Slumber parties, arm wrestling, and time loops: an evening with Non Ultras, Parisian Orgy, and Dial Up
Photo credit: @Guttershotyyc (Myles Marleau)
When a band includes "Baby, you and I are like the return of print media" in their lyrics, you know they're either delusional or onto something special. Thankfully, for everyone packed into the Palomino on Friday night, Dial Up fell firmly into the latter category, celebrating their cover feature in the third issue of REVERIE Magazine with a show that felt less like a standard gig and more like a wonderfully chaotic art installation with a soundtrack.
The evening kicked off with Non Ultras, Lethbridge's latest gift to the no-wave scene. Featuring Body Lens alumni among their ranks, they delivered the kind of performance that makes you feel simultaneously intimidated and inspired—raw energy channeled through calculated dissonance. Their relatively recent emergence made their performance all the more impressive; they're already executing their vision with the confidence of veterans.
Photo credit: @Guttershotyyc (Myles Marleau)
Parisian Orgy arrived next in full pajama regalia, nightcaps and all, transforming the stage into a slumber party, this wasn't your standard rock show posturing—Gwen Morgan’s vocals paired with a mini xylophone created textural contrasts that shouldn't work, but absolutely did. Guitarist Nyssa Brown gave a mid-set endorsement of the physical magazine—"full colour print is back"— which felt more like our mission statement rather than mere promotion, highlighting the symbiotic relationship between local music and the media that documents it.
Photo credit: @Guttershotyyc (Myles Marleau)
But it was Dial Up who elevated the evening from memorable to near-mythological. Opening with "The Sugar People on Planet Gold," they immediately established their commitment to sonic world-building. Tys Burger and EZ HD's reverberated vocal loops ("Hello... Can you hear me???") created an atmosphere both intimate and expansive, drawing the crowd into their carefully constructed universe.
Photo credit: @Guttershotyyc (Myles Marleau)
The technical proficiency on display was undeniable, but what separates Dial Up from countless others is their commitment to performative spontaneity. Several songs in, EZ orchestrated a temporal anomaly, trapping the band in a repetitive bass loop while they sprawled on the floor—a moment that could have been pretentious, but instead felt playful and genuinely surprising.
The absolute zenith of absurdity (and genius) came when the band transformed the front of the stage into an impromptu arm wrestling arena, complete with table and chairs. As audience members lined up to test their strength against one another, Dial Up continued their set uninterrupted, the competitive grunts becoming part of the sonic landscape.
Photo credit: @Guttershotyyc (Myles Marleau)
Their new material, reportedly part of a release planned for May, suggests an evolution rather than revolution of their sound. One standout track featured Tys' endearing declaration: "Baby, you and I are like the return of print media," felt like the perfect encapsulation of the evening's ethos.
In an era where musical performances increasingly feel like recitations rather than experiences, Dial Up's willingness to embrace chaos while maintaining musical coherence feels revolutionary. They understand that a great show should be both aurally and visually compelling, challenging yet accessible.
As the final notes faded and sweaty arm wrestlers returned to the crowd, the significance of the evening settled in: print media might indeed be back, but so is music that refuses categorization and performance that prioritizes connection over convention. If Dial Up and their compatriots represent the current state of the scene, we're in for an exhilarating ride.
REVERIE Magazine issue #3 is available now with cover features Dial Up and Eye of Newt - secure your copy here.
Photo credit: @Guttershotyyc (Myles Marleau)