June / July 2018

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June / July 2018 Stylus Magazine

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JUNE/JULY 29 NO. 3 2018 VOL

Production Team Editor . . . . . . . . . . . . . . . . . . . . . . . . Gil Carroll Assistant Editor . . . . . . . . . . . . Jen Doerksen Art Director . . . . . . . . . . . . . . Kelly Campbell

On the Cover ABBY SUAREZ is an aspiring young artist from the Maples Met High School in Winnipeg. She enjoys drawing in her free time as well as playing video games. As part of her internship at Stylus and to get her artwork more exposure, Abby decided to create this issue’s cover artwork.

You can find more of her artwork on her Instagram account @soysauce_demian.

Cover Art . . . . . . . . . . . . . . . . . . . Abby Suarez Advertising Contact . . . . . . . . . Rob Schmidt

manager@ckuw.ca Print by JRS Print Services . . . 204-232-3558

Contributors Zoe Lebrun Alex Roberecki Chris Bryson John Paille Allegra Chiarelle Ryan Ginter Gina Negrini Olivia Michalczuk Brandon Bertram Ryan Haughey

Table of Contents

Frank Ockenfells Kaelen Bell Abby Suarez Caelum Rossell Calvin Joseph

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.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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Blah, Blah, Blah Events Around Town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CKUW Program Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Space Jam The Dirty Catfish Brass Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CKUWho Inner City Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Winnipeg State of Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Reviews Housepanther // Wilt // + more . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CKUW Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

03 13 16 17 17 18 20

Features Hooded Fang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .04 Peach Kelli Pop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06 Phoebe Bridgers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 08 Studio 393 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09 Lido Pimienta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Cadence Weapon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Roger Roger WFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Red Tie Productions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Weaves, Mise en Scene, Mulligrub: Live at the Good Will . . . . . . . . . . 15 June / July 2018 Stylus Magazine

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BLAHBLAHBLAH Thank goodness for summertime in Winnipeg***Prairie Wind Music Festival returns on June 1 for a weekend of music and fun***The Good Lovelies play at the West End Cultural Centre on June 2, or catch Union Stockyards play with Silence Kit, Slow/Steady and Nic Dyson at the Good Will***On June 8 at the Handsome Daughter catch The Leftists releasing their new EP with North Graffiti and Screaming at Traffic, or head to the Good Will to see Moon Tan play with Dizzy Mystics and secret guests***Yes Wave Presents Yes Fest 001 from

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June 14-16 featuring WHOOP-Szo, Mahogany Frog, Smokes, Viewing Party, Mulligrub, Lizzy Burt, Ciel and many more. Shows at Handsome Daughter, Forth, X-Cues***Maplerun is in town June 16 playing at The Pyramid with Solhounds***Jazz Fest kicks off July 14 for a week and a half of free music at The Cube fetauring locals Atlaas, Fauozia, Iskwe and many more ***June 17 Social Distortion plays The Pyramid with Aaron Lee Tasjan and Jade Jackson***Real Love Winnipeg and Disco Needs a Squeeze present Peach Kelli Pop,

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Xertz and at the Handsome Daughter on June 20***The Haropoonist & the Axe Murderer play Knox United Church with Reverend Rambler on June 21***June 23 head to the Handsome Daughter to see Scaphe from MN play with Velodrome, Sphygmus, and Skronk Bash***Get heavy on June 25 with The Body and Lingua Ignota at the Good Will***Catch Amy Lavere and Will Sexton at Times Changes on June 30 or head to the Handsome Daughter for Wares (Edmonton) with and Spooky Eyes***On July 5 Winnipeg Folk Fest is back at beautiful Birds

Hill until July 8 featuring Sheryl Crowe, Real Estate, Courtney Barnett, Whitney, Waxahatchee and many more***Suicidal Tendnecies hit the stage at the Garrick Centre on July 22***Destroyer tears through town on July 26 at the Pyramid***July 27-29 at Ignite Retreats is Real Love Summer Fest featuring Tops, Nnamdi Ogbonnoya, Hooded Fang, Varsity, Tallies, Veneer, Animal Teeth, Black Cloud, Urban Vacation and many more***Don’t forget the sunscreen***

June / July 2018 Stylus Magazine

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HOODED FANG

political in nature, the songwriting duo chose to focus instead on deeply personal storytelling. Aliermo attributes this type of subversive messaging to the environment both she and Daniel grew up in, as the Canadian-born children of immigrants. “We’re a second-generation group of artists for whom art

and music was not encouraged as a career,” says Aliermo. She notices a difference in the approach of the younger generation of artists of colour, whose art is much more overtly identity-based. “For me, being a Filipino woman on stage was and continues to be a form of activism,” she says. “I know that, play-

BY ALLEGRA CHIARELLA

ing in a rock band with dudes, I am playing white dude music, and part of the reason why is because I want to change the face of that.”

Playing together for over a decade has allowed ample time for Hooded Fang to grow, not only musically, but in their strength as a collective as well. “I think where we have evolved is how locked-in we can be with each other, and that feeling is really amazing,” says Aliermo. “And as a bassist, also realizing how its not only about the music in a way, it’s about the interpersonal relationships and how that manifests on stage.”

In recent years, tour has been smoothsailing, thanks to the band’s level of comfort with one another. Aliermo describes one incident, while passing through Cleveland, when she and Lee walked back to the van, only to find it missing. After the initial moments of panic, they went through an inventory of what would have been inside and determined that all the most valuable gear had already been loaded out. “We were more weirded out by how okay with it we were, than by our van being gone,” says Aliermo with a laugh. Still, it was a relief to learn that Meeks had just moved it, without telling the other members - and now the story is just an example of the trust built over the years of traveling and working together. “Touring with these guys, it’s just so chill now,” Aliermo says.

“Everyone’s so relaxed, everyone’s supportive in their own way.”

Toronto-based indie rock outfit Hooded Fang defies most labels. Since their first EP was released in 2007, the band’s music has wound its way through several genres, from orchestral pop to surf rock, finally settling on a more experimental post-punk sound with their latest album, Dynasty House.

This diversity of style is unsurprising considering the band’s roots in Toronto’s widely-varied music scene. In fact, only lead singer-songwriter-producer Daniel Lee and bassist April Aliermo grew up in the area, while guitarist Lane Halley, and former and current drummers D. Alex Meeks and Jonathan Pappo migrated from elsewhere in Canada and the US. “The Toronto music scene is very dense but it’s also kind of small, and I think like-minded people end up finding each other,” says Aliermo. Despite coming from far-flung corners, the musicians began jamming, and have now been going strong for over a decade — though Aliermo is quick to point out that the band has only been active for about six or seven of those years, as members would regularly take breaks to work on other projects.

Hooded Fang will be taking Dynasty House across Canada this July, including a stop at Real Love Summer Fest in Teulon - all without Aliermo, however, who will be mentoring under pioneering German sound artist Christina Kubisch during that time. She will be replaced by one of the band’s longtime supporters and collaborators, Filipino musician Charise Aragoza.

According to Aliermo, a level of experimentation is the one common thread between the band’s stylistically disparate records, which allows for a certain freedom from comparison. “Because I wouldn’t say our recent album, Dynasty House is better than our first record, which was written for like seven or eight people,” she says. “I would just say its different.”

When asked about the band’s plans for the future, Aliermo laughs briefly, then turns meditative. “You know, at this point in our lives, we’re just taking it one day at a time,” she says. After a moment, she adds, “But I mean, we’re gonna be making music forever.”

Dynasty House, a punchy, 6-track album which is considerably darker than the group’s previous offerings, was something of a DIY project for Lee. Aside from co-writing the lyrics with Aliermo and performing on the record, he was also responsible for the artwork and design.

Dynasty House was released through the band’s self-owned label Daps Records, and its songs tell stories of the struggle and resilience of Lee’s and Aliermo’s family members as they immigrated to Canada, propelled by driving rhythms and mind-bending guitar riffs.

Listen to Dynasty House and learn more about the band at hoodedfang.com.

While the album’s subject matter may be

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June / July 2018 Stylus Magazine

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PEACH KELLI POP

BY ZOË LEBRUN

Originally hailing from Ottawa, Peach Kelli Pop is a LA-based band that specializes in beachy punk music filled with loud guitars and infectious melodies that captivate the heart and soul. Founded by songwriter and multi-instrumentalist Allie Hanlon, the band has made waves not only in Canada and the US, but overseas as well, particularly in Tokyo, Japan, where the band has toured many times.

Zoë LeBrun: You have a show here in Winnipeg at the Handsome Daughter on June 20th, are you excited to be touring back in Canada soon?

Allie Hanlon: Yeah, really excited! This tour we’re actually playing a couple new cities that I’ve never even been to in Canada, so it’s something I’m excited about and I feel like it’s long overdue that I’m doing a few consecutive dates in Canada.

ZL: What can audience members expect from a Peach Kelli Pop show?

AH: We always aim to have a high energy, engaging show. I think as someone that has a short attention span, I always want to cater to people who are similar to me in that way. I always want to perform with a lot of energy and make it really fun for the audience.

ZL: To give our readers a bit of context, how and when did Peach Kelli Pop come into being?

AH: I was living in Ottawa and playing drums in a few bands; the one that was most active was called The White Wires, and I was inspired to try writing my own songs because as a drummer, I was kind of just adding drums to songs that the guitar player and singer would write, which was cool, but I was like hey, maybe I can do this too! I ended up teaching myself re-

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PHOTO: GINA NEGRINI ally basic guitar and bass and started composing songs in programs on my computer. So, Peach Kelli Pop started as a songwriting experiment, I guess, and it ended up growing into an actual band! That was in 2009, so there’s lots that’s happened since then.

ZL: Was the name for the band inspired at all by the song “Peach Kelli Pop” by Redd Kross?

AH: Yes, it was! Almost no one knows, and everyone thinks that it’s someone’s name, Kelli. Usually people call me Kelli and it’s like, alright, I can be Kelli, that’s fine, but yeah, that’s exactly right! They [Redd Kross] are a band from LA and all of the girls that play in Peach Kelli Pop actually really love them. They’ve been around for decades and they’ve gone through a lot of changes in terms of the genre of music that they play. They started off as a super bratty punk band and then they ended up having a glam rock phase, and now it’s kind of alternative rock. They’re awesome! We’re actually friends with them and the singer’s daughter lives in LA. She’s super cool and has a band called The Side Eyes, so they’re around and it’s cool because I’m kind of star struck because I’m a fan, but they’re also just really nice people.

ZL: Your music gives me super awesome beach party vibes but maintains an emotionally honest and punk edge; what has influenced and inspired your sound over the years?

AH: I feel like pretty much everyone has a lot of different facets to their emotions and the way they feel, and so I feel like sometimes I’m inspired by being excited, or being really into someone, or being angry even; I think a little bit of everything shows up in the songwriting. Also, as I mentioned, I prioritize having an exciting live show, so I think

that’s also why the songs, especially the songs that we choose to play live, are usually fast-paced and high energy, so I’d say I’m inspired by the range of emotions that we all deal with.

ZL: What is a snapshot of the creative process like for you when songwriting?

AH: That’s a good question, I wish there was one way that I did it, but I feel like every song has its own process and journey. It’s kind of frustrating, because I wish that I knew how I could successfully write a song in a day. I would be like, well I’m going to write an album, so this is what I have to do, but inspiration always comes at unexpected times.

Sometimes I’ll be in the shower, just humming and I’ll be like oh, that’s a cool vocal melody, I’m going to remember that; but usually I just mess around on the guitar and record it onto my p h o n e , so I have a bank of voice memos filled with guitar lines and I go back to them later to see if any might make a cool song.

ZL: Your EP Which Witch just came out recently, right?

AH: Yeah! It came out on April 21st on Mint Records; it’s a six-song EP and the songs are all really short, so they fit onto a 7-inch record. They’re all about a minute long, which is kind of crazy; you can listen to the whole EP in under ten minutes!

ZL: Nice, that’s super cool!

I hear you have another album, Gentle Leader, coming out on May 25th as well! What are you most excited about for these album releases?

AH: When we put out Which Witch we played at this really cool record store in Los Angeles called Pe r m a n e nt Records, and I haven’t ever played an in-store show with Peach Kelli Pop, so that was cool.

It was like a daytime, totally sober, well-lit show, and it was really positive and fun! There was a lot of people crammed into this really, really small record store, so it was really fun to see everyone scrunched in there. There was a mosh pit, which was hilarious. Then, on the 25th, we’re releasing Gentle Leader, and the party is at a great venue in Los Angeles called The Hi Hat, and it’s our favourite venue because the sound is really great! As a performer, when you’re on stage and can hear everything really clearly, it helps you perform well. So that’s kind of dorky, but we all love to play there because we have fun on stage and we feel more confident cause we’re like, wow, this sounds

great! When the sound is good on stage, you have more control over the quality of the performance, and our goal, obviously, is to make our performance sound as good as we can, so we are always really happy when w e play there.

ZL: You also r e leased a few mus i c videos recently, out of all the filming processes for them, what was the best part?

AH: They were all pretty different! “Drugstore‘s Happiness” was a one -shot , slow motion video, and that was filmed really, really quickly, which was great, because I just showed up, played my guitar, sang into the camera, and then it was done!

That one turned out really beautiful. It was just filmed against the sunset with downtown LA in the background, and I am a

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really big fan of simplicity, so I thought that video turned out really well. The other video that I love is “Los Angeles”, and I worked with three guys that do comedy in LA, they’re called Power Violence, and I think the video turned out really funny! It almost reads like a weird dream... like a dream that kind of makes sense on one level, but in a logical way doesn’t really make sense. It was great because normally we star in the music videos, but I feel like it’s a lot better when you get actual actors or people who can act well in general. I really want to go that route in the future more because I’m not a good actor, so getting someone that’s hilarious and who’s talent lies in acting is a great thing. Maybe people want to see the band, but for me, I really enjoy hiring someone who’s hilarious and has acting experience.

ZL: What’s the best part about touring?

AH: I feel like it’s the ultimate payoff for all of your hard work because you get to meet people that really appreciate your music, and that is just such a great feeling. That, I would say, is the number one thing, and then travelling is really fun too. You get to see different parts of the world, or the country, and it’s so much fun. I also always love trying local cuisine! Touring can be really hard, but it’s always worth it.

ZL: Do you have a favourite tour moment or musical experience from your career?

AH: I feel like going to Japan for the first time was the most magical moment of my life, so I’d say that.

When I came to Tokyo for the first time in 2014 I was in extreme culture shock, but I loved it so much. I was so overcome with joy and was like, this is where I need to be!

ZL: What are your hopes and dreams for Peach Kelli Pop? AH: My hopes and dreams are that people enjoy the new music we put out and that we can continue to share music that we write, travel, and have positive experiences, because I feel very lucky to have them.

I hope that people will continue to appreciate our music and come to our shows!

June / July 2018 Stylus Magazine

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PHOEBE BRIDGERS

BY BRANDON BERTRAM Phoebe Bridgers doesn’t remember a time she wasn’t into music. “I listened to a shit ton of music when I was a kid, I went to concerts all the time when I was a teenager. I can’t remember not playing or not wanting to be a musician,” she tells me over the phone from L.A. “It started with Joni Mitchell and Jackson Brown and the Laurel Canyon songwriters and stuff. And then it turned into, you know, Bright Eyes and Mark Kozelek and songwriters who were basically doing the same thing except in this new way that felt like more my generation, or closer to home as far as subject matter and stuff that was still very emotional singer-songwritery. And now, it’s like that except women” is how she describes the arch of her musical upbringing. Bridgers has toured with Bright Eyes’ Conor Oberst and he is featured on Bridgers’ song “Would You Rather,” and she covers Mark Kozelek’s “You Missed My Heart.”

Bridgers, now 23, was born and raised in Pasadena, CA. “A strange place, but I love it, it’s beautiful.

It’s right by the mountains, and I went to a hippie school where we didn’t even have to wear shoes. I had a very Los Angeles upbringing.”

Growing up in L.A. and attending a performing arts high school, she had access to a lot of art and culture. “You would get free museum passes if you went to my school, so I did that a lot.” Her uncle was a film critic, her brother a visual artist. “I Just feel like

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I was exposed to a lot of art,” says Bridgers.

The first time I heard Bridgers’ song “Smoke Signals” I was immediately struck by its ethereal production (featuring reverb-soaked baritone guitar and a jet engine) and evocative snapshot-like imagery; a collection of memories time stamped by celebrity deaths that reads like an unreleased Noah Baumbach film set to a Twin Peaks soundtrack. By this time Bridgers had only released one 7” EP on Ryan Adams’ Pax-Am label in 2015, just over a year before signing to the Dead Oceans and beginning work on her debut full length. 2017’s Stranger in the Alps is a collection of songs written between the time she was 16 years old up until the album was recorded. “I wrote Chelsea when I was like 16, Chelsea’s probably the oldest,” says Bridgers.

Bridgers’ brand of melancholy is not put on. “I don’t think I’m playing into anything necessarily, I think it’s just where I am at a certain time. A lot of my songs were written in a very heavy time period where I was feeling all that stuff.” Songwriting, for her, is a kind of therapy and also a form of documentation: “It is a little bit cathartic but I think that later it’s fun to look back and see exactly how I was feeling at a certain time even if I don’t feel like that anymore. It’s like seeing an old picture of yourself or something but even more intense,” says Bridgers.

The songs on Stranger in the Alps are categorically

PHOTO: FRANK OCKENFELS sad, and brilliantly so. “Funeral,” for example, is about her singing at the funeral of an acquaintance (“a kid a year older than me”) who died of a heroin overdose. But there is hope on the album, too. “I buried a hatchet it’s coming up lavender,” Bridgers sings on “Smoke Signals.” “‘Smoke Signals’ is more like me looking back on those feelings, and it is like a little bit hopeful because inherently I was like not feeling super intense when I was writing it.”

Since the release of Stranger in the Alps late last year, Bridgers has been touring steadily and performing often, and the list of dislikes about touring (“I don’t like inhaling other people’s fucking farts all day,” she laughs) is longer than the likes, “but I do like playing my music every night to people that give a shit,” she says.

And as for what’s next for Bridgers: “I’m still writing [the next album], and I hope it’s not a ways off. It is funny playing, you know people request some of my songs when I’m on stage they’ll yell requests at me, and I’m like dude, I literally have one record, literally I have basically an hour of music I can play, so of course I’m gonna play that fucking song, so uh, I can’t wait to have another record so that I can do a different set every night.”

BY ABBY SUAREZ

Studio 393 PHOTOS: CALVIN JOSEPH

Inside one of the skywalks of the Portage Place shopping mall is a small arts studio called Studio 393. Studio 393 is a local drop-in arts studio for Winnipeg citizens to explore their interests and hobbies for free, it also functions as a safe space for the public to connect with others without the risk of harm. Studio 393 was created by Graffiti Programming Inc. here in Winnipeg, it is as though this studio is Graffiti Gallery’s little sibling.

In Studio 393 there are 3 different sections dedicated to some form of art. On the left is the music section with recording equipment and computers that have music programs that are free for public use. In the middle is the visual art section where the containers of art supplies are kept available for anyone to use. Lastly, to the right is a dance floor that has mirrors and speakers where people can play music they want to dance to.

At Studio 393 there are workshops people can attend to learn various things related to the arts, such as a hip hop workshop or a film workshop. A couple of months ago I got the chance to see their Equality Finale live stream in person and everyone who performed was amazing. This livestream featured works created around the themes of gender equality and racism. During the livestream performers show-

cased their choreography, rap lyrics, vocals, and even poetry. While I was watching I could see how much work everyone put into their pieces and how passionate they were about showcasing them.

In order to learn more about Studio 393 I sat down with Rene Marriott, an employee at Studio 393 to ask him various questions about the drop-in studio.

Through this interview I learned a lot about Studio 393 and its programs. A big thing Studio 393 does is the After School Leaders program. In this program students learn how to apply their schoolwork to real-life jobs and get to do various activities such as culinary arts, filmmaking, art, etc. to explore their interests. They also get to work with professionals from the industry they’re interested in, similar to an internship. In my interview I asked Rene to tell me more about the music department that is at Studio 393 and I learned some interesting facts.

In the studio’s music workshops they try to teach people how to use music programs and create beats, in fact most of the employees know how to create beats so they can help people who come in to experiment with the music equipment. Youth in the Wall-to-Wall mentorship program even recorded their own EP, the EP was titled Wall-to-Wall Mentorship E.P. It is available on Bandcamp.

I asked Rene what his favourite aspect of Studio 393 was and he said it was the music department.

The reason was because he feels the guest speakers in the music workshops inspire the budding musicians at Studio 393. He said that people are inspired by getting the opportunity to witness the different stories of each professional musician and how some of them come from humble beginnings, it’s comforting to hear them go through the struggles that every beginner musician goes through.

After the interview was finished, I decided to ask some people at Studio 393 the question “How would you describe Studio 393?” and I got a lot of answers that warmed my heart. The gist of the answers were that Studio 393 was a chill, openminded place where people could hang out. Some people said that it was a peaceful place where everyone could feel equal and be a big family/community.

Rene had said that Studio 393 was a positive space where creative minds could come and create things.

I think my favourite answer was when someone described Studio 393 as a “positive experience” and I completely agree with that statement. As for my description of Studio 393 I can only describe it as an inspiring community of creative minds and I would definitely visit them again.

Phoebe Bridgers is set to play Winnipeg Folk Festival in July. www.ckuw.ca/stylus

June / July 2018 Stylus Magazine

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Cadence Weapon

LIDO PIMIENTA After her latest album, La Papessa, won the $50,000 2017 Polaris Music Prize, Colombian-Canadian singer-songwriter Lido Pimienta has been busy. While raising a young son as a single mother, Pimienta has been spending time developing her sound, her live performances, and her vocal presence on social issues.

She is a unique addition to the 2018 Winnipeg Jazz Festival line up as her music combines styles such as indigenous Afro-Colombian music with western electronica and synth pop.

She initially added the electronic element for an easy way to perform as a solo artist but it has melded into a defining factor of her sound. It is a modern revival to the combination of different upbeat styles of Afro-Colombian folk. Her concerts are a unique display of art.

Usually dressed in traditional Colombian fashion, Lido walks around the stage with intended purpose being immersed in the music she is creating. Each time a song is performed it is never the same. Drawing from her jazz influences, Pimienta at times vocally improvises over her electronic beats, which are always recreated live by her and her band. At each show her goal is to immerse the audience with stories and connect them to the emotions as well as the different perspectives in her music.

Lido uses her amazingly wide vocal range and colour wheel of dynamics to paint a picture. Almost all lyrics are sung in Spanish. They convey topics such as of pain, joy, race, oppression, family, freedom, hate, love, and sexuality. Pimienta’s inspiration is drawn from her past growing up as an Indigenous person in Colombia, whilst living through a gruesome civil war that tore her country apart. Consequently, after a threat was placed on her family, she was forced to flee to Canada where her outlook on western living changed forever.

Back in April I got the chance to interview Lido over the phone right before she set out on her spring tour across America. We discussed her musical upbringing, how she started out in a metal band, and the current state of Spanish music in the music industry.

Stylus: What made you want to go for a more electronic set on tour?

Lido Pimienta: It started out of necessity. When I started playing in Canada I did not have a band or many friends to collaborate with. Before coming here, I was only in bands. I learned you can have a full band with only three pieces of gear. Slowly I started building my crew. Right now, there are three of us on stage. Me and one guy are running the electronic end and the other guy takes care of the AfroCuban percussion that are handmade from Colombia. This way it really keeps us from getting attached or married to a grid of just electronic music. To get people to participate I have to make sure I give good variety in the performance. Not just the same thing over and over. If I’m mad, everybody’s mad, and if I’m sad, everybody’s sad. I would get completely bored playing the same song the same way. When I perform a song I’m very expressive. My show is full of emotion, every show I’ve done there has had at least three or four people crying. There are people laughing, some people get offended and leave. But I don’t care about that.

It’s a really good way to release pain and frustration.

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PHOTO: JOHN PAILLE

BY CHRIS BRYSON

Cadence Weapon is an artist in flux. The ex-Pitchfork writer, post-poet laureate, chameleonic rapper has always weighed on the side of experimentalism, and his most recent self-titled LP, Cadence Weapon, marks his rebirth. From an early age Roland “Rollie” Pemberton, a.k.a. Cadence Weapon, has had an innate drive towards the artistic world. Pemberton grew up in Edmonton where his father, Teddy Pemberton, a hip hop DJ on campus-based community radio station CJSR-FM, was a pioneering force for the genre. Growing up around an abundance of music gave Pemberton an encyclopedic knowledge of it, and his experiences as Edmonton poet laureate, living in Montreal and currently Toronto, along with everything else along the way, has helped make him the versatile artist he is today.

Cadence Weapon albums have always pushed boundaries with unexpected experimental elements. “That’s just kind of the way I see art, basically I’m always looking for that next thing. It’s been that way since I was younger. It just comes naturally to me” says Pemberton. “I think it gets tiresome when people just do the same thing over and over and over again. You’ve got to give people something to get excited about. That’s the thing when you listen to a Cadence Weapon album, at the very least you won’t be bored. You might not be able to appreciate everything I’m doing, but you know that it’s going to be something that you haven’t quite heard before.”

When you leave you feel you can be better and do better than you have been.”

S: What types of bands were you in back in Colombia? What does your musical background look like?

LP: My first band was actually a metal band. I didn’t start using my pretty singing voice until later. I was using my guttural voice pretty early on and I still use it sometimes. I was in metal, hardcore bands, punk bands. I’d say the real punk. Sometimes the drums we used where not store bought we had to make them out of plastic and buckets. We were playing in basements and saying really dangerous stuff about the government in a country where people will definitely disappear for it. I started singing in these bands when I was eleven but eventually I started singing Afro-Colombian folk music of the north coast called “Music of the Water,” which was written by the women or matriarchs by the river. I also at the same time had a hip hop crew. I did everything.

By the time I was 16 I had been in 15 bands. The last show I performed in Colombia was for about 10,000 to 20,000 people when I was 19. It was one of the biggest hip-hop festivals there. I was well on my way to becoming the next big thing in Colombia but then I moved to London, Ontario and then that was that.

S: What made you leave Colombia?

LP: It wasn’t my decision, there were threats against my family. They were going to kidnap my mother and sister if we didn’t leave. We had to seek refuge outside of the country. We had the choice to go to LA but my mom said, ‘Let’s go to Canada, because nothing happens there.’ So we ended up settling just outside of London, Ontario.

S: What’s the next step for you as an artist?

LP: Well, my next album I think will make me what they call a breakthrough artist. Because we were in a moment where in the last ten years Spanish or Latin music would not make the global or mainstream platforms. But now you have artists making it whose entire discography is in Spanish. For example, Cardi B is a break through artist right now and out of her album the strongest song has J Blavin and Bad Bunny on it. She is rapping in English but half of the song is in Spanish. With those two ( J Balvin and Bad Bunny) they don’t sing in English. J Balvin is one of the two Colombians who are doing records with artists like Beyoncé. And in the song with Beyoncé, she is singing in Spanish. People are understanding the shift and understanding that there is a market for people who speak Spanish.”

ILLUSTRATION: RYAN GINTER

BY ALEX ROBERECKI

“When I was first making music in Edmonton I felt

very isolated, like I was making music, you know I was producing all this stuff in my bedroom, I was making all this weird music and it was totally from my mind to the listener and there was kind of no other filter really for the music,” explains Pemberton. “Whereas when I moved to Montreal it became so community oriented and I started warming up to getting outside producers and doing things like that and just collaborating and being a part of a music community in a different way and then since I’ve been in Toronto it’s really been even further into the collaborative aspect and it’s also just made me more focused on the lyrical side of my music.”

They’d “be making the beat and I’d be like in the background figuring out flows for it. And that was how we’d make some of these songs,” says Pemberton. “It’s catered directly to me, the music is made for me, rather than just getting a beat that was made for whoever.”

The beats range as stylistically influenced by UK grime and Afrobeat, house and trap music, and producers who aim to crack formed norms into an electro-funkified fusion that’s unmistakably Cadence Weapon.

Pemberton’s lyrical concepts have also broadened along with his experiences of the world. “All the new stuff I’m doing is more like sympathetic and empathetic of other people and other perspectives and me trying to explore how I feel through the experiences of others,” says Pe m b e r t o n .

“It’s a broader style of music in a way. I feel like it is definitely made with an audience in mind that’s a big difference for me.”

A part of the reason for creating the most recent album in the way that he did was to develop a certain energy with the songs. “With rap music where you’re using all these static beats that maybe you made yourself or somebody else made but you didn’t even meet them in person, you can feel that lack of energy,” says Pemberton. “A lot of my favourite classic albums you think about the process of how they were made, there were people in the room, people bouncing ideas off of each other and that was the result of that, you know, it was the result of shared energy. That energy is beamed off to thousands of people. That’s kind of the excitement about music. Because you could tap into a universal feeling with just a handful of people that ends up influencing or inspiring maybe even the entire world. It’s pretty cool.”

With whatever he’s working on, Pemberton is always pushing himself in new directions. “I always try to do something different for every album I put out. Right now I think I’m interested in making things that are more populist, that lots of people can really appreciate. I feel like I’ve proven a lot as a creative artist, but I really want to see what I can do more in the pop arena. So I think part of what I’m trying to do is get into more songwriting for other people. Get into writing songs that are more designed for a mainstream audience, but while still maintaining my integrity. I definitely feel like the next thing for me is just trying to work on songs that are broader in that way. Because I feel like as an artist you’ve got to try and do things that don’t come easily to you. I feel like it’s very easy for me to make freaky weird music, but it isn’t easy for me to make music that is like universal or pop oriented or anything like that. So I’m trying to push myself out of my comfort zone by doing different things.”

Pemberton plans to continue working with collaborators and says his next album is well in the works and being produced by only one person. “I would say we’re 75% done,” says Pemberton. “If I had it my way I’d be able to put it out later this year, that’s the vision I have.”

When talking about creating things with an intended permanence, in an age that can be so rewarding to fleeting and passing trends, Pemberton says “I think it’s like rather than worrying about whether what you’re doing is substantial or not, it’s like try and make this the best thing you can in whatever way you want to. That’s kind of what I’m trying to do. You might see the next album I put out every song is two minutes long but it’s like punk music, electro punk music. That could be the next direction.”

Lido Pimienta plays at the WECC on Tuesday, June 19 at 8pm as a part of the Winnipeg International Jazz Festival.

Cadence Weapon will be at the Good Will on June 20th for the 2018 TD Winnipeg International Jazz Festival.

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June June/ July / July2018 2018Stylus Stylus Magazine Magazine 1111

WITH

SYNDICATED - WORLD MUSIC

GLOBAL-A-GO-GO

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Lucas.

“I realize that there is a world outside Winnipeg but that is still the standard for me.”

“We are so excited, we are over the top excited,” added Madeleine.

“We actually didn’t know we were playing main stage until the announcement, so it was a surprise to us that it was happening. We were already thrilled but for a second I thought that it may have been a tweener slot but no, we are opening up the festival and we are so excited.”

Madeleine Roger first started playing guitar and writing songs in 2014. She went to a cabin in the woods for a month with a guitar and four chords under her belt and came out with about 20 songs, some of which are on the Roger Roger album. The first collaboration between the twins was in the living room when Madeleine taught Lucas how to play “13 Crows,” which is the first song their album Fairweather.

From there they booked their first show which resulted in people asking for their album. After applying and receiving a grant though Manitoba Film and Music, they recorded Fairweather with their father at Paintbox Recording and started touring with the album across Canada and Europe. Both Madeleine and Lucas agree that this opportunity is one of the most important shows to date.

“Playing the Winnipeg Folk Festival is a milestone and a bucket list item for any musician in Manitoba.

It’s one of those things that if I look back at myself as a younger human, I remember seeing people in workshops and thinking ‘wow, that looks like the best thing a person could possibly do, I wonder if I ever will be able to do that,’” said Madeleine.

“This process is full of a lot of hard work and intention but it still feels accidental to be playing the Winnipeg Folk Festival because it’s such a dream.”

“It’s my biggest goal in music,” added Lucas.

Roger Roger has been part of the WFF for many years from attending, volunteering, camping, and playing in the young performers program, but Lloyd emphasized to the band that they are where they are today because of the hard work and dedication they put in to their craft.

“It’s not enough for a band to have grown up at the folk festival or to be my children or to know everyone in the music business in order to get hired to open the folk festival,” said Lloyd.

“You need to be damned good, and that’s why they’re going to be there this year.”

7AM

12 Stylus Magazine June / July 2018

val campground.

Margarit remembers carrying both children, one on her front and one on her back, while Lloyd was working the festival. She recalls it being a wet and muddy year as well. “I tripped in the mud and I couldn’t get up,” she laughed. “Because I had a baby on my front and a baby on my back.”

“That was dedication for sure,” Lloyd added.

Roger Roger’s first appearance in the Folk Fest program was on the front cover in 1994 of the twins playing as children in the field at the festival, the photographer still remembers taking those photographs and works at the festival to this day.

It’s a common misconception that Lloyd taught his children how to play folk music. Lloyd said that just being immersed in the music at WFF, the WECC, the recording studio, family, and friends allowed them to be completely steeped in music. “They never had to be pushed or coerced to pursue music,” said Lloyd.

Margarit adds “There was no expectation, you guys were just going to do whatever you were going to do.”

The family always had music playing around the house. Thoughtfully, they recall each others favourites. “There was so little forcing of music, it was kind of just around,” said Lucas. “It would be very hard to say I want this dumb toy, but if said I want this CD it would be like ‘we are going today.’”

The family has many stories of WFF from Lucas’ tent flooding the first year he camped alone and having to walk back soaking wet to Margarit’s tent to sleep, to three-year-old Madeleine accidently driving Lloyd’s CBC golf cart (“dolf cart” to her at the time,) in to a fence.

“I’ve always assumed since I was a kid that because it was the biggest thing I ever saw, that was the top and main stage was as high as you could go,” said

MONDAY TUESDAY WEDNESDAY THURSDAY F R I D A Y SATURDAY S U N DAY

Folk duo and twins Lucas and Madeleine Roger are preparing to open the festival and play the main stage at what they refer to as a second home, Winnipeg Folk Festival. Their family is no stranger to the festival. The family’s colourful history with WFF dates further back than their first-year camping as babies in 1992.

Lucas Roger’s first on stage Folk Fest appearance was in his fathers’ arms as a baby, Lloyd Peterson working for CBC at the time and hosting a workshop. “Fast forward 22 years, Lucas and Madeline are playing on the same stage,” Lloyd said.

“Mom would have been super pregnant,” Madeline said. Their mother, Margarit Roger, adding “But that didn’t stop us from going to Folk Fest.”

It all started when their father — performing musician, audio engineer, music producer, and co-owner of Paintbox Recording, Lloyd Peterson moved to Winnipeg with his family in the late 1970’s. In Winnipeg he studied music and played in a few bands, one of which broke up shortly before his first WFF performance in 1988.

Lloyd became familiar with the WFF when he started volunteering to turn an old run-down church in to the West End Cultural Centre, a now vibrant music venue. One of the volunteer team members revamping the church included the founder of WFF, Mitch Podolak, who referred Lloyd to the artistic director at the time, Rosalie Goldstein. Peterson transitioned in to a folk-focused musician for his solo performance at WFF. Margarit has many memories of WFF, a notable one being meeting Lloyd there in 1984. Margarit was friends with Lloyd’s sister and he had driven them out to the festival to set up their tents.

“I remember I took a photo of the back door of the van that you were sitting behind with your guitar because I was too shy to take a photo of [Llyod] playing but I thought, ‘ooh, he’s a nice one.’”

After that, the two attended every following folk festival. WFF was an eye-opening experience for Margarit, someone who came from a background of classical music experiences with live music being chamber orchestras. She fondly recalls Artis the Spoonman, a hippy looking dude playing on a roughly arranged stage. “It completely opened my eyes to what music could be. . . I mean my dad also had CCR records but I had never seen anyone play spoons.”

“Wait, Opa listened to CCR?” added Lucas. “That’s amazing I had no idea.”

Since 1992, the twins have attended WFF every year.

Having young children didn’t stop Margarit and Lloyd from attending Folk Festival, who always camped with the twin babies in the regular festi-

PHOTO: SAM BAARDMAN

6AM

BY OLIVIA MICHALCZUK

MUSIC

ROGER ROGER WFF

June / July 2018 Stylus Magazine

13

RED TIE PRODUCTIONS CHRIS BRYSON

Have you ever wanted to see some awesome heavy local bands live from your living room couch? Red Tie Productions has been working at bringing you just that.

Red Tie Productions brought down Stylus to Bedside Studios for the third installment of Red Tie Live. Amid the spacious and beautiful wooden paneled studio, local heavy metal outfit Waster ripped through song after vicious song as the crowd of the crew and I, along with the Facebook viewership, basked in the savagery before us.

Red Tie Productions stemmed from when owner Clint Chaboyer put on his first annual charity 90’s tribute show. The tribute show, which hit its fifth anniversary this year, led to Chaboyer putting on more events, including the first-ever metal shows to be held at Cowboys, a venue that some might not expect to be hosting that sort of thing (but is nonetheless set up for a hell of a good time).

The idea for Red Tie Live came after Chaboyer’s Southern rock band Wreckin’ SO played Winnipeg music promoting Facebook series, Live at The Roslyn, (via the Village Idiots) and one

of his friends who plays in a metal band wanted to do the same. “That kind of gave me the idea, well maybe I should do a metal one,” says Chaboyer. “So I talked to Kevin (Repay) and Rylie (Saunders), because I didn’t want to step on any toes or anything like that. I just kind of got the idea to them and said would it be cool if I started a metal version of it, and they were like yeah!”

The first two episodes of Red Tie Live were hosted at the Jam Shack, but it was decided to change locations for economic frugality. “They make money by renting it out for rehearsals so time is money to them and where we are right now we’re not making money off of it so I can’t pay out of pocket,” says Chaboyer. “So we thought it would be a good idea from here forward to do every episode somewhere different. But Bedside Studios was a pretty wicked place. It sounded good in there. The whole atmosphere is a great place. And Len (Milne, the owner) was super happy. He liked having us there. He said we can do more there so I think the plan might be to keep it there now.” Chaboyer also says staying in one location will prevent them from needing any new location to increase their Internet capabilities and equipment to account for the show’s

streaming requirements.

With the selection of bands that get to go on the show, Chaboyer says it’s similar to Live at The Roslyn in that they’re looking to give the best portrayal of the scene in the best way they can. “It’s kind of been picky so far the selection process of the bands.

But I mean we also want to help bands that are pushing to get out there, that are eager to break onto the scene,” says Chaboyer. “With the three we’ve had so far, Waster, Inverted Serenity, and Endless Chaos, they’re three of pretty much the best in the metal scene right now.” Chaboyer also hopes to start doing Red Tie Live with more frequency, which would enable him to cover more of what the local scene has to offer.

“Right when it started it’s like ‘Oh I want this band, I want this band, I want this band,’” says Chaboyer, “but we’ve got to kind of think more like big picture like a: what do people want to see, b: is the band actually pushing to get out there.”

At the Waster Red Tie Live, Village Idiot and Live at The Roslyn host Rylie Saunders was in front of the camera taking hosting duties. Videographer Sean Perrun was at the visual helm, with Village Idiot Kevin Repay behind the equipment rigs, photographer Karen Cottrell taking shots of the action, Taylor Hingey covering Red Tie’s social media, and Chaboyer mixing the audio.

When Stylus was there for the Waster Red Tie Live some technical issues arose leading up to the start of the show, but with some talking and troubleshooting, the team was adept at working things through.

“Technology with this kind of stuff I think the reason why we handled it so easy was because there’s always something. For us this is only the third episode but we’ve had major problems each time,” explains Chaboyer. “The first time literally ten minutes before we were going live the computer died. Ten minutes before we were like ‘Shit! What the hell are we going to do?!’ And then a guy had a laptop in his car. We’re like ‘Okay can we use it?’ So yeah there’s always been issues so just got to stay calm, just go over stuff step by step. That’s all you can do really.”

“Just knowing the fact of okay you should probably set up four hours prior in case anything major happens you have enough time to work it out,” says Chaboyer. DIY has always been a Winnipeg thing, and that ethos runs true here.

14 Stylus Magazine June / July 2018

WEAVES :: MISE EN SCENE :: MULLIGRUB :: Live at the Good Will WORDS & PHOTOS BY RYAN HAUGHEY Toronto band Weaves visited Winnipeg for a performance to remember. This rock group left their souls on the walls, floors, and tables of the Good Will Social Club on the evening of April 30th. Before their set, though, two local groups set the stage with their own music.

Fresh off their North American tour, Winnipeg shy-rock group Mulligrub kicked off the night with a polished set of tunes that never fail to capture the listeners. Strong lead vocals and tangling lead guitar kicked off the night as Mulligrub shared their poetic lyrics about anything ranging from love to a strange kite-flyer.

Mulligrub uses volume itself as an instrument. Soft vocals are often backed by light, barebones drumming, only to blast off like a rocket for a few seconds.

This vast dynamic creates movement throughout the songs, taking the audience for a ride through a lazy river straight into the rapids and back again.

Their shy demeanor endears Mulligrub to the crowd. As they end their set with a humble light cymbal tap and a quick guitar chord, music goers were greatly satisfied with the mix of old and new

songs.

Mise en Scène performed their high energy indie rock set with fire under their feet. Punching through the full sound of the band were the vocals – high-flying like a professional wrestler. Perfect drums kept time for a distorted bass and memorable guitar lines.

If lead singer Stef Johnston’s silver and red starry heeled boots didn’t catch the crowd’s attention, her vocal sirens into screams, howls, yips yows and yehaws definitely did, making Mise en Scène easy to dance to.

With a sound that calls back to groups like Rush, the Winnipeg group provided a wholesome rock set to suit fans of any genre. Their tireless spirit echoed throughout each and every person there, all of whom were grooving along.

When Weaves took the stage you could tell that something electric was about to happen. The band slam started their intro with acidic effects as the drums played along to feedback loops. The singer, Jasmyn Burke walked out and began to croon out lyrics with a big smile after almost every line.

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Unorthodox guitar riffs and uncontrollable drums played wildly, using feedback as a feature to lose control of and cut out at the perfect moment. Though madcap in their performance, Weaves’ sound was tight. The group was always listening to one another and in perfect syncopation.

As Burke threw herself into the crowd and ended up lying on the floor (still singing), the guitarist shouted into the hollow part of a semi-hollow bodied guitar, creating a distinct effect that could not be replicated. Each member of Weaves reinvented their instrument to bring fresh and freaky sounds to their ensemble.

Weaves creates a genuine relationship with their audience when they perform. Their passion is outright infectious. With a tight sound and absolutely fiery performance, Weaves — as well as the two bands before them — left their souls on the stage of the Good Will.

June / July 2018 Stylus Magazine

15

Space Jam:

the Dirty Catfish Brass Band

ckuwho?

Listen to: Inner City Voices

5-6 PM Every other Monday with Michael Champagne

BY JEN DOERKSEN

Listen to Inner City Voices on CKUW 95.9 FM every other Monday from 5:00 - 6:00 p.m.

Jen Doerksen: What is Inner City Voices all about?

Michael Champagne: We’re a weekly talk radio program that focuses on topics relevant to Winnipeg’s inner-city. For example, we discuss poverty and employment, we discuss volunteerism, and the importance of culture. We talk about how colonial policies affect marginalized people and we discuss the beauty and resilience and strength of inner city people.

1

WORDS & PHOTOS BY JEN DOERKSEN

3

Winnipeg’s partiest brass band, the Dirty Catfish, jam in a couple of spaces. They usually practice at keys player Aaron’s “new” place. The house, tucked away neatly into a Garden City suburb, belonged to his parents before him. The band of about 9 musicians fits surprisingly well into the basement room designated for jamming, and quite comfortably in the living room above for chill times before practice.

They offered me a beer when I arrived. We chatted about how many times I’ve seen their show in the past year, and how amazing their set at 4 a.m. in the campground at Winnipeg Folk Festival was last year. The living room featured this sizable vinyl collection and lovely sound system (1). The band occasionally listens to demos and the like in this space, but Aaron really emphasized how important it is to listen on everything when you’re listening to mixes.

Not everyone is listening on speakers like these.

An open upright grand piano greeted me when I

4

2

first walked in (2). Aaron has removed the cover completely, and added a colour-changing LED light strip to the inside. It’s fully functional, too. A couple of the band members played around on the keys while brainstorming ideas for a new song to add to the set for their summer shows.

In the basement jam space, the walls are lined with old band T-shirts and gear. Mostly synth and keys gear. Between the shirts, this sign labels the space with a clever play on words (3). Some of the old gear includes old amps and an Ace Tone keyboard(4).

The Ace Tone products came from Roland founder Ikutaro Kakehashi in the early 1960’s, before Roland began.

On the living room table, a pack of 20 AA batteries sit labelled “not for personal use.” (5) They’re designated for the megaphone that the band uses in their show. The megaphone is a central instrument in the band of six horns, plus a dummer, keyboard player

and vocalist.

A little dog named Charlie lives in the space too (6).

He provides many boops and bleeps while the band is hanging out, though he doesn’t really hang around for practice.

Catch the Dirty Catfish Brass Band at TD Winnipeg International Jazz Festival on Friday night of the opening weekend, June 15 at 12:00am, and be ready to dance your butt off!

6

JD: How long have you been on air?

MC: You know, that’s a really good question. I feel like it is one of the oldest shows on CKUW. I know it’s been around much longer than I’ve been hosting it. I’ve only been hosting the show for 6 years now, I just got my 5 year pin last year. But I know it’s much older than that.

Hay. Then we had Joe Van Lotus, and Adesuwa Ero. Those have been my co-hosts over the years. I think I’m the official host of Inner City Voices now, but I’m always ensuring members of AYO! are able to come on as well.

JD: Who are your co-hosts?

MC: Usually I host it with Jenna Licious and Mary Burton and Chris Clacio.

JD: What’s it like doing the show every other week?

MC: It’s super fun! AND I think we feel some sense of responsibility in this show to represent the inner city in a positive way. But while we’re doing such a serious thing, we want to make sure were laughing and making jokes and having fun so we can share that light hearted, motivated attitude not only with the rest of the inner city but with the rest of Winnipeg.

I was recruited by Cameron McQueen, who at the time, was co-hosting w i t h Joan

JD: Are there any episodes that really stick out in your memory?

MC: The episode we hosted immediately after the Raymond Cormier trial. We had an inner city voices show right after that verdict came down, so we essentially named

and discussed white supremacy for the entire show, and tried to talk about the value of Indigenous lives, and how systems are to blame. So we need systemic solutions. I think that really sticks out to me because we were saying… our voices were a lot stronger in that moment because we felt such a responsibility to make sure that the inner city was heard, because we knew the inner city was hurting. We felt on that show specifically we had to give voice to some of the frustrations that are not often said. That these are realities of inner city people. So that show really sticks out to me.

JD: How do you think CKUW and community radio is important?

MC: I think Community radio is the way that media is going to stay relevant moving into the future! I think mainstream news sources are becoming less and less relevant. I think community radio and community media is the future.

JD: Do you have any regular listeners?

MC: One thing that surprises me is how often we’re able to connect with inner city musicians. Because we’re a talk radio show, but we’re often able to highlight musicians and artists. For example, there’s a teenage producer that Jenna Licious used to babysit. She calls him Dr Dre. And now he’s a producer called Ascend. We have him pretty regularly create tracks for inner city voices 30 minutes before the show. So we get to play tracks that are hot off the presses 27 minutes earlier and that’s pretty cool.

JD: So you do play music on the show?

MC: Yeah, we try to play at least one musical break per show. And we have a new format this year, because we’re hour long shows now. So instead of being every Monday for 30 mins, we’re every second Monday for one hour.

JD: How’s the change?

MC: We love it. It gives us a chance to be more in depth with the things we discuss. Before it felt like we were always running out of time. Because now me and the voices that come onto the show, we’re a lot more comfortable digging into certain topics now and we’re not afraid to do that deep dive. And I think that’s part of how come community radio is the future. Because people are deciding how deep, and which topics are focused on. And that’s pretty exciting.

5

JD: Anything else you’d like to share?

MC: The thing I love the most about Inner City Voices is our tagline. Our tagline is the best tagline out of all the shows that I’ve been able to be host to.

Because our tagline is: Real People Real Topics Real Stories. And I like that because it reminds us to be real. Keep it real!

16 Stylus Magazine June / July 2018

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Local Spotlight feels like a near-perfect summer soundtrack, playing along through every little triumph and failure, every heartbreak and breakthrough.

It’s still very heavy, but there are rays of hope on the horizon. Ruin’s blackened elegance finds Wilt digging into darkened worlds, searching for humanity in the madness. Chris Bryson

space that D’Ottavio seems intent on bridging, and while the combination has yet to be perfected, he-does-notwake-you manages to be surprisingly gripping, even stirring in its glimmering miniatures. It’s a small and insular record, and one that opens a myriad of possibilities. It seems that pisces// could go anywhere from here. Kaelen Bell

alongside artillery blasts from the kit with vocals seemingly sung with a turbid mouthful of gravel and tar. The song segues through intensive surges and flows. Votov play their form of metal like controlled acrimony with a ferocious spirit.

As a band that’s forged their sound from the unwavering force and roiling rage of death metal’s core values, Votov’s sonic assault is technical and fierce with enough of the unexpected and pure aggression to keep metalheads coming back for more. Chris Bryson

HOUSEPANTHER CLUB SODA LOWS

SISTER GRIMACE EXORCISE SHORTS

There’s a certain innocence in the sound of a xylophone chime. It conjures childhood music classes, summer cannonballs and new love. There’s a sticky kind of sweetness in its cheerful glimmer, like a popsicle melting down your hand. The opening track of Houspanther’s Club Soda Lows, “Rinse Repeat”, uses those tiny silver keys to create a blurry summertime fantasia, a three-minute sugar-rush of glittering pop.

Club Soda Lows joins a long and storied lineage of concise, bouncy guitar pop albums that deal in early 2000s pop-punk and 90s power pop. Words are regretted and lovers are cute, removed, and oh so cool. There’s drinking and hedonism, house parties and heart-pounding first kisses. There are references to the O.C. and McDonalds and Santa Monica Boulevard.

There’s some depression and anxiety too. It’s a strictly summertime album, and one that could seem a bit selfaware or overly referential if it weren’t so fun and tightly crafted.

The hooks come quick and often, and Bailee Woods’ lyrics manage to be both detailed and broad, full of moments and characters just relatable enough. No, we weren’t there, but we can see it as if we were. Woods is an engaging and clever lyricist, but her airtight arrangements are where her talent truly shines. Each song rides a warm cloud of keyboard and inventive guitar lines, the drum work more engaging and varied than it needs to be. For a genre sometimes prone to a slacker mentality, Housepanther’s hazy power pop is imaginative and varied.

Woods is smart to keep things rumbling along at a crisp pace: there’s not a sleepy ballad or moment of real pause across Club Soda Lows’ 35 minutes. The closest we get is closer “Limes”, which sways a bit slower than the songs that preceded, grooving on a quivering keyboard tone and Woods’ downtrodden lyrics.

Housepanther’s Club Soda Lows

Winnipeg artist Sister Grimace, with help from Aaron Funk and Joanne Pollock, delivers a mystic ambient trip with her debut release: Exorcise Shorts. Though this release is comprised of live work and experimentation, each track has its own variety.

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WILT RUIN Music has always been an expression of the self and a space for reflections of the world around us. Wilt’s third album Ruin is defined as a concept album, one that their Bandcamp page describes as encompassing “the frailty of man and explores the feelings death, forgiveness, shame and guilt.

Inspired by Cormac McCarthy’s The Road.” Wilt’s Ruin, follows a similar path.

Like its stated inspiration and Wilt’s style of music, Ruin is an expanse of fury and degradation. “Into the Unknown” aptly describes the album’s opening ascent. A slow burner of apocalyptic proportion — a solemn riff awakening the listener to the ruins that surround them, preparing them for their forsaken pilgrimage, with singer Jordan Dorge’s strangled black metal scream guiding you through the shimmering wasteland. “We Read the World Wrong” takes the listener further, transitioning between relentless blasts, restrained surges and fiery arpeggios. It is a vision of that world seen through a blaze of fire, arising in waves in swells of intensity, where all around you, it continues to burn.

The intro to “A Summons has Come” feels like the days are lost, and the world continues to crumble. Vanquished screams scrape over slow-rising chords up a ragged stone staircase.

The song builds with scaling arpeggios that rise and fall through hellish terrain. As the longest song on the album, this is the hardened test for survival. “Veil of Gold” unfurls with woozy doom metal guitars, Dorge’s black metal scream seeming more subsided, as the melodies follow his somber words with portentous reflection. The world around becomes the world inside.

“Requiem” traverses the divide. The tone of the world begins to open up.

PISCES// he-does-not-wake-you There’s a tricky line to walk when recording an album that flirts with ambience or shapelessness. A rhythm typically needs to establish itself, either through repetition of motifs and sounds or a total and comprehensive understanding of sequencing. There needs to be a thread that can pull the listener through the collection — a conviction of vision and purpose. he-does-not-wake-you seems to understand this idea, at least at first. The album opens with two rolling, sun drenched instrumentals that invoke a sort of directionless nostalgia, reminiscent of a summer you’re not sure you ever actually saw. “he’s a practical man and he had high expectations” and “my eyes lit up the other day, in a way, for the first time since I was three” are very much of a piece, and they move as if in conversation. It’s a gently stirring introduction to a record that abandons its initial impression as quickly as it introduces it.

The tender momentum begins to break up somewhere around the third track, replaced by something a bit more fractured and dirty. Shards of driving garage punk, gentle keyboard pulses, heaving psychedelia and spoken word mantra — all drenched in fuzz — interrupt the simple janglepop framework. You may experience a bit of whiplash, and the fleeting glimmers of pop song craft can leave one wondering what he-does-not-wake-you would sound like had Lino D’Ottavio fully embraced his pop-leaning instincts. However, this lack of sonic clarity makes for an ultimately more intriguing collection, cohesion be damned.

The album falls in a strange sort of no-mans-land, caught between ambient drift and lo-fi pop record. It’s a

VOTOV VOTOV Votov’s music is grounded in the roots of death metal — borne of its vortex of brutality and darkness. The Winnipeg trio’s self-titled debut is a hardened take on death metal’s more rugged and foundational aspects. it’s music made for crumbling worlds and thrashing bodies in circling pits.

The trio is composed of ex-members of Eyam, Immortal Possession, and Psychotic Gardening, among others, and it shows in their musicianship and taste for primordial death and thrash. “Organic Incarceration” transitions through layers of blast beats, whirring and thick, bristly guitars and deep guttural vocals into a lean and heavy riff meant for getting those heads a-banging. “Absinuance” struts and grooves like a netherworld death-march. “Indoctrination” finds pillaging growls fronting chugging guitars give way to classic thrash until the song’s midsection opens up for a screwy bassline before firing up the grinder again and churning out the rest of the forsaken.

The relentless fury of “Massing Link” finds drummer Matt Penner running laps around the kit, seeming like he’s pummeled through a marathon of beats in barely over two minutes.

Burly bass gallops and groans around buzzsaw guitar that shreds and sears.

The final and longest track on the album, “Dethroned Emperor”, could rightfully be its epic. Clocking in at just under six minutes and almost two minutes longer or more than all other tracks on the album, it serves up a combination of all flavours of Votov’s sound. Chunky riffs tearing up space

“Dead yet” and “grim excalibur” incorporate elements of glitch and ambiance, which builds a nice atmosphere that is noticeable throughout the entire release. The stand out track here is “board state,” which has a throbbing gristle/industrial sound infused in the track that are especially reminiscent of early power electronics.

Exorcise Shorts also includes some uplifting tracks, like “yoyo pupu” and “march” shifting the tone andmaking the mood of the release more uplifting. The tone on the first three tracks is dark, relaxing, and cold, as opposed to the warmer tracks towards the end side of the release. The only initial concern with the release was the length of each track, but after further listening, each track fits perfectly with even one track being only one second long, and the second long track isn’t a grindcore track either! Caelum Rossell

OLIVIA LUNNY Olivia Lunny EP With three songs at just over ten minutes, Olivia Lunny’s debut EP is short but sweet, and arresting in its charm.

The entire EP blooms in a swelling emotive space. Songs of the heart are wrapped in dreamy atmospherics and glittering colour, with Lunny’s velvety voice being the vibrant and soothing anchor.

“On My Level” revels in a mood and rhythm that feels classic. The song opens with soft strums alongside tribal drums and snare accents. Building with gentle guitar swirls and shimmering chords, Lunny sings, “baby you were going too slow, get on my level.” The song’s aura is one of revelations, of following your heart with wherever it may take you.

“Try to Love” is dreamy and spacious, like a trip down a lonely highway on a clear-skied starry night. Lunny’s lyrics of longing and love find a welcome

warmth, as her voice is poised and resolute. The ethereal instrumentals along with Lunny’s vocals create a space of echo and resonation, like a cavern of lingering emotions, where she’s looking for a shining light. The flowering lilt of “Romeo” finds humming drones, chiming notes and a rhythmic sway-n-bounce coalescing with Lunny’s smooth mezzo-soprano.

The song wavers through tempo shifts and unfurling moods, all with the aural twinkle that pervades the EP. Olivia Lunny’s debut showcases the pop singer-songwriter with a mellow elegance and sparkling serenity.

Melodies and cadences ebb and flow seamlessly in the insular yet universal world Lunny has created. It’ll be a wonder to see where she takes her music next. Chris Bryson

Under the Needle

HOP ALONG Bark Your Head Off, Dog Hop Along’s newest release, Bark Your Head Off, Dog, finds the band with their niche style of indie rock fully intact and expanded upon into something more focused and refined. The album opens with the instrumental breeziness of “How Simple” – chords coiling and thrumming around pattering drums and Frances Quinlan’s lyrics, still wary of the world around her, although seemingly more ready to accept whatever it holds. She’s singing “How simple my heart can be/Frightens me/Don’t worry we will both find out/Just not together”. Those last two lines are sung atop a florid arrangement with harmonized vocals, reinforcing the lyrical resonation and its felt weight.

“Not Abel” finds instrumental segue through ornate shifts of lulls and builds, with strings bringing simul-

taneous tension and emotive space, where around two-thirds into the song’s composition transitions into one of the most indelible jangly melodies the band has come out with. “The Fox In Motion” is adorned with chiming notes that weave around light chugging guitar and sprightly drums as Quinlan’s smooth croon flows over top with an anchored volatility.

“One That Suits Me” starts off slow and progresses into a mercurial pop number full of subtle hooks and a resounding chorus. Quinlan’s voice elevates for the lines: “Of course I am for peace, of course I am for peace/ One that suits me, one that suits me”, the song’s lyrics still more cryptic than not, but Quinlan always knows where to make the more prominent parts stand out. The shuffling rhythm of “What The Writer Meant” is intertwined with exquisite swirling melodies and Quinlan singing how it’s “So strange, so strange/To be shaped by such strange men”, a sentiment that echoes today’s cultural state, and fits right at home in Hop Along’s (and our own) developing world. Album coda “Prior Things” opens with syncopated drums overlaid with snaking strings and fluttering curlicue melodies. The song’s euphonic hop hits its mark when the refrain comes in, its skittering beat and vocal bounce ending off the album with a rosy warmth.

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Bark Your Head Off, Dog is a fine return to form for a band that continues to push their sound in all the ways that make them stand out. Hop Along’s music has always drawn in listeners with vivid stories and melodies and hooks that come wrapped in nostalgic charisma and fuelled by ornate passion – with Bark Your Head Off, Dog, they’ve taken us further into their world.

Reccomended if you like Gashlycrumb Tinies on CKUW 95.9 FM. Chris Bryson

SUUNS FELT Suuns’ have truly outdone themselves with their latest release, Felt. Through this electro-rock gem, the Montreal band takes listeners on an intense, emotional journey driven by ceaseless beats and spellbinding vocals, which

amalgamate to create a captivating and cinematic sound unlike any other.

Felt begins with “Look No Further”, introducing us to the futuristic yet emotional groove that Suuns encompasses so well in their music. With slithering guitars and mesmerizing lyrical lines, the hazy opener sets the mood for the ensuing songs perfectly.

“X-ALT” sounds like the feeling one gets while driving through a busy city in the late hours of the night. You can imagine the lights blurring together as you speed by, and how the city, teeming with so many people, seems to carry its own pulse.

Another highlight is “Baseline”, which is aptly named considering that its bass line is the most infectious on the whole album. “Baseline” is a buoyant and pleasant track that ebbs and flows, demanding your full attention.

Midway through Felt is one of its most compelling tracks, “Control”.

The song is laced with bilingual audio clips that speak of dreams and is accompanied by an air raid horn, that adds a haunting feeling to the song.

The track builds and is later joined by the incessant ringing of a triangle. Together, these seemingly unorthodox sounds blend to create a compulsive and eerie vibe that makes this track stand out amongst the others.

Felt causes you to challenge your own perspectives and makes your imagina-

June / July 2018 Stylus Magazine

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tion run wild. In this way, Suuns has truly created a work of art. Not only is Felt beautifully composed, but it makes you think and tap into it emotionally as well, which is everything a piece of art should do and more. Zoë LeBrun

riffage the record has to offer. Guitars chug and churn alongside drumbeats and an otherworldly synth.

Just as the final track “Wake” says, you won’t find any consolation in this record, which is what makes it such an intriguing listen.

IHSAHN ÁMR

THE WOLFE STRANGE WORDS

The term “Ámr” comes from the Old Norse language, meaning “black,” “loathsome” and “dark.” Words that present themselves constantly through Ihsahn’s most recent work.

In interviews, Ihsahn (of the Norwegian black metal band Emperor fame) described Ámr, his sixth solo release, as a record that explores “interior themes.” He says he was inspired to create an album that felt placed inside a dark room with no walls.

With his newfound love for analog synths and 808s, Ihsahn conjures a sense of claustrophobia and eeriness.

The record opens with “Lend me the Eyes of Millenia.” A pounding synth marks the beginning of a slow burn, until he bellows out the song’s namesake. A foray of blast beats soon enters the fray, a familiar sound of Ihsahn’s extreme metal roots.

Ihsahn perfectly captures the dark, eerie mysteries of the night by creating captivating soundscapes that leap to and from various metal genres. And yet, Ihsahn seems perfectly comfortable dabbling in modern pop sensibilities. The record eagerly welcomes the use of monumental hooks, notably on “Arcana Imperii” where he confidently exclaims “emptiness will soon deliver me” with stellar clean vocals.

Oddly enough, while his previous record, Arktis, seemed afraid of feeling empty, Ámr revels in it. Cuts like “Arcana Imperii,” “Sámr,” and “In Rites Of Passage” take a step back from the textured madness and allow listeners to breathe and sink into the void he creates.

Contrary to how this all may sound, Ihsahn has returned with an album that doesn’t abandon his extreme metal heritage, and benefits from the new areas of experimentation. “One Less Enemy” brings with it some of Ihsahn’s most impassioned vocals, and some of the most pleasing guitar

Straight up indie rock group The Wolfe released their newest EP on April 12, 2018. This powerhouse group brings their best work yet to

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the table with Strange Words. Clear cut with heavy bass and sharp drum beats, each song stands out as a strong number on the collection.

Simple, heavy bass lines and distorted guitar riffs press the vocals forward.

The lyrics are angsty and bitter as they explore the feelings left by an ex-lover.

Though a common theme in music, The Wolfe expresses these ideas in unique, original phrases. In “You’re So Boring” the singer expresses selfdoubts and insecurities about a past relationship with bitterness toward themselves as well as their ex-partner.

The bad-ass nature of each song pulls together a consistent aura that represents The Wolfe. A strong vocal performance is topped off by indie guitar licks. The melodies are persistent and the ideas well thought out.

The one down tempo song on the EP is “The Artist,” which features RYLAN on the vocals. This duet weaves in and out of the backing track of melancholic guitar line. Lyrically, the song discusses self-worth and partnership

in love. As the second last song on the collection, it brings a slight reprieve before the final heavy rocking track.

Finally, “The Pig and The Hound” brings a fast and heavy end to Strange Words. The powerful finale brings together all elements that should be in an indie band. When the EP comes to a close, it’s easy to let it start over and play through again. Ryan Haughey

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