alley • Capital Ballroom

Ocean Alley have captivated audiences around the world with their infectious melody lines and memorable blend of psychedelic-surf-rock. Their acclaimed second album ‘Chiaroscuro’ debuted at #15 on the ARIA Chart in Australia, and was awarded the coveted triple j Feature Album, going on to be nominated for Australian Album of the Year by the station.

Ocean Alley • Capital Ballroom

Atomique Productions presents…

Ocean Alley
plus guests
Friday, May 31, 2019
Capital Ballroom
Doors: 8:00 PM
19+

Advance tickets: $20.00 – Available at Ticketweb.ca (bit.ly/OCNLLY) and Lyle’s Place

ARTIST INFO

Ocean Alley – “Confidence” – www.youtube.com/watch?v=PGGjXdlbW58

Ocean Alley have captivated audiences around the world with their infectious melody lines and memorable blend of psychedelic-surf-rock. Their acclaimed second album ‘Chiaroscuro’ debuted at #15 on the ARIA Chart in Australia, and was awarded the coveted triple j Feature Album, going on to be nominated for Australian Album of the Year by the station. The album has also been praised as one of The Music’s ‘Top 30 Albums of 2018’, with lead single ‘Confidence’ being certified gold in Australia having moved in excess of 35,000 units.

2018 was the year where Ocean Alley continued to carve their place in the international music scene with their relentless touring schedule in support of the new album. The year saw the band play 96 shows around the world, visiting 10 countries to perform in 60 different cities.

Back on home soil, Ocean Alley sold over 25,000 tickets to their Australian shows including 15 sold out dates – the six-piece using their growing profile for good, partnering up with the Cerebral Palsy Alliance to raise over $17,000 to increase awareness of the disability and encourage public support.

Rounding out their biggest year yet, Ocean Alley wrapped up their final North American shows supporting Tash Sultana, before returning home to bring in the new year at Falls Festival.

The band look forward to bringing their sun drenched tunes to North America once more in May 2019!

oceanalley.com.au/
facebook.com/oceanalleyband
twitter.com/oceanalleyau
instagram.com/oceanalleyband

Steven Page – Capital Ballroom

Hot on the heels of his induction in to the Canadian Music Hall of Fame alongside his ex-bandmates in Barenaked Ladies, singer-songwriter Steven Page has announced the forthcoming release of the most forceful musical statement of his solo music career.

Steven Page – Capital Ballroom

Atomique Productions and 100.3 The Q! The Island’s Rock present…

Steven Page
plus Port Cities
Thursday, May 30
Capital Ballroom
Doors: 8:00 PM
19+

Advance tickets: $29.50 – Available at Ticketweb.ca (bit.ly/STVPGVIC) and Lyle’s Place (includes $4.00 album bundle)

ARTIST INFO

Steven Page – “White Noise” – www.youtube.com/watch?v=VyyLNmSfVKw

Hot on the heels of his induction in to the Canadian Music Hall of Fame alongside his ex-bandmates in Barenaked Ladies, singer-songwriter Steven Page has announced the forthcoming release of the most forceful musical statement of his solo music career. Discipline: Heal Thyself, Pt. II, will be released on Friday, September 14, 2018 via Fresh Baked Goods / Warner Music Canada. Fans can pre-order/pre-save the album HERE.

Ahead of the album’s release, Steven has today launched the vitriolic first single, “White Noise,” a naked look at the current political discourse south of the 49th parallel. (see “White Noise” lyrics below). Listen to “White Noise” HERE.

“I grew up in a household where social justice was a fundamental value, and I always believed that it was a fundamental Canadian value as well as a central Jewish one,” says Page. “I’ve watched how the term has been twisted and perverted by the Right over the last several years in an effort to diminish the voices of reason.

Although I grew up politically aware, in a left-leaning household (which, in Canada, was not regarded as anything sinister until the mid-90s and beyond), it wasn’t until I discovered the politically-charged music coming from the UK in the 1970s (the Clash, The Jam) and 1980s during the Miner’s Strike and the Red Wedge movement (Billy Bragg, Style Council, Communards, etc) that I became excited by the power of music and activism. This song pays tribute to that music, and was written in the wake of last year’s events in Charlottesville. The open displays of racism and antisemitism, and the chants of “Jews Will Not Replace Us” made me grab my guitar and tell them I’d be more than glad to replace them.”

Recorded at Fresh baked Woods Studios just outside of Toronto and Vancouver’s Doghouse of Thunder Studio with longtime live bands Odds and The Original Six, and frequent collaborator Craig Northey, Discipline is Page’s fifth solo album and the spiritual follow-up to 2016’s Heal Thyself Pt. I: Instinct. Musically, the album tips its hat to many of Page’s influences including the aforementioned punk rock movement and David Byrne as well as a nod to the Bee Gees and the Zombies.

www.stevenpage.com/
www.twitter.com/stevenpage
www.instagram.com/stevenpage/

Jenn Grant • Capital Ballroom

Grant is known for her kind heart and for her love of friends in the music scene across the globe. Here, there’s a band of stars on Compostela, including Sarah Harmer, Buck 65, Ron Sexmsith, Rose Cousins, Doug Paisley, Don Kerr, Kim Harris, Stewart Legere, Justin Rutledge, Rachel Sermanni and Grant’s producer for her 2009 release ‘Echoes’ Jonathan Goldsmith.

Jenn Grant • Capital Ballroom

Atomique Productions presents

Jenn Grant
plus Guests
Friday, May 24
Capital Ballroom
Doors: 8:00pm
19+

Advance tickets available now through Ticketweb.ca (bit.ly/JNNGRNTYYJ) and in-person Lyle’s Place.

ARTIST INFO

Jenn Grant – “Lion with Me”
https://www.youtube.com/watch?v=lyKToSooWTY

“Music is the connector that binds us all”, says Grant. “To be able to create music, and share the power it can hold is one of life’s greatest gifts.” This is the very essence behind the voice and songs of Jenn Grant. A heralded singer and songwriter from Prince Edward Island, in Canada’s Maritimes, Grant has four albums and one EP under her belt; she is about to embark on a brand new journey with her best collection of songs to date.“The time is here and now, I’m over the moon.”

Now living in Lake Echo, Nova Scotia with her husband and producer Daniel Ledwell, the wilderness of the forest and eastern seas helped them to settle into creating a new body of work based on time, courage, healing, wonder, and of course love. For this album, she wrote everyday for a month in a camper trailer near their house. Reflecting on the events since the making of 2012’s ‘The Beautiful Wild’, an immense current of loss and love spun together into something so beautiful; into her new album‘Compostela’.

‘Compostela’ translates to “Field of Stars” Or ‘Star Field’ – which comes from the legend that the dust of the pilgrims who walk the El Camino, make up the stars that form the Milky Way. There is an element of space on this new album. Teetering on psychedelic folk and into a balladry of melodic storytelling, you are welcomed into the heart’s cave. Where a subtle yet pulsing groove alongside moments of Spanish inspired guitar reflect an important journey, which began in 2012 in Barcelona.
On her last days, Grant’s mother told her “I will meet you in Spain”. With shivers down her spine, she travelled. Watching the super moon by the edge of the sea, she would later realize that she was at the start of her own type of el Camino and that a new catalogue of music was percolating. It was back at her home in Nova Scotia that these songs came to fruition.

Grant is known for her kind heart and for her love of friends in the music scene across the globe. Here, there’s a band of stars on Compostela, including Sarah Harmer, Buck 65, Ron Sexmsith, Rose Cousins, Doug Paisley, Don Kerr, Kim Harris, Stewart Legere, Justin Rutledge, Rachel Sermanni and Grant’s producer for her 2009 release ‘Echoes’ Jonathan Goldsmith. For the first time ever, Grant’s brother Daniel Grant, a Toronto based cinematographer performs with her, accompanying her velvety voice on songs like Spanish Moon with the soft touch of his charango playing.

Daniel Ledwell is quickly becoming known for his unique sense of production. In the studio they built close to their home last summer, among the hemlock trees and overlooking Martin Lake, he has helped to transform Grant’s folk, indie rock and alternative pop ballads into lush and adventurous offerings. In this creative and explorative environment, she can expand her many sounds and flavors with grace. Having now made three albums together, Ledwell’s production has become a special piece of this couple’s music making puzzle, for a fast growing cult following of Grant fans.

For Grant’s fifth studio album, flutes, harps, violins, congas, wurlitzer, piano and lap steel enhance the depth and subtleties of her effortless singing. There is a warmth reminiscent to tape, found in the intricate layers of instrumentation that help to carry this new collection of songs right from the edges of the earth to the field of stars from which they came.

Bringing with her a talented band of players who help to create the colors and textures of her captivating live show, Grant is keen to bring Compostela to the stage. Finding herself in a place of new beginnings, with a new songbook of carefully crafted material at her fingertips – in her own words “the time is here and now.”

www.jenngrant.com
www.instagram.com/jenngrantmusic
www.facebook.com/pg/JennGrantMusic
www.twitter.com/jenngrantmusic

Joseph With Guest Haley Johnsen

Timbre Concerts and Atomique Productions Present:
On Sale Friday January 25th, 2019 at 10am!
JOSEPH
With Guest
Haley Johnsen
Sunday May 12th, 2019

Joseph With Guest Haley Johnsen

Timbre Concerts and Atomique Productions Present:
On Sale Friday January 25th, 2019 at 10am!
JOSEPH
With Guest
Haley Johnsen
Sunday May 12th, 2019
@ CAPITAL BALLROOM
19+/No Minors
Doors 7:00pm, Show 8:00pm
Tickets $20.00 (plus appl. s/c) advance available online at www.ticketweb.ca
Ticketweb link: https://www.ticketweb.ca/event/joseph-capital-ballroom-tickets/9132245?pl=timbre
Also available at Lyle’s Place

Folk-pop sister trio from Portland returns to Victoria.

Joseph Online:
Website: http://thebandjoseph.com/
Twitter: https://twitter.com/thebandjoseph
Facebook: https://www.facebook.com/thebandjoseph
Instagram: https://www.instagram.com/thebandjoseph/
Video: https://www.youtube.com/watch?v=qO-yBIbCTLo

Haley Johnsen:
Site: http://www.haleyjohnsenmusic.com/
Facebook: https://www.facebook.com/HaleyJ55
Instagram: https://www.instagram.com/haleyjohnsenmus/
Youtube: https://www.youtube.com/channel/UCnfqDFFSn4H2-j889UQKPKQ

Snotty Nose Rez Kids • Capital Ballroom

Snotty Nose Rez Kids (SNRK) are an Indigenous hip hop duo currently based out of Vancouver, BC. Proudly hailing from the Haisla Nation, SNRK creates music that pays homage to their upbringing on the Rez in Kitimaat Village while also touching upon larger themes related to Indigenous identity, politics and resistance in ways that engage a diverse audience.

Snotty Nose Rez Kids • Capital Ballroom

Atomique Productions presents…

Snotty Nose Rez Kids
plus guests
Friday, May 3, 2019
Capital Ballroom
Doors: 8:00 PM
19+

Advance tickets on-sale now: $15.00 – Available at Ticketweb.ca (bit.ly/snttynsrzkds) and Lyle’s Place

ARTIST INFO

Snotty Nose Rez Kids – “The Warriors” – https://www.youtube.com/watch?v=1lyZlj1GrTs

Snotty Nose Rez Kids (SNRK) are an Indigenous hip hop duo currently based out of Vancouver, BC. Proudly hailing from the Haisla Nation, SNRK creates music that pays homage to their upbringing on the Rez in Kitimaat Village while also touching upon larger themes related to Indigenous identity, politics and resistance in ways that engage a diverse audience.

www.snottynoserezkids.com
www.twitter.com/snrkxminay
www.instagram.com/snottynoserezkids

Wintersleep – Capital Ballroom

Beach Fire Entertainment + The Zone at 91-3 presents Wintersleep: On Wintersleep’s seventh full-length record, In the Land Of, this geography is both real and imagined. It is understood that our surroundings are not, in fact, essential or concrete elements; they’re constructed in relation to us, the inhabitants.

Wintersleep – Capital Ballroom

Beach Fire Entertainment + The Zone at 91-3 presents

Wintersleep
+ Guest
April 27th 2019
The Capital Ballroom
Doors 8pm
tickets $23.50
Available to the Public on December 14 at Lyle’s Place + @ Eventbrite: http://bit.ly/wintersleepyyj

Wintersleep

“The average Canadian carries around with them in their head a vision of spaciousness.” So theorized Canadian composer R. Murray Schafer, describing a so-called ‘Canadian sound.’ For Schafer and many others, it was a sound defined by space, by the land and our distance from and proximity to it. For Harry Freedman, it was “gaunt” and “lonely.” Elaine Keillor called it “immense, empty, mysterious, harsh, indifferent, producing a response of awe mingled with terror and an intense sense of spiritual loneliness.”

On Wintersleep’s seventh full-length record, In the Land Of, this geography is both real and imagined. It is understood that our surroundings are not, in fact, essential or concrete elements; they’re constructed in relation to us, the inhabitants. Our identities, too, are constructed in relation to the land. The land, both physical and figurative, changes, and so do we. Familiar land. Foreign land. Inhospitable land. Unceded land. Stolen land. Dead land.

This might be why In the Land Of doesn’t inhabit one terrain, but many. It might also be why none of these terrains feel comfortable. “I don’t really feel 100% at home anywhere,” says vocalist and guitarist Paul Murphy. “Over time, that’s something that weighs a lot on me, not feeling really connected to my environment.”

Like all Wintersleep records, In the Land Of encourages thought and introspection. The new record’s title is an incomplete thought, a blank that is filled in across the record with different places, words, and sounds. “A lot of the songs touch on this idea of being a stranger or feeling foreign in all the different landscapes in which the songs took place lyrically,” explains Murphy. “It all relates back to the land,” adds guitarist Tim D’Eon.

The record follows 2016’s The Great Detachment, which saw lead single “Amerika” spend 11 consecutive weeks atop Canada’s rock radio charts. In the Land Of was recorded between Bath, Ontario’s Bathouse Recording Studio and Toronto’s Revolution Recording, with Scottish producer and longtime collaborator Tony Doogan (Mogwai, Belle and Sebastian) back at the helm. The record’s cover features an image captured by photographer Richard Carey. It’s an underwater shot of garbage and debris floating just below the surface, with errant strands of lime-green seaweed stretching into the frame. Yet another fragment of ‘land:’ “It’s still a product of land-dwellers,” says drummer Loel Campbell of the image. “It’s a reference to our current failures as a planet, as a society.”

These themes are pressed across the record’s 10 tracks, beginning with the somber, misty waltz of “Surrender.” Tim D’Eon’s guitar, pushing through dark, rippling triplets that patiently ascend and descend, heralds a record that is in no rush: it is purposeful and spacious. Murphy’s voice enters the fray: “36 years young/Halfway to my tomb,” he intones. Steadily and surely, Campbell’s drums creep in with gentle snare and kick, along with Chris Bell’s bass. These elements coalesce, quiet at first before exploding in a magnificent, cinematic crescendo as Murphy howls, “I surrender to you!”

Murphy explains that it’s a love song, wrapped up in the relinquishing of control over one’s feelings. It introduces a strain of anti-heroism and fatalism that is present through the record, one that is on some level wrought with existential worry. Campbell explains it as “the struggle that lots of people go through: of meaning, purpose. Are you happy? Are you doing the right things for yourself?”

The second track, “Forest Fire,” is similar in its approach to love: Murphy describes a powerful natural phenomenon, all-consuming. “You were a forest fire burning effervescent through the night,” he sings over driving, Boxer-era National piano chording. The song finds a subject at the mercy of his surroundings. It’s a repositioning of humankind’s relationship with land—so often dictated by a capitalistic need for control and power—wherein we are not the controllers, but the controlled. “Not having control of something is not necessarily a bad feeling,” emphasizes Murphy. “It’s kind of liberating.”

Then arrives “Beneficiary,” a throbbing disco-noir romp that details the modern relationship between whiteness and genocide of Indigenous peoples. “Drive to work all day, try to sleep at night/Beneficiary of a genocide,” Murphy sings. The lyrics borrow from Australian writer Peter Carey, who in an interview last year asserted, “You wake up in the morning and you are the beneficiary of a genocide.” “As a Canadian, I feel a real connection to that sentiment,” says Murphy. “It really encapsulates the idea of someone historically removed from these atrocities but who nonetheless benefits, and has to come to terms with and find ways to acknowledge and take on a certain responsibility in making it right.”

The song, packaged under an ABBA-ish pop veneer that’s been charred and bruised (Campbell set the song to the tempo of “Dancing Queen”), details the continuing dynamic of settler-colonial violence. “I’m a history of violence/I’m a war never ending,” Murphy pines on the verses. It is a critical recentering of popular discussions of Indigenous issues, which typically focus on past evils. Here, these violences are located in the present, still unspooling—and the song reminds us that as settlers on unceded land acquired through genocide, we all share responsibility for this legacy. “You’ve not literally done something, but it doesn’t mean that you’re not benefitting from a wrong,” explains Murphy.

The record’s multitudes, like the taut, punkish velocity of “Lighthouse” or the darkened indie pop hum of “Waves,” play counterbalance to the folksy, rollicking Doomsday-cheer of “Never Let You Go” and stomping, rosy guitar rocker “Into The Shape Of Your Heart.” “Terror,” with soaring, organ-backed chorus theatrics, was inspired by a British artist’s rendering of regions that were targeted by drone strikes—a maddening statement on imperialist violence and its attendant disregard for foreign land and lives.

The record closes on “Free Pour,” an almost-scrapped, melancholy but breezy journey through a birthday on “the shy side of 40.” “After a certain year, you don’t get birthdays anymore,” Murphy chuckles. “The joy gets taken away from them. I relate to that.” The lyrics were penned around Murphy’s 37th birthday, and detail “going out to celebrate your birthday by yourself, and thinking about the most miserable scenario in which that can happen.” He describes the song as “taking the piss out of myself,” but for all its comedic trappings (“Baby, I’m on the shy side of 40/Still writing riffs like nobody’s business except in my case it most certainly is/I’m a professional riff writer”), it still bears a profound truth. For Murphy, that’s “finding something liberating about passing these milestones; finding something that’s liberating about letting it all fall away.”

It’s the direct result of feeling like a stranger somewhere, of feeling alienation so intense it must be dissolved before it constricts. In the Land Of is about that alienation: from the self, from others, from the world around us. These are all lands we occupy, ones which we must know and explore and surrender ourselves to. Keillor’s “spiritual loneliness” was not, after all, a product purely of the self. It came from how we exist here; it came from the land.

Longwalkshortdock • Capital Ballroom

Longwalkshortdock esentially started the first time Dave King heard gritty electronic music in early eightys videogames. Strongly influenced by these sounds and melodys, Dave started recording and looping segments as a child

Atomique Productions presents…

Longwalkshortdock
plus Kermode
Saturday, April 6
Capital Ballroom
Doors: 9:00 PM
19+

Advance tickets: $16.50 – Available at TicketWeb Canada (bit.ly/LWSDYYJ) and Lyle’s Place.

ARTIST INTO

Longwalkshortdock – “I’m Forgetful”
https://www.youtube.com/watch?v=gUSQjnMC4d8

Longwalkshortdock esentially started the first time Dave King heard gritty electronic music in early eightys videogames. Strongly influenced by these sounds and melodys, Dave started recording and looping segments as a child. He also got a taste for sampling and recording; Taping segments of his piano practice to fool his parents into thinking he was practicing in the other room. Dave then noticed he was writting his profile in the third person……… After briefly considering the pretentious implications of doing this he decided to continue on with it. After the early years of video game loops, longwalkshortdock went through many years of musical genre infidelity and learned to play many instruments in many styles. After collecting gear, ideas, and collaborators, Dave decided to move from his home town of Calgary to Vancouver to take a degree in sound production and recording. Dave has worked in the studio and played live shows with a host of talented artists. Some highlights include : Playing Live @ Soundwave Music Festival w/Phil Western 04/05, and Opening for Alex Patterson (The Orb) solo @ Soundwave 07….. god i love Soundwave…. anyway, Since then longwalkshortdock has been putting together a large body of work both for album release this year (2008) and for live use in the hopes of creating a positive ear related experience. Also, watch for some remix work, some already available on Beatport.com. Dave also hopes to do some recording and production work for some of vancouvers more talented up and comers like Mike Soviet. Dave then decided that was enough information in the Bio for the time being and decided to stop adding to it right in the middle of typ

Footnote : Did you hear they found him on a cave on the moon? Thats what i heard….

facebook.com/pg/longwalkshortdock
instagram.com/longwalkshortdock
twitter.com/lwsd9999

Jon and Roy ‘Here’ Album Release

Jon and Roy’s 8th album Here (out 3/1/19) epitomizes their journey to date; an assured collection of 9 brand new songs that touch upon themes of love, presence, hardship and joy.

Jon and Roy ‘Here’ Album Release

The Zone at 91-3 present Jon and Roy ‘Here’ album release show at the Capital Ballroom.

19+ Event | Doors @ 8:30PM
Tix: $26.50 available from Ticket Rocket and Lyle’s Place (on sale Feb 6th @ 10AM)
Guest to be announced.

Jon and Roy’s 8th album Here (out 3/1/19) epitomizes their journey to date; an assured collection of 9 brand new songs that touch upon themes of love, presence, hardship and joy. Building upon the creative energy of 2017’s The Road Ahead is Golden, Here is an aural balm to soothe in these uncertain times; a gentle reminder to be present, to revel in the simple joy of living. “To me, this album is something special,” says Middleton, “It contains all the elements that I hold dear about this band, and it feels free to me; as true an expression of our music as we’ve ever created”

Recorded in the quiet forests of Vancouver Island over the summer and fall of 2018, Here is quintessential Jon and Roy. “Half of the songs were written this past year,” Middleton continues, “but the other half are 2, or even three years old, and have needed time to simmer to get where they needed to be.” In the title track, Middleton’s beguiling vocals weave a languid tale atop of Roy Vizer’s laid back percussion. The tracks ‘Headstrong’ and ‘Seven Colts’ are buoyant, filled with an exuberance that is elevated by a breezy horn section and strong vocals. In the raw and honest ‘Where Has My Love Gone’, Middleton laments lost love; his impassioned vocals rising over Vizer’s stripped back drums. A compelling lyricist, Middleton is renowned for not sharing the meaning behind the songs; instead encouraging the listener to draw upon their own personal experiences to find connection, “I love that our songs have an ambiguity to them,” he says.

https://www.youtube.com/watch?v=0xD4QzuwQfs