Yvonne was interviewed for the Sept/Oct 2015 issue of YAM magazine, where she discussed her role as Victoria’s Poet Laureate.
Minto Climbs Olympus by Matt Hagarty
It's any young band's dream to record an album with such a marquee name as Steve Albini's. Recording with the famed sound engineer/pundit responsible for output from Nirvana, Superchunk, The Stooges,...
Illustrator Val Lawton is interviewed by Calgary Public Library regarding her illustration career and the impact of the library
Deb Rhymer has worn numerous hats over the years, from Bette Midler impersonator to daycare operator. But the one that fits her best is blues booster.
Rhymer, a Victoria native, spends almost all her waking hours dedicated to blues, eith...
Paul McKenzie Interview Part 2
CJ: The band formed in 1992. How was starting a punk project in the high-age of grunge music?
Paul: I could bend your ear for an hour with a question like that. We knew some bands in Seattle that would set...
There were moments of giddy transcendence a few weeks back when this very magazine held its official Launch Party featuring a host of Vancouver talent, among them a long-standing (but largely overlooked punk band) named Aging Youth Gang, wh...
INTERVIEW
Wantmonster are straight off the hard streets of Nelson B.C. Ok, the streets there aren’t very hard, unless you’re afraid of hippies with giant dreads that look like matted down stinky beaver tails, and who isn’t? Wantmon...
I'm a white rocker, born of Abbotsford. All through high school I associated rap music with delinquents farting bass out of Honda Civics and punching people. But time passed, and at SXSW in Austin this past March, I stumble upon the Canadia...
Oceanside85 has a new Darksynth album out Absolution and in here to spread the synth gospel to the masses
Wynn Gogol has been involved in enough recording sessions over the years to know what works in a studio setting and what gets in the way of musical momentum.
“You shouldn’t start telling a story if you don’t have a story to tell.” From his seat in the lunch room of Vancouver’s Orpheum Theatre, Tuomas Holopainen leans forward and speaks into the digital audio recorder resting on the coffee table in fr