April / May 2015

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Stylus

Apr/May Issue2 2015 Volume26

Production Team

On the Cover

TIFF BARTEL is a local illustrator, writer, and tinkerer.

She can be found on Twitter at @tiffbartel .

Copy Editors . . . . . . . . . . . . . . . Sheldon Birnie Victoria King Art Director . . . . . . . . . . . . Andrew Mazurak Cover Art . . . . . . . . . . . . . . . . . . . . . . Tiff Bartel Advertising Contact . . . . Andrew Mazurak

andrew@mazmedia.ca Printed by JRS Print Services: 204-232-3558

Contributors Ed Durocher Mister Jan Victoria King Alisha Davidson Jordan Cayer Natalie Bohrn Selci Kaitlyn Emslie Farrell Harrison Samphir Dave GuĂŠnette Natalie Bohrn Christopher Bryson Victoria King Danielle Marion Ben Waldman Craig Talaga Devin King

Stylus is published bi-monthly by the CKUW 95.9 FM, with a circulation of 2,500. Stylus serves as the program guide to 95.9FM CKUW and will reflect the many musical communities it supports within Winnipeg and beyond. Stylus strives to provide coverage of music that is not normally written about in the mainstream media. Stylus acts as a vehicle for the work of new writers, photographers and artists, including members of the University of Winnipeg, of CKUW and of the Winnipeg community at large. Stylus reserves the right to refuse to print material, specifically, that of a racist, homophobic or sexist nature. All submissions may be edited and become the property of Stylus. All opinions expressed in Stylus are those of the contributors and do not necessarily reflect those of the editors.

Contributions in the form of articles, reviews, letters, photos and graphics are welcome and should be sent with contact information to:

Stylus Magazine Bulman Student Centre, University of Winnipeg 515 Portage Avenue, Winnipeg, MB, R3B 2E9 Phone: 204-786-9785, Fax: 204-783-7080 editor@stylusmagazine.ca www.stylusmagazine.ca Contributions will be accepted in the body of an email. No attachments please. All submissions may be edited and become the property of Stylus. Unauthorized reproduction of any portion of Stylus is strongly discouraged without the express written consent of the editors.

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TableofContents Blah, Blah, Blah Events Around Town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Thank You for the last 25 Years UWSA! . . . . . . . . . . . . . . . . . . . . 10 CKUWho Smooth Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 CKUW Program Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Nonstophiphop Hip Hop Retrospective, pt. III . . . . . . . . . . . . . . . . . . . . . . . . 16 Local Spotlight Moon Tan // Slow Spirit // Astre // None the Wiser . . . . . 17 Root Cellar Shred Kelly // Michael Feuerstack . . . . . . . . . . . . . . . . . . . . . . . . 18 Mental Notes Yung Lean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Under the Needle Dan Deacon // Faith Healer // Thus Owls . . . . . . . . . . . 19 Fear of Music The Trouble with Blurred Lines . . . . . . . . . . . . . . . . . . . . . . . . 20

Features Curtis Nowosad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Samantha Savage Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 JEFF the Brotherhood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 3-Peat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Six Shooter Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Trampoline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

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Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blahs Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah, Blah and Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah! Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah BLAH Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah blah / Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah The snow is melting! Oh wait, false alarm. Brighten your spirits with a glance at all the shows happening April through May. Get out your rubber boots (or winter ones), grab some friends, and get going! *** All the way from Philadelphia PA, Sheer Mag, Slurs, Human Music and Blackhound hit up the Handsome Daughter on Thursday, April 9 *** Over at the Park Theatre is Deadbeats IV with local punkers the Ripperz, Mobina Galore, Triggers, and 1971 on April 10 *** On Saturday April 11, Scenic Route to Alaska wrap up their tour at MAW’s Eatery and Beer Hall. Performing with special guests Somebody Language & the Way It Feels and Silence Kit; Catch an 11-bus and head down Portage to the GoodWill to see the Mohrs, New Renaissance and A Waste Odyssey or pop over to the Pyramid for Moses Mayes and Faux Pas Funk *** Riding a gigantic wave of success from his 2014 release Our Love, Caribou is sure to give a spectacular performance at the Garrick on April 13 *** The West End Cultural Centre presents Hot & Dirty Dance Party featuring Dirty Catfish Brass Band & Dr. Hotbottom on Thursday, April 16; Also that eve, Vampires, Fist City, Microdot, and Telechasms rock out at the Handsome Daughter *** It’s going to be a busy weekend: check out Keri & Devin Latimer’s latest project, Leaf Rapids, at the WECC on Friday, April 17; Over at the Purple Room at FRAME, Cootie Club hosts Showcase IV with Autumn Still, Adrienne Yeung, Falaxies, Tyson vs. Holyfield, and the New Soft Shoe.

These showcases only happen every 2 months, so don’t miss your chance; The Park Theatre hosts the 12th Annual Manitoba Metalfest April 17-19; Saturday, Apri 18 at the Windsor is Bunk Mustangs, Blonde Goth, and Rusty Roy; Sc Mira will

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*** Blah Blah Blah Blah Blah and Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blee Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blahhh, Blahh and Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah The Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah & Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah be performing an all-ages matinee show with Hearing Trees and Odanah at the WECC on Sunday, April 19; while Strung Out, Masked Intruder, and La Armada fuck shit up over at the Pyramid *** Somebody Language plays the Neighbourhood Café for a PWYC show on Thursday, April 23 *** See indie darlings Mark Mills, WindMills, and Camp David at the Purple Room; or see Micah Visser host a cassette launch party w/ Ozconscious and Champagne Years at the Park Theatre, which both happen on Thursday, April 23 *** Saturday, April 25 is the Bluegrass Brunch, a fundraiser for the Shine On Festival of Music & Art, happening at the First Unitarian Universalist Church of Winnipeg; there’s also Whiehouse playing the Burt that evening; DID SOMEONE SAY ELEPHANT?! Elephant Revival light up the WECC presented by the WFF; Trampoline, Cantor Dust and Carey J Buss also play the Purple Room. Check out Kaitlyn Emslie Farrell’s feature on Trampoline on page 15! *** New York-based hardcore hip hop crew Non Phixion play Union Sound Hall as part of their 20th anniversary tour on Sunday, April 26. Original line-up, too! *** Balanced Records celebrates their 14th anniversary at the Plug In Institute of Contemporary Art on Saturday, May 2 *** Join the rowdy rodeo at the MTS Centre from May 6-7 as country superstar Luke Bryan makes a stop in the ‘Peg *** Happening Saturday, May 16th at the WECC, Joel Plaskett with Mo Kenney *** After church on Sunday, May 3, head over to the Windsor because surf punk power trio Agent Orange and In the Whale are playing *** Big releases from you favorite locals happening all week long - Rayannah releases her debut EP Boxcar Lullabies at the West End Cul-

Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Bleh Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blahs Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah, Blah and Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah *** Blah Blah The B-Blahs Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah Blah tural Centre on Thursday, May 8, with the help of pop duo ATLAAS but wait!!! DJ no contact is spinning fun shit all evening at Earl Grey Community Centre Friday, May 8th with some special guests perhaps?? *** Cheering for the Bad Guy and None The Wiser are ripping up the Cavern tonight, while Kamelot and DragonForce are ripping apart Garrick that same Saturday! May 9th. Those will be fun ones! *** The launch of Carly Dow’s debut solo album, Ingrained, also takes place at the WECC on Wednesday, May 13. Also on the bill, the Crooked Brothers and Roger Roger *** The Dwarves play the Windsor Hotel on Friday, May 15 *** Irish boy band Kodaline wins all the hearts at the Garrick Centre on Friday, May 15 *** Tuesday, May 19 welcomes Bloody Phoenix, Skunk, and Horrible Pain at the Handsome Daughter for an evening of nursery rhymes (jk) *** Sunday, May 17 the Burton Cummings Theatre hosts Los Loney Boys, Lukas Nelson and Promise of the Real *** Saturday, May 23 is everyone’s fave music-film fusion, Bands VS Filmmakers 2015. This go-round, you’ll see Attica Riots/Deco Dawson, Blunderspublik/Freya Olafson, Rob Crooks/Ryan Simmons, Pip Skid/Fwen Trutnau, Basic Nature/ Forrest MacGregor pair up at the WECC; Over at the Pyramid, MEMETIC hosts their biannual dance rager Roaring 2020’s; Kipp Kocay hosts his Vinyl Release Show at the Times Change(d) High and Lonesome Club *** At the WECC on Monday May 25, Great Lake Swimmers and the Weather Station promise a good show *** Pyramid Cabaret has a killer Friday night lined up! Reverend Horton Heat, Nekromantix and The Brains all on May 29th! *** Phox plays the Park on what should be a lovely June 2nd evening.

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04 Stylus Magazine Apr/May 2015

ILLUSTRATION BY MISTER JAN

BY ED DUROCHER

Curtis Nowosad is young drummer hailing from Winnipeg, MB. He now calls New York City his home, but he returned in the middle of a hot Winnipeg summer to record one of the tightest, grooviest, and hottest jazz albums I have heard this year.

Dialectics, Curtis’s sophomore record, released March 20th at the West End Cultural Centre, is sure to knock out many a music lover. The album has been getting rave reviews from the jazz community all across North America, for good reason of course. From his first attempts at “Killing in the Name Of ” by Rage Against the Machine, to dissecting and reimagining the titans of jazz, he is a drummer with so much feel you can’t help but move to the music with a great big smile on your face. I got a chance to ask him about music, life, and the future. Enjoy.

Stylus: When did it all start? What was it that made you want to be a musician and at that, why a jazz drummer? What was it that brought you in and what was the very first song you learned in its entirety?

Curtis Nowosad: Both of my parents are musicians so I grew up surrounded by music. I started out trying a few different instruments before knowing for sure that I wanted to play drums, and I spent my first few years playing the drums wanting to sound just like John Bonham from Led Zeppelin. I played in jazz bands at school and heard jazz growing up but it wasn’t until Steve Kirby came to Winnipeg and started the Monday (now Wednesday) Night Hang that I really got exposed to a real live jazz jam session environment, and it seemed like a really cool subculture of sorts. I started buying all the records I could get my hands on and trying to figure out how to play jazz with some friends. Since then I’ve just been getting deeper and deeper into it, although I love a lot of different kinds of music.

Stylus: I love the selection of covers from various artists like Pink Floyd, Bob Marley, Wayne Shorter, Thelonious Monk and many more.

What goes into your song selection? Is it the melodies, chord progressions, general feel or do you have just a love of those certain song that makes you go for them?

CN: It’s a bit of everything. Something about each of those songs gave me an idea of a way that I could put my own spin on it. When it comes to doing jazz www.stylusmagazine.ca

arrangements of pop songs, the song has got to have a compelling melody. Some songs seem like they’d be great to do, and as soon as you take away the lyrics you’ve got a saxophone playing on one note, so it doesn’t work. If the song’s got a strong melody then I can make decisions about the best harmonic and rhythmic treatment. As far as the “Speak No Evil” and “Bye-Ya” from the new record, those are tunes that I’ve loved listening to and playing for years, and an idea about how to arrange them either pops into my head, or I decide to arrange it and have to put some serious time in before I’ve got something. It totally depends on the song and my relationship to it.

Stylus: Why did you choose to use the musicians that are on Dialectics? Being from NYC, I imagine you have the cream of the crop to pick from, and why record in Winnipeg and not NYC? CN: I have been playing with these musicians for a lot of years, and with the exception of Will (who incidentally went to high school and college with me) everyone on the record was a teacher of mine.

These are musicians for whom I have the utmost of respect and we have logged a lot of hours playing together. We’re definitely a band. We were fortunate enough to do a tour of western Canada prior to the recording of this record, so the music was tight and ready to go. In June we did a concert with Jimmy at the Winnipeg Jazz Festival, and went into the studio the next day, and I’m really happy with the results. These guys really are world-class and I’m very honored to have them on both of my albums.

Stylus: What are your plans now that Dialectics is out? Tour and take the world by storm?

CN: We’ll be doing a Canadian jazz festival tour in June and July, and I am currently setting up a NYC album launch. I’m hoping to hook up some other dates in the eastern US and get this music out to as many people as possible.

Stylus: How do you start your compositions and what is your process? Does it start with a melody or a certain drum groove? And do you play any other instruments to help the process?

CN: I play piano so a lot of time it starts with the melody or harmony, but the rhythm is always there from the beginning. I’m always playing drums whether they’re in front of me or not. Some tunes have just come out of a simple idea and others I have come up with a plan to work with ahead of time. A

few of these tunes have come out of self-imposed challenges. Composing is like anything else: you need to do it, A LOT. The key to writing good tunes is sometimes writing a lot of really bad ones.

Stylus: So the cliché question! If you could be in any band at any time or play with an all-star cast of musicians, who would it be? Alive or dead! Feel free to mix and match centuries as well.

CN: Damn, I’d say it’s a four way tie: Miles Davis’ Second Quintet (Miles, Wayne, Herbie, Ron), John Coltrane Quartet (Trane, McCoy Tyner, Jimmy Garrison), Bird and Diz (or perhaps the Jazz at Massey Hall band: Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus), or Jimi Hendrix’s Band of Gypsys.

Stylus: What was your time at U of M Jazz like?

CN: I had a great experience at the University of Manitoba. I really learned how to play in a trial-byfire kind of way, by getting a lot of opportunities to play with Steve Kirby and the rest of the jazz faculty and having a lot expected of me. I also had a couple of great drum teachers, Quincy Davis and Terreon Gully. The program is only getting better year-byyear and I am really looking forward to seeing what’s to come.

Stylus: I attended the Chick Corea concert in September and I noticed a lot of young people in attendance. Or what the young fella’s from BADBADNOTGOOD are doing with their hip hop/jazz thing. Do you think that jazz is making somewhat of a come back? Do you think it has anything to do with age/maturity?

CN: I don’t think it’s making a comeback because it never went away! I think the general public never really gets exposed to it in the way that they should. I really don’t think it’s inaccessible or esoteric the way the powers that be want us to believe. If the amount of support that is given to other types of music was given to jazz, I think a lot more people would be into it.

Stylus: Any last words? Advice or shameless self-promotion?

CN: Buy the album! It’s on iTunes!

You can catch Curtis Nowosad at this year’s TD Winnipeg International Jazz Festival.

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SAMANTHA SAVAGE SMITH ~Bedroom Songs become Jubilant Pop~

BY VICTORIA KING

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ILLUSTRATION BY ALISHA DAVIDSON

amantha Savage Smith was at the mechanics when I called for our interview. She laughs as she tells me she noticed some “weird clunking noises” in her van. “I thought, ‘I’d better take that in before we drive 50,000 kilometers.’” And FYI, she and her band hit the road tomorrow.

They start in Calgary and then head east for a solid month of driving and playing shows to promote Fine Lines, her first full-length album in nearly four years. When asked if everything is in place to take off she laughs and admits, “I have a big day ahead of me.”

There are still errands (and laundry) to be done.

In 2011, her debut album Tough Cookie won the hearts of listeners and music critics alike for its sentimental songs, and her sultry exotic voice. Fine Lines was released by Winnipeg-based label Pipe & Hat in January 2015, and the record has been building momentum since.

Smith explores a new tone with Fine Lines. Citing the time gap between the two albums as the biggest reason for the shift in sound, she explains that, “it was bound to end up being different. It comes from a personal organic place so whatever happens,

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happens.”

Tough Cookie was written when Samantha was in her late teens/early twenties. She admits, “I was pretty young, and they were bedroom songs.” Her audience at that time was either her roommate or her Mom and she wasn’t playing any gigs. Several years and lots of life experience later, she describes Fine Lines as more “poppy and upbeat. The lyrics are from a personal place, and it deals with emotional challenges . . . different relationships with different kinds of things, more mature and complex. I guess that’s what I’d say about it.”

She laughs, “I sing songs.”

Those songs were written in a fairly straightforward manner. She’d head into band practice with a rough idea and work with her band. Quite a few trials and errors later voila, there was a song.

The actual recording process of Fine Lines began in 2013. The mixes were complete in early 2014.

Then the project was left to sit for a while, which is something Smith says was intentional. “We decided to postpone the release so we could have everything under our belts and have a proper release campaign for it,” she explains.

Altogether, the album was ready by Fall 2014 and finally released by Pipe & Hat on January 27 of this year. Calgary producer Lorrie Matheson collaborates with Smith again on this record, as he did in 2011. The 10 songs on Fine Lines were written over the last two years, with some tracks finished shortly after the release of Tough Cookie, others just a month before heading into the studio.

This release embraces a more light-hearted sound than we’ve heard from Smith. Fine Lines is fresh and celebratory and for the Tough Cookie listener, we meet Smith in a healthier headspace on this record. There are moments that borrow fuzzy pop notes from Lab Coast (Smith’s other band), which Smith says is purely coincidental. Echoed electric riffs reverberate throughout and when paired with Smith’s sweet thoughtful voice and lyrics, the result is intoxicating. The record moves at a quick pace and never hesitates to brazenly embrace catchy hooks. She weaves together the 10 tracks on Fine Lines with her trademark sentimental songwriting style. This album has been a long time in the making, and proves to be more than worth the wait.

Apr/May 2015 Stylus Magazine

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JEFF

THE BROTHERHOOD

BY JORDAN CAYER

“I’m warning you, I’m sick as hell,” I’m told by Jake

Orrall, one half of JEFF the Brotherhood. “I’m recovering until our guitar player gets in, then it’s two weeks of rehearsal, and then we’ll finally get this show on the road.”

JEFF the Brotherhood has been bringing their brand of raw, bluesy garage rock for almost 15 years. Brothers Jake and Jamin formed the duo in high school and haven’t looked back since. Their eighth LP Wasted on the Dream comes out on Infinity Cat Recordings on March 24th, and they’ll be embarking on a tour in support of that record on March 12th, with stops at SXSW, a run through California, and a Canadian contingent including a night at Winnipeg’s Good Will Social Club on April 9th. Fellow Nashville garagerockers Bully will be supporting them.

Stylus: A lot of the recent press surrounding the release of Wasted on the Dream has been focused on the relationship between you and Warner Bros. coming to an end. How much of a distraction has that been?

Jake Orall: As soon as we got dropped it eliminated all of the distractions, it’s been incredibly freeing.

That company is way too huge. Getting dropped gave us back so much of the control we wanted.

Stylus: Most people have a skewed idea as to how working with a major label works. How did working with Warner both help and hurt you as a band while recording your last two albums?

JO: It helped, in a way, with access to a deep well of resources while we were making a record, but the downside was that we never knew if and when

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the record was going to come out. Things came to a grinding halt at times, and it got to a point where we couldn’t tour because we didn’t know what was happening.

Stylus: The teasers on your website with #wastedonthedream were hilarious. Where did the name for this album come from?

JO: That was actually one of the only lyrics that Jamin wrote on the album. He fit it into an unfinished part of a song, and when we thought about it a bit more, we realized it could be interpreted so many different ways. And really, now that we’ve been dropped by Warner Bros., in can be interpreted even more ways. We picked it because it’s open ended, and looks really good by itself on a t-shirt.

Stylus: You guys released an awesome EP of covers last year. How did the process of learning, adapting, and recording songs by musicians you admire influence you as songwriters?

Has that process affected how you approached Wasted in the Dream?

JO: I can’t say it has, we haven’t recorded since then!

We recorded Wasted on the Dream in December before we started working on the EP. It was the first time I wanted to just dig into a song, though, and I think that’s influenced how I’ll look at production in the future.

Stylus: You’re a band of two brothers that has been writing, performing, and touring for almost 15 years. How has your relationship grown?

What have been some of the harder moments?

JO: We have this system where we balance each other out. If we’re in an argument, it’s easy to tell who cares about one side of the argument more, and the argument is over. We both have good taste,

and it has its differences, but we trust one another enough to deal with disagreements pretty quickly.

Stylus: Ian Anderson of Jethro Tull absolutely slays the flute on your newest single, “Black Cherry Pie.” What was it like working with a legend like Ian? JO: We never actually met him. We wrote this song and thought it would be amazing to get Ian to play on it, so we sent him an email. He recorded the track in two days before he left on tour, and its incredible. When you solo the flute track you can actually hear how loud he had the song playing in his headphones. It’s pretty awesome to think about Ian Anderson blasting my song as loud as he can.

Stylus: If I’m not mistaken, this will be your first time playing in Winnipeg. What kind of things have you heard that get you excited to play a show here?

JO: It is our first time, and honestly, I don’t know anything at all. I tend to just Wikipedia cities on my way over if we’ve never been there before. By the way, how’s this place we’re playing?

Stylus: It’s definitely one of my favorite spots in the city, perfect for this kind of show.

JO: Well that’s all I need to get excited, then!

Stylus: I’m a huge fan of Bully’s recently released EP. How did you link up with them?

JO: Nashville is a really, really small town. I’ve known a lot of the guys in this band for a long time, a bunch of us have jammed, they’re good friends of ours, and we’re excited to have them with us. It’s going to be a great time.

Check out JEFF the Brotherhood with Bully at the Good Will Social Club on Thursday, April 9.

Tuesday, June 23rd $15

S U C C E S S A L B U M R E L E A S E S HO W

WITH

POP CRIMES and

TEETHMARKS

Friday, June 26th $15

(TORONTO)

Thursday, June 18th $10

WITH

GUESTS

Advance tix available at Music Trader, The Good Will & ticketfly.com 18+ w/ID. www.stylusmagazine.ca

Friday, May 8th $15 625 Portage Avenue thegoodwill.ca

Apr/May 2015 Stylus Magazine

09

25 YEARS OF HISTORY AND GOING STRONG!

Smooth Operator

Saturday 3:00 p.m. to 4:00 p.m. on CKUW 95.9 FM or ckuw.ca

BY VICTORIA KING

utside the window of Indiana’s third floor apartO ment, the sun sets behind the Manitoba Legislative

building. Her son, Jude, is sleepy. As she guides him to bed, he stumbles and rubs his eyes. 30 minutes earlier he was sitting on a couch nearby, earphones on, watching a movie on his mom’s laptop while she participated in a meeting for CKUW’s Womynizing Radio committee.

The group focuses on issues of gender, diversity, and inclusivity. One of its main initiatives is Smooth Operator - a weekly radio program that airs Saturdays from 3 to 4 p.m., and invites women, trans, and nonbinary people to get a mentored introduction to radio hosting and production. Show hosts Anna Sigrithur, Jenna Cameron, and Indiana rotate hosting duties. “CKUW, most community radio stations, and most media in general, has more men than women participating and sometimes that can make for a not so friendly environment, especially for newcomers,” Jenna explains.

“Since we’re opening up the space, we’re making sure that first introductions are going to be with mentors that are open and understanding, and know how to be respectful in a meaningful way,” Anna says.

Anna and Jenna are both cohosts and producers of Femisphere, a weekly feminist-focused show on CKUW that airs Thursdays from 8 to 9 a.m. Anna first got involved with the station three years ago as a host of Femisphere’s previous incarnation, Say It Sistah. Jenna was bitten by the campus-community radio bug in Peterborough, ON, while volunteering at Trent Radio. Since then, she’s gone on to work at a community station in Ecuador, as a producer for CBC, and now works in community television.

They are excited to share their talents and enthusiasm for radio through Smooth Operator as mentors. The Smooth Operator mentors are there to facilitate the programming ideas of the guest host mentees – do you want to share an opinion?

Your mentor will set up your mic! Do you want to play your favorite tunes?

Your mentor will help you with playPROOF

www.stylusmagazine.ca

FA

back devices! Jenna is quick to explain that while mentorship is an important part of the program, the larger aim is to break down preconceived ideas about radio. “You don’t need to be a ‘music expert,’ and you don’t need to know all the technical tricks in order to make radio. Everybody had to start somewhere.”

Anna elaborates that it’s not just a music show, but can also serve as a spoken word platform. “I think that’s something that women and non-binary folks are not given space to do, is to give their actual opinions in a public forum,” she says. “I want people to feel empowered.”

Indiana returns from putting Jude to bed and

To sign-up for Smooth Operator, e-mail smoothoperator@ckuw.ca .

You can also (always) drop by the station! Room 4CM11 in the University of Winnipeg. Or call, 204786-9998.

DOCKET #

4438

IMAGE FILE

PROJECT

2012 U OF WINNIPEG STYLUS

ITEM

CLIENT PROOF DATE

curls up in her chair at the table. When she started as a volunteer, she was one woman of seven men taking training. Looking back at before she got involved as a volunteer, she remembers as a 19 or 20 year old having many male friends that had radio shows, but says she never felt she would be capable to host. “I’m unsure why that never crossed my mind. But not having a space where I could go to and be surround by people who reflected my experiences played a part,” she shares.

“Women, and especially non-binary folks, are less visible in organizations,” Anna explains. “You are trained to feel like the world is not made for you to be confident in, and there needs to be definitive spaces for that you to build that confidence and we can recreate that system together. Even in the microcosm of our station, we foster strength together and it grows.”

Insofar as what the possibilities of guesting are, the mentors are open. “I’m excited to see what anyone has to bring to the table, 16 or 65,” Indiana says. Signing up to be a guest host and mentee on the program is simple – email smoothoperator@ckuw.ca to sign-up, or call the station at 204-786-9782. The women stress that you don’t need any experience or expertise – come with an idea (even the smallest spark of one), and they’ll facilitate the rest.

The sky behind the Leg now fades from yellow to blue. The sun sets behind the Golden Boy, who will forever rest naked and shining atop a building of so many promises, both kept and broken.

A place that some find comfort in, and for others, a painful reminder that our society has a long way to go. These radio-makers are putting their faith in the airwaves and the possibility of change.

Andrew Dunn, Winnipeg 18 April 2012

PHOTOGRAPHER FILE NAME

KBialous-110323-35.tif LOCATION British Columbia 2012 U OF WINNIPEG HANDBOOK Kamil Bialous 4438_E_2012_Stylus_Winnipeg

MOUNTAIN EQUIPMENT CO-OP 149 WEST 4TH AVENUE, VANCOUVER, BC V5Y 4A6 604.707.3300

LANGUAGE SIZE COLOURS DESIGNER

English 3.875in x 5in CMYK Norman.Coloma@mec.ca

Apr/May 2015 Stylus Magazine

12

MUSIC WITHOUT AN EXPIRY DATE

six shooter records

by Selci

Winnipeg’ s Underground Hip Hop

“A

“We all have similar priorities,” Luke Doucet agreed in the same article. “We all like Merle Haggard and we don’t feel stupid about it.”

Creating and distributing great art, “that’s the common thread,” says Sara Stasiuk by the sunny Good Will window. “The heart and soul of Six Shooter is Americana and roots music, and we branch out from there.”

The firm raison d’être for Six Shooter’s new Winnipeg arm is to put together the upcoming summer music festival, Interstellar Rodeo, which will be held at the Forks from August 14-16th. “We’re bringing in our own huge stage, and it’ll be primarily roots/Americana music. There will be a focus on wine - we’ll do pairings with each act - and music will wrap up by 10 p.m. so that people can get home at a decent time if they want, or party on elsewhere. We’re going for a real low-key vibe,” says Stasiuk.

The festival started at Shauna de Cartier’s hometown of Edmonton.

The festival is now three years old, and has been going so well that Six Shooter decided to share the love with Winnipeg. “We have long-term plans for Winnipeg and the Interstellar Rodeo,” says Stasiuk. “This is our first year, but we’re going to be around for years to come.”

The call for volunteers will be put out sometime this month. If you’ve always dreamt of being one of those revered volunteers at Folk Festival who have helped out every single year, well, here’s your chance to start that kind of record.

You can now find 3-Peat on Soundcloud. They are releasing a high quality live recording from Infinity Productions show at the Goodwill. Find it at https://soundcloud.com/threepeat.

3-Peat 14 Stylus Magazine Apr/May 2015

rt first. Commerce is important, but the intention is to get great art out there,” muses Sara Stasiuk, director of operations for Six Shooter Records, on the Canadian music label’s unwritten manifesto.

When I sat down with Stasiuk at the Good Will on a sunny Thursday afternoon, she was finishing up an email to Ryan Boldt, lead singer and songwriter for Saskatoon’s the Deep Dark Woods. Stasiuk had just secured funding for his travel expenses to the Junos, in honour of his band’s nomination for Roots and Traditional Album of the Year.

That’s exactly the kind of work a songwriter like Boldt wants someone else to do for him; celebrate his successes, perform feats of tedious paperwork, and let him be occupied with orchestrations for dark country waltzes. That’s exactly the kind of relationship Six Shooter endeavors to have with their artists.

The Toronto-based company, with recently hired Six Shooter guns in Winnipeg and Nashville, started in the early 2000s when Shauna de Cartier couldn’t find Luke Doucet’s rock band, Veal, a suitable label. 15 years later, de Cartier is labelhead for a roster of 25 artists, including Doucet’s incredibly well received Americana duo project, Whitehorse.

Six Shooter’s roster is refreshingly gender-balanced and full of vibrant figures, featuring the likes of Shakey Graves, Tanya Tagaq, the Strumbellas, Amelia Curran, and Nick Buzz.

me,’ so I would kick it. It’s very natural that once you see someone MC and beat-box it’s like, that guy knows rap.”

It seems as though there were just a few degrees of separation between them since they were kids, and eventually it was hip-hop music that brought them together.

Over years of rapping and networking, a collective of hip-hop artists was created under the name We Are The Gremlins (WATG), who produce and DJ in Winnipeg. They consider WATG to be the hub and 3-Peat is a branch off of this collective.

When it comes to inspiration, the trio said it’s impossible to try and narrow down specific ideas and themes in their music. They also said when it comes to people who have influenced them the sea is equally as infinite.

“It’s endless. It’s life. It’s this and that. It could be anything. Music is the inspiration for everything.”

The boys have mad respect for one another. Feeding off of each other’s energy inspires and challenges them to keep growing. They are each other’s favorite rappers, which must be why their chemistry on and off stage is so electric. 3-Peat believes strongly in the community element of hip-hop and how it brings people together through various art forms. What’s dope about the Winnipeg scene is the close community of people. They can see the four elements of hip-hop being brought back together in many scenarios here.

“I’ve noticed at a lot of venues there are graffiti pieces, you’ve always got an ill DJ spinning, you got your MCs, and the occasional b-boys will always come out to shows like that.”

Like at the freestyle dance battle Peace of Mine, put on by the collective On the One, there was art, dance, music, and vinyl. There were collaborations with bands and MC’s, and of course 3-Peat played a killer set. A huge turn out came out to Frame that night, and the vibes were hype.

In an interview with Ottawa Xpress, de Cartier said of her chosen brood, “I look for artists who are going to be making music and art until they’re dead, [like] it’s not just something they’re trying on, or something that has an expiry date on it, or that they’re doing to make money. I tend to look for the real thing.”

Super Nintendo, and an ISO booth built by Steve’s dad, the vibe of 3-Peat is authentic and all about music and community.

It seems as though artists and musicianst today rely largely on social media to create buzz and success in their craft. 3-Peat breaks that stigma, having opened for Grieves, Lil Debbie, and Blackalicous all since October without even having a Facebook, Soundcloud, or any of the expected media. These guys have an organic flow about them that breathes hiphop culture.

3-Peat is made up of three MC’s: Steven Tiexiera, Errol Layco, and Dillin Morgan. Local Rhythm FM and CKUW DJ Anthony Carvalho also plays a major background role as manager and DJ. As most Winnipeggers can concur, the scene here is what brings like-minded people together, as was the case for the folks in 3-Peat.

As stated perfectly by the trio: “You know, like-minded individuals gravitate towards each other.”

“We all have this trifecta that happens where we all know each other form certain roots.”

“It’s all just been natural, it’s organic.”

Having collaborated with local jazz/hip-hop/soul groups Super Duty Tough Work and Sapphire Empire, 3-Peat have also played numerous local hardcore shows with groups like Isolation, Elder Abuse, Usurper, and Penalty. Down to how the group was formed, how they create music and interact in the community, 3-Peat has organically conjured up success that contains the four elements of hip-hop and beyond.

Shows, parties, and community are what joined the group to eventually start making music together. They remember a party where they were all free styling together.

“There would be parties at the Pyramid,” Errol said, recalling how he and Steve first started rapping. “Steve and I would always meet out at the patio.

Steve would beat-box and I would rap, we didn’t even really know each other but it was music that brought us together. Steve would always say, ‘No one will switch and beat-box for

by Natalie Bohrn

n a tiny studio in the industrial West IEnd, with records covering the walls,

BY KAITLYN EMSLIE FARRELL

D are I say it, but I think

we’ve got a fresh one, you guys.

Five piece ‘anti-rock’ group Trampoline, including gals Michelle Lecnik (lead vocals, lead guitar), Rachel Letkeman (rhythm guitar, vocals), Ashley Shewchuk (bass) and lads Trevor Sie (keyboard, percussion) and Steve Martens (drums), are doing something a little different. Their lyrics will make you laugh while leaving your brain stirring on the serious undertones later. I asked them what they would define their sound as and I got some humor from Rachel (“Moms think we’re weird, but young people seem to like it so that’s nice”) and Trevor (“We want people to come to their own conclusions about our music instead of us defining what we sound like”).

Trampoline started out just like a lot of local bands; a couple friends and an idea. Michelle and Rachel were jamming and recruited their pal Ashley to learn bass. “She had played violin in band class in high school. So I thought well, maybe we’ll just put a bass on her and see what happens,” Michelle explained. Then along came Trevor, a friend from yoga class. Trevor played drums at first but his heart lies with the piano so he switched over. But then they needed a drummer.

And where do you find a drummer? Kijiji.

Two guys responded to the ad and one didn’t show up to the audition. It doesn’t matter though because Steve nailed it. “We registered him basically on the day of his audition. He played everything perfectly,” says Michelle. And there you have the formation of one of Winnipeg’s newest bands.

But even before Trevor got to switch to keyboard and Steve joined in on the fun, they weren’t wasting any time. They played their first show at the Purple Room and their excitement shone through with a nearly two-hour set.

“It was actually kind of amusing, ‘cause we just played all of the songs that we had written and there www.stylusmagazine.ca

was like, I don’t know, 20 or something.

So the show was really really long. My mom left like halfway through,” says Rachel. “We have all of these songs and we want you to listen to all of them right now.”

But it’s not like they’re robots, they do get tired, but when the people speak, the people speak. “I think there was a point at the show where I wanted to stop playing and then people started screaming more so we played four more songs,” adds Michelle.

They’ve played one show as a full five-piece band at the Cavern. With humorous lyrics such as “I’m an ugly girl/I’m ugly ketchup on the ceiling,” and “I’m horny for love,” you might assume they’re a joke band, but quite the contrary. Silly words for simple minds but if you read between the lines there’s a lot of depth and emotion. They work together to write the music but they all have different methods.

“I don’t know if this just incidentally happens or if there’s an intention that I put forward but what usually happens is I write a song and then I look at it and there’s always themes of tragedy and comedy and transformation that are contained within the song,” Michelle says. “I kind of like it that way so I think I’m going to keep doing it. So if I am writing a song out of a hopeless state I’ll make sure that the song resolves itself or the hopeless state resolves itself within the song so that it’s not just a song that appeals to hopeless people.”

However Rachel’s technique is a bit different. “I write driven by some sort of feeling, thought or emotion,” she says. They admit the contrast, although writing together works. “My songs are about finding the light within the darkness, whereas Rachel’s songs are moreso about living in the darkness,” says Michelle. Trevor is a new songwriter but he contrib-

utes through use of a more formulaic approach.

They may only have a couple shows under their belt but they’re planning on getting the serious stuff out soon. “Collectively, Rachel and I have written about 30 songs since June. So we’re going to pick maybe six out of those 30 and we’re recording it right now. The goal is to have everything finished by next month so that we can launch at least an EP online, so that people have something to listen to, to get introduced to the music before they just see us screaming at shows,” says Michelle. “The goal is to record in a studio and record a full length album eventually and tour and live the dream.”

Now that I’ve confused you with “they’re funny” and “they’re serious,” let me conclude by telling you that Trampoline are entertaining. With the variety brought to the table from each member, you can listen to this band with any mood and it will probably still be fitting. If you just want to have fun you can do that too, after Rachel replaces the washboard she broke at the last show.

You can catch Trampoline in the not so distant future on Saturday Night Live with Arcade Fire and Courtney Barnett.

Apr/May 2015 Stylus Magazine

15

nonstophiphop JAZZMATAZZ NORTH AMERICAN TOUR, 2007 PHOTO BY CHELSEA GRAY

HIP HOP RETROSPECTIVE, PT. III FEEL THE BEAT DROP, JAZZ AND HIP HOP

By Harrison Samphir

espite their many differences, hip hop is someD times called the “jazz of the younger generation.”

Both musical traditions, after all, share a rich cultural heritage. Where jazz appeared as early as the late-nineteenth century in the dance halls of New Orleans, hip hop evolved in urban black communities in 1980s New York City.

By 1993, hip hop was approaching the zenith of its ‘golden age’. Emcees were breaking new lyrical ground; producers experimented with increasingly abstract sounds, and dug deeper into crates for esoteric samples.

Of this era, jazz rap might be the most provocative innovation, an attempt to meld cool and soul jazz elements and sampling with hip hop beats and rhyming. Groups like De La Soul, Jungle Brothers and A Tribe Called Quest (Native Tongues Posse) eventually popularized an alternative version of the genre, but the artists on this list — the third chapter in Stylus Magazine’s “Hip Hop Retrospective” series — were some of the first to debut albums recorded entirely with a live band.

US3 Hand on the Torch Blue Note Records 1993 Blue Note Records is among the most iconic jazz imprints in the United States. Founded in 1939 by German-American record executive Alfred Lion, the label helped popularize modern and experimental jazz forms, notably “hard bop”, in the ‘50s and ‘60s. Thelonious Monk, Jimmy Smith, Horace Silver and John Coltrane were some of its prominent artists.

The label made an indelible mark on jazz music and, with it, the cultural milieux of mid-century America. Its influential releases, from conventional — Cannonball Adderley’s Somethin’ Else (1958)— to avant garde — Eric Dolphy’s Out to Lunch!

(1963)—remain genre touchstones, and its classic album covers and vinyl packaging continue to inspire new generations of graphic designers.

16 Stylus Magazine Apr/May 2015

Blue Note’s most intriguing impact, however, was felt in the sphere of hip hop. Since the arrival of sampling, its recordings have appeared on hundreds of rap albums in the last three decades. Madlib’s Shades of Blue: Madlib Invades Blue Note (2003) and Questlove’s 2008 compilation Droppin’ Science: Greatest Samples from the Blue Note Lab, are two contemporary examples.

Us3 is a London, England-based jazz rap group best known for its debut LP, Hand on the Torch, released on Blue Notes and designed based on samples from some of the label’s best-known releases.

The album features live instrumentation including trumpet, tenor sax, guitar and piano, and rapping

by Rahshaan Kelly, Kobie Powell and Tukka Yoot.

True to its inspiration, the tracks flows with intermittent freestyling, poetry slam and acid jazz breakdowns. Us3 still cuts records — its latest, The Third Way, was released in 2013 — but Hand on the Torch was one of the first successful jazz-rap classics, reaching number one on Heatseekers in 1993.

GURU Guru’s Jazzmatazz Vol. 1 Chrysalis Records 1993 When Guru (Keith Elam) passed away in April, 2010 following a battle with cancer, the hip hop world lost one of its most thoughtful and conscientious mentors. As one half of Gang Starr (DJ Premier) Guru was a rare example of an emcee with poetic, philosophical and urban appeal. He understood his art form as not simply a musical expression, but a cultural one.

Jazzmatazz saw Guru step away from the dominant sound and lyrical themes of Gang Starr’s catalogue, and explore the fusion of rap and live instruments. Jazz greats like Ronny Jordan, N’Dea Davenport, Roy Ayers and Lonnie Liston Smith accompany more than 30 others on a diverse set of 14 tracks. From the mellow vibes of “No Time to Play” to “La Bien, Le Mal” featuring French rapper MC Solaar, each song incorporates a wide range of percussion, brass and horns, along with samples of James Brown, Freddie Hubbard and The Crusaders, to name a few.

Interviewed about the project in 1993, Guru claimed “[the record] was always experimental… I

knew it was an idea that would spawn some historical music.” In the years before his death, Guru went on to release three more instalments of Jazzmatazz; each one (1995/2000/2007) living up to its original concept of blending two kindred styles in contemporary fashion. Today, the debut record is a testament to Guru’s storied career, his passionate desire to unearth the roots of hip hop and pay homage to its pathfinders.

JUSTICE SYSTEM Rooftop Soundcheck MCA Records 1994 Soon after the Roots’ first album Organix sparked mainstream industry buzz about jazz rap in the United States, Justice System dropped its own brand of up-tempo live band hip hop with Rooftop Soundcheck in 1994.

Though it’s now regarded a forgotten classic, the first release from the San Francisco-based group pioneered a sound that’s not unlike the two other records on this list. Featuring glossy rhythm guitar, sizzling tenor saxophone, Rhodes piano and deft drums, along with the down-to-earth rapping of Jahbaz and Folex, the album vibes with the raw appeal of a live performance. Its lead-off single “Summer in the City/Take it to the Stage” even received some heavy rotation on MTV, galvanizing underground fans with its conscious subject matter and spontaneous instrumental segments.

Tracks like “Soulstyle” and “Just Becuase” channel the patented vintage funk grooves of the ‘70s, complete with afrocentric rhymes and sharp storytelling. Others, like “Flexin’ the Ill Funk” feature a more typical hip hop beat with repetitive guitars, but incisive, politically-charged lyrics Rooftop Soundcheck is an unheralded jazz rap staple despite its release during the greatest year for hip hop ever (see the previous edition of Hip Hop Retrospective in the April/May, 2014 issue of Stylus Magazine). Still, that’s no excuse not to cop this record today… Don’t sleep!

Find new and used copies of these albums at Discogs. com or your local record shop.

Local Spotlight

CURTIS NOWOSAD Dialetics From the first notes of “Speak no Evil” (a reimagining of Wayne Shorter’s classic tune), you know you are in for a treat. Curtis Nowosad’s sophomore album Dialectics is an album for music lovers to really dig into. The line up for this album is full of Winnipeg Jazz masters, with Steve Kirby on Bass, Jimmy Greene on tenor and soprano sax, Will Bonness on keys, and Derrick Gardner on trumpet. The original compositions by Nowosad really show his ability to craft catchy and instantly hummable melodies while still stretching out. He also doesn’t shy away from rearranging, with three cover songs on this album by the likes of Wayne Shorter, Thelonious Monk, and Victor Schertzinger. Standout tracks are the title track “Dialectics”, “Speak no Evil”, “Reconciliation” and “Gleaning and Dreaming”. So please do yourselves a favor and discover Curtis Nowosad. (Cellar Live, cellarlive.com) Ed Durocher

NONE THE WISER Smoke and Mirrors Local band None the Wiser turn it up on their self-released sophomore album Smoke and Mirrors. Songwriters and leaders Eli Matas and Zack Kinahan know how to write a catchy hook and rock out when it is

www.stylusmagazine.ca

called for. With music heavily rooted in rock, they mix it up with blues, funk, soul and heartwrenching balladry. The band itself has some local talent as well, featuring Casimir Gruwel (baritone sax), Moe Yusim (tenor sax), the ladies from Sweet Alibi, and Jenny Bihun lending their voices to the project. The opening track “Beale Street Beer” gets the album going on a nice note, but it is the following track, “The Day Voice was Gone,” that really pulled me into the album. Other stand-outs are the gritty blues of “If a Guitar Could Laugh” and the wonderful closer, “As Far as it Goes.” The only criticism I could give would be in the vocal mix. I would have liked it to be a little more present in the mix.

Overall, this is a solid effort from a promising band and I look forward to the next album. They are a band that will get you on your feet and keep you there. (Canadian Grass Records, nonethewiser.ca) Ed Durocher

MOON TAN New Age Renegade At first glance, one may want to dismiss Moon Tan as just another classic rock throwback band. True, their sound borrows heavily from such heavyweights as Rush or Black Sabbath, but across their newest effort New Age Renegade, the neo-funk of modern acts such as Daft Punk and Red Hot Chili Peppers can be heard in the tones of the guitars, the punch of the bass, and the realism and depth of the drums. The album is a grand statement of a band that not only knows its roots, but also is pushing forward with its sound, forging a completely new and unique identity.

Having cut their teeth on the local Winnipeg music scene for the past several years, Moon Tan (consisting of bassist/ vocalist Adrian Dyer, gui-

tarist Brady Mitchell, and drummer Nicholas Kula) have honed a sound on their debut LP that will surely set them apart from their contemporaries among the local rockers in Winnipeg.

The album opens with the in-yourface rocker “Alive”, rife with slap bass, choppy guitars, and Dyer’s soaring vocals. The influence of the old guard of rock and roll is clearly felt on this track, and makes an excellent opening statement of the band’s sound and mission. The band shifts gears on the more funk-inspired “Let Your Body Fly Away”, where Mitchell’s guitars seamlessly weave from groovy to technical on a true standout track.

“Squidrace”, the album’s closer, is an instrumental track that harkens back to the days of early ‘70s prog rock.

Bouncing through all kinds of different time signatures and shifting the feel from tight math rock to ethereal ambiance, Kula’s drums and percussion drive this song while the rest of the band dissects all their favourite sounds through the years and rearranges them into a song that would fit perfectly on many classic albums.

Through hard work and dedication, Moon Tan have created and album that runs the gamut on all kinds of heavy-hitting music from the last 40 years, and have created a standout LP that will serve as the beginning of great things to come from this very promising band. (Independent, moontan.net) Dave Guénette

ASTRE Wood Songs Astre takes us through an astral haze on her new album Wood Songs.

Dreamy and delicious, the six track EP whisks the listener into a foggy field pleasantly wandering through abysses. Her voice floats like cirrus clouds over a sea of reverb and dis-

tortion, harmonizing feedback inescapably into your mind. This album is reminiscent of Bon Iver’s nostalgia and the beautiful catharsis of Daughter. Wood Songs is light and pleasant, perfect for lounging and relaxing like a flickering bonfire or raindrops on the lake. Astre’s harmonies flow softy and expressively, lulling onwards. Her piano pieces add an enchanting textural shift, dispersed throughout the forest of tunes. The lo-fi recording brings you right to the family cabin that it was recorded at. (Self-released, astremusic.bandcamp.com) Selci

SLOW SPIRIT Bad News Slow Spirit’s Bad News EP rumbles with anticipation through its sublimely written melodies and ghostly rhythms, pulsing into the horizon.

Bohrn’s voice soars like a prairie eagle, elegant and powerful, willful and wistful. Roberts guides the guitar with creative directions always in the unexpected ether, and of course Alcock is spot on with his punk influence, perfectly adapted into the magic of Slow Spirit. There is an ambience that binds the EP throughout, pulling the heartstrings and ears of the listener beckoning for unending delight. Allard’s atmospheric solo at the end of “Unknown” is noteworthy in it’s floatatious drear. Their sound experiments drift, effortlessly building to quaking rhythmic structures like nostalgic inertia to throbbing vivacity.

It’s fresh and new - catchy without clichés. Released with an alluring video shot by Matt Lacosse, Slow Spirit’s Bad News EP is breezy and energetic, tranquil and spontaneous. It is definitely worthy of your repeat button.

(Self-released, slowspirit.bandcamp. com) Selci

Apr/May 2015 Stylus Magazine

17

Root Cellar There are so many instances of humor, truth, and beauty in this slim package that it feels like a little history of American songwriting. (Signature Sounds Recordings, signaturesounds. com) Natalie Bohrn

VARIOUS ARTISTS Link Of Chain: A Songwriter Tribute to Chris Smither Link Of Chain is a touching offering to a hidden god of American songwriting, Chris Smither. Bonnie Raitt’s introduction of Smither’s song on her live recording, “Love Me Like A Man”, puts it neatly, “I want to thank the songwriters that make my life so incredible, and yours too. These are just amazing tunes.” This record is a great introduction to Chris Smither’s work. This collection spans 15 tightly crafted songs, made in 15 colorful recording circumstances by artists you might know ( Josh Ritter and Bonnie Raitt) and artists you ought to know (Aoife O’Donovan) in a wide constellation of interpretations, bands, and recording processes. Beyond being a fascinating scattering of voices and sounds, this record is a beautiful piece of gratitude for a truly sage songwriter. You can listen to the songwriting, the performances, or the production and find something ticklish all over.

SHRED KELLY Sing to the Night Hailing from Fernie, B.C. Shred Kelly comes forth with their third LP, Sing to the Night. With this album Shred Kelly has stayed within the same canon of folk-rock as their first two albums did, but they’ve made strides in production quality; they play tighter, sing clearer, and have the added thrust of some catchier, more accessible songs. But there are tracks like “Stuck Between”, “Stereo”, “Person of Heart” and album closer “Eyes Are Open” where although they’re good songs and likely crowd pleasing, foot-stomping jig-makers at live shows, they still haven’t risen much above or beyond the formula that they established in previous albums, although this isn’t necessarily a bad

thing either. For the music they’re making, the formula works. They’re getting better and more refined. Sing to the Night takes on less long-stride repetition with cleaner, more structured arrangements. Taking a slight direction towards pop seems to have offered some additional cohesion and off-centeredness from traditional folk-rockers as well. Not only from the improved quality of the album but by dedication to a schema that seems to be working for the band so far. Album openers “Sing to the Night” and “Family Oh Family” are in the right place, probably two of the strongest songs on the album that give it a quick jumpstart into high gear. Or “Start Again” whose exquisitely serenading banjo riff, burly bass line, backbone drums, song-length maraca shaking and McBride’s radiant vocals give an elusive simplicity that’s clear and captivating and works with the crescendo building momentum and sound that the band has become accustomed to.

Sing to the Night succeeds in its capacity to surpass Shred Kelly’s previous albums, and with the band amping up for their first Winnipeg Folk Festival appearance this summer, apparently others have taken notice too. (Green Door Studios, greendoorstudios.ca) Christopher Bryson

ing as they come. He has been in the music business for 20 plus years with a wide variety of bands and groups along the way. Recently, he has been releasing music under his own name and The Forgettable Truth marks the third album he’s put out since 2013.

This is a slow and steady folk album that is much more complex than its easy gait lets on. Somehow, although this was my first introduction to his work, these tracks seemed immediately familiar as the album flowed effortlessly between songs that are in turn sleepy and sweet. Although I was drawn in the first time around, it took a few listens to fully appreciate the experimental, playful flourishes that are scattered throughout these songs. Feuerstack has been around long enough that he is able to exercise incredible restraint – when he does employ violin arrangements, synths, or hints of psychedelic rock in a song, it is always powerful and purposeful.

You get the sense that he feels no need to show off, and therefore uses these elements only when they are truly necessary. As a result, this is a cohesive album full of gentle songs about love, truth, and regrets, that will draw you back to listen again and again. (Forward Music Group, michaelfeuerstack.com) Danielle Marion

MICHAEL FEUERSTACK The Forgettable Truth Montreal-based singer-songwriter Michael Feuerstack is as hardwork-

Mental Notes

YUNG LEAN Unknown Memory Yung Lean is a young Swedish rapper who falls within the style of hip-hop and cloud rap. Cloud rap is an experimental style of hip-hop that’s ethereal and dreamy (almost psychedelic in

18 Stylus Magazine Apr/May 2015

some ways), with often strange abstract lyrics. With beats made by his Sad Boys crew, Yung Lean certainly falls within this mix. Yung Lean’s songs are lugubrious and melancholic with textures and production effects that are dense and corrosive in an apathetical sort of way. “Yoshi City” sounds like it could be an offbeat rap tune for a Super Mario soundtrack, although the lyrics have nothing to do with the game, or Yoshi. Burbled electronic trumpet sounds flutter in an infectious haphazard loop around rapid-fire percussion with an enshrouding expanding-compressing bass drone as Lean raps atop the mix.

“Monster” boasts a weaving synth

pulse and the signature Sad Boys glitch-sputter electronic percussion as an ominous, fuzzy ‘monster’ bass drone fills the open space with Lean at the forefront. The song transitions around the halfway point to a spellbinding hopscotch melody of glistening peals of synth bell effects that flutter frantically as handclap-like percussion takes over, keeping pace with Lean’s vocal rhythm as it hikes and skims along the dreamy refrain before returning back to the chorus.

When I first gave this album a listen I was skeptical. But after a few listens, although it didn’t grow in any major ways on me, I began to understand more of what Yung Lean and his

Sad Boys have set out to do with this music. In speaking to his notions of society and youth and the wants, needs, discontent, and inevitable sadness that can come with still trying to find your way in this world, Yung Lean at his young age is speaking to a generation that’s feeling the same way.

It’s nice to be able to relate to music you enjoy because in many ways it becomes a part of you. For all its morose lyrics, dreamy aesthetics, rattling percussion, and Lean’s slack-sway, speakdrawl rap, Unknown Memory brings something unique to a genre that’s still relatively new in its origins. (Sky Team, sadboys2001.com) Christopher Bryson

Under the Needle FAITH HEALER Cosmic Troubles If you’re in need for an album to take you right out of reality, look no further than Cosmic Troubles, Edmonton native Jessica Jalbert’s second album and first under the Faith Healer moniker.

From the warbley guitar of opening track “Acid” to the punchy garage rock bass of closer “Until the World Lets Me Go”, Jalbert sets a path for us to explore. Guided by Jalbert’s carefree yet bold voice, we’re taken through a truly fantastic mix of ‘60s psychedelia and ‘00s bedroom pop, touching on everything from Camera Obscura to the Byrds. The pure variety of sounds on this album would be enough to confuse and alienate the most adventurous of listeners, if they weren’t executed so gorgeously and cohesively.

The swirling Motown organs, expansive shoegaze drones, and fuzzy garage rock guitars are combined with an acute knowledge of pop to create a beautifully hazy listen. The album’s standout track is the fuzzed-out rocker “Canonized.” It’s the song that sums up the aesthetic of the album best; slow-burning, wispy verses that explode into euphoric “ahhhs,” plunky bass, and punk rock guitar. The second the first chorus kicks in is one of the album’s most satisfying moments, a stunning resolve that the album doesn’t see until this point, which ties everything together perfectly. Moments like these on this album are what make it a full listening experience. It is an album to get lost to, an album which will make even the most hardened winter warriors crave the warmth of summer. Whenever you get a chance, turn up your speakers, hit play, and disappear into Cosmic Troubles. (Mint Records, mintrecs. com) Jordan Cayer THUS OWLS Turning Rocks Turning Rocks is full of enormous bravado in the face of such poptinged weirdness. No song could possibly stand alone as a single and encompass it all - Turning Rocks ought to be taken as a full album experience.

The first listen through feels very strange, which speaks to the density and range of ideas in this wonderfully odd and fulfilling album. There is a short learning curve to the language of Thus Owls, fronted by singer and songwriter Erika Angell, a creative force so potent as to sound beyond gender. There is nothing cute, edgy, or precious anywhere in her delivery - just a real voice with real depth of

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color. Simon Angell, Erika’s partner and Patrick Watson’s lead guitarist, never fails to deliver in the sparkly, crunchy guitar sounds and beautiful line and harmonic construction departments. Second and third listens illuminate dense, artfully structured arrangements with drum kit, electric guitar and bass, organ, autoharp, and orchestral instruments (Arcade Fire’s Pietro Amato on French Horn, for instance) that sweep from delicate to towering in seconds. Nothing too technological, but rather mystical and magical, Turning Rocks is full of raw human songs. (Secret City Records, secretcityrecords.com) Natalie Bohrn SISKIYOU Nervous Siskiyou’s most recent album, Nervous, is paradoxical in its sound. It is loud in its quietness, complex yet accessible, and it manages to maintain a minimalist style without sacrificing grand musical aspiration.

The Vancouver group, consisting of Erik Arnesen and former Great Lake Swimmers member Colin Huebert, has crafted an album full of deep, static cuts that evoke the sound of Arcade Fire. Siskiyou’s sound is highly flexible, with songs fitting everywhere along the speed spectrum. That type of versatility is a true strength of the album, and creates a wave-like momentum that keeps it flowing from start to finish. While at one moment they sound like Win Butler et al, as quickly as the change of a track Siskiyou resembles a handful of other musical influences, all the while clinging to a distinct overarching tone. “Bank Accounts and Dollar Bills” is reminiscent of Plants and Animals, with lyrics - “I cannot help myself from taking all the milk out of the breasts of the moms of the kids” - that Father John Misty himself could have written. Hidden within the atmospheric, mystery-laden glory are fast-paced tracks like “Imbecile Thoughts”, which precedes the nearly-seven minute opus that is “Babylonian Proclivities.”

Nervous is most definitely deserving of your ears. Furthermore, your ears are deserving of Nervous. (Constellation Records, cstrecords.com) Ben Waldman ARCHIS Archis With their debut release, Archis (pronounced “arches”) establish themselves as a confident indie pop duo with a sound that is introspective and

full of power. On lead vocals is Dia Frampton, an American singer-songwriter and runner up of the inaugural season of NBC’s The Voice. Like so many contestants before her, the record that she released immediately following the show went relatively unnoticed. After leaving Universal and returning to songwriting, she seems to have hit her stride here with the other half of Archis, Joseph Trapanese (producer of the Tron: Legacy and Oblivion soundtracks, amongst others). Frampton’s sweet but strong voice and Trapanese’s cinematic sensibility come together to create a compelling sound. Their range is impressive, as individual songs (such as standout track, “Blood”) flow between aggressive horn or string backed choruses and pared down, haunting verses. The songs track the evolution of a relationship as betrayal, loyalty and love are offered up for consideration. With a clear dedication to this new partnership and to the stories they want to tell, Archis has taken to performing the album all the way through, abandoning all individual material as they have began to tour.

Although each song stands up on its own, this approach seems natural, as the narrative arc highlights the duo’s inclination to tell stories. It’s easy to be cynical about artists who have achieved a certain level of mainstream success, but Archis has created an album that proves that this is not always an indicator of the diverse talents and interests of the artists, or of the types of music that they decide to make in the future. (Nettwerk, archismusic.com) Danielle Marion DAN DEACON Gliss Riffer Pre-programmed Eastern drums.

Pulsating synths. Vocals drenched in vocoder. These are the sounds that begin Dan Deacon’s “Feel the Lightning” off his latest LP Gliss Riffer, an interesting journey to the crossroads where synthpop and psychedelia meet. Being his eighth album, Deacon clearly has experience in using synthesizers and overlaying vocals to pristine effect. Originally from Baltimore, Maryland, Deacon has been honing his sound for close to 12 years. His previous album, America, about his disillusionment with his country and the rest of the world, was a critically acclaimed work in electronic music.

The opening track “Feel the Lightning” is a beautiful tune full of heavy pulsating synths, muddy distant vocals, and catchy melodies. Admissions

to a lost love and pop culture references from Johnny Depp to Tom Petty make this opening track an ethereal yet punchy pop gem. Another standout track is the superb “When I Was Done Dying”, where Deacon trades in the vocoder in favour of layers upon layers of tracked harmonies. Dynamics between percussion and bass dominate this track, leading to a chorus that manages to be emotional and uplifting despite not using any actual words at all. The instrumental “Meme Generator”, with its chopped up sampled vocals and soft synth leads reminiscent of a Super Nintendo-era Final Fantasy game, is a relaxing break from the fast-paced and scattering song styles of the opening half of the album. There are some problems later on in the second half of the album due to a lack of variety in sonic texture, but overall Gliss Riffer is a solid effort that would fit well into any audiophile’s electronic album collection.

(Domino Recording Co, dominorecordco.com) Dave Guénette SHIMMERING STARS Bedrooms of the Nation Bedrooms of the Nation is Vancouverbased Shimmering Stars’ second full-length album. The band has a refreshing take on the genre by offering a mix of rock, pop, and a splash of dreaminess in their sound. Often referred to as simply ‘dream-pop’, the reverb-soaked guitars and crooning vocals create a melancholic state of mind which is supported by songs such as “If You Love Me Let Me Go” and “Dérèglement,” where the lead singer delves into issues everyone can relate to, such as heartache, loneliness, and simply not knowing where the hell he’s going in life. The album cover alone immediately draws you in with its unique artwork, staying consistent with the dream theme of the band, featuring planets and doves surrounding a headless woman (or rather, a planet replacing the head of the woman). Bedrooms of the Nation is an album to throw on during a lazy weekend afternoon. Songs like “Shadow Visions” and “Anomie” have that perfect mix of relaxing qualities while being upbeat enough to grab your attention and hold it. With some songs featuring a hollowed out tone over driving guitar riffs, and others with a more traditional mellow approach, you’re presented with a combo that makes this band stand out among the others. (Shitty Bike Records/Almost Musique, shimmeringstars.bandcamp.com) Craig Talaga

Apr/May 2015 Stylus Magazine

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GEMS/REDFERNS/GETTY IMAGES

THE TROUBLE WITH BLURRED LINES (BOTH THE LINES AND THE SONG): COPYRIGHT AND CREATION IN CONTRAST

By Devin King here are really only a handful reactions to the TMarvin Gaye estate’s copyright win against Robin

Thicke and Pharrell Williams. A large fraction will be thrilled that lecherous scum in human-shaped skin Thicke will have faced another massive setback in his life. Another large fraction will have complete indifference to the results. Certainly Alan Thicke must be now concerned about how he will support his son’s lifestyle. But most important is the group of critics of the decision, many of whom are music critics who have been critical of Thicke’s persona, and its implications in music as a whole.

A musicologist brought in by the Gaye estate identified “a constellation” of eight similar elements, particularly melodic fragments, between the songs, seemingly enough to convince a jury that this was more than just coincidence. This is problematic though, as melodic fragments can be picked apart from songs ad nauseum. Anyone listening to the song can hear similarities, perhaps most obviously in the electric piano. Dan Reitz writes that “although the chords are different (I7 vs I,) the voicings have the same number of notes and are in the same register, and they revolve around the same bop-bop-bop off beat rhythm. The similarity is so striking that most people seem to pick up on it right away, and it doesn’t help Pharell and Robin Thicke’s case that they chose to use a very similar sounding electric piano.” Reitz further breaks down a number of the very-close-but-not-quite similarities presented by the Gaye estate, in his two-piece article that is worth reading for understanding the flaws in the musical structure argument of the ruling.

It’s not accurate or helpful to simply say that Thicke and Pharrell, in writing “Blurred Lines,” copied “Got to Give it Up.” The reality is that the songwriting process, evolution of music, and creation generally aren’t as cut and dry as the decision of the court made it seem. Douglas Wolk points out that the decision from the jury arrives largely because the legal opinion of how songwriting works differs from how songwriting actually occurs. This legal opinion of songs says that a song can be stripped to two basic elements: melody and lyrics. On the other hand, instrumentation and timbre are not protected. Despite this, the legal ruling seems to have been made less on melody and lyrics and more on what is referred to as the “vibe” or “groove” of the song.

This is where things become problematic, because you can’t copyright the sound or feeling of a

20 Stylus Magazine Apr/May 2015

song. It’s pretty obvious that there are similarities between “Blurred Lines” and “Got to Give it Up,” just as there are similarities between hundreds of other songs. Perhaps music critics are particularly alert to this, as so often critics are able to describe a song or album by alluding to the groove of something that is related or influencing it. The entire sonic landscape is inspired by the landscape that came before it, and often seeks to evoke those moods through the use of music itself. Clearly, Thicke and Pharrell were attempting to evoke that sort of “vibe.”

However, further complicating things, a reading of the jury’s verdict shows that while they didn’t believe Thicke and Pharrell “willfully” infringed on copyright, neither were they “innocent” of copyright infringement either. Surely there are many musicians who don’t willfully infringe on existing material who would then also be deemed not innocent.

There must be a great number of artists indebted to the Velvet Underground, the Beatles, early blues art-

ists, Pink Floyd, or any number of totems of music that are a bit concerned by this ruling. And moreover, anyone who intends to make music should be concerned as well. The question now is about how broadly this ruling will be applied to other songs.

Musicians being inspired by other musicians and sounds past and present is an important part of how music grows and evolves. It’s a natural ecosystem wherein genres change and sounds adapt.

Musicians now may be reluctant to release or record songs not because it explicitly infringes on an existing work, but because it feels like another song. What does this mean for music? It means that “vibe” – something extraordinarily difficult to quantify – is now an indicator for what may or may not be infringement. It’s an attempt to make a creative endeavor understandable in a realm that needs clear cut understanding in order to make a decision, but forcing that determination upon such a creative endeavor will only hasten to stifle creativity as a whole.

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