Perhaps more so than any other artist of his generation, Beck is a master of mutation, reinventing himself with each tour and album. Recent Beck tours have featured lavish, gimmicky stage shows, including life-size marionettes and kitchen t...
The Birthday Party Paintings by Christine Clark reviewed by Debora Alanna
‘The Birthday Party Paintings' ~ 3-19 October 2014
Xchanges Gallery
Yvonne was interviewed for the Sept/Oct 2015 issue of YAM magazine, where she discussed her role as Victoria’s Poet Laureate.
Sleep and Black Wizard, Commodore Ballroom, Vancouver February 7th 2015
While there has been much to enjoy with the spate of band reunions in recent years, (how many fans have had the renewed opportunity to witness performances by Carcas...
For the second year in a row in downtown Kingston, Spring Reverb brought a whirlwind of kinetic energy from June 1 to 4, ringing in the new month with music, mayhem and magic with its 2023 edition. We sent photographer Virginia Meeks to capture it all, an
The Pack AD / Cadaver Dogs / The TVees / Valerie Graham
ANZA Club
June 20th, 2008
Dave Bertrand
So we swagger in with our free stamps and I'm feelin' good – old friends in the house, old friends at the bar, fist of beer; I enjoy the...
A review of Everybody Left's Season One (2009 - 13) compilation album.
Jane Michiel has a five year history with Gage Gallery and is currently a board member. The creativity of her 20 colleagues inspires her, and she enjoys the freedom of being part of a non-profit organization. Focusing on faces for Charisma,...
On the evening of the band’s record release party at The Red Room, Factory Worker Media met with Unleash the Archers guitarist Grant Truesdell in the building’s old vault to discuss challenges to songwriting, community-building, and navigating the roi
Actress/comedian Kirsten Van Ritzen discusses her acting career, passion for improv, and creating Sin City Live Improv Serial in Victoria with partner Ian Ferguson.
“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