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Stylus
Oct/Nov Issue5 2015 Volume26
Production Team Editor . . . . . . . . . . . . . . . . . . . . . . . . Gil Carroll Art Director . . . . . . . . . . . . Andrew Mazurak Assistant Editor . . . . . . . . . . . . . Victoria King Cover Art . . . . . . . . . . . . . . . . . . Jenna Arlegue
On the Cover JENNA ARLEGUE is a proud Canadian fluent in English and sarcasm who enjoys pointillism, pepsi and poutine. She’s a hand lettering buff and graphic design graduate from Red River College, and often makes f.r.i.e.n.d.s, Mean Girls and John Hughes movie references on a daily basis. contact by email jenna.arlegue@gmail.com instagram @j_arlegue
Advertising Contact . . . . . . . . . Rob Schmidt manager@ckuw.ca Print by JRS Print Services . . . 204-232-3558
Contributors Janel Chau Ed Durocher Shawn Fedora Kaitlyn Emslie Farrell Laura Geraldine Nick Van Doeselaar Doug Kretchmer Kaylee Smoke Mike Skwark Olivia Michalczuk Jordan Cayer Christopher Bryson Phil Enns Ryan Nash Alex Roberecki Shannon McFarlane
Stylus is published bi–monthly by 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 Live Bait Slim Twig // David Warlix // Bone Thugs-N-Harmony . . . . . . . . . . . . 9 CKUWho The Trip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 CKUW Program Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Local Spotlight Cannon Bros // Triggers // Human Music // Humdrum . . . 14 Under the Needle Power-Buddies // Oughts // Rah Rah . . . . . . . . . . . . . . . . . 15 Iconoclast Adolyne // Two Oceans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 All That Jazz Shilpa Ray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Features Ought . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Holy Void . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 The Unbelievable Bargains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Eat Em Up Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Ghost Twin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Oct/Nov 2015 Stylus Magazine
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MAC DEMARCO // BA JOHNSON BY ANDREW MAZURAK
Summer is over and gone. Winnipeg must find a way to go on. Live music and fun is the answer *** Catch Jerusalem in my Heart at the West End Cultural Centre on Thursday October 8, or see Negura Bunget (Romania), Dynfari (Iceland), Grimegod (Romania) with Wilt and Ossific at the Handsome Daughter *** Friday, October 9, Constellation Records artrockers Ought are in town, with The Zorgs, and Holy Void [pg. 6] at the Good Will Social Club. Check out our feature on page 5, and album review on page 15! *** That same night, always a favourite, BA Johnston is back in town with Blond Goth, and Smoky Tiger at the Handsome Daughter *** Wow, Claire Bestland album release show at the WECC on Saturday, October 10 *** On Tuesday October 13 you’ll have to stand on your tiptoes and peek in through the windows because this sold out in a flash! The Handsome Daughter celebrates their one year anniversary with Royal Canoe performing their debut album Co-Op Mode in its entirety, alongside Basic Nature and Tom Keenan. Delhi 2 Dublin are over at the Park Theatre *** Your mom’s worst nightmare Slipknot slays the MTS Centre on Wednesday October 14; that same night, The Glorious Sons, Poor Young Things, and Northcote are at the Pyramid Cabaret *** Thursday October 15, bloody-as-ever Andrew W.K. and Chica Boom Boom are at the Pyramid Cabaret. Also that night is the UMFM Pledge-O-Rama Kick-Off at the Good Will with Ben Caplan & the Casual Smokers; also, Hawksley Workman and Fiona Bevan are at the WECC *** October 16 is the Selci Earth Person EP release at the Good Will with Ingrid Gatin and Envoy *** Saturday, October 17 is The Bros Landreth at the Burton Cummings Theatre. That same night, The Neighbourhood, Bad Suns, and Hunny are at the
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Garrick Centre. Also, Dear Rouge and Rah Rah play the Park Theatre *** Don’t miss Mmars, Black Cloud, Johnny de Courcy (from MTL), Basic Nature ft. Mona Mousa at the Rudolf Rocker (3A-91 Albert St) on Wednesday October 21 *** Holy shit! Sean Nicholas Savage is at the Handsome Daughter with Promise Keeper, Living Hour, and Not Animals on Thursday October 22 *** YAAAAAAAS. Salt N Pepa is playing Club Regent Casino with Spinderella and Mama Cutsworth on Friday October 23; the same
night, Dilly Dally play the Good Will Social Club - they played on the METZ bill in July and killed it. Don’t miss ‘em *** October 23 - 25 is the Transistor 66 Weekender 3 with The Thrashers, Gordie Farrell, Atomic Don & the Black Sunrise, Surprise Party, The Zorgs and M&M Meats at the Handsome Daughter *** Kieran West and His Buffalo Band are at the Times Change(d) High and Lonesome Club on Saturday, October 24*** The King of Mosey, Daniel Romano and Steve Lambke are at the Good Will Social Club on Tues-
day, October 27 *** Xavier Rudd & The United Nations play the Burt on Saturday, October 31, while over at Ozzy’s, Kindest Cuts and Ghost Twin are spooking things up for Hell Night; Ridley Bent dresses up as a cowboy at Times Change(d); or hit up the Haunted Hot and Dirty Dance Party at the WECC, with The Catfish Brass Band and Dr. Hotbottom *** Nov. 5 do not miss the Well Sister EP release at the Good Will Social Club or go have a really fun time at the Garrick Centre with Mac DeMarco, Alex Calder, and The Courtneys *** Nov. 10 the dudes from Real Love Winnipeg presents Little House, Zrada, and Odd Outfit at the Good Will Social Club; over at the Park Theatre are Beach Slang, Luthuania, Worriers, and Needles/Pins *** Nov. 12 has The Pines at the Good Will Social Club. *** Nov. 12 at the Garrick Centre check out Hey Rosetta! and Yukon Blonde *** Nov. 13 we are excited because Library Voices made a new record and are in town from Regina playing at the Good Will Social Club *** Nov. 14 - Dance to all your favourite guilty pleasures at Pop Tart at the Good Will Social Club***Go absolutely wild at the Burton Cumming Theatre on November 15 with Gogol Bordello *** Nov 20 Indie poppers The Elwins play w/ Adam Hanney and Co and Mabel’s Flight at the Good Will Social Club *** Nov 21, Do not miss the Chic Gamine album release at the Good Will Social Club or every folk fester’s favourite, Bahamas at the Burton Cummings Theatre. *** November 23 fly away with Paper Kites at the Park Theatre *** Saturday November 28 a very stacked bill at the Park Theatre with Mahogany Frog, Ghost Twin [pg. 13], Holy Void [pg. 6] *** Oh, very cool, Born Ruffians at the Park Theatre on November 29 *** Stay safe, have fun, support local music.
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OUGHT BY VICTORIA KING
Tim Keen joins me over the phone from Montreal. For him and his band Ought it’s home base, but, he explains, it’s also a city that the group is rarely in for more than a few weeks at a time. They’ve just returned from a six-week European tour and one week in the US. Tim says that after such a lengthy stint, it feels funny to not be on the road, laughing, “it’s been so long since I’ve had a home cooked meal.” When they’re not on the road, he says he gets reasonably domestic. “I get homey, cook, try to see friends and see shows . . . tour’s been great, but it’s been a lot of time on the road.” Since the release of Ought’s debut record More Than Any Other Day in late April of 2014, the quartet has been touring the world. The record, released by MTL-based label Constellation Records (GY!BE, Colin Stetson, Matana Roberts), struck a chord with music lovers from all over. “We played a great show in Prague [on this last tour],” Tim says. “It was so sweaty and people were really excited to see us.” More than international fans, the album has amassed critical acclaim and attention from wellto-do music hobnobs, including the likes of Exclaim!, Pitchfork, and Rolling Stone. That being said, Tim says the impact the attention has made is in the logistics. “Practically speaking, it just means that we’re touring a lot. It’s also made me feel that Montreal is less so the centre of the Universe, and more of just a place we return to,” he explains. Moreover, it’d be fair to assume that that kind of attention would set some kind of precedent for approaching the new album, Sun Coming Down, but Tim explains that the creative integrity of the group is the same. “It would be pretty cynical of us to write the album and nervously anticipate the criticisms of it,” he says, explaining that the only real change was the timeline set for finishing the new record. Whereas MTAOD was recorded over the course of just a few days, Sun Coming Down was written over the course of three months in the winter of 2014. He describes this album
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ILLUSTRATION BY JANEL CHAU
as a “companion piece to the first,” saying that the process of writing and creating this album was almost identical to that of MTAOD. If anything, he thinks they’ve executed some of the ideas they had for the first record better on this one. Tim describes their process: the four members of the band would show up - pretty unprepared, he laughs - and work together without an agenda or any predetermination. He says that each member of the group has a fairly distinct aesthetic, so
their session would run until they found some kind of balance of micro compromises between their individual stylings. He laughs and says it meant that they would move through quite a lot of bad material, but they knew they’d found a song when they’d feel a noticeable shift in the energy of the music. On each member’s musical differences, he says it’s harmonious. “We need each other in different ways. It would be pretty boring to jam with three other guys that thought just like me” Sun Coming Down lyrically explores gentrification, consumerism, and oppression. The songs are constructed collectively, and the band’s lead vocalist Tim Darcy writes all the lyrics. Tim describes Tim Darcy as an “intuitive writer,” explaining that most often the lyrics come out in Tim (Darcy’s) singing. The new record was recorded by Radwan Ghazi Moumneh, the creator behind Jerusalem in My Heart, another Constellation signee. “He’s the most intelligent musician that I know . . . and he’s great at letting things sound like they need too. He doesn’t put up with bullshit [in music], and that makes me aware of my own bullshit.” Radwan also doubles as Ought’s European tour manager. “I’ve seen him four to five times more than I see my own family,” Tim laughs. In several past interviews, the band had said that they made music they hoped their friends would enjoy. Beginning as another rock band in Montreal’s prolific music scene, and now one very successful full-length record (and another on the way) and quite a few international tours later, Tim says he still hopes the music tastes is in league with their friends’. “Most of the music I listen to is local (from Montreal), and I don’t blame my friends if they don’t listen to it. I don’t listen to music on big websites either.” “I recognize now that we exist in a larger narrative of music,” he says. With the release of Sun Coming Down, Ought should probably prepare for that narrative to get even bigger. Ought play the Good Will Social Club on Friday, October 9 with the Zorgs and Holy Void. Listen at ought.bandcamp.com.
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HOLY HOLY VOID VOID
BY ED DUROCHER
ILLUSTRATION BY SHAWN FEDORA
Holy Void is a kind of “supergroup” within the Winnipeg music scene, with Danny Hacking and Kyle Loewen (Surprise Party) making up the rhythm section and Grant Trippel & Michael Henderson-Castle (The Catamounts) handling guitar duties. Their debut self-titled EP is full of spacey psychedelic goodness. They would describe it as ‘nightmare pop.’ I got a chance to talk with bassist Danny Hacking about the album, the recording process, and the band. Stylus: Tell us a little bit about the history of the band. How did you guys all come together? Danny Hacking: It started out the way most bands start out. Michael and Grant had some songs they had been working on but no backing band to play them with. Kyle and I don’t have a whole lot going on in the fall because other members of Surprise Party are in school, so it seemed like a natural fit to get together and try to make some cool spacy psychedelic music. We’ve all hung out in the same circles for years so we were all pretty familiar with what each member’s influences were and what we each brought to the table. Stylus: Having just released your debut EP, how does it feel to have that first big step out of the way, and what is next? DH: I don’t know if getting something out was that big of a deal to us to start off with, so long as we were releasing something that we were all extremely happy with. It could have taken us a couple months to release something or it could have taken us a year. If a chunk of free recording time hadn’t fallen into our laps back in January I’m sure we would still be tracking the EP. We worked hard and took advantage of it and were able to come out with a six-song EP that all four
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of us are proud of. Now that it’s out of the way though, we are excited to work on new songs. Hopefully it won’t be too long before we’re back in the studio. Stylus: With every member playing in multiple bands, do you find it hard to juggle everyone’s commitments? DH: As I mentioned earlier, with Surprise Party it’s pretty easy. Other members have school commitments during fall and winter, and even in the spring and summer we don’t play all that often. We pretty much only need to work around the Catamounts’ schedule which is manageable.
Stylus: Listening to the album I really dug the solo acoustic piece “Interlude.” Who came up with that piece of music? DH: Michael came up with the acoustic interlude while we were recording the ending section to “Don’t Forget.” When we were listening back to a take of “Don’t Forget,” Michael came in with one of the acoustic guitars lying around the Exchange District Studio and just started finger picking that part. We decided to record it and put it on the album. Stylus: How was the recording experience? Any major blowups, and how long was the process? DH: Everything went as well as possible in the four days that we had to track the album. Grant was able to score us a couple of days in a row of free recording time and since we had been practicing the songs on the EP for months, laying it down in the studio felt very relaxed and natural. Spontaneous moments like the interlude you mentioned earlier, and recording guitar tracks through a Leslie speaker were pretty cool. Stylus: Is the writing process a collaboration, or does one person handle that side of things? DH: Everything has kind of been a collaboration from the start. Grant and Michael have come up with the song ideas then Kyle and I will lay down what the rhythm will sound like. I think we’d all like to see it remain a collaboration. We’re pretty open to working with anything the four of us have mustered up in our brains. Check out holyvoidband.bandcamp.com/releases for check out their self-titled EP.
WORDS AND PHOTO BY KAITLYN EMSLIE FARRELL
innipeg’s own The Unbelievable Bargains are no laughing matter. Well, feel free to laugh with them, as their lyrics portray the everyday crap that most people endure - but don’t get confused, the band is a serious project. The group consists of three members: Marshall Birch on guitar, Steve Basham on bass, and JP Perron on drums. They’re all on vocals, of course. How did it all begin? “Get drunk on Wednesdays, play some songs,” says Basham. “I think it’s good if people laugh and have fun, I think it’s funny,” says Birch. “We’re trying to be amusing more than anything. I write songs that amuse myself.” These guys just want to have a good time with their fans. Just one of the reasons people are drawn to The Unbelievable Bargains is the relatability of their lyrics. “You write a song about something that happened in your day, someone else is like, ‘oh yeah that happened to me,’” says Birch. “They’re very accessible songs lyrically. It’s easy to hear the lyrics and tell what I’m saying. They’re pretty blunt.” Catchy is a characteristic that has worked in music for a long time. It’s the quality a band wants when they’re having fun. It enables the crowd to join in. “It seems to be appealing to people that we went through the trouble of writing songs about some of these things,” says Basham. “And then more songs about the same things,” adds JP. The format seems to be working for them so they’ll likely stick with it. “I’ll write songs on another topic but they’re usually not as good,”
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says Birch. Their trademark is the ample amount of songs about cats. I had to ask if there was any particular reason for the abundance of feline mentions. “Cause we like cats,” says Birch. “If you’ve got a cat it’s a decent part of your life. You wake up, you’ve gotta feed the cat, wash its box, it’s something that happens. It’s like as big as the dishes.” It has gotten to the point in which the fans at shows yell out, ‘more cat songs!’ So is it a cat complex, or an appreciation that is shared with the general public? The Unbelievable Bargains are creating a community through music where people may come together and express their mutual fondness for the little furballs. It’s not just about cats though. “We have a few dog songs but none of us have a dog. We still like them,” says JP. Cats are simply more present. “I write songs about whatever happens in my life a lot of the time, and since cats are around they’re in my head a lot. I like them, they’re cute. They’re on the internet a lot,” says Birch. I asked if they thought they’d ever run out of things to talk about or become redundant but it doesn’t appear to be a fear of theirs. “I keep talking about the same things already,” says Birch. “There’s a lot of funny animals out there - I can keep going for a long time I think.” The guys’ third album Exuberance Abounds was released on September 12 at a party of a show, balloons and all. The guys crowdfunded for this last al-
bum and although they didn’t quite reach their goal, they got far enough to deliver. If you’re not familiar with crowdfunding, the way it basically works is the artist lists different incentives at different prices and you pay for what you want. It’s often a good way to pre-order albums, receive limited edition merchandise, etc. The guys wanted to keep their incentives priced fairly and deliver on their promises. “We can’t get into the business of ripping people off and be called The Unbelievable Bargains,” says Basham. The Bargains made a $100 incentive whereby you pay to have a song written about you. People loved it. Currently three of the songs are already written and they are all going to be recorded. They don’t actually know a lot of the people who ordered these quirky, personal tunes, so they required a list of facts about each person. “It’s just taking those facts and making them rhyme,” says Birch. The Bargains are going to tour through the prairies soon. After that they’re going to record all of those crowdsourced songs. The cycle will likely continue after that. With a band full of songwriters, how could they not? “Keep writing about cats,” says Marshall. “Maybe some dog songs,” adds JP. Keep your ears peeled for more quirky goodness from The Unbelievable Bargains. Listen online at unbelievablebargains.bandcamp.com
Oct/Nov 2015 Stylus Magazine
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BY LAURA GERALDINE
Located directly across from the West End Cultural Centre, Eat Em Up Records opened on May 1 of this year. Owner Brandon Ackerman saw definite niches no longer being filled when Kustom Kulture boutique in Osborne Village closed. This isn’t his first rodeo with record selling either; he was an instrumental part of the War on Music co-op for five years before parting ways. Following WOM, he worked at the Kustom Kulture warehouse for another for five years. Those experiences granted him all the insight he needed to startup his latest endeavour. Jan Quackenbush, the other half of Eat Em Up, is a staple of the Winnipeg punk scene, playing in bands like Squareheads, Rock Lake, and is the main brains behind the label component of Eat Em Up. The store boasts a 50/50 split of new and used stock, also carrying sodas, stereo equipment, books, and VHS tapes. They will also buy or trade your records, books, and tapes, granted they don’t suck. I sat down with them recently to talk shop and pick their brains on Winnipeg commerce. Stylus: So . . . Eat Em Up Records. What’s with the name? Brandon Ackerman: So a lot of years ago, Anthony Bueno’s Uncle Larry wanted to get into a Squareheads show at the Albert for free, so he told the door guy he was from Eat Em Up Records. Jan Quackenbush: After that, we put the Squareheads’ album out under that banner, and I continued to use it for all of my other musical projects.
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ILLUSTRATION BY NICK VAN DOESELAAR
Stylus: How did you guys start working together? JQ: I joined forces with Brandon five years ago and we began putting on shows at the Windsor Hotel. There was a sort of vacuum at the time of venues closing, and the Albert self-destructing. We approached Wayne Sr and convinced him to let us do the Lazyhorse show there. It went well and he asked us to do a weekly draft night. BA: We tested our partnership out 43 Thursday draft nights straight. Initially, we were just trying to make them a viable venue for a younger crowd. Prior to that, the Windsor only really hosted jams and blues acts. Stylus: And what was the idea with opening your record store? Winnipeg already has several. What’s so great about yours? JQ: We wanted a store that specializes in punk, garage, psych, rock ’n roll . . . BA: Something similar in size and content to Sonik in Montreal, or [the late] Hits & Misses in Toronto . . . if that means anything to anybody here. I just
wanted a store to identify with. I feel like when I’m out shopping in this city, I’m sifting through crumbs. The dregs is all that’s left of what was cool 15-20 years ago. So there you have it. A record store where you can kick up your boots, crack open a cold drink, and buy hip, fresh, cool tunes at your leisure. Their thrift bin, judiciously called “One Dollar Land: Cream of the Crap,” is gonna be bumpin’ by the time this article goes to press, so go check it out at 466 Sherbrook Street! Visit Eat Em Up Records at 466 Sherbrook St, or check out their tunes at eatemuprecords.bandcamp. com
DAVID WILCOX
WINNIPEG BBQ & BLUES FEST
PHOTO BY DOUG KRETCHMER
BONE THUGS-N-HARMONY BURTON CUMMINGS THEATRE
PHOTO BY ANDREW MAZURAK
5 SECONDS TO SUMMER MTS CENTRE
PHOTO BY KAYLEE SMOKE
SLIM TWIG
THE GOOD WILL SOCIAL CLUB
PHOTO BY KAITLYN EMSLIE FARRELL
WANDA JACKSON SWEDISH AMERICAN HALL
PHOTO BY ANDREW MAZURAK
The Trip
Saturdays from 4 p.m. to 6 p.m. on CKUW 95.9 FM or ckuw.ca BY ED DUROCHER
DAVE FERGUSON
“Self-gratification. I wanted everyone to know what I thought was the greatest music of all time.” This is Dave Ferguson’s explanation when asked why he started The Trip. For those of you who are not familiar with this program on CKUW, it is a wonderful two-hour show on Saturday afternoons dedicated to psyche, rock, jam bands, garage rock, and some more obscure musical adventures you have probably not heard before. As an added bonus, Dave also ends every show with the Grateful Dead which
COMIC BY COLTON BALSKE (@COLTONBALSKE)
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can take up anywhere from five minutes to a full 30 or more minutes, depending if it is a live cut or not. “It all got started back in the 80s - yes, I just dated myself,” Dave explains. Dave and his good friend Lloyd, who had some very high-end equipment (back in those days), started a ‘DJ’ business by exclusively using tapes. This was until some regulatory organization said they had to start paying royalties to use tapes. “At that point we just switched to CDs, which you didn’t have to pay royalties on yet . . . weird, but maybe they hadn’t caught on to that yet, although it was before CD mixing decks.” After about seven years of playing wedding socials, University of Manitoba fundraisers, and random parties, they decided to call it quits. Around that time that regulatory organization was starting to hit DJs with a royalty surcharge regardless of the format. “I still have that Realistic Mixer, if anyone wants it for $5,” Dave jokes. Although having done this for many years Dave is very quick to shrug off any ill-conceived notion that he is a real DJ. “Let’s get one thing straight before we start; I am not a DJ. I play music I like and I can do some rudimentary mixes to make it sound kind of smooth. I am in no way as talented as some of the DJs in this city, like Mama Cutsworth.” After a break and doing the odd special for CJUM, Mr. Ferguson decided it was time to take
a seat behind the mixing board and start turning people onto some obscure music that CKUW wasn’t quite offering. “I looked over the program schedule and noticed there was no jam band/psyche programming. The closest thing was The Tonic but that was mostly cool punky garage stuff.” Dave makes sure to meet his quotas to play Canadian content, with such Canadian psyche bands as the Radiation Flowers and Shooting Guns (both from Saskatoon), and Black Mountain from Vancouver. He goes on to add that if he had his way he would play only Grateful Dead, Grant Green, ABBA, Primal Fear, Steve Earle, Morcheeba, and Natacha Atlas. “Maybe no one would listen or maybe they would. Regardless, I would still continue to play whatever I wanted.” If you are looking for some music you have most likely not heard before then look no further, because Dave Ferguson of The Trip is bringing to the airwaves some the most obscure psychedelic rock from around the globe. From the heyday of the 60s and 70s, to the more underground scene of today, it is a two-hour trip (get it?) through a genre of music that doesn’t always get the attention it deserves. Dave is trying to remedy that with every new show and the carefully crafted songs he selects.
Hey Don’t forget TO USE THAT 2015-16 CKUW Friend’s CarD!
GHOST TWIN BY MIKE SKWARK
The goth scene is one of the most tight-knit scenes in the Winnipeg music community. Goth shows are always well attended by fellow goths (and goth fans). One of the most prominent acts from this scene is Ghost Twin, a dark synthpop duo comprised of partners Jaimz and Karen Asmundson. Ghost Twin is made up of equal parts haunting melodies, eerie synths, and bass that makes you feel your skeleton. All of this is coupled with occult-inspired glitched out visuals, creating a live show that engages on every level. The two have been married for 11 years (“We met at Goth Night,” says Karen. “He was dancing to Ministry, wearing eyeliner”) but only started the band a couple years ago after Karen’s previous band, Querkus, ended. “We started writing music without any intention of playing [live] right away,” Jaimz explains, “then our friends asked if we’d do a show and we pretty much wrote an entire set in a weekend. We both really respect each other’s ideas and totally jive on musical tastes, so it comes pretty easily.” “The Winnipeg music scene is so welcoming,” says Karen. “We love playing here.” This natural chemistry leads them to work on all pieces of the band together. “We take passes at [writing lyrics],” says Jaimz. “Usually if I start, then Karen will rewrite everything to be more poetic.” Karen says the videos are, “mostly Jaimz . . . but I help choose elements to add.” 2015 has been a busy year for Ghost Twin. In April, they released their EP Here We Are In www.stylusmagazine.ca
ILLUSTRATION BY SHANNON MCFARLANE
The Night, a project that contains four new tracks and four remixes from local producers—one being Jaimz’s side project, vvinter rainbovv. The project is available digitally, on CD, and on a VHS mixtape with the four original tracks paired with their live visuals. They followed up this release by touring eastern Canada this summer.
“[The tour was] mostly good!” says Karen. “The best thing was NXNE. We got to play at 1 a.m. on Saturday night at Handlebar. There were people backed up to the front door and there was lots of dancing. We had zero expectations and were so happy about the response!” There were some negative experiences along the way, but Ghost Twin embraces the strange and unusual. “What wasn’t good was weird and memorable,” says Jaimz. “The weirdest part was staying in this old haunted hotel with no one else there. There was an entire floor of just darkness. Then playing to an empty bar with the only patrons being Kingpin from the Daredevil comics and his band of strippers. He paid with a brick of money and then yelled at people on his phone the whole time.” Overall though the tour was a success, playing to packed rooms full of dancing people. They’re home now, but they haven’t taken a break. Karen says they plan to record again this winter and are currently shooting a music video. “Gwen Trutnau is directing,” says Jaimz, “it’s for the title track. Something about creepy gardeners, dark hallways, and amoebas.” “We’ve been friends for years,” adds Karen, “A few years ago we made a film together called ‘Polar Express’ in which I did heavy metal crossdressing at the Red River Ex. We are going to put it on YouTube very soon.” Working with friends is something that both Karen and Jaimz find important, and they say it is “basically [their] philosophy” with Ghost Twin. “It’s so great finding someone as weird as you are,” says Karen. Catch Ghost Twin live on October 31 for Hell Night at Ozzy’s.
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Local Spotlight
CANNON BROS. Dream City Dream City is the follow up to Cannon Bros.’ 2011 Polaris Prize nominated Firecracker/Cloudglow, a jangly, riffy tour de force that demanded attention and rightfully received it. Since that album came and went and stuck in our collective brains, Cannon Bros. have largely gone quiet, busy with other projects that have been successful in their own right, so it was one hell of a nice surprise to have this absolute stunner of an album dropped on my lap. Dream City picks up where Firecracker/Cloudglow left off in terms of hooky, fuzzy riffs and gorgeous simplicity. The opening track, “Can’t Sleep,” might be the catchiest song to come out of Winnipeg in years, and those kind of earworms are peppered throughout the rest of the album’s short and sweet 19 tracks (the whole album rings in at a breezy 40 minutes, which seems even shorter when you’re changing songs every two minutes). The thing that separates this album from their first, however, is the added depth and structure that each song has. The best example of this is “Totally Crushed,” a rollicking, playful, punky power pop anthem that swerves between a traditionally jangly Cannon Bros. riff, bass and drum driven verses, and sugary chorus melodies. This theme repeats itself throughout the album with the brief but neck breaking title track, the grungy “July,” and album closer “Ghost in the Wind.” The added substance and matured songwriting capabilities make this album easily one of my favourites of 2015, an improvement on an already excellent formula. From start to finish, this is one of the most pleasant listens you’ll experience this year. I have to say, too, writing this review and listening to this album on repeat for the past couple of weeks has made me really miss this band. It’s about time we get them back. (Disintegration Records, disintegration.ca) Jordan Cayer Recommended if you like Dept. 13, Mondays at 10:00 a.m. - Noon on CKUW
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BLACK CLOUD Black Cloud If you close your eyes before you listen to the first note of the album, you can almost smell the incense of the coolest yoga class you’ve ever been to. The non-vocal tracks are the perfect background music to any chill activity and I found it surprisingly emotional and relatable, even though this is a strictly instrumental EP. “Luminous Veil” is great. As corny as it sounds I felt the song was a journey, in the sense that you physically react to the highs and lows in the music. The moments of high intensity take your body on a physical journey, just to be gracefully nixed and allow time to re-zen before the next movement. I thoroughly enjoyed the music and it’s a great EP to add to your biking playlist/life soundtrack. In late August, Black Cloud announced that new material is on the way but the 26 minutes over these three songs will have to tide your ears over until then. (Real Love Winnipeg, blackcloudwpg.bandcamp.com) Olivia Michalczuk Recommended if you like Space Cadet, Wednesdays from 4 p.m. - 5 p.m. on CKUW.
HUMDRUM Boring People Being Bored Has this ever happened to you? You’re driving somewhere and you arrive at your destination right as a really good song starts on the radio. You have no clue who it is, so you sit there and listen to the whole set until the announcer comes on. Your fingers are crossed that they will tell you the name of the artist. Well that was my introduction to this band. I was driving home after the Sheer Mag show
at the Handsome Daughter and just as I’m getting home, this awesome Weights and Measures-meets-Don Caballero instrumental comes on CKUW. Now, if either of those references mean anything to you then you know that a good instrumental band is rare. So there I sat. Through bad electro-pop and a few forgettable indie-folk banjo sleepers, hoping to get a song title, band name, something to go on. Turns out the song was “Cross the Rubicon,” from Boring People Being Bored, a six song release from local band Humdrum. An instrumental trio that walks the line between classic fuzzed-out 90s indie rock (think Daydream Nation era Sonic Youth) and the sort of American Football/ Death Cab finger-tapping stuff that makes the record listenable over and over again. Since Giant Sons put out Dark Satanic Mills back in the mid 00s (before promptly breaking up), I’ve been clamouring for some more local bands to forget about singing and just play. This is it. (Self-released, humdrum.ca) Ryan Nash Recommended if you like The Trip. Saturdays from 4 p.m. - 6 p.m. on CKUW
ROMI MAYES Devil on Both Shoulders Once again, local musician Romi Mayes has managed to win us over with her unique poetic style of soulful blues. Her latest album Devil On Both Shoulders creates a very intimate atmosphere for the listener. It makes you feel as if you were watching a live performance in a smoky bar sometime after midnight. Grant Siemens, her guitarist and producer, has a soulful guitar style that is heavily influenced by early blues, folk, and gospel music. The overall mood of the album shifts from dark and mysterious to welcoming upbeat country blues, and back again. At first the listener will be reminded of a young Bonnie Raitt, but as the album progresses Mayes’ other influences begin to unveil themselves. The album begins with the title track “Devil on Both Shoulders,” which portrays a darker side of Mayes that we’ve only heard a few times before.
Then things lighten up with “Monkey of a Man,” and “Let You Down.” After that, “Gonna Kiss You” slows things back down again with an organ-fused guitar ballad that sounds like it could be straight off of a Stax record. Even with its stripped down style, this is an album you can dance to. Big blues riffs are all over the power ballad “Bee Sting,” and the groovy style of “Soul Stealer” will be sure to get your toes tapping. Whether you’re in the mood to get down or take it easy, by the end of this album you will be feeling good all over. You’ll like this album if you enjoy Bonnie Raitt, Blackie and the Rodeo Kings, and the Bros Landreth. (Independent, romimayes.com) Alex Roberecki Recommended if you like Bluesday, Tuesdays from 7 p.m. - 10 p.m. on CKUW
HUMAN MUSIC Sup After the release of their album this June, Human Music took their tunes from Sup on a summer tour throughout Ontario and eastern Canada. Sup sounds like a hidden gem in your father’s vintage record collection that you are dying to share with your friends over cheap beer, pizza, and silence (with the occasional,“cool, cool.”) The tunes are light and enticing all at once, with underlying intricacies that make you want to rewind for another listen. These three sound like they really know what they’re doing. Everything goes so well together and the songs all take really cool twists and turns that are unpredictable yet not overwhelming and are exactly where they need to be. I can really say I enjoyed dancing around the house and lying on the floor to this album and it seems fitting that there would be a cassette to match their vibe, which I would personally love to own and pass on. Such a great album that I am dying to check out live! (Dub Ditch Picninc, humanmusic.bandcamp. com) Olivia Michalczuk Recommended if you like ‘Peg City Groove, Fridays from 5 p.m. - 6 p.m.
TRIGGERS Prairie Resilient The latest offering from Winnipeg’s pop-punk scene, which has undergone quite the resurgence in the last couple of years, is a new five song EP from local stalwarts Triggers. With their rallying cry of “long live pop punk,” Prairie Resilient is overflowing with vocal harmonies, great songwriting, and smile-inducing guitar riffs that will have these songs stuck in your head for days. As the title track suggests, the lyrics are very “locals only” with subjects ranging from the
struggles of keeping beer cold while on the way to the campsite, to the subtle sting of the floorboards on a cold winter morning, all belted out with the kind of throaty earnestness that only a lifetime of wind chills and blood-thirsty mosquitoes can instill. It’s probably best explained by singer Braden Wilks: “We all curse this place out now and then, but it’s something that connects us all as Winnipeggers . . . if you’ve ever froze your hands playing shinny at an outdoor rink, you know what I’m talking about.” A big step up in the production department from their first release; this time the band checked into Exchange District Studios (KENmode, Dangercat, Propagandhi, Union Stockyards). Prairie Resilient brims with all the energy of their live show and then some. Take this one for a spin. (Self-released, triggerswpg.bandcamp.com) Ryan Nash Recommended if you like Trouble with the Sandman, Wednesdays from Midnight - 6 a.m. on CKUW
TWO OCEANS artifact I haven’t heard this term used before (so I assume I created it), but most music sounds like ‘candy’; overproduced music that is just cohesive sound with no distinguishable instruments. The raw approach to this, artifact is refreshing in comparison to listening to other local albums because the songs on artifact probably sound the exact same played live as they do recorded. There is no BS on this EP, down to the nasally vocals and cohesive disconnect.These songs
are really cool to listen to and I prefer this to some of the ‘candy’ being pumped out, where I can’t tell that it’s actually a song I have heard countless times. This album opens with a Tracy Chapman-esque groove and builds to a very raw and charming tune. The vocals and guitar give a chill campfire vibe and the unpredictable yet fitting trumpet really adds to the song before the drums kick in, followed by a sweet guitar solo. All the tunes on the album have different styles but are clearly Two Oceans because their vibe is consistent throughout the EP. If you’re into basement jams and some diverse little tunes, check it out. (Selfreleased, 2oceans.bandcamp.com) Olivia Michalczuk Recommended if you like Only Cowards Sing at Night, Sundays at 5 p.m. - 6:30 p.m. on CKUW
Under the Needle RAH RAH Vessels The evolution of Regina indie band Rah Rah continues. On their latest album Vessels, we hear a musical continuation of their 2012 release The Poet’s Dead. But this time around they’ve stepped it up a notch. They have instantly catchy melodies that float over basic strummed chord progressions and mostly a 4/4 beat. Though the song structures are at times simple, they make up for it with their lyrics and overall mood. Their songs are designed to have the listener focus on the lyrics that deal with the themes of nostalgia, love, and angst. What sets Rah Rah apart from the vast pool of indie musicians is their unique and catchy melodies they use to convey their words. They can tell a story and have you singing the chorus in your head for the rest of the day. They also spice things up a bit by adding a synth into most songs. It is most noticeable in the song “Good Winter,” where a catchy one bar synth hook is played in response to a sung chorus, which consists of members Marshall Burns, Erin Passmore, and Kristina Hedlund. All three singers take turns on lead vocals throughout the 11 track album. This is a great indie jam album and is recommended for road trips across Canada this fall. You will enjoy this album if you already listen
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to Arcade Fire, Said the Whale, and Yukon Blonde. Recommended songs are “Chip off Your Heart,” “Good Winter,” and “Be Your Man.” (Hidden Pony Records, rahrahband.com) Alex Roberecki Recommended if you like 25th Floor Juke Joint, Thursdays at 7:30 p.m. - 9 p.m. on CKUW
POWER-BUDDIES Power-Buddies Exploring different genres can be an eye opening experience. I found myself going back to this album over and over again, tapping my foot to “Someday” on the bus and humming “Fail” while brushing my teeth. This album is so diverse within its genre and all the songs have a distinctive sound. The Edmonton-based duo recorded and released their first self-titled album in July 2014. Power-Buddies have been touring across Canada
throughout the year, and have since been home recording some anticipated new music. The album opens with a creeping smooth roots style blues riff, with the harsh garage style tremolo. The duo foreshadows the album’s themes of madness and uncertainty while giving you something great to really groove to. The lyrics are hard to make out on some tracks but there is so much to listen to that sometimes letting the vocals take a back seat to the rest of the song is awesome. I listened to the rasp and screams as an instrument, rather than a message, and it all works great together. From someone unfamiliar with the genre and weary looking at the album cover, this has definitely changed my view of what I thought garage rock was. I plan on ramming my headphones into ears across the city to get a taste of PowerBuddies. (Self-released, powerbuddies.bandcamp.com) Olivia Michalczuk Recommended if you like Raunch Radio, Tuesdays at Midnight - 1 a.m. on CKUW. OUGHT Sun Coming Down Sun Coming Down picks up exactly where Ought left off with More Than Any Other Day. Anger and frustration towards capitalism, consumerism, gentrification, and sexism are expressed in poetic and evocative lyrics,
sung alongside appropriately moody rhythms. This is disgruntled dissatisfied post-rock that sings with uncompromising authenticity about the disparate concerns of our generation. Lead vocalist Tim Darcy is persuasive and genuine – his vocals are purposeful and eloquent. Sun Coming Down is only mildly more abrasive than MTAOD. The album was recorded by Radwan Ghazi Moumneh ( Jerusalem in my Heart) at Hotel2Tango in Montreal. The title track is something of an opus – noisy and moody, it changes form and shifts in tempo and tone throughout. “Passionate Turn” is the closest resemblance to a love song I’ve yet to hear from this band, while “The Combo” cranks on with bashing guitar. “Beautiful Blue Sky” dispels monotony and closes with shoegazey wanderings. Finally, rather than fading into despair, “Never Better” takes an unexpected turn and looks to empower the listener. The album wades through mild distortion, cutting through with sharp guitar riffs. It’s cynical and contemporary - a smart, engaging, altogether absorbing record from one of the most fascinating and promising bands around. (Constellation Records, cstrecords.com) Victoria King Recommended if you like Now Sounds Fridays from 3:30 p.m. - 5 p.m. on CKUW
Oct/Nov 2015 Stylus Magazine
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Iconoclast ADOLYNE of Ash / of Shit / of Shame Adolyne’s new album, of Ash / of Shit / of Shame, hits with acerbic punitive force. “Automatic Writing” enters as a slow, brooding beast. It opens up with a swirling guitar riff, light tumbling drums, a prominent hi-hat and gloomy, bereft vocals. Around the three-minute mark hell breaks loose; the maelstrom comes in, and it’s a pummeling drive of spastic guitars, frenetic drums, and hell-cry vocals. Then it all slows down again around the four-and-a-half minute mark, where the song slackens to a halt. A singular guitar melody opens it back up, slow again, this time coupled with a funereal cello and low vocal hums in the background that creep their way to the forefront to then be flared up by a menacing roar, a full-blown metal onslaught. Scraping, relentless,
twisting and turning in chaos, pulling you towards songs’ end. This album is fierce. The prowess of musicianship is heavy and tight. Production is clean. Sound is a mix of sludge, thrash, hardcore, all things metal really. But it feels more like an amalgamation, an album built off a pattern, and one I feel like I’ve heard before. This album is good for what it is. It hits hard, heavy, and with precision, but for those looking for something a bit more compelling, something beyond genre-typical style, you might have to look a little further. (Independent, adolyne.bandcamp. com) Christopher Bryson Recommended if you like Blast or Bust, Wednesdays at 9 p.m. - 10 p.m. on CKUW CHELSEA WOLFE Abyss Chelsea Wolfe brings light to a new
darkness on her most recent album, Abyss. Wolfe’s sound is an eloquent blend of crushing drone, whomping doom, viola flourishes, and industrial electronics. A surreality enveloped by her harmonic voice, a mystifying captivating entity that grows, pains, and wanes through the emotional landscape of the album. In the darkness Wolfe brings forth on this album, she’s still managed to create space for the listener to dwell and find comfort in. The first track off the album, “Carrion Flowers,” comes in with an implacably acrimonious grind. It gives the feeling of momentum towards some impending doom, and Wolfe’s voice acts as a sort of guide to lead you through the soundscape of caustic industrial grit and crushing noise metal, following Swans-style repetition for added pummeling force. Or there’s “Maw,” as Wolfe’s echoing voice
leads you through a nebulous expanse of open space, the song is drawn forth by a crisp-to-grunge guitar melody, holding the piece together as it steadily elevates to full crescendo bloom, a feeling of birth through devastation. Abyss is an album that should be listened to loud. There are elements and sounds on this album that can go unnoticed without fuller volume, and they’re elements that deserve the time and space they’ve been given. In all its crispy clean and meatier pleasures, spanning doom to folk to NIN-like electronics, haunting at its core, Abyss is an album that speaks to the soul on those darker days when all you want to do is get lost in something. (Sargent House, sargenthouse.com) Christopher Bryson Recommended if you like Metal Monday, Mondays from Midnight to 3 a.m. on CKUW.
All That Jazz SHILPA RAY Last Year’s Savage If I had to describe this album in one word, it’d have to be confident. Shilpa Ray is an experienced singer-songwriter that has successfully combined several genres into one big subgenre cataclysm that you can’t help but trust. It’s bold, brave, and ear-rattling. Now I don’t want to sound preachy like, ‘oh my god this was the best album ever.’ That’s a little too intense and not at all what I’m trying to get across. Shilpa Ray has that powerful voice that wins fights. You know what I’m talking about: the one that’s melodic and sucks you in, then yells at you in the most harmonic way an abrasive slap-in-the-face can. It’s like getting the crap kicked out of you with a big and soft pillow. It’s like getting tickled, without the pain and embarrassment. Your reaction is involuntary. But in this case, it’s an enjoyable reaction. Once in awhile you’ll find an album that has a good mix of soft and aggressive music that makes it hard to get bored listening to. It’ll trick you and wait until the last second, but then quickly remind you not to worry. This album is one of those examples. (Northern Spy Records, shilparay.bandcamp.com) Kaitlyn Emslie Farrell Recommended if you like Tawny the Brave, Thursdays at 6 p.m. - 7:30 p.n. on CKUW
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95.9 FM CKUW CAMPUS/COMMUNITY RADIO TOP 30 ALBUMS (May 28, 2015 – Sept 20, 2015) !=LOCAL CONTENT * =CANADIAN CONTENT re=RE-ENTRY TO CHART
ARTIST
# 1 ! 2 ! 3 ! 4 ! 5 * 6 ! 7 8 ! 9 10 11 12 ! 13 * 14 * 15 ! 16 ! 17 ! 18 19 ! 20 ! 21 22 ! 23 24 25 ! 26 * 27 28 ! 29 * 30 !
Artist M&M Meats Leaf Rapids Basic Nature Human Music Lemon Bucket Orchestra Conduct The Skints Surprise Party Los Aguas Aguas Lindi Ortega La Sucursal De La Cumbia Absent Sound The Souljazz Orchestra Le Vent Du Nord Claire Bestland KEN mode Yes We Mystic Yo La Tengo Heartbeat City Les Jupes Wilco Hearing Trees Benoit Pioulard Shamir Ghost Twin Colin Stetson & Sarah Neufeld Alabama Shakes Seafreezing Mac DeMarco JP Hoe
RECORDING
Album Runner’s Love Lucky Stars Circles And Lines Sup Moorka Fear And Desire FM Circle Of Death Two, Three Karate Moves Faded Gloryville Cumbia A Domicilio Black Dots Resistance Têtu La Moreneta Success Vestige Stuff Like That There Thunder Amongst Us Some Kind Of Family Star Wars Dear Sahara Sonnet Ratchet Here We Are In The Night Never Were The Way She Was Sound & Color The Staircase Implementation Another One Hideaway
LABEL
Label Transistor 66 Black Hen Dub Ditch Picnic Sundowning Sound Fedora Upside Down Public Tone Easy Star Transistor 66 Intolerancia Last Gang Intolerancia Custom Made Music Do Right! Borealis Self-Released New Damage Self-Released Matador Self-Released Head In The Sand bBpm/AntiSelf-Released Kranky XL Recordings Self-Released Constellation ATO Self-Released Captured Tracks Maplemusic
WINNIPEG FOLK FESTIVAL
UPCOMING EVENTS TICKETS: TICKETMASTER.CA / WINNIPEGFOLKFESTIVAL.CA
OCT
15
OCT
17
OCT
20
OCT
27
OCT
31
NOV
6
NOV
7
NOV
8
NOV
9
NOV
12
HAWKSLEY WORKMAN
WITH FIONA BEVAN Co-presented with the WECC
WEST END CULTURAL CENTRE
THE BROS. LANDRETH
WITH DONOVAN WOODS BURTON CUMMINGS THEATRE
FORTUNATE ONES Co-presented with the Times Change(d)
TIMES CHANGE(D) HIGH & LONESOME CLUB
DANIEL ROMANO WITH STEVEN LAMBKE
THE GOOD WILL - SOCIAL CLUB
XAVIER RUDD
& THE UNITED NATIONS
WITH JON & ROY
BURTON CUMMINGS THEATRE
SHRED KELLY Co-presented with the WECC
WEST END CULTURAL CENTRE
STEVE POLTZ Co-presented with the Park Theatre
PARK THEATRE
LEE HARVEY OSMOND Co-presented with the Park Theatre
PARK THEATRE
MARTIN SEXTON Co-presented with the WECC
BURTON CUMMINGS THEATRE
THE PINES THE GOOD WILL - SOCIAL CLUB
NOV
19
NOV
21
NOV
23
NOV
24
NOV
25
DEC
10
DEC
11
JAN
19
FEB
10
FEB
19
ANDY WHITE Co-presented with the Times Change(d)
TIMES CHANGE(D) HIGH & LONESOME CLUB
BAHAMAS BURTON CUMMINGS THEATRE
THE PAPER KITES
WITH OLD MAN CANYON Co-presented with the Park Theatre
PARK THEATRE
X AMBASSADORS WITH GRIZFOLK
Co-presented with the Park Theatre
GARRICK CENTRE
KACY & CLAYTON WITH RYAN BOLDT
Co-presented with the Times Change(d)
TIMES CHANGE(D) HIGH & LONESOME CLUB
CURRENT SWELL Co-presented with the WECC
WEST END CULTURAL CENTRE
THE JP HOE HOE HOE HOLIDAY SHOW
BURTON CUMMINGS THEATRE
VANCE JOY
WITH REUBEN AND THE DARK
Co-presented with Live Nation
BURTON CUMMINGS THEATRE
CORB LUND
AND THE HURTIN’ ALBERTANS BURTON CUMMINGS THEATRE
FRAZEY FORD Co-presented with the WECC
WEST END CULTURAL CENTRE