Vancouver, B.C. (March 6, 2025) – Today, Creative BC is pleased to announce the recipients of the 2024/25 Market Expansion Fund (the Fund). This Fund provides financial support for B.C. publishers to attend select fairs, conferences, and events to promote their publishing lists. B.C.’s publishers are dependent on export marketing to sustain and grow their businesses.
Applicants to the Fund can receive financial assistance to attend qualifying markets in person. This year’s recipients participated in five domestic markets across Canada, including the BANFF World Media Festival, Word Vancouver, Ontario Library Association Superconference, and 21 international markets, such as the Frankfurt Book Fair, Kidscreen, and the London Book Fair. These market opportunities help publishers expand their business through foreign and subsidiary rights sales while supporting the development of digital marketing materials and campaigns.
The following 16 companies have been granted market expansion support:
Honourable Spencer Chandra Herbert, Minister of Tourism, Arts, Culture and Sport “Books capture unique stories and histories, promote literacy and education, and celebrate diverse cultural perspectives. B.C. has some of the best book publishers and authors in the world. It’s more important than ever that we support B.C. publishers so they can find new markets, expand their customer base, and showcase our B.C. talent, across Canada and around the world. In times of uncertainty, we need to stand together, and I’m proud of our authors and publishers for their efforts to up their game and build new markets for B.C.”
Prem Gill, CEO, Creative BC “Creative BC is proud to support B.C. book publishers in expanding their reach to both domestic and international markets. Through this fund, publishers receive financial support to attend key fairs, conferences, and events, helping them promote their titles and strengthen industry connections. International sales and exports play a vital role in sustaining and growing B.C.’s publishing industry, ensuring its continued success on the global stage.”
Matea Kulić, Executive Director, Books BC “On behalf of The Association of Book Publishers of BC (Books BC), we’d like to thank the Province and Creative BC for their support of B.C. publishers through the Market Expansion Fund. At a time when the Canadian/U.S. trade relationship is under strain, publishers need additional support to strengthen exposure in out-of-province domestic markets as well as diversify their export initiatives overseas. This program helps bring the voices of Canadian authors and the work of Canadian publishers to audiences within Canada and beyond.”
Lynn Duncan, Tidewater Press, Program Recipient “Funding support from Creative BC has allowed us to access new markets with tangible benefits in terms of new bookseller relationships, enhanced media coverage, and increased book sales, including university course adoption.”
About Creative BC Creative BC is an independent non-profit society created and supported by the Province to sustain and help grow British Columbia’s creative industries: motion picture, interactive and digital media, music and sound recording, and magazine and book publishing. The society delivers a wide range of programs and services with a mandate to expand B.C.’s creative economy. These activities include: administration of the provincial government’s motion picture tax credit programs; delivery of program funding and export marketing support for the sector; and provincial film commission services. Combined, these activities serve to attract inward investment and market B.C. as a partner and destination of choice for domestic and international content creation. The society acts as an industry catalyst and ambassador to help B.C.’s creative sector reach its economic, social, environmental, and creative potential both at home, and globally. Website: www.creativebc.com
TELUS STORYHIVE premiered 19 new short films from the second TELUS STORYHIVE Indigenous Storyteller Edition! These projects—featuring dramas, comedies, and documentaries—are produced by new and emerging Indigenous filmmakers from across B.C. and Alberta.
Watch the sizzle reel below and tune into TELUS Optik TV channel 9, channel 126, Stream+ and STORYHIVE’s YouTube channel to explore all of the projects.
Rachel Iwaasa has built her musical career around projects that explode expectations of what is possible at the piano. As a classically-trained pianist with a multidisciplinary perspective, coupled with a special interest in contemporary music, Rachel’s work flourishes most powerfully in liminal collisions between genres.
Recent support from the Amplify BC Career Development program has supported Rachel to bring her projects to life, Rachel explains, “The funding I’ve received from the Career Development program over the past year has enabled three specific projects of mine to take flight. Funding primarily supported Klavierklang (‘piano sound’), a short film in collaboration with film director Nettie Wild and composer Hildegard Westerkamp.”
Rachel continues, “Beyond this, the grant also enabled me to invest in promotional support for two of my existing albums on Redshift Records: Known and Unknown: Solo Piano Works by Rodney Sharman, and The Sex Lives of Vegetables: The Music of Leslie Uyeda, with soprano Heather Pawsey and clarinettist AK Coope. The funding also enabled me to secure new promotional photos from artist SD Holman, who’s also the photographer behind the cover art for those albums, and who has also been involved in bringing Klavierklang to life on film.”
With the Career Development program, B.C.-based artists can apply for support for any combination of sound recording, music video, and marketing activities that demonstrate the potential for them to sustainably grow their music business through increased income and market reach, deepened connections to audiences, and the creation of additional economic activity within the B.C. music industry. The program supports all genres of music – from pop, to rock, to R&B, rap, and also encompasses more avant-garde and experimental sounds, which is a realm in which Rachel uniquely thrives.
Beyond the economic impact and career momentum achieved in the completion of these projects, Rachel’s time spent developing them has also deepened creative ties to B.C.-based composers with whom she has enjoyed long periods of collaboration.
As Rachel explains, “Klavierklang, the film, and the two Redshift albums that were served by this project are all the fruits of long-term collaborations with each of the composers. For example, I’ve been playing the music of Rodney Sharman since 1999, Leslie Uyeda since 2006, and Hildegard Westerkamp since 2008.”
Klavierklang represents a particular expression of the deep trust and respect between Rachel and the composer behind the project. Hildegard Westerkamp composed Klavierklang, especially for Rachel in recognition of an element of their shared musical past: the solo piano piece conveys their memories of rediscovering the joy inherent in the piano as adult professional musicians after childhoods filled with restrictive and traumatic piano lessons that threatened to end their associations with the instrument. The piece involves Rachel playing the piano inside and out with joyful abandon, woven into a kaleidoscopic tapestry with Hildegard’s signature soundscape recordings.
After a successful world premiere during the 2017 ISCM World New Music Days in Vancouver, audience response to the work’s uniquely performative qualities inspired subsequent discussions around its adaptation across genres into an experimental short film project. Internationally celebrated filmmaker Nettie Wild joined the team. Wild captured performance footage at the Kay Meek Theatre in 2022 with cinematography by Jeremy Cox, location footage around the Lower Mainland in 2023 with cinematographer Andriy Lyskov, and wove it together with editor Michael Brockington in 2024. The soundtrack for Klavierklang was also recorded by Rachel, and featured on Paolo Pietropaolo’s In Concert on CBC Radio, in Hall of Fame episode 44, on composer Hildegard Westerkamp, in early April 2024. The film is now being readied for pitching the national and international film festival circuit, with other promotional plans in development.
Beyond long-term creative relationships like Hildegard, Rachel credits her continued creativity and adventurous musical curiosity to examples set by a host of peers. When asked for examples of such inspirations, Rachel shares, “Eve Egoyan and Gabriel Dharmoo are two artists who’ve really inspired me in my quest to take contemporary classical music out of its disciplinary constraints. And I would be remiss if I didn’t mention the profound inspiration by each of my piano teachers—Jane Coop, Robin Wood, Menahm Pressler, Rena Sharon, David Rea, and Vallerie Ross.”
When asked about what advice she would consider offering other artists contemplating an application to the Career Development program, Rachel considers, and offers, “If at first you don’t succeed, keep trying. This was my third attempt to find support for Klavierklang at Creative BC. Talk to your program contact; Creative BC has some of the most helpful staff of any funding agency. And, if you get the grant, put a priority on bookkeeping as you go. The financial reporting is intense, and yes, they really do check every single one of those invoices and proofs of payment!”
You can listen to Klavierklang, and learn more about the project, here. Klavierklang, the film, will be released in early fall 2024.
In November 2017, amidst the quiet solitude of a snow-bound cabin, artists and event organizers Erinn McPherson, Issa Ullman, Jordie Laidlaw, and Ray Pedersen conceived the idea of presenting a new EDM music festival. Acknowledging the challenges ahead, they aimed to create a memorable community event while striving to minimize financial losses.
Today, ValhallaFest, the now-annual EDM festival, offers an inclusive celebration of music, art, and community, nestled within and inspired by the lush embrace of Terrace. What started as a modest gathering has transformed into a beacon of creativity and camaraderie, drawing over 1,200 annual attendees from all corners of B.C., Canada, and beyond.
Core to the Festival’s sustainability has been Creative BC’s Live Music program, which provides funding for live music events, concert series, and festivals throughout the Province of BC. Through its annual investments, the program incentivizes sustainable live event production, provides vital funding for B.C.-based musicians and music professionals, and drives quantifiable economic impact province-wide.
The Live Music program’s support over the past year, in particular, has proven integral to ValhallaFest’s continued success during what has been an ongoing period of precarity and recovery for festivals, presenters, and arts organizations of all sizes. Live Music funding in 2023/24 enabled Festival organizers to invest in Ageha, a new stage for live music events with upgraded electrical and operational components. The heightened capabilities of this infrastructure enable Festival organizers to meet the technical requirements associated with presenting more sophisticated acts, increase the total number of acts that can be programmed, while also easing the operational burdens of producing a large and complex festival in a remote locale.
Underpinning ValhallaFest’s values is the commitment to delivering an unparalleled experience for artists and audiences alike. For the Festival’s organizers, these values stem not from a calculation of profit margins – but, rather, from the quality of each facet of the Festival ethos. Sound, lighting and other production values are considered equally alongside safety, inclusion, and community impact. This attention to inclusive detail has earned a reputation for ValhallaFest as one of the largest and most successful EDM festivals in Northern B.C., mentioned in the same breath as other events like Shambhala, the Bass Coast Festival, Rifflandia, and others.
Yet, beyond the pulsating beats, light works, and increasing crowds that reflect these continued aspirations for momentum and growth, ValhallaFest is ultimately a testament to the close-knit community. The residents of Terrace have embraced the festival as their own, and consider it a source of civic pride that fosters social bonds and ignites passions for music and musicians from all walks of life.
From humble beginnings to a thriving celebration of music and art, ValhallaFest represents a testament to the power of passion and perseverance on both individual and community levels. As ValhallaFest looks to the future, the vision extends far beyond the confines of a single event. With over 150 dedicated volunteers in any given year and a demonstrated commitment to sustainable operations, the festival intends to be a permanent fixture in Terrace’s cultural landscape.
The 2024 ValhallaFest runs from June 28 – 30, 2024, in Terrace, B.C.
Hailing from Vancouver, BC, JJ Adrian is a singer-songwriter on a mission to create honest and soulful music that resonates with listeners on a profound level. Armed with a degree in Music Business from Berklee College of Music, Adrian seamlessly navigates the intricacies of the industry–not only as a musician but also as a music marketing professional. His works, adorned with sincerity and authenticity, have found homes in commercials for Pepto Bismol, eBay Motors, and Mercedes Benz China.
JJ Adrian expresses gratitude for the pivotal support received from Creative BC for his latest project: the music video for his single “Joyride.” Adrian gathered his circle of friends and shot the visually captivating video at the York Theatre. This backing played a crucial role in bringing his artistic vision to life, marking a significant milestone in his musical journey.
Every song released by JJ Adrian holds a special place in his heart, collectively paving the way for his highly anticipated debut album set to be released later this year. These past releases, marked by their emotional depth and sonic diversity, have served as stepping stones, informing and shaping the strategic rollout of “Joyride.” Adrian’s commitment to each project reflects his dedication to delivering music that transcends genres and resonates deeply with his audience, creating a rich and evolving narrative.
Rooted in gratitude and humility, JJ Adrian finds inspiration in the sacrifices and hard work of his parents, who migrated from the Philippines and Ghana for a better life in Canada. Musically, icons like Frank Ocean, Marvin Gaye, James Blake, and the legendary Stevie Wonder have left an indelible mark on Adrian’s creative soul. A personal encounter with Stevie Wonder in 2018, where Adrian had the unique opportunity to share “Joyride” at Wonder’s LA studio, remains a cherished memory, and a testament to the power of musical connections.
Encouraging aspiring artists, JJ Adrian underscores the importance of applying for support from Creative BC. He emphasizes the unforeseen opportunities that can arise from putting oneself out there, showcasing the potential for growth and collaboration in the dynamic landscape of the music industry. Adrian’s journey stands as a testament to the transformative impact of such support, proving that the right backing can elevate artistic visions to new heights. For those considering applying, JJ Adrian urges them to embrace the possibilities and seize the chance to share their unique voices with the world.
As JJ Adrian continues his musical journey, he stands at the threshold of an exciting new chapter. His upcoming debut album is a testament to his dedication and growth. Vancouver’s diverse music scene has given rise to an artist who connects authentically with his audience. JJ Adrian invites us to experience not just his music but a genuine expression of self: one that is both refreshing and real. The future holds promise, and with each new song, Adrian welcomes us to be a part of his unfolding story.
2024 marks the 25th anniversary of the Shambhala Music Festival, established in 1998. In its early days, 500 people came together at the Salmo River Ranch, nestled in the Kootenays in the town of Salmo, B.C., for a party that displayed local art and music. Arising from humble beginnings, Shambhala has quickly grown into a staple event for the electronic dance music (EDM) world that attracts visitors from all over the world.
Notably, Shambhala distinguishes itself by maintaining independence from corporate sponsorship, placing a strong emphasis on community-driven values in all facets of its operations. Supported by the Amplify BC fund via the Live Music program, Shambhala stands as an example of how grassroots movements can not only survive but thrive.
In 2023, Shambhala reached new heights with an attendance of 20,000 guests, artists, and crew, after the festival’s first year back in 2022 following the COVID-19 pandemic. This year, the anticipation was palpable as Shambhala sold out within the first three hours of ticket sales: an extraordinary achievement that happened even before the unveiling of the festival lineup.
“Creative BC funding has played a pivotal role in empowering Shambhala Music Festival to showcase a wide variety of artists annually. Transforming our rural B.C. location into a hub for exceptional talent is a huge undertaking, and we extend our heartfelt gratitude to Creative BC for their invaluable contributions!”
Neil MacLeod, CEO, Shambhala Music Festival
The festival grounds, home to six distinct stages – AMP Stage, Fractal Forest Stage, Grove Stage, Living Room Stage, Pagoda Stage, and Village Stage – each showcased a diverse array of EDM artists, perfectly aligned with the thematic essence of the stage. One distinguishing feature of Shambhala is its commitment to providing a unique and immersive experience for attendees. The stages are not merely performance spaces; they are dynamic environments designed to enhance the thematic elements of the music, creating an unparalleled atmosphere that resonates with the diverse tastes of the EDM community.
In 2023 alone, Shambhala presented over 300 artists across its six stages, with 160 from B.C. Programming strategy extends beyond just the musical acts. Shambhala places a strong emphasis on creating an immersive environment that engages all the senses. Visual artists, performers, and interactive installations are carefully woven into the festival’s fabric, enhancing the overall experience for attendees. This holistic approach to programming ensures that Shambhala is not just a music festival, but a multi-medium journey that leaves a lasting impact on those who attend.
As Shambhala commemorates its 25th anniversary on the Salmo River Ranch, MacLeod shared insights into the celebrations and aspirations for the future. “This summer marks our 25th Anniversary on the Salmo River Ranch, and we are thrilled to commemorate this significant milestone alongside both longstanding and new Shambhala guests.”
MacLeod emphasized what sets Shambhala apart, noting, “What distinguishes Shambhala from larger, more mainstream festivals is our unwavering commitment to harm reduction, our grassroots heritage, and the genuine sense of community you’ll find at Shambhala.” As the festival unveils its 2024 artist lineup, the emphasis remains on maintaining an inclusive environment where everyone is accepted and empowered to freely express their individuality. MacLeod concluded, “We look forward to fostering this spirit as we embark on another unforgettable chapter in the Shambhala legacy.”
In its 25th year, Shambhala Music Festival continues to evolve, proving that a community-driven ethos can not only survive but thrive, leaving an indelible mark on the EDM landscape. As the festival unfolds its celebrations and surprises, it remains a testament to the enduring power of music, community, and creativity, enriching the cultural landscape of the Kootenays.
The beginnings of Coloma Guitars are what some would call a “happy accident.”
Coloma Guitars got its start during the pandemic, when Head Luthier and founder Meredith Coloma was forced to shut down Pacific Wood Lab, where she was teaching guitar building and repair classes for the better part of a decade. Unable to teach, Coloma elected to explore building an instrument of her own: the now-iconic Freya model that would soon lead to the evolution of Coloma Guitars.
As a B.C.-based music company headquartered in Vancouver, yet serving the music industry with an instrument that has piqued the interest of guitar players worldwide, Coloma Guitars has received support via Amplify BC’s Music Company program. The grant has allowed Meredith to expand operations by hiring staff, and investing in training, marketing, and new tools to grow her business sustainably. This expansion has proven crucial for increasing capacity, staff skills, and overall efficiency, which has in turn allowed for higher revenues. The sustainability plan emphasizes the importance of staff safety, avoiding overwork, and creating a more sustainable career path for apprenticing Luthiers.
Coloma built her followings on TikTok and Instagram, highlighting behind-the-scenes content of her building and repairing guitars. The Freya was always evident in the background as an ornamental piece until she featured more actively on her socials: when she did so, her followers immediately started asking if they could purchase one. Meredith sold one Freya model immediately; nine followed shortly after; and, over the year, she received over 120 subsequent orders for this instrument. There was an overwhelming level of support and love for the Freya. However, managing to build 120 guitars by hand as a sole operator also proved overwhelming – especially as demand for the instrument continued to rise.
Coloma Guitars’ journey from an unexpected pandemic-induced pivot to the thriving instrument manufacturer it has become demonstrates the resilience and resourcefulness of both the company and its founder, and as practiced by many members of B.C.’s music industry in recent years. Vancouver, with its rich history of guitar manufacturing, has found a new torchbearer in Coloma Guitars, filling the void left by Larrivee Guitars in 2013, when they decided to close their Vancouver manufacturing plant. The decision to bring back guitar manufacturing to the city not only rekindles the local music scene, but also serves as a testament to Meredith’s commitment to invest in her community. By creating jobs and sharing her knowledge through guitar building and repair education, Coloma, as a company, exemplifies the spirit of a passionate entrepreneur dedicated to both craftsmanship and community enrichment.
As Coloma Guitars contemplates the future, it stands as an example of the potential for growth and sustainability in the music industry, embodying a harmonious blend of craftsmanship and community connectedness. The company serves as a beacon for guitar enthusiasts worldwide – offering not just exceptional instruments, but also an inspiring narrative of resilience, creativity, and a commitment to fostering a deep connection between musicians, their instruments, and the vibrant tapestry of the local music community.
As a composer, performer, and creator, Six Arils takes a methodical and comprehensive approach to developing their work for audiences from all walks of life.
As they explain, “I compose and perform all lyrics, vocals, and instrumentation myself. The initial demos submitted in my [Creative BC] grant application were recorded when I was 16, sitting at my kitchen counter with a laptop and a borrowed microphone.”
It was this particular grant application that has led to a subsequent series of opportunities for this emerging artist. As a successful Demo Recording program grant recipient in 2023, Six Arils had the opportunity to further develop their unique sound as an artist in partnership with producer Joshua Wells at The Balloon Factory studio. Their collaboration resulted in the creation of two demo tracks – “Computer Afterlife” and “Six Fragments for Atthis” – each of which explore themes of technology, alternative times and places, and speculative futures.
When asked to shed additional light on the deeper ideas behind their work, Six Arils offers, “My lyrics commonly touch on post-humanism, gender non-conformity, diasporic longing, and other experiences of abstraction. I use my music as both an outlet for self-expression, and as a way to seek out others who may resonate with these experiences, but I resist the idea of writing for any particular audience, or binding myself to a certain genre or sound. Instead, I hope to reach anyone who might connect with my music.”
Beyond these artistic results, the opportunity to collaborate with Josh in a live studio setting also created additional meaningful opportunities for Six Arils.
“My experience with the Demo grant was my first experience recording in a professional studio. I’m a fan of Josh’s work as a drummer and producer, and so I was especially excited for the chance to work with an artist I respect and admire, and to get his feedback on my own work,” they recall.
“Under Josh’s thoughtful mentorship, we re-recorded my demos with a fresh set of vocals, experimented with percussion, and collaborated on some new synthesizer lines. Our creative styles meshed incredibly well, and led to a few unexpected outcomes, including a synth swell in ‘Computer Afterlife’ that’s become my favourite part of the song. Over the Summer of 2023, I also went back into the studio to do more recordings with Josh. We’re intending to finish an album of mine for an upcoming release.”
Conceptually, what’s behind Six Arils as a stage name?
They recall, “I composed an original soundtrack for a close friend’s student film, which ended up playing at a few festivals. When they asked what I should be credited under, I scrambled to pick a name. I ended up taking ‘Six Arils’ from the title of an old demo. While that particular demo never got much further than a GarageBand project, the name stuck.”
As an artist and composer, much of what Six Arils creates lies at the boundaries of history, mythology, text, and the ephemeral nature of memory. It sheds light on the Queer experience, while also interrogating heady concepts like transhumanism, the nature of death, and the pervasive impact of technology on contemporary lives and relationships. It also plays with concepts of reality, permanence, and time.
As Six Arils explains, “My songwriting is often inspired by Filipino mythology, Queer history, and literature. In fact, the demos I recorded with Josh as part of this grant are both inspired by literary texts.”
They clarify, ‘Computer Afterlife’ is a response to A Cyborg Manifesto, an essay by Donna Haraway that explores the titular cyborg as a creature who defies the boundaries of human and machine. Likewise, the song is set in a transhumanist future in which in-between identities like that of the cyborg linger in an immortal, digital space between life and death.”
Continuing, Six Arils notes, “‘Six Fragments for Atthis’ is titled after a set of poetry fragments written by Sappho, and sutured into one poem. Its sixth and final fragment – the sole remaining piece of an otherwise lost or destroyed work – simply reads, ‘someone, I tell you, will remember us / even in another time’. This fragment appears in the lyrics of ‘Six Fragments’, the song. It serves as the song’s guiding message: that art can immortalize us — our loves, lives, and identities — even when we are on the border of erasure.”
When asked to bring the interview to a close by sharing some words of advice for those considering their own applications to the Demo Recording program in support of their own projects, Six Arils considers, and offers, “The Demo Recording grant is not just a source of funding, but also an opportunity to connect with a producer, develop your own skills as an artist, and gain experience in a professional studio setting.”
They conclude, “I know so many brilliant artists who are hesitant to share their work, or who are encountering difficulties building an audience. Researching and becoming familiar with the resources available, as well as learning how to access them, are incredibly helpful in fostering support for your work.”
You can learn more about Six Arils, and their music, here.
The Demo Recording program will re-open for applications on December 13, 2023. Eligible artists and producers throughout B.C. are encouraged to apply.
As a musician and creator who continues to hone their craft with intention, the muti-talented Thrillhouse’s days revolve around strumming guitar strings and immersing themselves in music production. His aesthetic blends captivating sounds with a visually immersive experience. His repertoire is flexible and nimble, ranging from high-energy DJ sets to live instruments underscored by warm electronic beats.
In 2022/23, a grant from Amplify BC’s Music Video program at Creative BC enabled Thrillhouse to further expand this repertoire by supporting the production of his “Space Disco” single into an immersive and memorable music video. Influenced by a potent and instantly-recognizable alchemy of 90s retrofuturism, pulp sci-fi, and Lovecraftian and gothic horror elements, the video told the story of a literal ‘Thrillhouse’ – both a strange creature, and an unlikely anti-hero called to defend a dystopian Earth from attack by a Cthulhu-inspired giant monster from outer space. The video uniquely utilized these narrative devices to reflect on the many competing elements of humanity that can exist within each person, and make up the whole of their personality. The video was filmed at the historic Beaumont Studios, in Vancouver, and saw release in the summer of 2023.
The Thrillhouse music video release poster.
As Thrillhouse explains, “The financial boost from this grant has genuinely opened up a whole new world of possibilities for me. It’s something I’ve only ever dreamed of – being able to create a music video for my music. Something I used to watch on iconic platforms like Much Music and MTV as a kid! The enormity of what we’ve accomplished is still sinking in, especially when you consider the unexpected hurdles we faced, like a power outage during a critical shoot. This funding has transformed my ambitions into tangible realities.”
The success of “Space Disco”, as a music video, builds on existing momentum for Thrillhouse. This momentum can be quantified both in terms of their musical output to date, and – in doing so – his continued efforts to ensure that these efforts create positive, memorable experiences for listeners from all walks of life.
As Thrillhouse clarifies, “Writing music takes up a good chunk of my daily routine. My music caters to a diverse crowd – those who share my love for science fiction, fantasy, comic books, movies, and video games. It also connects to ravers who crave bass-heavy music. My shows represent spaces where everyone can be themselves. The driving force behind everything I create is a firm no bad vibes, no negativity policy.”
When asked to reflect on the successes to date that have underpinned the success of “Space Disco”, he reflects, and offers, “Looking back, I’m very proud of the songs I released last year. They all charted in the Beatport Top 100 charts. And, four out of five tracks landed in the Top 10 of the bass house charts.”
Casting his eye even further to the past, Thrillhouse continues, “Back in 2019, opening the mainstage at Motion Notion was a surreal experience. Even though there was still an enormous lineup of cars waiting to get in, being on a stage that big was something I’ve never experienced before.”
Looking ahead to future goals, Thrillhouse articulates that his ambition knows few limits.
“In the near future, there’s a load of exciting collaborations lined up. But what really gives me a proud grin is the music video that Creative BC supported last year. It’s like a summary of my artistic journey so far. It blends sounds and visuals in a way that truly represents everything I have been building up to this point!”
When asked to reflect on the artistic inspirations that have informed and inspired his creativity, Thrillhouse considers, and offers, “When I think about who has inspired my career, there are quite a few artists. The Bloody Beetroots, Daft Punk, Justice, The Prodigy, Taiki Nulight, Prince, Rob Zombie, and The Misfits. Each of them has been a crucial inspiration to creating the project that Creative BC supported, as well as my work on a whole. Each of them has influenced me at different points in my life.”
A Thrillhouse music video production still.
In this vein, Thrillhouse continues, “Also, throughout my journey I have had four incredible mentors. Before I dove headfirst into the music scene, Jorel Minuk – or, PRZM – introduced me to the world of DJing when we were in our early twenties. Then, I took the leap to go to Nimbus School of Recording & Media in Vancouver in 2015.” Thrillhouse continues, “Having spent 8 years in kitchens prior, and having no knowledge of audio or music production aside from DJing, Jeff Hilman, Sorena Khanlou, and Travis Murray began to mentor me. They taught me from the ground up, and continue to teach me most of what I know about music production. All of them are incredibly talented at what they do. Watching these guys own and hone their craft pushes me to keep pushing to be the best I can be at mine.”
Rounding out these personal reflections, Thrillhouse concludes, “Last but not least is Cosmic Academy. Justin Cohen and Zack Edward taught me both the business and production side of the music industry. When I joined, back in 2021, I was stuck in my career and wondering what I was doing wrong. Zack showed me what was wrong with my mixes, and Justin showed me the importance of my brand, marketing and using social media – which I barely used before. That was a crucial step for me to start building a fanbase.”
In this same spirit of instructive gratitude, Thrillhouse’s words for those considering applying to Creative BC in support of their own projects are both helpful and direct.
The eponymous Thrillhouse prepares to confront an otherworldly evil.
“Speaking from my own experience, don’t try to do the grant application process by yourself. Get a skilled producer and production manager on board, like I did. It made all the difference. They gave me ideas and angles that I wouldn’t have even thought of. The outcome was better than I could have hoped for.”
You can watch “Space Disco”, and learn more about Thrillhouse and his music, here.
Filipino-Canadian immigrant and theatre artist Argel Monte de Ramos considers his lived experiences the backbone of his artistry. The creative self-expression that this artistry unlocks enables him to reflect on and process these lived experiences – for better and for worse.
In 2022/23, a grant from Amplify BC’s Demo Recording program at Creative BC provided just such an outlet, and supported Argel’s mentorship with noted local pop/r&b/singer-songwriter producer Grace Chiang at Echoplant Studios, in Port Coquitlam. The collaboration proved fruitful, and resulted in the production of two songs – “Lose Myself Again”, and “Can’t Let Go”. The former will be released on August 24, 2023; the latter is slated for a January 2024 launch. Both form part of Argel’s inaugural EP release.
As Argel explains, “The Demo Recording grant was truly monumental for me. It was the first grant I received from Creative BC, and it has already resulted in many milestones for me and my artistry. It’s been a journey: honing songwriting skills, and writing empowering, truthful, and feel-good music. And, the opportunity was timely, as the songs in question were ready and waiting to be produced. Thanks to this grant, I also got to meet Grace – a talented producer who gave graciously of her time and skills and experience. Now, looking back, I can confidently say that I’ve leveled up my songwriting skills, and have developed my vocal abilities. Thank you, Creative BC!”
Echoing Argel’s sentiments, Grace adds, “Previously, Argel had worked with producers remotely, but thanks to this funding, I was able to bring him to Echoplant, where he got his first taste of being in a recording session. We were able to invest a lot of time and careful effort into his songs – not compromising his artistic integrity due to any budget or resource constraints. As a producer, being able to bring clients and income to the studio (especially the studio that I started off as an intern at) is huge. Argel and I figured out an effective workflow, and realized that we both work very well together.”
When asked to elaborate on the particular kind of workflow that her mentorship fosters, Grace continues, “I primarily work with artists from underrepresented communities, as I am passionate about representation and inclusivity in the music industry. In this realm, I aim to create a safe space for artists to express their creativity, and develop their artistry in the truest form. When I am not producing or writing music, I am curating events such as live shows and b2b opportunities for emerging artists, producers and songwriters. For example, I was the associate producer of the VAFF Asians in Music Sync Summit this past May. In July, I served as the stage manager for the EXNW Global Summit.”
When asked to consider and reflect on past projects that have underpinned more recent successes, Argel considers, and offers, “I am proud of the two music videos I co-produced, and my debut EP that I wrote. All of these taught me the importance of time and process. I also learned to enjoy making music and the process of storyboarding from my music videos. These experiences truly motivated me to engage in this project with Grace. It encouraged continued curiosity around how I can develop and grow my audience and to effectively convey and deliver my stories through music.”
To this same end, Grace notes, “I am currently working on a collection of collaborative songs that are co-written, produced, and engineered by me, featuring women and BIPOC artists. One of the songs called ‘Played’, featuring Vancouver artists Rebecca Sichon and Amanda Na, was released in March, and showcased at Artscape Daniels Launchpad in Toronto. Being able to work with a variety of different songwriters and vocalists has increased my versatility and ability to adapt to an artist’s particular style of performance and communication, which is crucial in a studio setting.”
Reflecting on the artistic and creative influences that drive his work, Argel says, “My music is heavily influenced by Motown artists like Stevie Wonder, Marvin Gaye, and Diana Ross, and today’s artists like Sam Smith, Adele, Beyonce, OneRepublic, and Of Monsters and Men. These artists have taught me to love music and to use it as a way for me to connect with people and tell my stories with confidence and courage. I am also inspired by my parents and my siblings’ sacrifices, in providing a better life for me and for our family. They are so supportive of whatever I do, and they are the catalysts to my successes.”
Considering her own inspirations, Grace says, “I turn to people like Jack Antonoff, Timbaland, and Ryan Tedder as some of the greatest producer-songwriters. I admire their ability to work with various artists, but still have their own style. I am inspired by local emerging artists (including Argel) that I meet all the time in Vancouver who are proudly and confidently living their most authentic life, and expressing themselves through music. Their fearlessness is always encouraging. I must also shout out fellow Vancouver artist and collaborator, Kristina Lao, who taught me to create the world I want to live in, instead of waiting for change to happen.”
When asked to reflect on the advice they’d offer to artistic peers and colleagues considering their own future grant applications, Argel and Grace respond with candor drawn from recent experience.
“I think it is really important to know what you need and what skills you want to develop when you apply for a grant,” says Argel. “Setting your goals clearly will help you find ways to achieve them. Grace and I were clear when it comes to our goals, and I am so happy that we were able to achieve them through this program.”
Grace concludes by offering, “Have a detailed plan in place, and leave no stone unturned (in the wise words of Mizzy Mejia). The environment is competitive. Apply your best project management and finance skills. This will make you stand out, beyond simply being a talented artist.”
You can learn more about Grace and Argel, and their work together, here and here.
Photos courtesy of Grace Chiang and Argel Monte de Ramos.
Since first taking flight with an inaugural event in 2019, the Fort Langley Jazz & Arts Festival has served as a showcase for leading talent from the Fraser Valley, Metro Vancouver, and the Province of BC at large. Each year, the Festival has enabled this talent to animate the streets of Fort Langley with live music and art.
Appreciative audiences take in an outdoor concert during the 2022 Festival.
The 2023 Festival is slated for July 20 – 23, and will continue in this tradition: elevating emerging and established artists, engaging audiences from near and far, and building a robust community of music lovers. Amplify BC’s Live Music program has supported these efforts annually since 2019. The Festival also benefits from a title sponsorship by Canadian investment management firm Odlum Brown, along with other sponsors and funders.
In advance of the 2023 Festival’s launch, Creative BC staff connected with Karen Zukas and Dave Quinn – the Festival’s Executive Director and Artistic Director, respectively, and also each Festival co-founders – to discuss the thoughts, plans, and goals that underpin it each year.
“We’re dedicated to presenting innovative, creative, and unique musical experiences that can be accessed by everyone. We do this through creating community appreciation of the many genres of jazz through concerts, artistic projects, and partnerships that cross musical genres and cultural boundaries. We also provide a platform for professional and emerging musicians and artists to be showcased, and to connect with new audiences,” says Karen.
She continues, “Most of all, we work each year to present Fort Langley as both a hub for music and culture, and as a destination for audiences thanks to the presentation of world-class jazz music and related exhibits.”
Festival co-founders (and artistic and executive leaders) Karen Zukas and Dave Quinn.
Through programming and partnerships, the Festival is committed to the representation of underrepresented groups, gender parity, and inclusive programming. Since its formation in 2018, the Festival has demonstrated sustained growth – reflecting an engaged and attentive audience, always hungry for new musical experiences – and a commitment to elevating jazz as a musical form. The event has grown in both scope and attendance from a single-day inaugural event in that attracted 5,000 people to multiple days at the 2019 Festival that captured attendance in excess of 15,000.
In 2020, with the impacts of the COVID-19 pandemic making themselves known, Festival organizers responded to these challenges by creating a high-caliber virtual event viewed by a global audience of over 15,000. In 2021, the Festival transitioned to a hybrid format featuring free outdoor performances, a unique Indigenous-Jazz fusion music collaboration with Kwantlen First Nation and Vancouver-based jazz trio, Triology, art exhibits, and a welcoming mix of in-person and streamed headliner acts. This approach enabled audiences to engage in ways that felt safe for them, while also reaching into new demographics.
This effort also provided the momentum needed for a sustained recovery for the Festival in 2022. As Karen explains:
“In celebration of our having made it through the worst of the pandemic, it was fitting that the 2022 Festival was the biggest one on record, attracting an estimated 15,000 people to the streets of Fort Langley! With eight indoor and outdoor venues, 300 artists and 60 bands, two full days of free music, and a growing list of new things to do and see, the event enabled attendees to connect and share their love of jazz in all its forms. The 2022 Festival not only provided access to incredible performances and created opportunities for all kinds of artists: it also brought the community together in celebration of these things.”
When asked to comment on the July 2023 iteration of the Festival, Dave says, “At the heart of the Festival, we aim to bring a experience like no other, with exceptional artists, extraordinary musical performances, cultural experiences, and visual art all in a very special setting: the quaint and beautiful Village of Fort Langley.”
Crowds take in a popular mid-afternoon event at the 2022 Festival.
Dave continues, “This year, for the sixth edition of the Festival, we will continue to present expansive, innovative and inclusive programming featuring international, national, regional and local world-class musicians, youth and emerging talent, and Indigenous art and culture, along with art installations and family-friendly musical activities. Programming will encompass the Village of Fort Langley, including five outdoor stages. Venues will include both free performances and headliner ticketed shows, including two nights of headliner blues acts on two outdoor stages. No matter your connection to jazz, this year’s programming offers something for everyone.”
When asked to consider the creative inspirations that underpin the Festival’s development and launch each year, both Karen and Dave agree that they are inspired by other music festivals locally, regionally, and across Canada who continue to navigate the lingering impacts of COVID-19 in support of live music.
Dave adds, “I am also inspired by the incredible talent from across the country that we will be presenting at this year’s event.The richness of these acts promises an unforgettable experience, offering insights into the diverse facets of jazz and its influence on different genres.”
When asked to offer a few words of advice for other applicants seeking support for their own efforts to contribute to the ecology itself as it continues to recover, Karen is quick to offer insights gained from her own experiences:
”Do your homework! Attend Creative BC grant workshops, read the grant guidelines thoroughly beforehand, reach out to a Creative BC staff member – they are always helpful, and willing to answer questions – and have a clear idea of your project goals, benefits, and deliverables. You’ll also want to gather examples of your previous project successes, such as attendance numbers, volunteer hours, direct and indirect community benefits, and audience demographics. Finally, objective engagement measurements like social media activity and website analytics never hurt to solidify your case for support.”
Karen concludes, ”Finally, give yourself lots of time to prepare your grant application!”
You can learn all about the 2023 Fort Langley Jazz & Arts Festival’s programming and offerings here.
As working artists, singer-songwriter Matthew Presidente and producer Matt Roach are no stranger to music’s emotive storytelling properties. Thanks to an investment from the Demo Recording program (offered jointly in 2022 by the City of Vancouver and the Province of BC), the pair has been able to share a story that personally centers queer identity through music: the single “Hundreds or Fives”. The track was produced by Matt Roach, at the Rain City Recorders studio, and features Matthew Presidente in a starring role.
Matthew Presidente in an arranging role.
When asked to dig deeper into the context informing his approach to this single, Matthew offers, “I’ve been a professional working musician since the early 2000s. In the last year, I’ve taken the dive into music as a full-time career. I categorize my style as queer-themed piano rock: as in, I write from my lived experiences as a gay man. As a piano player, singer, and songwriter, I’m writing in a theatrical, emotive way: think Queen, Elton John, Meatloaf, and Scissor Sisters. I do my best to make music that is true and authentic to my experiences, but that can also be relatable to a general audience. I feel that music is all about sharing different perspectives – and that is what I hope to do with mine.”
Reflecting on his own musical roots, Matt says, “I’m a songwriter, producer, engineer, and mixer based out of Vancouver that works with local and international artists to actualize their musical vision. When I launched my career as a home recording artist in 1999, I worked at Vogville Recorders and The Armoury Studios under a host of top producers and engineers. I now find myself as a partner in the locally-based studio Rain City Recorders, where I continue to hone my craft. I specialize in rock and metal production, but have experience in almost every genre besides electronic/urban.”
Matt continues, “I often wear so many hats in the studio, my role on every project varies. Often, what I am creating are the things the artist can’t do just yet: budgets for their project, tone hunting when they’re unsure of their sound, arranging their compositions to allow them to ‘speak’ better, breaking down songwriting to zero in on what they’re after, and linking them with the right musicians to achieve what they hear in their minds’ eye. It’s really a grab bag of experiences I’m bringing to the table.”
Matthew Presidente in another familiar form: offering piano/vocal standards for appreciative bar audiences.
Demo Recording support has enabled precisely this kind of collaborative experience to thrive between Matt and Matthew over the past few months.
Matthew continues, ”This collaborative experience between the songwriter and producer that the Demo grant supports was hugely helpful for me. Matt took one of my unfinished songs, and applied his vision to transform them into monster tracks that really capture the emotion and feeling behind them. The material we worked on is quite personal, and is about my own experiences leaving a day job to pursue my passion. I also cover the concept of survival – both as a queer person, in the face of adversity, and professionally, as a musician. ‘Hundreds or Fives’ – one of the products of our time together – is now available for downloads and streaming.”
Matthew continues, “Through this project, Matt went above and beyond to coach me in studio best practices, taught me some great recording tricks, and mentored me on effective release strategies.”
In response, Matt offers, “Ï really feel like the end result of our work together are some really epic tracks that will allow the audience to really get to know Matthew. The amount of energy and personality on these two tracks will show in spades when you throw them on for the first time!”
Local producer Matt Roach.
For Matthew, the successes of his Demo Recording project are intertwined with his deep ties to this community. He notes, “Over the years, I’ve self-produced, recorded, and released several albums. This has been a great learning process and it’s also informed and honed my songwriting skills along the way. This has led to many great opportunities for live performances, particularly in queer spaces. I’m very proud to have worked over the years with Vancouver Pride, the Rebellious Unicorns, from the Okanagan, and other organizations. I’m also proud to have been able to share my music (both solo, and with my full band) throughout B.C.
Matthew continues, “Getting into the studio with Matt for this project has allowed me to take everything I’ve learned in songwriting and live performance, and apply it to a high-quality professional recording. I feel that this newest batch of songs are some of my best, and I’m very excited to share them.”
When asked to reflect on the artistic inspirations that underpin their individual and collective practices, Matthew offers, “As a queer-identifying musician, I am truly inspired by artists that are genuine, and that write from an honest and vulnerable space. We have amazing musicians here in B.C. who are doing this very thing! I’m particularly inspired by Devours, Leo D. E Johnson, Fallen Stars, Incendiary Sweet, SubTop, Mathew V, and Future Star, to name a few. Artists like these are keeping the conversation going on diverse issues, and entertaining the hell out of us along the way!”
Reflecting on his own inspirations, Matt says, ”I’m really inspired by my partners Jesse Gander, Emily Ryan, and Braeden Rangno. They provide me with support, work, and community that allows us as a business to flourish. I’m also really inspired by new music, and producers, and am always searching for the latest releases. You’ll often find me with headphones on.”
The Rain City recording studio, where Matthew and Matt’s work came together.
When asked to close the conversation with a few words of encouragement for others contemplating an application to Creative BC in support of a project of their own, Matt’s advice is simple:
“Lean on the Creative BC team if you’re struggling to complete your applications. Over the years, their music team have always made themselves open and available to questions and assistance, and that’s made a big difference!”
In the same spirit of directness, Matthew counsels, “Don’t get discouraged, and keep trying! As an independent musician, I spend a lot of time applying for shows, festivals, grants and other opportunities. These are all extremely competitive, and there is a lot of rejection along the way. You need to have a thick skin, and realize that it is not reflective of your talent or capability. In the meantime, talk to other artists who have been successful along the way at securing support: they may have some helpful insights for you.”
“My advice is to keep going, keep honing your craft, and the opportunities will happen.”
The modest Kootenay town boasts a year-round population of ~245: however, this small, close-knit community has become a hotbed for collaborative performances, creation, and performance with the Festival’s development and steady growth. Year over year, as the Tiny Lights Festival has found an audience and a niche, drawing attendees from across the province, it has also made a meaningful economic, social, and creative impact on the populace at large. The Festival has received funding through Amplify BC’s Live Music program.
The Festival is known for operating with an eye to sustainability. While the Festival now sells out each year, they also keep audience capacities to a level that minimizes environmental impact and other disruptions, while also preserving a meaningful sense of connection between audiences and each artist. By operating in this way, Festival organizers have been able to ensure that Tiny Lights grows and evolves in tandem and lockstep with the community of Ymir itself: always complementing year-round patterns and activities, and never overshadowing them.
The Festival’s vibe is intimate, reflective, inclusive, and welcoming: beyond multi-genre artist lineups, recurring activities include songwriting workshops, group performances, and physical and mental wellness sessions. The Festival is also supported by a diverse professional staff team that brings a wide array of lived personal and professional experience to bear. Each year, Festival attendees are treated to a broad mix of performance styles: indie rock artists, pop acts, singer-songwriters, and drag queens have each graced Festival stages in the past.
A self-identified anxious indie pop artist based in Lions Bay, BC, TYA makes use of music as both a mental health coping mechanism and a unique exploration of identity in the context of their gender and sexuality.
Why?
As TYA explains it in their characteristically straightforward style, “Because it’s what keeps me going. It calms me, energizes me, and inspires me.”
Recent support from the Music Video program has enabled TYA to push these explorations further through the creation of a music video dedicated to their newest single, “Josephine”, which drops on June 1, 2023. The single is both TYA’s inaugural openly-Queer song, and also an unabashed celebration of the interconnections that make up Queer relationships. The final product is joyous, reflective, and unapologetic in its storytelling.
The original Some Like It Hot movie poster from 1959.
As TYA explains, “‘Josephine’ was inspired by my own sexual and gender identity journey. The single combines my own interpretation of childhood experiences with a formative movie of mine, Some Like It Hot, starring Marilyn Monroe and Tony Curtis. I had the privilege of becoming unlikely friends with Tony in his later years as I traveled along with my parents, who were working on the film’s adapted Broadway musical tour. Revolutionary in its presentation of gender on screen for the time – 1959 – the movie really inspired me. Through this new music video, I want to continue to push boundaries and modernize the ideas in the original movie with this song and video displaying a boundless love and a fluid, binary-less gender expression.”
To make good on these aspirations, TYA engaged East Cherry Production Company. They also collaborated with local director Miranda MacDougall, and actor and Queer TV icon Katie Findlay. Filming occurred in April 2023 in Chilliwack and Vancouver. The careful combination of plans and personnel – bringing a potent alchemy of practical skills and lived experiences to bear – resulted in a quality final product.
As TYA elaborates, “Between renting out flower parlors for my on-screen wedding vows, and having the use of a green screen ‘boat’ that recreated one of my favorite scenes of all time from Some Like It Hot, the support that Creative BC provided through the Music Video program was integral to how this video came to life.”
Collaboration with East Cherry Production Studio enabled TYA’s final “Josephine” music video to come to life.
A comprehensive approach to planning and logistics that supports a quality final product has served TYA well before. As she explains, “Having produced my debut music video independently for my song ‘Hydrogen Peroxide‘ in 2021, I know the kind of positive effect a good music video can have on the performance of the song – both in terms of engagement metrics like streams and views, and also connecting more deeply with my listeners in general. A lot of people found the song through the video first, and then added it to their playlists: to this day, it is my most-streamed release, nearing 50,000 unique streams. Because it was so heavily inspired by a specific film, I loved the idea of having a visual aspect to ‘Josephine’. A cinematic music video, unafraid of an unabashed reference to something else that I love, was something the song deserved in my heart.”
A still from “Josephine”.
When asked to reflect on the personal and professional inspirations that have underpinned her efforts in music to date, TYA considers, and offers, “Ugh, I have so many inspirations – both as an artist, and as a person. We would be here for literal days if I was to name them all, but top billing goes to my family, for sure. They are the most whimsical, tenacious, kindhearted people I have ever met. As artists – which they all are, in their own rights – anything is possible for them, no matter how implausible or wildly dippy the concept. They are my heart, my spine, and my collective brain cell.”
Bringing the conversation to a close, TYA offered her own advice to those who might also be contemplating a future application to Creative BC in support of a project of their own.
Do it. *insert Shia Labeouf meme here* LITERALLY just do it. Get off your butt – or, as a matter of fact, you can even stay on your butt and apply. It’s once you get funded that you’ve gotta get off your butt, and show ’em what you’re made of! Creative BC is incredibly friendly to people who don’t have as much experience writing grants (like me), and are supportive through the whole process. The willingness to take a chance on a new artist and their vision is what sets them apart. For the amount of effort it took for me to apply for this grant, the reward was unmatched in the feeling of affirmation it gave to me and my music.”
You can learn more about TYA, and experience her music, here.
Artwork and photos courtesy of TYA, and United Artists.
The Festival’s inaugural offering in 2022.
Building on the successes seen in its inaugural run in 2022, the Black Culture Celebration Festival will return to Sunset Beach in June 2023.
Slated for June 17, to commemorate Juneteenth, the second annual Festival will also showcase a wealth of notable Canadian hip-hop talent in intentional celebration of the genre’s 50th anniversary in Canada. The 2023 iteration of the Festival has received support through Amplify BC’s Live Music program.
Community activist and former Miss Universe Canada 2020 winner Nova Stevens has a long history of leveraging her joint passions for equity and social change with advocacy for art and artists. It has been in this very spirit that the Black Culture Celebration Festival first took flight under her founding leadership. Beyond its serving as a beacon for local talent, the event has also successfully shone a light on local vendors, artisans, and food that only adds to the total experience for patrons.
Festival founder Nova Stevens.
In order to successfully manage a planned expansion for 2023, the Festival has engaged 8.0 Entertainment to curate and project manage the proceedings. The 2023 iteration of this event will feature a slate of notable acts spanning the legacy of Canadian hip-hop – Maestro Fresh Wes, Kardinal Offishall, The Rascalz, Checkmate, and Concise, as examples – while also creating meaningful showcase opportunities for local talent like Teon Gibbs, Tiny Wiings, and NADUH, with other headliners to be announced.
Tickets are still available at a variety of rates and levels. Children under the age of 12 will be admitted at no cost.
Photos and artwork courtesy of the Black Culture Celebration Festival.
Singer-songwriter and instrumentalist Crystal Lee – also known by her stage name, Jia – draws creative and personal inspiration from indie rock, alongside the desert rock, psychedelic rock, and dream pop genres. Her work interrogates lived experience and emotions, and opens doors for listeners to process their own forgotten feelings.
Crystal Lee in a moment of semi-sunny repose during a recent photo shoot.
Offering a window into her creative process, Crystal explains, “I never deliberately do this, but it feels like I’m creating music to escape into a world of my own – planting my real experiences and emotions into an archetype of myself, perhaps as a means to help process them. I’ve always had a real fascination with mythology, so I’m very drawn to storytelling, and to creating more conceptual lyrics. I think it makes the result more interesting when you explore a certain subject in a different way. It adds the additional layer of artistry that I always strive for. There is a story in every song, and I hope that whoever listens to my music can relate to it in some way, or feel the emotions of whatever is being conveyed behind it.”
As a successful grant recipient from the 2022/23 Demo Recording program at Creative BC, Crystal has had the recent opportunity to develop and share two stories with particularly personal meaning. Demo Recording funding enabled Crystal to develop and record two tracks – “Heatstroke”, and “Poltergeist” – first in partnership with the late local producer Olivia Quan at Monarch Studios, and then completed at the same studio by local producer and bassist, Erik P.H. Nielsen, currently on tour with City and Colour.
With support from both the technical team at Monarch, dedicated producers, and a slate of backing professional musicians, the experience represented a meaningful learning opportunity for Crystal. Beyond these two tracks, the successful outgrowths of the partnership between Crystal and Erik, in particular, have enabled Crystal to expand the project into a four-song EP, The Melting of the Moon, which will see a full public release as a completed album on June 28, 2023.
A reflective moment for Crystal in the studio.
When asked to discuss the context and significance of the tracks made possible thanks to Demo Recording support – both of which were written in local partnership with musician Luca Mattia, who provided the guitar parts – Crystal notes, “’Heatstroke’ is about having unfinished business with someone, and that sinking feeling of dread when you see that person in public for the first time after a while. Your face flushes: you’re so distracted by their presence that it’s dizzying, you experience heatstroke-like symptoms, and past resentment, mixed with embarrassment and sadness, bubbles to the surface. It’s a childish game – yet, it’s an experience felt and exchanged at all stages of life. I hone in on that feeling of seeing that person for the first time, and what that experience might be like.”
Crystal continues, “I wrote ‘Poltergeist’ in a transitional period of my life, when I started taking music more seriously. I had left a stable job, and started looking for more music opportunities, much to the dismay of my parents. I was also experiencing writer’s block, which added to my fears, since I had just quit my job to pursue a path in which writing was needed to succeed. ‘Poltergeist’ embodies all the fears and anxieties I had about taking this huge step, and the doubts I had about my songwriting, as well as my worth as an artist. It’s a haunting, paranoid, all-consuming feeling: a black hole poltergeist. What a time! I’ve definitely gained more confidence since then.”
Crystal Lee in a recent studio recording session.
Beyond these two recent examples, who does Crystal create music for? And – why?
Crystal offers, “I make music for anyone who can relate to its lyrical contents of grief, self-doubt, heartbreak, and other emotions. And, whoever simply wants a soundtrack to their life. My music has a very cinematic appeal, and I think that’s what makes it quite empowering, even though it is also actually quite sad. I also recognize that, as an Asian woman breaking into the indie rock scene, it can be really intimidating to navigate. Seeing the likes of Karen O, Mitski, and Beabadoobee having achieved such amazing success in this genre is really inspiring. I hope to inspire other Asian women to do the same!”
As an emerging artist striving to pair the right opportunities with the right creative impulses at the right time, Crystal looks back on her formative experiences with a mix of gratitude, amusement, and appreciation for her journey to date.
Crystal reflects, “The first song that I ever recorded was a personal project that I wrote, arranged and produced entirely in Garageband. I could only work within my own limits, tracking vocals and guitar, using drum and vibraphone samples from within the software, and having zero knowledge of mixing or mastering. Yet, I was very proud of the result. The sound and songwriting from this first song allowed me to explore other areas of this space, and eventually paved the way for me to write and record the songs that the Demo Recording program supported this past year.”
When asked to consider and reflect on the artistic and creative inspirations that have shaped her goals and efforts, Crystal’s response is immediate:
Vancouver-based recording engineer, producer, and mixer Olivia Quan, who passed away in July 2022.
“Olivia Quan, who was the producer of these songs, as well as a dear friend and mentor, is my biggest inspiration. I could not have been more fortunate to have my first-ever recording experience with her, because although she was young, she has given me a lifetime of wisdom about music, myself, and life, and continues to guide me to this day. From teaching me to stand up for my own ideas and opinions, to always making me feel comfortable and seen, as well as being an Asian woman herself, it all gave me the confidence to believe that what I created mattered. Olivia took my songs and gave them life. I hope that whoever listens to my EP will hear her talent, and feel the visceral passion she had for making music.”
Continuing this conversational thread, Crystal also shares some poignant memories of her Demo Recording project’s change in producers in the wake of Olivia’s unexpected passing in the summer of 2022.
“Erik was part of the band of talented musicians recruited by Olivia to play bass on my record, and – of course – also a dear friend of Olivia’s. I remember meeting him for the first time during the first recording session. He was very funny, and very kind. He was a producer as well, working at Afterlife. After Olivia passed, he took on the rest of the project to finish what she had started. Everything was already recorded: it was just the mixing process left. No one was more perfect for this position than Erik. He knew her well; he had played on the tracks, and he was an amazing producer. No one else would have taken care of these songs with the same tenderness, love, and expertise.”
Erik P.H. Nielsen, Crystal Lee’s producer and creative collaborator, in a recent studio session.
Crystal recalls, “Erik listened to my ideas, and he’d also offer pieces of his own wisdom. I am grateful for his patience, wisdom, warmth, and hopefulness during that very emotional and ultimately healing process. We bonded in our mission to honour and celebrate Olivia through these songs: with that in mind, we were able to finish them. Without him, the music wouldn’t have been the same, and I am eternally grateful.“
As an emerging artist gaining increasing confidence in both creating music, and locating the financial support necessary for it to thrive, Crystal brought the conversation to a close by offering a few reflections for those considering an application to the Demo Recording program in the future.
“The Demo Recording program encourages a strong mentorship between artist and producer, and panelists will look for evidence of it when they read your application. Because of that, my advice would be to choose a producer that represents your music, ideas, and artistic style well. Someone who understands your vision and can get you there, as well as someone you feel comfortable around.”
Reflecting with gratitude on her own personal experiences in the program, Crystal concludes:
“You are placing your music into someone else’s hands. Make sure it’s someone you trust.”
You can learn more about Crystal, and experience her music, here.
If you would like to make a contribution of any amount to the Olivia Quan Fund for Audio Excellence, you can do so here.
Photos and artwork courtesy of Crystal Lee, Erik P.H. Nielsen, and Music BC.
Beyond its presence as the third largest pan-ethnic group in the Metro Vancouver area – one that grew 29.6 percent in size between 2016 and 2021, with a similar rate of increase anticipated in future years – the South Asian community is also a hotbed for homegrown and globally-inspired musical innovation.
Sustainable growth and innovation requires investments in infrastructure. Local artist, producer, and 5X Festival Executive Director Tarun Nayar is acutely aware of the impact that targeted investments like these can have on the audience experience.
Since 2017, the 5X Festival has offered an annualized celebration of South Asian youth art, culture, and heritage taking place in Surrey, Vancouver, and other BC locales. In an effort to deepen its connection to an audience that has come to crave agency and autonomy when consuming content, the Festival has recently launched Incrowd, a new app and streaming platform designed to optimize the remote audience experience. Amplify BC’s Music Industry Initiatives program has invested in this project.
Incrowd’s user experience has been optimized to be simple, intuitive, and entirely personal.
Envisioned as both a showcase and launching pad for South Asian art and artists, the 5X Festival shines a light on content and programming that is both home-grown and drawn from further afield globally. In recent years, the Festival has expanded to encompass multiple days, venues, and modes of artistic expression – music, art, fashion, and digital culture – that convene and connect attendees from all walks of life. The event is now the largest youth-focused South Asian event in Canada.
Tarun notes, “Surrey, in particular, has been an epicenter for Punjabi music for decades, often exporting stars to the UK and India. But, there were virtually no local organizations championing this talent pool. We’ve been growing steadily over the last few years (pandemic notwithstanding!), serving the ever-growing diasporic and international student communities in BC through live music events, an online magazine, and various community activations.”
But, why Incrowd? Why now?
Tarun continues, “Like many live events during the pandemic, we had to re-imagine what a resilient and extended event could look like in a digital way. The best part of live events is being there in person to feel engaged and connected — and we wanted to create technology that could take the basic principles of that, and be better for people who aren’t there in person. We wanted a product that could embrace engagement, authenticity, and the messiness of real moments that you can choose to participate in or not when you’re somewhere in real life.”
Users can keep track of multiple events, pause and revisit content, and save items to watch in a curated sequence.
Incrowd’s rationale is accordingly simple: to optimize the depth and agency of the audience experience. Recognizing that, in the continued wake of the COVID-19 pandemic, audience comfort with live events continues to fluctuate, Incrowd enables audiences to experience live events on a remote basis in a meaningful way. It also enables those attending in person to pick and choose curated digital content to consume alongside what is occurring live in order to add depth and value to the total experience. Put another way, Incrowd is one part event concierge, one part informational resource and guide, and one part ‘choose-your-own-adventure’ novel. In keeping with the Festival’s own mission statement, Incrowd enables its users to “create magic, be bold, and come together.”
Incrowd is already available for iPhone download in the App Store, with a public launch for Android devices slated for the near future. Users are also invited to book free 30-minute demo appointments in advance of the Festival, with future tiered cost structure planning still underway. Incrowd will enjoy its inaugural public launch in tandem with the 2023 5X Festival, which spans June 11-18 in Surrey and Vancouver.
Over the past decade, Nanaimo-based vocalist Laura Kelsey has honed her skills in a variety of musical realms: metal, blues, and folk, as but a few examples. Fronting and performing in each of these genres have shaped her approach to creation, and resulted in a unique catalogue of songs inspired in equal measure by the natural world of the West Coast and Laura’s own dreamscapes. As a solo artist, her sound is emotive, raw, and real, with honesty at its core.
Recent funding from the Career Development program has enabled Laura to build out this catalogue through the recording and production of Hunting Season, her debut four-song EP. The album was completed throughout 2022 at The Treehouse Studio on Bowen Island with the support of producer Winston Hauschild. Vancouver-based drummer Flavio Cirillo was featured on several tracks; studio owner Robert Bailey contributed pedal steel guitar performances to the EP’s title track.
Hunting Season will launch on April 29, 2023. The special release event will be marked with a celebratory performance from Laura and her band The Cosmopolitik at the historic Globe Hotel in Nanaimo. Pauline Edwards (Vancouver) and The Honest Frauds (Nanaimo) will also appear on the bill.
When asked about the timing and impact of this release in the context of her current efforts, Laura is effusive.
“Having been featured as a vocalist on so many other artists’ projects, it’s been a dream come true to release my own work as high-quality recordings. In the past, I’ve put out a few singles and home-recorded collections on different platforms. But, I’ve never had the opportunity to put together a high-quality, cohesive album, and I’m grateful.”
As with much of Laura’s music, the inspirations and themes behind many of Hunting Season’s tracks are both personal and universal.
Laura elaborates, “The first single from the EP, called ‘Your Stormy Ways’, is about someone you never want to see again, whether that is someone in a relationship, or some aspect of yourself. This track was released in October 2022. ‘Beyond the Tide’, the second single, released in January of this year, is about searching for the truth in people and situations, and the stark realities that can be waiting on the other side of many illusions.”
A recent promotional shoot of Laura’s that commemorated the Winter Solstice.
Beyond their dedicated musical releases, these same two Hunting Season singles have notably also been adapted into short films – more nuanced and complex than a traditional music video – that are helping Laura build an increasingly diverse and sustainable audience base.
Laura clarifies, “Both of these singles happen to have received film treatments, which is something I really enjoy doing. I had the idea to film a thriller-style short film on a boat, and paired that with ‘Your Stormy Ways’. At the end of that video, I make an appearance that ties into the video for ‘Beyond the Tide’, which I filmed with filmmaker Jessie Zhang on Protection Island, in BC. Both videos recently screened at the Avalon Theatre for CineFest, Nanaimo’s short film festival.”
With a vocal range and style that has been described as ‘powerhouse’, and compared to artists like Amy Lee (Evanescence) and Janis Joplin, Laura’s past musical experience as a vocalist and lyricist continues to underpin her approach to new projects. With a robust history of performance, songwriting, and musical collaboration throughout BC that extends back to her childhood, she has released numerous home recordings and music videos. In 2014, she was the lead vocalist for a symphonic metal band nominated for a Western Canadian Music Award (Best Hard Rock/Metal Album of the Year). That same year, she released “My Time”, a single, with all proceeds going to WAVAW (Women Against Violence Against Women) in Vancouver. More recently, she has also released poetry and chapbooks, with her debut chapbook west coast shorts published by above/ground press in May 2022.
Laura in rehearsal, circa ~2014/2015.
Laura notes, “I write songs from the heart for listeners interested in thoughtful views on real-life situations, but also for people who want to escape into fantastical worlds. A lot of my life has been devoted to creating poetry and power ballads. I’ve also had the opportunity to perform throughout BC at hundreds of venues and events – both with bands, and as a solo acoustic artist. Last year, I performed at festivals like Islands Folk Festival (Duncan) and Sonic Summer Nights (Vancouver). I was also the opening act for Matthew Good on his fall 2022 tour of Vancouver Island.”
When asked to reflect on past projects that have helped to inform the planning and strategy behind Hunting Season’s development and release, Laura’s response is uniquely specific.
“In 2015, l wrote and produced a ten-song rock musical that premiered at the H. R. MacMillan Space Centre. It was called the pool, the moon, and the string. It was about a character who starts at a very low point in her life, and then reaches a higher state of being. It mirrored my life in many ways: things weren’t going well for a while, and then I really turned things around by focusing on writing, and re-learning how to enjoy life’s everyday magic.”
Laura continues, “The musical also revolved around the idea that, somewhere underground, there could be a cave with millions of strings above a pool (hence the title). Each string held the energy of a living thing on Earth — whether human, plant, or animal — and, when a life ended, its string would snap, and its energy would join the pool below to be reformed into a new life, and a new string. So, it created this mythology, which I carried on into the title track of Hunting Season. Although the song wasn’t originally included in the musical, the song ‘Hunting Season’ embodies its ideas.”
Laura onstage in 2022.
When asked to share what inspires her resilience, creativity and resourcefulness, Laura reflects, and offers, “I am inspired by anyone who works hard at creating. In a world where many of us are simply trying to survive, here are people taking their pain, their struggles, and making something new out of them that – in turn – comforts and inspires others.”
During this interview, Laura offered, “I used to listen to the radio and think, ‘How can I get on there? What am I doing wrong?!’ But since then, I’ve met so many amazing musicians who are out there touring, or recording at home, and who have never won any awards or had airplay. My best musical experiences happen at festivals where I get to hear so many different artists, and discover new favourite songs.”
In the same spirit of generosity and appreciation, Laura’s advice to others contemplating a future application to an Amplify BC program is simple:
“There are so many opportunities for support available through Creative BC over and above funding itself: information sessions, community events, and guidance from people in the creative industry. I had an awesome Creative BC grant coaching session with artist Rae Spoon before my successful application. Rae had some great advice, but was also simply very encouraging.”
Laura concludes, “Sometimes, a positive push from someone who has seen the success you are striving toward may be all you need.”
A candid backstage shot from 2022, at the Sid Williams Theatre in Courtenay, BC.
You can order your copy of Hunting Season, and learn more about Laura and her music, here.
BC’s own Cellar Music Group has over three hundred musical releases to its name. As of this year, at least one of them has been graced with a Grammy Award.
Cellar Music Group founder Cory Weeds.
In 2001, jazz saxophonist Cory Weeds created Cellar Music Group to showcase contemporary and traditional jazz music to the world. Weeds launched the label by simply rolling the tape at his beloved Cellar Jazz Club in Vancouver, BC to capture the city’s fine jazz musicians and visiting players live on the bandstand. The label steadily grew to include studio recordings, documented from Vancouver to New York City, and further afield.
Whether it’s through live recordings via Cellar Live, studio sessions through Cellar Music, or the careful restoration of archival recordings through Reel to Real Recordings, these distinctive (and thoughtfully aligned) operational imprints make Cellar Music Group now one of North America’s most active and successful independent jazz labels. The group has received recent support from Amplify BC’s Music Company program.
Jazz saxophonist Ornette Coleman performing at the original Cellar in 1957.
The original Cellar Jazz Club was a Vancouver hotspot for cutting-edge music and musicians, and continued to nurture the careers of a host of local and touring musicians from its inception in the 1950s.
The specific Grammy-winning selection in question was for Best Large Ensemble Jazz Album, put together by duo Steven Feifke and Bijon Watson. Feifke and Watson’s Generation Gap Jazz Orchestra is aptly-named: Bijon Watson has shared this album and award, “…symbolizes the importance of embracing diversity throughout an ensemble, while also bringing visibility to the mission of promoting inclusion in jazz and arts education as well”
Album cover for The Ostara Project.
The recent Grammy win isn’t the only award show to recognize a Cellar Music Group release. The Ostara Project – one of Canada’s leading female jazz supergroups, spearheaded by Music Arts Collective’s Jodi Proznick and Amanda Tosoff – also received a nomination at the 2023 JUNOs for Vocal Jazz album of the year. This heavyweight group has received 9 JUNO nominations to date, with three wins.
When asked about their impact on – and alignment with – Cellar Music’s broader, long-term efforts on behalf of jazz as an idiom, Weeds notes that, “…these incredibly powerful and talented women came together and made a poignant album. Hopefully, it signifies a change in attitude around gender equality in jazz.”
As both a label and a force in its own right, Cellar Music Group provides support, resources, and opportunity for jazz and jazz musicians from coast to coast to coast. In doing so, what Cory conceived just over twenty years ago continues to ensure that the future for this unique art form is both vital and vibrant.
Photos and artwork courtesy of Cellar Music Group and CBC News.
With over 20 years of cross-cultural creativity and collaboration to its credit, and with the entirety of Turtle Island (known to some as ‘Canada’;) as its platform, Kathara is an artist collective comprised of musicians, dancers, actors, multimedia artists, storytellers and healers. The group is dedicated to centering the traditional and creative expressions of Pilipinos – people Indigenous to the archipelago named “The Philippines” by Spanish colonizers.
In 2019, the group received a Demo Recording grant from the inaugural cycle of the Vancouver Music Fund to record an original work: “Lupa ay Buhay”, an original piece composed by Elenita Boots Dumlao, Kathara’s founder. Acclaimed BC-based musician, composer, and music educator Russell Wallace served as the track’s producer.
A still from the “Lupa ay Buhay” music video shoot.
Three years after this initial project phase, this song has found new life through its subsequent adaptation into a music video. Made possible thanks to support from Vancouver Foundation, this new iteration of the work is helping to expose the song – and, Kathara, as a collective – to an even broader audience than before.
As Kathara co-founder and artistic director Babette Santos explains it, “The song titletranslates to ‘Land is Life’, and speaks to the sense and awareness Pilipinos uphold in sharing ‘Kapwa’. This translates to a sense of collective understanding, wherever in the world they may find themselves as Indigenous or diasporic Pilipinos.”
As a collective, Kathara’s roots can be found in authentic cross-cultural collaboration and artistic exchange. The group champions Reconciliation, right relations, and global efforts to bring an end to colonialism. What began in 2002 as a cultural exchange between members of Kathara Davao Mindano (in the Philippines) and members of the Plipino diaspora living in Coast Salish Territory (Vancouver, BC), has grown into a thriving movement of individuals passionate about the promotion and protection of people, land and culture. In creating new artistic projects, the group draws inspiration from many disparate sources, including contemporary artists like Kimmortal, Davey Calderon, and Alvin Tolentino.
A still from the “Lupa ay Buhay” music video shoot.
Babette continues, “Shared histories and journeys of self-discovery as diasporic people through music, dance, martial arts, and theatre are what continue to drive us in a variety of paths – from circles, ceremonies, cultural sharing, andcommunity building, along with embodiment practices of remembrance and performance.”
As with all things the Kathara collective undertakes, the decision to give “Lupa ay Buhay”, specifically, a new context for performance was deeply intentional.
Co-founder and musician JR Guerrero clarifies, “Like watching a child grow and change, this song, and our collective, have been expressed through many hands and voices. Every relation, collaboration, expression, ritual, ceremony, and movement within our collective works and network, intend to build upon previously created containers for collaborative yet autonomous growth in community with Kapwa. This is a way of knowing that translates to seeing ourselves in others, including land, water, sky, and all beings.”
The group at a recent event in New Westminster, BC.
This new music video release marks the latest in a long line of meaningful initiatives from this group. Over the years, additional projects of Kathara’s that evoke special pride have included:
3rd Babaylan Conference co-hosts – bringing together community from across Turtle Island for a weekend of pre-colonial Pilipino spiritual and cultural exploration and celebration, Gulf Islands, 2016.
Kapwa Fest: The Art of Our Relations showcasing original works by Indigenous artists of Turtle Island, sa Pinas and diaspora, of many generations and intersections, Scotia Bank Theatre, 2018.
Photos courtesy of Rodrigo Caballero and Kathara Society.
When considering the rapid growth of UWIDO over the past two years, it quickly becomes evident what can arise when a community takes action that is guided by vision, informed by need, and supported by big dreams.
UWIDO’s owner and founder Francis Arevalo firmly believes that “…not everyone needs a record label or management, but everyone deserves support. To be independent doesn’t mean that you have to do it alone.”
This simple concept underscores all that UWIDO offers to BIPOC artists within the BC music industry.
As a BC-based management and artist services company prioritizing BIPOC artists, UWIDO has received support via Amplify BC’s Music Company program, which supports the sustainability, growth, and capacity of B.C.’s music companies through business development activities. With expertise in operations, strategy, marketing, grant writing, career planning and artist development, and many other facets of the business, UWIDO strives to specifically increase capacity, access, networks, and opportunities for BIPOC artists working in the industry.
Arevalo continues, “Whether [it’s] budgeting, grant writing, creative direction, marketing plans, consultation, career management, or anything outside or in-between, UWIDO provides services that prioritize tailored support for, with, and by BIPOC artists.”
UWIDO’s founder and owner, Francis Arevalo.
The foundation of what Arevalo and his colleagues, and the artists and their teams have forged in the two years since UWIDO took flight is rooted deeply in values of community. UWIDO seeks to create a space and pace that is radically and fundamentally different than the current industry status quo. Its intention is also to create something innately familiar, welcoming, and accessible to its target audience.
Arevalo offers, “We want this to feel like a casual conversation in a friend’s living room; the warmest jam session; a meal with your people, and a sense of community in your neighbourhood. UWIDO feels like that, because it is that.”
The Tagalog meaning for the word ‘Uwido’ corresponds to, ‘ear for music’, or, ‘playing by ear’. To this end, Arevalo clarifies, “We chose this as our company name as we [continue to] actively move through the music industry, leading with intuition, lived experience, [an] innate sense of rhythm, and collaboration. There was no blueprint in the music industry for how to build our company, and how to sing our songs precisely the way we wanted to. So, we are playing by ear, listening to ourselves and each other, [and] following what feels the best for us.”
The results experienced by Arevalo and his team to date confirms that this concept and creative vision hits the mark wholeheartedly. As but one example, in UWIDO’s inaugural year of managing and co-producing for acclaimed BC singer-songwriter Desirée Dawson on her Meet You At The Light EP, the group was delighted to see the album receive a JUNO nomination. This turn of events facilitated significant additional exposure and international acclaim for this fast-rising artist.
Event poster for “Music as Medicine”, at the ANNEX, on February 18, 2023.
After two years of building capacity, measured planning, and careful strategizing, up next for UWIDO is their inaugural public event, held in partnership with the Community Arts Council of Vancouver. Music as Medicine is slated for February 18, 2023, at the ANNEX, in downtown Vancouver. Admission is free.
The occasion will feature Arevalo as host, brought together with a slate of other influential BIPOC music industry leaders (including Mikey Jose, Bukola, and Dakota Bear). Beyond delivering a powerful musical performance, the group will facilitate a candid and inclusive community discussion on music’s uniquely healing and restorative properties in community, interpersonal, and individual settings.
Photos and artwork courtesy of Francis Arevalo, UWIDO, and Music BC.
Blending an alchemy of music, storytelling, and deep honesty, Crack Cloud is a Canadian mixed media project established in 2016. Modeled powerfully around a philosophy of harm reduction, the group is a rehabilitative outlet for a revolving Canadian cast of ~20 multi-disciplinary media and musical artists. At its core, Crack Cloud represents a recovery program and survival mechanism for its members, and a means of processing their lived experiences so that they can enable listeners to navigate similar issues.
A promotional still from the Tough Baby album.
Throughout 2021, funding from Amplify BC’s Career Development program provided an opportunity for listeners to dig deeper into this process through the creation of Tough Baby, Crack Cloud’s second full-length album. Like its predecessor, the album’s individual tracks are sometimes spare, sometimes jarring, and always cathartic. Each track was developed with an attention to both its message, and the ongoing plan for each track to be subsequently adapted into a future online music video. The opportunities for flexibility and creativity that Amplify BC’s support provided enabled Crack Cloud to develop this album and its related video content in keeping with original plans, despite the logistical challenges posed for music production projects owing to the COVID-19 pandemic.
The group on a recent promotional tour.
As Zach Choy, one of Crack Cloud’s co-founders and artistic leaders, explains, “The production process for Crack Cloud is traditionally non-linear: the visuals and the studio engineering tend to bleed into each other. We were able to utilize Amplify BC’s Career Development funding during the creation of this album to work with local artists and musicians on the recording side, as well as produce a visual narrative to accompany the tracks. This was all done in compliance with COVID-related restrictions that enabled us to work in a way that was unconventional, but ultimately successful.”
Over the past six years, Crack Cloud has produced fourteen music videos and two studio albums. In 2021, Crack Cloud was awarded the High Fidelity Prism Prize for consistent creative innovation in the Canadian media industry. As an honoree, Crack Cloud received specific accolades for “using video art to represent its work in a consistently creative and innovative way.” The group’s thoughtful approach to incorporating video and other mixed media into its output has resulted in other unique career highlights: among them, being recently tapped by Julian Casablancas (of The Strokes) to provide some of the licensed music for the Grand Theft Auto video game franchise.
Functioning as a seven-piece band at any one time, Crack Cloud crafts incisive songs centered on addiction, trauma, and recovery. Their music dispels stigma, and invites personal reflection from listeners. Within the group itself, these themes are similarly personal: most of Crack Cloud’s members represent recovering addicts, as well as those who work with mental health patients and people living with addiction. As an ensemble, Crack Cloud’s output is as much an outlet for its members as its audiences. Audiences respond viscerally to Crack Cloud’s powerfully-disarming honesty: one listener recently wrote in to convey their deep appreciation for the “…so much fucking power, love, and care this band has – you can hear their magnitude!”
Early Crack Cloud promotional art.
“Our work all comes from a place of equal parts determination and growth. The content from day one has been integral to the narrative and vision of Crack Cloud as an evolving artistic concept,” continues Zach. “We embrace the diverse application of our art and how it can be applied in many different cultural arenas, from this to this.”
Described by some listeners as presenting with a “modern-day Clash vibe”, and proudly drawing post-punk and art rock influence from sources like Gang of Four, The Talking Heads, and Malcom X, Crack Cloud’s work examines the cultural and social overlaps between media and modern identity. For a group like Crack Cloud, where personal experiences inform each project, the bigger concept of artistic inspiration can often be a complicated idea to consider.
What forces spark Crack Cloud’s creative processes and planning? And – why?
Zach offers, “In general, our work is informed and inspired by our own lived experiences. What could be simpler? On a more fundamental level, we also consider ourselves an homage to the Canadian non-profit organization ‘Concerned Children’s Advertisers’ – whose programming deeply affected us in our youth, and inspire how we approach media and storytelling today.”
A still from a recent Crack Cloud video project.
When asked to consider what advice might be most helpful to others considering a funding proposal to Creative BC, Zach considers, and offers, “Have intention. These application questions are designed to engage the artist in reflection and a discourse with themselves. Art can originate from a place that is purely intuitive and reactive, but it can also flourish with a thoughtful effort to contextualize your vision. Creative BC’s applications often inspire this kind of thought.”
You can learn more about Crack Cloud and their music here.
Artwork and photos courtesy of Zach Choy and Crack Cloud.
Since first taking flight in 2006, Music on Main has been connecting audiences, elevating artists, and shining a light on the global post-classical scene for Vancouver audiences. Dedicated to creating unique opportunities for audiences from all walks of life to take in great music, forget the stresses of the day, and tap into a true sense of community by ‘listening, together’, Music on Main’s programming continues to evolve in tandem with Vancouver as a city. As a pioneer for the increasingly-mainstream indie-classical movement, Music on Main has always been all about connecting meaningfully with audiences interested in discovering something new and beautiful – without the traditional pressures and expectations of the concert hall.
Vancouver’s own Microcosmos Quartet appears at Mount Pleasant Park in 2021.
Over the past year, in an effort to support artists impacted by the pandemic while also creating opportunities for audiences to experience live music safely, Music on Main has expanded its programming to Mount Pleasant Park, where the second year of a now-annual Summer Pop-Up Concert Series engaged an appreciative audience of over 3,000. Thanks to support from Amplify BC’s Live Music program, these concerts have been offered to audiences at no cost.
The format for the series is simple: show up after work (~6 pm), bring a blanket and snacks, get to know your neighbors, and take in an hour of great music. The atmosphere is lively and friendly, and the energy is expectant: you never quite know what you’ll hear! Offerings have included music for flute and guitar, the famous ‘Goldberg Variations’ by J.S. Bach, and minimalist masterworks like ‘In C’ from still-living composers like Terry Riley. This past Summer, Music on Main presented seven such events to diverse audiences. This now-annualized programming has contributed meaningfully to the Mount Pleasant neighborhood’s already-robust cultural life. It has also created continued opportunities for visibility and exposure for a wide array of artists continuing to reconstruct their careers in the wake of the pandemic’s public health restrictions.
Rachel Kiyo Iwaasa performs at a recent Music for the Winter Solstice concert.
Launched on Vancouver’s Main Street, alongside now-closed venues like the historic Cellar Jazz Club, Music on Main’s annual programming now animates a variety of Metro Vancouver venues, including The Fox Cabaret, the ANNEX, Heritage Hall, Christ Church Cathedral, and the Roundhouse. Music on Main also reaches a broad swath of audiences online – over 100,000 annually – via its Digital Storytelling Program: a means of building community and creating high-quality video content for audiences coast to coast to coast. The organization also engages youth via its annual Kessler Academy string orchestra mentorship program for promising Vancouver-based musicians, named for the late Vancouver-based music philanthropist who left this program as one of her many legacies after passing in 2021 at the age of 105.
Dailin Hsieh performs (as part of with the B.C. Chinese Music Ensemble) at Mount Pleasant Park in 2022.
Beyond these efforts, Music on Main has also been able to bring a broad array of sounds and stories from around the world to Vancouver year-round, often showcased through their annual Modulus Festival of new music. The 2022 Festival featured the return of Nancy Tam and Robyn Jacob‘s Double Happiness: Detour This Way, a collection of personal stories of migration from the Chinese diaspora with a unique art-pop and music theatre aesthetic. The work had originally been programmed as part of Music on Main’s 2019/20 season, but was postponed in tandem with public health restrictions in the Spring of that year.
“A Percussionist’s Songbook” promotional art.
Looking towards Music on Main’s next few productions, audiences proved eager for the company’s annual Music for the Winter Solstice seasonal concerts, which animated Heritage Hall with meditative warmth and melody over two nights on December 14 and 15, 2022. In the New Year, Music on Main will join forces with the PuSh Festival to host Joby Burgess’s performance of “A Percussionist’s Songbook”, presented on January 25 and 26, 2023 at the ANNEX.
Since the mid 2010s, Wallgrin – the stage name and archetypal persona for Vancouver-based art-pop musician and experimental songwriter Tegan Wahlgren – has been defying genres and electrifying audiences. Through visceral lyrics and a versatile style that refuses to be defined or contained, their music is layered, thematic, and deeply emotional. Love, sex, death, intimacy, loss, rage, and regret: Wallgrin’s offerings embrace these big ideas, and invite listeners into an immersive sound world unafraid to explore each in turn. Discorder Magazine once termed Wallgrin’s signature palette of raw vocals, electronics, fiddle, and other layered forces a “…powerful exploration of sound that defies genre.”
Recent album release art for Yet Again The Wheel Turns.
Thanks to a recent contribution from Amplify BC’s Career Development program, Wallgrin has been able to push evolving patterns of innovation even further. This support enabled a series of investments in the completion and marketing of their sophomore album, Yet Again The Wheel Turns. Released on October 14, 2022, the album represents the product of Wallgrin’s close collaboration with BC-based producer Harley Small. Significant contributions to the process also came from the late Vancouver-based sound engineer Olivia Quan, who passed away unexpectedly during the album’s final production stages in the Summer of 2022.Thematically, the album explores inevitability, nostalgia, recurring patterns in life, and the nature of existential threats. Having enjoyed a sold-out release party at The Fox Cabaret on October 22, 2022, with subsequent press and accolades likening its sound and style to to past offerings from art-pop visionaries like Kate Bush and Björk, Yet Again The Wheel Turns is now streaming and gaining airplay coast to coast to coast.
Reflecting on these successes, Wallgrin offers, “Thanks to [Amplify BC’s] funding, I was able to be much more ambitious and professional when going about the creation of this album. I hired various musicians to record bed tracks at Monarch Studios, put together a photo team to create album artwork and promo images, and hired digital marketers to promote the album, among other things. It felt so good to be able to properly compensate people for their work this time: especially those people of whom I’d asked many favours over the years.”
What fuels and inspires Wallgrin’s creative innovations? How – and why – did the Wallgrin persona first manifest?
“I create music that I’d call art-pop or experimental pop: it’s catchy, but it’s more of a fantasy novel with several sequels, as opposed to a standalone, to-the-point essay. My music emerged out of a childhood spent playing Celtic fiddle tunes and singing in choirs, as well as through immersing myself in reading and writing adventure fantasy stories,” they recall.
They continue, “I created Wallgrin as a way for me to explore these imaginary worlds through the abstraction of music. It’s certainly evolved over the past eight or nine years, and become a whole multi-disciplinary project. I intend for it to lean more into film and video work in the future.”
Wallgrin in performance at The Fox Cabaret during the album release party for Yet Again The Wheel Turns.
As an artist that identifies as both Queer and non-binary, the path to comfortable self-acceptance in all facets of life has similarly evolved for Wallgrin. Their own journey has been one where imaginary worlds, powerful archetypes, and formidable role models drawn from fantasy, science fiction, and other mythologies have each provided their own kind of solace. Wallgrin maintains a sense of responsibility for their listeners navigating their own respective journeys: in particular, those from underrepresented groups and demographics. Wallgrin’s work is replete with visual, musical, and thematic callbacks to these same archetypes; most often, accompanied by messages of resilience, self-sufficiency, and survival in the face of inexorable challenge and change.
Wallgrin affirms, “I hope I can be one of those artists whose work feels like a refuge for people who find themselves outside the norm. Growing up as a Queer, non-binary kid (who hadn’t figured it all out at the time), I know how important it is to have those role models that you can identify with. I have a long-term vision for how my albums and their imagery might progress over time. I’ve really tried to create a cohesive world around my music. I hope anyone who stumbles across my work will feel invited into that world, and that it gives them permission to uncover some forgotten feelings.”
Strategic and creative world-building has been a powerful element of Wallgrin’s continued success. As a unified whole, Yet Again The Wheel Turns offers a series of iterative musical ideas that reach squarely into the listener’s psyche, and provoke deeply individual reflections and responses. However, the thematic seeds of Wallgrin’s latest musical journey ultimately trace themselves back to their debut album, Bird/Alien, which took flight in 2018.
Concept art for Bird/Alien’s album release.
Wallgrin continues, “Certainly, [Bird/Alien] was the place from which this current album grew. It’s where I essentially learned how to even go about making a whole album, and I’ve drawn a lot on that process as a framework. I was 22, and didn’t understand anything about grants, and so the only things I could outsource were the photo shoot, graphic design, and mastering. Beyond that, it was an entirely self-driven project. By the time I’d finished making the album itself, alongside my final year of university, I was burnt out, and stumped at the prospect of promoting it. I hadn’t a clue how to do it. That’s something I knew I had to put more emphasis on this time: if I want to have a chance at building Wallgrin into something of a sustainable career, promotion and marketing are key.”
As an artist by choice and an entrepreneur by design, Wallgrin has come to appreciate the value of careful planning, project management, and strategic marketing to sustaining a long-term career in the music industry. They also believe wholeheartedly in the impact that effective mentorship can have on long-term goals in concert halls, recording studios, and elsewhere in one’s career. When invited to reflect on an individual that has made such a personal impact, Wallgrin’s thoughts turn naturally to integrative voice-work therapist and vocal coach Viviane Houle, with whom they have enjoyed a close professional kinship since 2019.
Recent Wallgrin promotional art.
“I think that the vocal freedom I explored with [Viviane] really influenced my sound, continuing to this day. Most of our lessons consisted of improvising, digging into the hearts of our voices, and delving into whatever sounds came out of us that day. She would sometimes tell me to lean into the parts of my voice that cracked or screeched: don’t shy away from them. Investigate them; find out what’s in there. She helped me learn how to not judge my voice, and to become at ease with those sounds that used to make me cringe, or feel silly. Maybe you could call it ‘vocal neutrality’: it’s just sound. There’s nothing wrong or right about it, nor ugly or beautiful. The voice is just an instrument like any other, and yet there is something so much more vulnerable about it because of it being directly a part of our human bodies, and a core part of our identities as individuals.”
Hand in hand with this personal growth comes a strengthened sense of self that is rooted in empathy for artists and art. It is in this same spirit that Wallgrin’s deep care for their fellow creatives similarly shines through. When asked what advice they’d offer others considering applying to an Amplify BC program in support of a project of their own design, Wallgrin pauses, considers carefully, and offers:
“Especially if you’re applying for larger grant amounts, I would genuinely recommend hiring a grant writer. It’s a skill in and of itself, and if you feel overwhelmed by grant writing, it’s certainly worth getting some help, and much more likely to pay off in the end. And, before even applying, it’s vital that you have a clear vision of your project from start to finish. It may change along the way, and that’s fine, but you need to be convinced of your project first and foremost before anyone else will be!”
You can discover more about Wallgrin, and get to know their music, here.
“Creative BC funding has played a pivotal role in empowering Shambhala Music Festival to showcase a wide variety of artists annually. Transforming our rural B.C. location into a hub for exceptional talent is a huge undertaking, and we extend our heartfelt gratitude to Creative BC for their invaluable contributions!”
When asked to shed additional light on the deeper ideas behind their work, Six Arils offers, “My lyrics commonly touch on post-humanism, gender non-conformity, diasporic longing, and other experiences of abstraction. I use my music as both an outlet for self-expression, and as a way to seek out others who may resonate with these experiences, but I resist the idea of writing for any particular audience, or binding myself to a certain genre or sound. Instead, I hope to reach anyone who might connect with my music.”
As an artist and composer, much of what Six Arils creates lies at the boundaries of history, mythology, text, and the ephemeral nature of memory. It sheds light on the Queer experience, while also interrogating heady concepts like transhumanism, the nature of death, and the pervasive impact of technology on contemporary lives and relationships. It also plays with concepts of reality, permanence, and time.
They conclude, “I know so many brilliant artists who are hesitant to share their work, or who are encountering difficulties building an audience. Researching and becoming familiar with the resources available, as well as learning how to access them, are incredibly helpful in fostering support for your work.”
The modest Kootenay town boasts a year-round population of ~245: however, this small, close-knit community has become a hotbed for collaborative performances, creation, and performance with the Festival’s development and steady growth. Year over year, as the Tiny Lights Festival has found an audience and a niche, drawing attendees from across the province, it has also made a meaningful economic, social, and creative impact on the populace at large. The Festival has received funding through Amplify BC’s 
In 2019, the group received a 
