April 10th, 2009
Cannibal Corpse/The Faceless/Neuraxis/Obscura
Croatian Cultural Center
By Marcell Fraser
Easter Weekend: there could be no more appropriate time to witness a death metal show such as this, and the more than solid bill...
I’ve heard from numerous sources that the dance floor at the Commodore is supported by a layer of tennis balls, but I’ve never had cause to believe it until TV on the Radio unknowingly put this hearsay to the test. During a visceral tak...
Blue Oyster Cult appeared at the PNE years back and gifted their audience with a towering fury of ten guitars driving their howling classic,”Godzilla”. The overpowering glory of their stringed abundance ground itself into the memory of...
The Sweatshop, June 22nd
I walked into the dimly-lit Sweatshop to catch the tail end of System Shit’s wonderfully sloppy set. Who would have thought that a punk gig would start at 7pm? Fear of Tomorrow hit the stage and began to sonica...
August 14, 2008
Honey Lounge
I was shocked at how many people filled Honey Lounge to see the B-lines and the Defektors off on their tour of the West Coast, especially since the club is usually reserved for dancing college kids. The nig...
A review of Bat Sabbath with Black Mastiff and Ethereal Tomb, November 26 at The Broom Factory.
The ceramic sculpture of Samantha Dickie conveys both mystery and metaphor. The intriguing textural forms of her multi-component installations invite investigation. What are the structures made from? What do they contain? Why are some surfaces channelled,
The Glim Project / Incura / Stand Down / Hezzakya
Stand Down C.D. Release Party
The Penthouse, Fri. May 9th
Edward Dinsley
I hate being the reviewer who turns up late to a show and all but misses the opening act. Unfortunately, I was...
The Times Colonist attended a preview of Sin City the Improvised Serial and spoke with several cast members about the exciting Vegas 1961 setting, and the thrill of performing improvised theatre.
This is the Sleep Factory, Trish Shwart’s exhibition at Martin Batchelor Gallery that opened on November 7th, with a persuasive performance by the artist as a marketeer, and continues with a visual smorgasbord of parodies that explore the commodificatio