Stylus Magazine Apr/May 2024

ENTITY AT THE PARK THEATRE MARCH 29

PHOTO BY KATIE KOLESAR

REGURGITATED GUTS AT THE PARK THEATRE MARCH 29

PHOTO BY KATIE KOLESAR

Production Team

Editor

. Keeley Braunstein-Black editor@stylusmagazine ca

Assistant Editor Myles Tiessen assistanteditor@stylusmagazine ca

Art Director .

Cover Art

Advertising Contact .

Kelly Campbell design@stylusmagazine ca

James Moon

. Rob Schmidt manager@ckuw ca

Print by JRS Print Services . 204-232-3558

Contributors

Cole Osiowy

Nischal Karki

Bradi Breckman

Katie Kolesar

On the Cover

JAMES MOON is a multidisciplinary artist, rooted on Treaty 1 Territory, the stolen lands of the Cree, Anishinao, Oji-Cree, Anishinaabe, Dakota, Dene peoples and the homeland of the Metis Nation. Their experience as a disabled, queer, fat, trans, Korean settler living in so-called “Canada”, is often the centre of their work. Engaging with the suppression placed on marginalised bodies under capitalist colonialism, Moon utilises installation, printmaking, textile and craft as a means to connect and take up space. Moon is currently organizing with Queers for Palestine - Winnipeg. “From the River to the Sea, Palestine will be free. Queer and Palestinian solidarity forever!” - James Moon

Mike Thiessen

Mykhailo Vil’yamson

maggie astrid clark

Scott Price

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

Writing submissions: editor@stylusmagazine ca Graphics submissions: design@stylusmagazine

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Kandekt, Fold Paper, sundayclub- Winterruption

A cold wind cut through those standing outside struggling to keep their cigarettes lit in a bitter flurry. Inside the venue, the ever-increasing room temperature contrasted the Winter weather with nauseating extremes.

On its last Thursday promenade, the Good Will Social Club hosted a brilliant aggregation of assorted rock bands as a part of Real Love Winnipeg’s Winterruption bonanza. Featuring indie upstarts sundayclub, post-punk prodigy Fold Paper, and a keynote address from local noise legends Kandekt, The oscillating temperatures inside and out did little to halt the meteoric show about to take place.

sundayclub

sundayclub wore many hats that night. From jangle-pop to folk to shoegaze and twee indie rock, the band, helmed by Courtney Carmichael and Nikki St.Pierre, demonstrated their already developed dynamism. For a burgeoning band, their musicality and attention

to detail–it even shows live–was impressive. Carmichael’s perfect pitch lands somewhere between Snail Mail’s Lindsey Jordan’s melodies and Alvvays’ Molly Rankin’s brightness.

With Ellie Ratel’s hypnotic and alluring rhythms locked in place at the kit, St.Pierre flew to the moon with his ineffable DIY custom guitar. Blazing white at the center of the stage while making a swell of unique tones, the guitar was hard to keep your eyes off. Particularly, in their song “Sober,” the delay on the guitar makes it sound like you are listening to the instrument being fed through a tin can underwater.

Fold Paper

Led by Chell Osuntade–a clear student of contemporary post-punk–Fold Paper is a band that gets better and better with every show. Their ambitious song structures are built around the interplay and almost calland-response playfulness of the two lead guitars, while the continually shifting tempos aggressively absorb the crowd.

When Fold Paper took the stage, an energetic group crowded the stage and stood like the poster children of post-punk fandom directly in front of the booming speakers. Their leather

coats proved to be a bit too heavy for the sweltering venue, with the fans eventually shaking free of the heavy jackets as Fold Paper’s intensity increasingly grew.

Osuntade’s growling, borderline chanting vocals cut through the loud and fast music, rallying the crowd around an almost threatening tone. With a touch of Omni here and a dash of Stuck there, Fold Paper’s divaricating melodies border on mathrock, all while retaining a certain straightforward punk edge.

Kandekt

When you think about it, Kandekt makes music for everyone… If by everyone we mean those who love getting their eardrums ripped to shreds. The noise-rock misanthropes may not currently be releasing any records, have any social media accounts, and hardly seem interested in staying relevant on the scene (whatever that means), yet they remain one of the more infamous bands around town. No doubt in part to the fact that they simply fucking whip.

Their live shows are a typhoon of motorik punk rippers, no-wave funk, and danceable bops, all the while adding their own noisy twist to each genre. They bridge the gaps between anything loud with a fascinating demonstration of dexterity and passion. The squealing, dissociative guitars struggled to keep up with Nicholas Liang’s screaming vocals fed through a slurry of delay. When Liang sang “Dà Yuè Jìn,” it sounded like someone possessed by a demon, hollering ungodly wails.

“Hope you like greasers because we got a few more,” said Laing about halfway through the set upon which the band dawned their electronic caps, sounding nearly identical to Holy Fuck.

Kandekt’s bright guitars, psychedelic entropy, and transcendental noise borders on hypnotic when seen live. You lose yourself in the bizarre sounds, krautrock rhythms, and Liang’s effortlessly calm and assured stage presence.

Blah Blah Blah

*** Shred Kelly + Megan Nash on Apr 24 at Times Change(d) *** Martin Kerr + JD Edwards on Apr 24 at West End Cultural Centre *** Brent Parkin on Apr 25 at Times Change(d) *** Zrada on Apr 26 at Times Change(d) *** Romi Mayes Apr 26 at Park Alleys *** Dangercat, Locator + Fake Talk on Apr 26 at the Handsome Daughter *** Dopethrone (Mtl) + Severed Arm + Wilt + Bayrolles on Apr 27 at the Handsome Daughter *** Night Shift Vol .2 with Dancing Plague + Viva Non + Renounce + Total Chroma on Apr 30 at the Handsome Daughter *** Close Talker on May 1 at the Handsome Daughter *** Paper Machetes, Sandy Taronno + Jason Pakratz on May 2 at the Handsome Daughter *** Shaela Miller + Show Pony on May 2 at Times Change(d) *** NOLA NIGHT - Dirty Catfish Brass Band plus Ego Spank on May 3 at Times Change(d) *** Fold Paper + Sunglaciers + Beth on May 3 at the Handsome Daughter *** Grippin Sage Boogey the Beat + The Kaptain + Ma .bwe + Kilusan on May 3 at Exchange Event Centre *** C . Samms “Bouquet” Album Release on May 4 at the Handsome Daughter *** Big Heist Brass Band + The Remedies May 4 at Times Change(d) *** Dom Adams & Jacob Brodovsky + tofusmell on May 5 at Barn Hammer Brewing Company *** Gladly Album

Fundraiser + VVonder and Mason Melle on May 9 at Times Change(d) *** French Class + MOONBEAN + Boniface on May 10 at Darling Bar *** Apollo Suns May 10 at Times Change(d) *** Great Wealth “Runaways” EP Release on May 11 at the Handsome Daughter *** MB Metalfest Aftershow: Kruelty on May 12 at the Handsome Daughter *** Papa Mambo Quartet on May 16 at Park Alleys ***

CKUW 25 Year

Anniversary: Bloc Parents

+ Guilty Sleep + Cheap

Heat on May 17 at the Handsome Daughter

*** Alien The Ignorant + A Villians Neverland + Breathe In & Courriers on May 18 at the Handsome Daughter *** The Harpoonist + Leonard Sumner - Travelling Light EP Release on May 18 at the West End Cultural Centre *** El Leon and The Strangers on May 18 at Blue Note Park *** R .A .P. Ferreira w/ INFINIT0 & dru capote on May 24 at the Handsome Daughter *** Two Crows for Comfort + Foxwell on May 24 at X Cues *** JD Edwards Band on May 25 at Blue Note Park *** sundayclub + Prairie + Dayloft on May 25 at the Handsome Daughter *** Stanley

Live Music Happenings

County Cutups on May 30 at Times Change(d) *** The Funky Miracles Underground on May 31 at Darling Bar *** Replacements vs Husker Du on June 1 at Times Change(d) *** Washboard Hank & Uncle Thirsty on June 1 at Blue Note Park *** Harsh + Midnight Peg + Sh!t Happens + Suburban Hypocrites on June 1 at the Handsome Daughter *** Leaf Rapids + Ridley Bent On June 7 at Blue Note Park *** House of Wonders Amos the Kid + Virgo Rising + Julien’s Daughter on June 8 at the Park Theatre*** The Ripperz + Hallfield + Strawberry Punch on June 8 at Times Change(d) *** Advance Base on June 9 at the Handsome Daughter *** DOUBLETALK EP Release on June 9 at the Park Theatre ***Witch Hazel “Casa Rosso” EP Release on June 14 at the Handsome Daughter *** Chocolate Bunnies From Hell + Woodwork + Monuments Galore on June 14 at Blue Note Park *** The Sadies on June 15 at Blue Note Park *** Almost Insight Album Release Party on June 22 at the Park Theatre *** Frail Body w/ Tunic & Satanic Tea Co . on July 19 at the Handsome Daughter *** Sundays - Times Change(d) - Jam hosted by Big Dave McLean ***

*** Manitoba Metal Fest May 10-12 at the Park Theatre ***

CELL AT THE PARK THEATRE MARCH 29

PHOTO BY KATIE KOLESAR

Interview: The Prairie Joggers

WORDS & PHOTO BY NISCHAL KARKI

In the fast-paced world of music, bands often encounter challenges that test their endurance and creativity. For Adam and Cody, the journey from their previous band, Odder than the Otters, to their current project has been a rollercoaster of resilience, growth, and musical exploration. Their music is a melting pot of folk and rock known for its vibrant, gritty, energetic, and authentic vibe.

The dynamic duo behind The Prairie Joggers has embarked on a musical journey that has seen them evolve and grow as independent artists. As they continue to explore, The Prairie Joggers are a band to watch, and their music will leave a lasting impression on all who listen.

Here are some of the transcripts from the Interview with The Prairie Joggers:

Stylus: How did your previous band, Odder Than the Otters, influence your current project?

Prairie Joggers: Our previous band, Odder Than the Otters, was a significant part of our musical journey.

It allowed us to explore different genres and styles, and it was during this time that we began to develop our own sound. When the band disbanded, we decided to continue making music together, and we brought some of the songs we had set aside for future projects. This transition led to the formation of our current project, where we’ve been able to refine and evolve our sound further.

S: What inspires your songwriting process?

PJ: Our songwriting process is inspired by our personal experiences, emotions, and observations. We draw inspiration from everyday life, relationships, and the world around us. We also find inspiration in other artists and musicians such as Neil Young, Houndmouth, and Big Thief.

S: How do you approach writing lyrics and melodies?

PJ: Our approach to writing lyrics and melodies is collaborative and organic. Sometimes, one of us will come up with a melody or a riff, and we’ll build

the song from there. Other times, one of us will write the lyrics, and we’ll work together to create the music. It’s a fluid process that allows us to explore different ideas and directions.

S: What have been the major changes in your music style and writing process since the beginning?

PJ: Our music style and writing process have evolved significantly since the beginning. We’ve become more selective with our songs, focusing on creating music that feels authentic and true to who we are. We’ve also refined our recording process, finding a balance between quality and budget. Our sound has become more cohesive, and we’ve developed a clearer sense of our musical identity.

S: How do you feel about performing live, especially in front of elderly audiences?

PJ: Performing live is always a thrilling experience for us, regardless of the audience. We love connecting with people through our music and seeing

them enjoy our songs. Performing in front of elderly audiences has been particularly rewarding, as it allows us to share our music with a demographic that may not have had the opportunity to see live music otherwise. It’s a humbling experience, and we’re grateful for the opportunity to perform for them.

S: How has the pandemic impacted your music and creativity?

PJ: The pandemic was a challenging time for everyone, but it also provided us with an opportunity to reflect and refocus. We were able to spend more time writing and recording, which allowed us to explore new ideas and directions. It was a period of growth and creativity for us, and we’re proud

of the music we were able to create during that time.

S: What challenges have you faced as an independent band?

PJ: As an independent band, we’ve faced challenges in marketing and recording. We’ve had to learn to be more selective with our songs and have found a recording process that works for us. We’ve also worked hard to improve our marketing efforts, using social media and other platforms to reach a wider audience. It’s been a learning process, but we’re constantly evolving and finding new ways to connect with our fans.

S: What are your plans, both in terms of music and performances?

PJ: We’re excited about the new music we’ve been working on. We recently recorded an album in our basement with the full band, and we’re proud of how it turned out. It’s a collection of songs that reflect our growth as musicians and songwriters, and we can’t wait to share it with our fans.

In terms of performances, we’re planning to hit the road and play more live shows. We’re looking into booking a tour for the fall, and we’re hoping to play in as many cities as possible. We love connecting with our fans in person, and we’re excited to bring our music to new audiences.

Whether you’re a fan of folk, rock, or just good music in general, be sure to check out The Prairie Joggers.

Concert Review: Attica Riots at Festival du Voyageur

BRADI BRECKMAN

On the last night of Festival du Voyageur, tickets sold out completely. This could be attributed to good weather, but the more likely explanation lies in the festival’s Saturday closer, Attica Riots. The local band rocked Winnipeg’s Franco-Manitoban festival on Saturday, February 24th, and their dedicated fan base joined them. The band struck their first chord just after 11 p.m., and before the first song ended, both sitting and standing spaces in the tent were packed shoulder to shoulder. Jackets and sweaters were hung off of bleachers and tent support beams, as the number of people present was enough to fight off any winter chills. Every audience member seemed genuinely thrilled to be there, and many were jumping and loudly singing the words to their favourite songs. Attica Riots hyped up the crowd by encouraging them to jump and feeding them simple call-and-response lyrics so that everyone could sing along.

The band played several songs off of their newest EP, Life’s a Sugar Pill, which was released in 2023. Songs like “Mountain” and “Who’s That?” displayed their newest sounds and were performed with confidence. Songs from their first official album, Love Sunshine and Hysteria, such as “Misery” and “No Mistake,” were undeniably fan favourites. The volume of the crowd nearly doubled when the band performed “Love, Sunshine and Hysteria,” an upbeat yet emotionally wrought song that clearly connected with listeners and made for a highlight of the night.

Throughout the set, lead singer Bobby Desjarlais delivered clear, on-beat, and in-tune vocals that sounded on par with the recorded tracks. While the speaker’s base was heavily boosted, the band managed to keep a well-rounded sound, divvying up volume in equal measure to instruments and vocals. Steady and energetic drum rhythms

backed up every piece, providing a solid foundation for the rest of the band. Along with simply performing their craft well during a live performance, which is difficult enough, Attica Riots maintained a good stage presence and high energy from their first song to their last.

The band was accompanied by an excellent light show, and a special thanks should go out to the crew and volunteers who made the show as fun as it was. Overall, Attica Riots not only had an amazing performance but also made it clear that they loved Winnipeg, Festival du Voyageur, and performing. The show was a great time, and I look forward to both attending the festival and seeing Attica Riots again. Faites certaines de supporter Attica Riots et le Festival du Voyageur dans le futur! Translated — be sure to support Attica Riots and Festival du Voyageur in the future!

HéHo!

Winnipeg’s Winterruption 2024 started on a folky note, with FONTINE and Montréal’s Helena Deland playing the first show of the week on January 23. At the beginning of the final full week of the Good Will Social Club’s existence, a touch of sadness hung in the air as many attended their final concert at the beloved venue. FONTINE and Deland, however, knew how to soothe the souls of the Winnipeg concertgoers that lovely Tuesday night. ***

Concert Review: Winterruption: Helena Deland and Fontine

WORDS & PHOTOS BY MIKE THIESSEN

FONTINE kicked off Winterruption 2024 with no one on stage but her and her pink Strat. Despite being admittedly nervous about playing a solo show for the first time in a good while, she delivered an outstanding opening performance. “4AM” stood out in the set, with the rhythmically fluctuating, rolling finger-picked pattern abbreviated by the deep and thunderous chords of the refrain. With a clean guitar tone and a powerful voice, FONTINE thoroughly captured the audience and effectively set the stage for what was to come, wrapping up her batch of songs with the sweet and emotional “Yarrow Lover.”

***

“It’s Tuesday evening, and we’re all here,” declared Helena Deland following her opening three songs. Indeed, we all were – the room was packed to the brim with existing fans and fans-tobe. Deland began with “Swimmer,” the first single from her October 2023 album Goodbye Summerland, carrying on FONTINE ’s established thunder theme with the soundscape of a summer storm playing throughout.

here. She followed this note with a nice and warm song, “Spring Bug,” in which the highlight was not the gorgeous harmonies, the irresistible groove, or the sparkly 12-string guitar ornamentation, but rather the fact that it featured not only one but two shakers!

The harmonies, groove, and 12-string guitar, however, should not be glossed over. Deland brought with her a wholly competent band. The multiple guitars were particularly enjoyable in “The Animals” and in a major way in “Roadflower.” In “Bright Green Vibrant Gray,” the three-part harmony on the line “Rocks you keep in your car door / Have travelled through far more than your life” felt like being entirely enveloped in nostalgic warmth. Deland lauded her backup singer and pianist for having learned to play the flute purely for this tour, which she did masterfully. The bassist and

drummer laid down the foundation in an effortless sort of way that brought to mind fellow Montréalers – as well as early Helena Deland collaborators – Men I Trust. All of these sonic elements complimented Deland’s sweet, easygoing voice in a way that made for a truly delightful listening experience.

After a trio of songs from her 2020 album Someone New, Deland bestowed the title of “Winnipeg Legend” upon FONTINE and gave a lament on tuning before playing “Moon Pith” and “Strawberry Moon,” the first and last songs of Goodbye Summerland, back to back as one continuous piece.

Winnipeggers tend to love hearing nice things about themselves from people hailing from anywhere else, and this tendency was reinforced by the excitement from the crowd after Deland’s comments on how much Winnipeg reminded her of Montréal, and how nice and warm everyone was

Through the entire concert, Deland had this sense about her that she was truly overjoyed to be on stage – there was no phony disinterested stage presence to be seen in her or her group. Goodbye Summerland is an album wrought with grief, yet smiles abounded between all members of Deland’s band throughout the set. This joy once again made itself evident in “Dog,” the last song of the encore, and it was a contagious feeling that left the listeners in a state of bliss. Stepping out of the Good Will after Deland’s hour-and-a-half-long show was not at all unlike leaving the theatre after a particularly captivating movie as an impressionable child, having been forever and irreversibly transformed.

Music & Mutiny with Tom Morello

WORDS & PHOTOS BY MYKHAILO VIL’YAMSON

February

2, 2024

– Canadian Museum for Human Rights

Despite the longstanding, potent function of music as both soundtrack and catalyst for social change, the Canadian Museum for Human Rights (CMHR) is probably not the first location that comes to mind when thinking about concert venues in Winnipeg. However, it may be a space that people should monitor more closely for future shows, especially given the most recent launch of the exhibit Beyond the Beat: Music of Resistance and Change. The official opening took place on Friday, February 2, and featured what was billed as “an evening of storytelling and song” with the legendary Tom Morello. And given the ticket price of only $40 — due in part to financial backing from the Winnipeg Folk Festival — it’s no surprise that the event sold out within minutes of its announcement on the morning of January 19.

The arrival of this veritable guitar icon was forecast late last year when the CMHR opened their Beyond the Beat: Rage Against the Machine exhibition on Level 6 – featuring Tom Morello’s 1985 Chevy Astro van – but there was no indication that plans for a corresponding musical performance were in the works. If truth be told, as museum curators confirmed, the booking was unforeseen. Given the postponement of Rage’s 2020 “Public Service Announcement” reunion tour (due to the pandemic), the cancellation of their 2023 North American tour (due to an injury to Zack de la Rocha’s Achilles tendon), and the fact that Morello was the sole representative at Rage Against the Machine’s induction into the Rock and Roll Hall of Fame this past November, seeing any member of the band in Winnipeg again seemed like a legitimate fantasy. Yet — with

the heart that Morello has for music and activism, it’s not surprising that it was he who was asked to appear for this inaugural event and that he also accepted the invitation.

Tom Morello, of course, is most well known for having been the main guitarist in bands like Rage Against the Machine, Audioslave and Prophets of Rage. Born in 1964 and raised by his justice-minded mother in smalltown Libertyville, Illinois, Morello’s high school band was called The Electric Sheep, which coincidentally included Tool’s Adam Jones (on bass guitar). Unsurprisingly, when Morello eventually relocated to Los Angeles — after obtaining a Bachelor of Arts in Political Science from Harvard in 1986 — there was significant overlap in the rise to fame of Rage and Tool (as signalled by playing shows together and the guest appearance of Maynard

James Keenan on Rage’s 1992 song “Know Your Enemy”). But what many might not be aware of is Morello’s wellestablished and prolific solo career that began on days off at open mics while he was touring with Audioslave. Armed with his “Whatever It Takes” Galvador Ibanez guitar — which he played on stage for most of the performance in Winnipeg — Morello described the songs he has played and recorded under the pseudonym The Nightwatchman as, “the truest expression of self in [his] catalogue.” And this is what the crowd of approximately 1000 people witnessed at the Canadian Museum for Human Rights.

Before the ticketed concert, a smaller group of 400 to 500 guests gathered for the official opening of the Beyond the Beat exhibit, where — along with introductions from museum CEO Isha Khan, and curators Julia Peristerakis and Felix Berry — Tom Morello delivered a compelling hourlong autobiographical keynote address. “There’s a great liberation in playing folk music,” said Morello. “My One Man Revolution was not just an album title; it was a personal crusade and a cathartic artistic upheaval. Free from the constraints of band consensus, I could pick up my guitar and guerillastyle be on the front lines of any protest or rally. Until The Nightwatchman, my personal expression — while cranked to eleven — was evidenced in big riffs and crazy solos. But via these songs, I found out who I really was.”

Released back in April of 2007, One Man Revolution was Morello’s first solo full-length studio album, which included songs that he has since played at countless protests and union rallies over the past number of years. It was also from this LP that six of the seventeen songs for his performance at the CMHR were selected; namely,

“One Man Revolution,” “Flesh Shapes the Day,” “House Gone Up in Flames,” “The Garden of Gethsemane,” “The Road I Must Travel” and “Let Freedom Ring.”

Most of the evening’s performance was dedicated by Morello to the late guitarist Wayne Kramer — who died the day of the concert — including a familiar cover of MC5’s “Kick Out

the Jams” and Bruce Springsteen’s version of “The Ghost of Tom Joad.” As for the sole original Rage tune in the setlist, those unfamiliar with the lyrics may not have recognized “Guerilla Radio” in its new configuration, which he introduced to the crowd as an “old Canadian folk song.” All in all, this stripped-down, acoustic appearance of Morello provided a rare glimpse into the heart of an activist, who once wrote in

his 2020 book Whatever It Takes: “Each night you try to create a little bit of the world you’d like to see one day” (p. 137). This was definitely the case that night, as he adeptly led all those gathered in refrains of mutiny for the sake of unity and reinforced a number of times throughout that, “We’re in this together” — even inviting folks to

join him on stage during the final three songs.

Lastly, as Tom Morello has reiterated almost verbatim during many interviews, at Rage’s 2023 induction into the Rock and Roll Hall of Fame, and at this year’s opening of Beyond the Beat — that runs until September 2024 — his message was unambiguous and inspiring: “The world is not going to change itself; that is up to you. The people who’ve changed the world in progressive, radical or even revolutionary ways did not have any more money, power, courage, intelligence, or creativity than anyone in this room. The world is changed by average, everyday ordinary people who’ve had enough, and are willing to stand up for a country and a planet that is more humane, just and decent.”

Special thanks to Leslie Vryenhoek (Media Relations), Julia Peristerakis (Lead Curator for Beyond the Beat: Music of Resistance and Change), and Travis Tomchuk (Lead Curator for the Beyond the Beat: Rage Against the Machine sixth-floor exhibit).

KELLY CAMPBELL

Full disclosure: My band Mulligrub signed the 2023 Musicians for Palestine letter.

Over the past six months the ethnic cleansing of the Palestinian people and their land, begun by Israel 75 years ago, has intensified to what Palestinian novelist, poet, activist, and eyewitness Susan Abulhawa has called a holocaust (Democracy Now, March 6, 2024). In response to the increasingly grave situation, an anonymous group of musicians composed a letter in support of Palestine and Palestinians. They invited musicians around the world to sign on and received over 6,000 public signatures.

Stylus reached out to Winnipeg musicians who signed the letter to ask how and why they came to be involved with the effort to end the illegal occupation of Palestine. You can read the 2023 Letter for Palestine, and the responses of the musicians, below:

“We cannot be silent.

collapsed. The majority of its children are anaemic, with many suffering from severe malnutrition.

As musicians, we uplift the voice of the oppressed. We unflinchingly condemn oppression in all forms, just as we condemn harming civilians, without hesitation, no matter their identity. As the emancipatory Brazilian philosopher Paulo Freire reminds us, to end all violence we must work tirelessly to end its root cause, oppression.

We cannot be silent after 75 years of Israel’s military occupation and system of apartheid against Palestinians – as leading international, Palestinian and Israeli human rights organizations have described it.

We stand firm against all forms of racism, including antiBlackness, antisemitism, Islamophobia, antiArab and anti-Palestinian racism. Those who dehumanize, demonize or collectively blame entire communities or peoples can only hinder our collective liberation.

We speak out together in solidarity with the Palestinian people’s struggle for freedom, justice and equal rights. We uphold the freedom of grassroots activists and artists worldwide to advocate and engage in peaceful means to achieve accountability, to fight injustice, and to pursue freedom, a just peace, and dignity.

This is a moment of truth for millions worldwide who prize human dignity, and as musicians we are no exception. We stand for life, for love, for justice, and for peace. We mourn with all in Palestine/Israel who have lost loved ones. We share their grief and their pain.

The unfolding human catastrophe for 2.3 million Palestinians in Gaza, half of them children, is “a textbook case of genocide,” in the words of both the prominent US-based Israeli scholar of genocide Raz Segal and leading former UN human rights official Craig Mokhiber.

We cannot be neutral in the face of such injustice.

We cannot be silent as 17 years of Israeli blockade, now a “complete siege,” have made Gaza extremely unliveable. Almost all of its water is unfit for human consumption.

Its healthcare system has largely

We cannot be silent. We draw inspiration from Artists Against Apartheid that helped end apartheid in South Africa. We refuse to let our music be used to whitewash oppression and human rights violations anywhere. We insist that all governments stop sending weapons and military funding to Israel and to any other state involved in crimes against humanity.

Today, we demand an immediate ceasefire and humanitarian aid in Gaza, and an end to the siege. The day after, our vision of a just and peaceful future for all must be our most urgent task. We urge everyone who shares that vision to join us.”

Stylus: Why was it important to you to sign the 2023 Letter for Palestine?

Josh of MoonBell: I believe everyone deserves to live in peace, free from the fear of harm. I wanted to make my voice heard alongside a wave of others and demand that our government take action for peace.

Devo of Witchy Woods: It was

Musicians for Palestine in Winnipeg

important for me to sign the 2023 Letter for Palestine because I felt it was not enough to show up for Palestine as an individual, and that I should be showing up in all aspects of my life. Being a musician is a massive part of my life, and I want that part of my life to reflect my beliefs. I want to use my platform, small as it may be, to bring positive change. I wanted to sign the letter to publicly express my support for Palestinians, which felt like the least I could do.

Natanielle Felicitas: As a musician, mother, and human, I have to stand up for the rights of those being oppressed. I believe none of us are free until we are ALL free from violence, racism, oppression, and poverty.

Adam and Cody of the Prairie Joggers: Because what is being done to the people of Palestine by the Israeli state is a crime against humanity.

Quintin Bart: Live music can foster many positive experiences in both listeners and performers. From a sense of connection and belonging, to catharsis and transformation of difficult inner states in a subtle and mysterious way, music encourages the development of more compassionate, grounded individuals and a just society. As one of the many musicians calling for a ceasefire and a just peace in Palestine, I find strength in our shared vision as creators and artists worldwide. Like sound waves fading to silence, all things are impermanent–including violence and oppression. As both performers and listeners, may we continue to pour our diverse creative energy into the currents of change–towards nonviolence, social justice, and inclusion for all humanity.

Felicia of FLOOR CRY: It was important for me to sign the 2023 Letter for Palestine because there is strength in numbers. Despite the atrocities unfolding in real time and there being over 30, 000 innocent Palestinian civilians who have senselessly lost their lives at the hands of the Israeli government and IDF, as

well as the tens of thousands more who have been seriously injured, our governments and those in power are ignoring our cries for an immediate ceasefire. Every single day that this genocide continues, Palestinians are subjected to horrific atrocities at the hands of the Israeli state. I have the privilege of waking up in the morning, and not having to worry that there will be a bomb dropped on my head or gunshots fired at me just for existing. I have the privilege of waking up each day knowing that I can turn on my tap and have a clean glass of water, without the worry I may die of dehydration. These are things that should be a basic human right for everyone, no matter where they are living. In no world should one state be controlling another’s access to resources like food, water and electricity. I signed this letter because I want an end to the genocide, and an end to Israel’s apartheid and illegal occupation of Palestinian territory.

Cam of Age of Self: Palestine is leading the world to justice, and I think it’s important to say that outright rather than reproduce the liberal perception of Gazans as passive recipients of either violence or charity. To me, true music necessarily accompanies an emancipatory politics, so there’s no other way to meet the moment. The letter is just one tool for advocacy, but it creates community, too; you can see who is moving together.

Doreen Girard: When Israel began its latest assault on Palestine, I felt limited in being able to materially support Palestinians under siege and total blockade. It felt crucial to register my rage somehow and appear on record as calling for permanent ceasefire wherever possible, especially considering numerous instances of people losing jobs and other opportunities when they spoke on the issue, as well as increasing instances of harassment and Islamophobia.

Stylus: Since signing the letter, have you contributed in other ways

to the effort to end the genocide and ethnic cleansing currently being carried out against the Palestinian people by the Israeli state?

Josh of MoonBell: In November 2023, I put a cover of the anti-war song, “99 Red Balloons”, on Bandcamp for a short period of time for people to buy. All funds from the song were then donated to the Palestine Children’s Relief Fund. I’m happy to say we were able to raise $250 in two weeks!

Devo of Witchy Woods: I have been attending protests when I can, calling/ emailing/sending postcards to the government and my MP, and I have been active on social media sharing news about the evolving situation in Palestine. I have a show coming up and I plan to take time during my set to speak about the genocide and to encourage the audience to donate to UNRWA.

◄ Scan the QR code to listen to a playlist featuring Winnipeg-affiliated musicians who signed the 2023 letter .

Natanielle Felicitas: Often, I have to remind myself that even the smallest of actions have the potential to help. I purchase and donate eSims to be distributed to Palestinians. I continue to make calls and sign letters and petitions to the Prime Minister and MPs in Canada, calling for an immediate cease fire and arms embargo on Israel. For years I have made efforts to boycott products linked to this apartheid state. My attendance at the in-person protests has been infrequent, but when I have shown up, it’s a beautiful reminder that I am not alone in my feelings of grief and anger at the injustices that Palestinians have suffered for decades.

I continue to share Palestinian voices on my social media accounts and try to

support the local Muslim/Palestinian community via monetary donations or buying from their businesses.

Adam and Cody of the Prairie Joggers: So far we’ve attended a number of protests in Winnipeg and sent postcards to the Canadian government/ Justin Trudeau demanding an immediate ceasefire and humanitarian aid in Gaza. We have also signed other online petitions calling for similar action and shown support through social media.

Felicia of FLOOR CRY: Since signing the letter, I have also been contributing to efforts to end the genocide and ethnic cleansing being carried out against the Palestinian people by the Israeli state in other ways. There are no shortage of things that we can all be doing to raise awareness, and drive positive change. Although I have not played live music shows since 2018, I am using my voice and platform to speak out in other ways. I have been attending the protests and solidarity events organized by the Canadian Palestinian Association of Manitoba, as well as sharing them amongst my followers and peers. I highly encourage everyone to attend these events. It is important for us to come together and to show up in solidarity, and continue to show up each week. I want the government to know that we are not going anywhere, and we will continue to make our demands until our voices are heard. I have also been writing to my elected officials both electronically and via mail. Every voice supporting Palestine is important. In addition, I am using my social media to spread awareness. The media has been so incredibly biased, often doing all they can to censor Palestinian voices and prevent many of the daily horrible atrocities carried out against the Palestinian people from coming to light, or from receiving mainstream media coverage. Additionally, many Palestinians no longer have access to their phones or social media to spread awareness of these atrocities to the rest of the world, which is why it’s

important for those of us who have internet access to do so. Lastly, I have been participating in the Boycott, Divestment, Sanctions movement by boycotting different companies that are profiting from Israel’s genocide and apartheid against the Palestinian people, as well as encouraging those around me to boycott these companies as well.

Cam of Age of Self: Quite the opposite of silence; I’m told by some emotionally and politically reticent machos that we talk too much at shows, but that’s a Winnipeg tradition. When we’re handed a microphone, we’ll try to militate. We usually have a table with some political resources; newspapers with ample coverage of Palestine, postcards to our criminal government demanding a ceasefire, and so on.

Doreen Girard: Revolving calls and emails to members of parliament and cabinet ministers, purchasing eSims, frequent posting on social media. Reading, watching, and sharing the perspectives of Palestinians. It’s not nearly enough. I’m a long time follower of BDS, and built this great soda machine a few years ago, rather than purchase a sodastream (target of BDS) for my partner’s bday.

Stylus: How do you see your community responding to the situation? Your music community and your personal community?

Josh of MoonBell: It’s amazing to see the music community, as it so often does, speak out against injustice. Music holds the power to inspire and move people to action which is why it is important for musicians to act and speak out. But I do think we could all do more, not just musicians, everyone. Donate, call MP’s, post and spread awareness, organize. It’s clear that citizens can and do make an impact on the actions of the government.

Devo of Witchy Woods: There is a strong community of organizers and activists in Winnipeg showing up every week at protests and putting

pressure on local and federal officials to put an end to the genocide in Palestine. I have seen folks in my music community showing up to protests, being active on social media, and donating proceeds from merch sales to organizations supporting Palestinians. In my personal community, I know many people who are afraid to speak out publicly for fear that they might lose their jobs, but they are keeping up with the news and doing what they can.

Natanielle Felicitas: Online, I am saddened that there are not more people in my local and personal community sharing and uplifting the voices of Palestinians. Privately, I’ve been thanked by colleagues, friends, and family who appreciate that I share petitions and news with them. It’s a frightening time in history when artists fear losing jobs or opportunities, if they were to speak out in solidarity with Palestine.

Adam and Cody of the Prairie Joggers: Definitely a wide spectrum, both in our musical and personal community, from people being very outspoken and supportive to others who seem to avoid the issue altogether. We all need to do more, ourselves included.

Cam of Age of Self: I’m grateful for all of the smaller demonstrations in years past and the tireless organizers who kept at this work for so long and were ready to spring into action for Gaza during this most recent catastrophe. As to the scale and frequency of the protests, it’s like little I’ve seen before. Otherwise, I’ve always been suspicious of those communities forged exclusively around music genres, so it’s been powerful to see artists use those spaces to affirm some deeper values. Music is a healing force, but we need to be able to name the historical hurt that we’re seeking to heal, or all of these rituals become falsely consoling.

Doreen Girard: I live in a pretty isolated rural community these days, so I experience this mostly through social

media. Many people in my community are working to stay informed and share information and be present at marches and other actions. I’ve noticed a few small labels putting out albums to fundraise, including these excellent ones: Drone>Drones: Palestine Action Fundraiser and A Compilation of Music in Solidarity with Palestine.

Stylus: Is there anything else you would like to add?

Devo of Witchy Woods: No one is free until we are all free, no one is free

until Palestine is free.

Adam and Cody of the Prairie Joggers: Free Palestine.

Cam of Age of Self: “Think of others.”

Doreen Girard: I’m horrified and unsurprised to realize the extent of western governments’ commitment to providing cover for war crimes, ethnic cleansing and genocide in the face of massive global uprising in support of Palestine.

The following musicians in or from Winnipeg also signed the 2023 Letter for Palestine, but were unable to provide commentary at the time of publication: Living Hour, PRINCESS DASHA, Madeleine Roger, Fold Paper, Lana Winterhalt, Jay Nowicki of The Perpetrators, JayWood, Boy Golden, Melody McKiver, Alana Mercer, Anna Caitlin Hutchison, Hannah Craig, Isaac Tate, Daggerss, Johnny Broadway, and Aband-nthecar.

Concert Review: Al Simmons Festival du Voyageur (February 19, 2024)

When asked if I wanted to write about Festival du Voyageur for our “music and politics” edition, I quickly realized that this was an excellent opportunity for me to go on a big rant about why I think Festival is politically suspect and have it get published in a magazine. So, if you don’t mind me, I’ll just get started…

In “The Southern Question,” Marxist theorist Antonio Gramsci pondered why Turin communists of the 1920s had encountered such difficulty convincing impoverished farmers of the necessity of proletarian revolution. “The first problem to resolve,” he wrote, “was how to modify the political stance and general ideology of the proletariat itself,” influenced as it was by bourgeois institutions that seek to position the existing social order as fundamentally natural and just. In Gramsci’s view, it was not simply coercion—the threat of force imposed by the state—that kept the farmers in line, but the encouragement of civil institutions such as the education system, the church, and the press.

I would assert that one institution serving a similarly pacifying function in present-day Winnipeg is Festival du Voyageur. The event produces feelings of warmth among its attendees. It feeds off the nostalgia emanating from its quaint recreation of a nineteenthcentury trading post, while pointedly avoiding uncomfortable questions about the economic system it was built to sustain. Politicians from across the aisle—this year, including prime minister Justin Trudeau—can feel comfortable showing their faces on festival ground. They can do this safe in the knowledge that they are unlikely to be confronted about how, for instance, the federal government continues to arm and run diplomatic cover for the government of Israel as it commits a genocide of Palestinians in Gaza. By and large, the festivalgoers are in too cheerful a mood to concern themselves with such dreadful news.

For evidence of the workings of Gramscian hegemony, look no further than the fact that I attended Festival on “Louis Riel Day.” The holiday’s naming is firmly in keeping with a

decades-long political project to sand off the Métis leader’s radical edges for the sake of inventing an unthreatening, non-specific national hero. His legacy of armed resistance to Canadian colonialism has been systematically whitewashed and submerged beneath a pile of accolades, superlatives, and place names; his opposition to the NorthWest’s forced annexation by Canada papered over by the insulting claim that he was the “father” of Manitoba or indeed, as our provincial legislature recently designated him, “the first premier.” His image has been slotted into a Whiggish narrative of historical progress—retrofitted into a reason to be proud of Manitoba’s history, rather than yet another to be deeply ashamed of it.

(But I get it. There isn’t a lot of fun to be had outside in February and it’s neat to look at a snow sculpture sometimes! Who among us does not yearn for the taste of maple taffy? This is not to condemn anyone for enjoying Festival, but an appeal to reflect more carefully on its ideological function.)

maggie astrid clark

As I arrived at Whittier Park, I was greeted with a conundrum: a sign directing me to one of two “screener pat-down” tents, one for those who are “male identifying” and the other for those who identify as female. “Oh no,” I thought, “not this! Not here!” You see, when I’m out and about in public and find myself needing to piss, I usually do my best to hold it in until I get home— rather than risk going into the men’s bathroom, getting clocked as trans, and then stared at; or alternately, going into the women’s bathroom, getting clocked as trans, and then stared at. I hadn’t anticipated that the world of security theatre had finally penetrated Festival du Voyageur, let alone that it would have been implemented along unnecessarily gendered lines. The attempt at trans-inclusive wording here was laughable; you are not fixing the issue by simply adding “identifying” to a poster demanding that patrons sort themselves by gender before submitting to an intrusive pat-down. Luckily, my media pass allowed me to obviate the problem altogether and skip the line—an unexpected benefit of writing for Stylus!

The site was sparser than I remembered it and the snow sculptures fewer in number. My favourite was “Twist” (artists: Franziska Agrawal, Bob Fulks, and Alan Fog), an abstract zig-zag pattern with pleasingly straight lines; my least favourite was the one of a plane that was clearly only meant as advertising for Air Canada. I walked over to the fake Fort Gibraltar—the real one having been destroyed in the 1826 flood—and entered a building marked “warehouse.” Inside were a crowd of people rapidly filtering in and out, barely listening to the two interpreters offering no information of substance. One of them, sitting on a bench kneading what appeared to be shredded cheese into a mound of bannock dough, was speaking to a couple standing next to me. In the process of answering their question that I hadn’t heard, the interpreter said that “agriculture hadn’t quite developed yet.” This struck me as odd.

To remind you, the premise of this

grand spectacle is that we’re stepping back in time to 1815. But as Sarah Carter discussed in Lost Harvests, an archaeological dig near Lockport excavated gardening hoes, grinding stones, and kernels of corn dating to the fourteenth century, and HBC trader Matthew Cocking came across a tobacco plantation in present-day western Saskatchewan in 1772. The idea that Indigenous peoples universally had no concept of agriculture prior to its introduction by Europeans is, it would seem, one of the most enduring colonial myths. How fitting, then, to see it uncritically repeated at Festival du Voyageur!

The real problem with historical reenactment, of course, is that it’s a fool’s errand. There can be no meaningful reconstruction of the past! It’s all gone, fully unrecoverable, except for the few fragments we can piece together from what scant evidentiary documents have survived through the ages—themselves representing only a fraction of a fraction of all that has ever been created. I too can only offer you the faintest impression. And that impression is this: with its assemblage of food trucks and array of sponsorship banners, Festival felt less like a cultural event and more like a lubricant to ease the flow of commerce. Perhaps it always has been. Perhaps the dominant culture of so-called “Canada” is fundamentally indistinguishable from commerce.

But enough of all that. This isn’t what you came here for! Isn’t this supposed to be an Al Simmons concert review? When I saw the Festival lineup, I was giddy at the prospect of covering Al Simmons as a joke, but I initially dismissed the thought. “Doesn’t everyone know his whole deal by now? He’s Al fucking Simmons!” But then I realized: that’s exactly why I ought to write about him. There’s a certain tendency to take his act for granted. We all know him, we all love him, so why should we need to talk about him anymore—right? But without continued critical engagement with the work of Mr. Simmons, we risk enshrining the man within a tomb of

his own acclaim. So consider this the preliminary work of disinterring The Idea Of Al Simmons from the Lenin’s Mausoleum of the Winnipeg children’s music scene.

I entered the boiling hot tent and made my way to the standing room section across from the already-filled benches. My eyes scanned the stage, fixing immediately upon Simmons’ famous prop table. The last I’d heard of him was that workshop fire of his that made the news several years ago, so I was pleased to see that he’d been able to salvage or rebuild some of his stuff. After all, it wouldn’t be an Al Simmons show without his collection of wacky hats and implements!

The MC rose a few minutes later and welcomed a crowd full of children to the “Tente des Neiges, presented by Liquor Mart.” After a perfunctory land acknowledgement came a long list of corporate sponsors. It all seemed an appropriately obscene way to take in this festival, so I was more amused than annoyed. Mr. Simmons took the stage soon thereafter, thanking the sound personnel Aidan and Dustin and the stage manager Rob. Most music reviews tend to leave out any information on the stage crew, but I figured I’d include it here for posterity. Good job to those guys.

This being Festival du Voyageur, Simmons announced that « je essaie de parler français », in the typical strained accent of a unilingual Anglophone who hasn’t had to take French class in many decades. He returned to this bit sporadically throughout the performance, but mostly reverted to English. As expected, Simmons played the hits—first launching into a rendition of “Camp Wiganishie” and trotting out his beloved stable of prop fishes one after the other. “Smoked salmon,” “fish out of water,” “sword fish,” that sort of thing. Between songs, he fiddled around with various slide whistles, generating a series of odd noises that delighted the kiddos. He also produced a stubby green recorder, which he dubbed “a piccolo, a pickle-oh, a cornichon-oh.” At this point, I thought,

“that’s a bit of a whiff, Al. That joke doesn’t really translate into French!”— right before Simmons played me for a damn fool with the punchline.

“Oh wait, I have a corny show, that’s what this is.” The man’s still got it, folks!

In a clear bid for contemporary relevance and in likely recognition that the vaudeville elements of his act have diminishing cultural legibility to today’s children, Simmons ended his performance of “I Collect Rocks” with a medley of pop hits with the lyrics reworked to be about rockcollecting: among them, Adele’s “Hello,” Carly Rae Jepsen’s “Call Me

Maybe,” Oasis’s “Wonderwall,” and The Police’s “Roxanne” (which garnered the biggest laugh of the show when he allowed the full intro to play before belting out “ROCKS!” right as the music changed). The most shameless inclusion was Silentó’s “Watch Me (Whip / Nae Nae),” during which he proceeded to floss and hit the griddy as I chuckled at the implication that Al Simmons must have a grandkid who’s kept him abreast of the latest Fortnite dances.

And I would be remiss not to mention “Where Did You Get That Hat?”— to me, his signature song. I’ve caught myself humming the tune many a time,

and I think it’s because I’ve always fancied the idea of being accosted in public for wearing a fun hat. Simmons, naturally, had no shortage of them— the floral hat with the party blowers on it, the one with the spinning antennae that also flapped his coattails around, the pan that extends into a large spatula (?), and finally, a regular beret. This served as the transition to his closer, a cover of Édith Piaf’s “La Vie en rose.” He moved a suitcase to the front of the stage that he opened into a table and pantomimed playing the accordion on a fake baguette. Classic Al Simmons stuff. He shot some confetti into the crowd and left.

CKU Who? MEGGPUNK

A weekly dive into 2SLGBTQIA+ punk rock, rock and roll, metal and the musical history of the 2SLGBTQIA+ community. Listen along as your transgender host Megan digs into the importance of queer and trans representation in music. What made you interested in doing a radio show?

When I was a young, dysphoric teenager, I would spend many nights in my bedroom listening to music, often angry metal or bold punk rock. Music was my escape from the world, moments of peace from the nagging questions of my looming orientation and identity as I grew more and more uncertain of myself through the bad representation of queer and trans people in media in the mid-’90s. One friend of mine shared this radio show with me; it was a CKUW program on a weeknight, and, for the life of me, I can’t remember what it was called. It was a punk show, and it meant the world to me at the time. Hearing the music played for the world but seemingly just for me … how I related to it was incredible. The themes of the music

mattered, and the songs were so great. I remember hearing CRASS for the first time, and the magic of radio really hit me. Since then, I’ve always wanted to be on the radio, but I always romanticized the idea and never thought it was something I could actually do in my life.

For someone who has never heard your show, describe it for them .

MEGGPUNK is a show by and for the 2SLGBTQ+ community. It’s a place you can tune in and escape your world and submerge yourself into Queer Trans joy, anger, fury and love. Mostly Queercore, with a sprinkling of musical influences that matter for Queer and Trans representation in the world.. Because representation is so important.

How long has your show been on air?

Technically, my show has been on the air since the PRIDE

SCOTT PRICE PHOTO PROVIDED BY MEGGPUNK

week kick off in late May 2023, but formally, it has been since my pilot show on November 7, 2023.

Why do you think representation in music and arts spaces matter?

Art is liberation. I want to see and hear what marginalized and 2SLGBTQ+ people have to say. I want to hear my community loudly. More so, I want the bold queers and trans folks to show the younger generations and the folks who are afraid to be themselves that we are here and living our lives in spite of colonial oppression. Representation is important because it shows our community what it means to be free to live as our authentic selves.

There has always been a presence of queer people, gay people, and gender-bending in music, but it seems like this present moment is perfect for your show; why do you think that is?

What makes it so important now is the sudden uptick in conservative fascism and the colonial oppression of BIPOC and 2SLGBTQ+ people. We have political attacks on our community, and our youth are greatly at risk. I needed representation when I was a youth, even as an adult. I didn’t come out as Trans until I was 38, and even above that, I didn’t even actualize my Pansexuality for a bit after that. If I had that representation when I was young and had known that people lived authentic lives and had some level of community safety, I may have felt safe enough to live my life happily at a much younger age.

What is something you found out about a band or artists in doing research for your show?

I’ve been a fan of the band Chelsea for as long as I’ve been into music, starting way back in 1991-1992. A friend lent me a tape, and it was

Local Releases

Lana Winterhalt Recovering Theatre Kid

Lana Winterhalt released her third full-length album, Recovering Theatre Kid, a 31-and-a-half-minute emotional rollercoaster of genuine vulnerability, on March 22. In the lead-up to the full album, parts of it were released as EPs: Act I

& II.

She has structured the album like a musical theatre production with two acts, an opening and an intermission, and builds to the powerful closing song, “Please Don’t Let Me Go.” The opening, “Intro,” sounds reminiscent of backstage before the opening of a theatre production. The relaxing and mellow song “Intermission,” located halfway through the album, is something I would put on a mindful meditation playlist with its keys and humming. In the age of constant single releases, I found it refreshing to come across a thematic album that has been carefully planned and thought out.

“I just want you to like

CRASS The Feeding Of The 5000 (the second sitting) on one side and Chelsea self-titled album on the other. All these years, I had absolutely no idea that both of these bands were Queer. CRASS came as no shock to me when I found out that the ideas of the band tie intrinsically with queerness. But Gene October, the singer of Chelsea was my greatest surprise. Gene was so casually gay that it really wasn’t even a thing. Gene October left a career in gay porn to be the vocalist for Chelsea, and he was just the guy who fronted the band.

What are your top five albums you are listening to right now?

1. Priests, The Seduction of Kansas

2. Chelsea, self-titled, forever and ever

3. Limp Wrist, Facades

4. IDLES, TANGK

5. Strong Boys, HOMO

me; I just want you to love me,” Lana calls out during the first song, “Recovering Theatre Kid.” Isn’t that something we all long for at the end of the day?

My favourite song on the album is “Blockbuster.”

Something about this song, filled with the harmonies of many Lana’s crashing over each other in melodic waves and nostalgia, captures my attention and imagination.

“Bean” is an emotionally loaded song about pregnancy and all of the complicated emotions, hopes, and fears that come with it. It isn’t dressed up; it’s simple and lets the meaningful lyrics eloquently carry the song’s weight.

Recovering Theatre Kid is a masterful performance. Keeley Braunstein-Black

It’s not often that one is privileged to hear demo recordings as a band’s first release, as so much of the “music industry” remains built on making public only the most curated versions of an artist’s material. But there’s something alluring about being able to hear the earliest incarnation of a group – before the

PRAIRIE

PRAIRIE (DEMOS)

stratification, calcifying and polishing of fully-produced

It’s reminiscent of bygone days when musician friends would share cassettes with each other of the latest songs they wrote, asking: “What do you think of this?” As for this collection, I’d say: “Sounds bloody brilliant! Can’t wait to hear what’s next.”

This four-song digital “tape” unassumingly came out on February 20th, and has the air of a furtively recorded lo-

fi bootleg. Prairie is the new project of Dawson Reynolds (Poodle Paddle), Ian Tata (Julien’s Daughter), Val Podlesnaia, and frontperson Moss Queen. Self-described as fitting into the categories of alternative, shoegaze and stoner rock, they have a strong 90s indie revival feel –fuzzy guitar, subdued vocals, modest bass, and brawny drumming. The first two songs – “Samsa” and “Siren Song” – are more minor in tone; a captivatingly repeated

riff carrying the former, and an atmospheric, spacey reverb inhabiting the latter. As for the other two tracks, “Turn Blue” is brighter, more chill and features vocalizations as opposed to vocals, while “Bat, Rats, and Alley Cats” seems the most formed structurally and lyrically (and includes an intensely delivered line about needing to get home to feed one’s cat).

What Prairie (demos) reveals is a mere glimpse of what to expect from the band, which

is to say that this fromthe-floor EP is a very good portend of things to come. In other words, if these are just the demos, it bodes really well for both upcoming live shows and studio recordings. While you wait, find Prairie at prairieband.bandcamp and on IG via prairie.band. And if you’re looking for the cover art, it’s from a collection of poetry called “Desire Lines” (poems by Dawson Reynolds / art by Val P).

Mykhailo Vil’yamson

In celebration of 25 years of CKUW 95.9fm on the FM dial

Bloc Parents Guilty Sleep Cheap Heat

Friday. may 17 the handsome daughter doors 8:00pm / show 9:00pm tickets $15