October / November 2018

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Oct / Nov 2018 Stylus Magazine

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OCT/NOV 29 NO. 5 2018 VOL

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

On the Cover MAHLET CUFF is a multidisciplinary artist whose practice focuses primarily on writing and photography. Her work focuses on topics such as racism, feminism and diaspora.

To keep updated on the projects she’s working on, follow her on Instagram @mahlet.c.

Cover Art . . . . . . . . . . . . . . . . . . . . Mahlet Cuff Advertising Contact . . . . . . . . . Rob Schmidt

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

Contributors Zoe Lebrun Grace Hrabi Chris Bryson Daniel Kussy Ryan Haughey Neda Masoomifar Nigel Webber Christiana Jones Graeme Houssin Skye Callow Kaelen Bell Dave Todon Sophie Dow Luke Tokaryk Mark Rabkin Joseph Yarmush Andrew Blair Tony Hoang Scott Price Cary Bilcowski Ryan Sorensen Amy Lee Zin Buio Assis 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.

Table of Contents Blah, Blah, Blah Events Around Town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Space Jam Baseball Hero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

CKUWho Cacophone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

Album Reviews Madeline Roger // Urban Vacation // + more . . . . . . . . . . .

CKUW Bimonthly Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Features Rae Spoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04 Beth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 05 Suuns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 06 A Beacon of a Wild, Music Filled Summer . . . . . . . . . . . . . . . . . . . . . 07 V a p o r w a v e : An Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09 Summer Festival Recap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Lee Reed: Steal City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Hoot Owl Recap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Bloom, Black Thunder, and more: Live Show Review . . . . . . . . . . . . . . 15

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Oct / Nov 2018 Stylus Magazine

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BLAHBLAHBLAH ***The leaves are changing colour and falling and the days are getting shorter so you better go see some live music about it***October 1 No Lairs play the Park Theatre with Youth Fountain and Escape from Echo Base***On October 4 Danny Z and the Riff Raff take on the Times Changed***Another sold out year of Soupstock happens the weekend of October 5***Get hot and dirty on October 6 at the Park Theatre with the Hot and Dirty Dance Party, featuring mem-

bers of the Dirty Catfish Brass Band and Dr. Hot Bottom***On October 10 get the weather with the Weather Station playing at The Good Will***Stay crazy with the Still Crazy: Paul Simon Tribute show at the West End Cultural Centre on October 13***October 19 head to the West End Cultural Centre for Carly Dow’s album release, or catch Lanikai playing with Slow Spirit and JayWood at the Good Will***October 22 lo-fi bedroom pop pioneer Advance Base

VAGINA WITCHCRAFT AT THE GOOD WILL AUGUST 31

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is in town at the Handsome Daughter with Philadelphia’s ambient country group Friendship and local favourites iansucks***October 22 at the Handsome Daughter is Toronto’s Casper Skulls with Beth and notme***From Germany, Sea Moya plays the Handsome Daughter with Lounge FM and Joko Tea *** On October 28th celebrate Halloween early with Todd Martin’s Halloween at The Good Will***November 1 is Chris Sleightholm and Dumb Angel from Saskatchewan with Skye Callow at the

Hands o m e Daughter***November 6 at the Handsome Daughter is a dark and wavey show with Peoples Republic of Amsterdam, Odonis Odonis (Toronto) and Ghost Twin***Get some jazz with Elizabeth Shepard on November 17 at the Park Theatre***November 18 at the Good Will is FINN, Carmanah and Hey Ocean!***Joey Landreth plays the Garrick with Roman Clarke on November 30***

PHOTO: AMY LEE ZIN

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RAE SPOON

JEN DOERKSEN

Rae Spoon’s new LP bodiesofwater comes out on the twentieth anniversary of the first show Spoon ever played, and ten years after the release of their breakout album superioryouareinferior. As a non-binary person, Rae is no stranger to having an identity that doesn’t fit societal and legal structures. Like bodies, water is regulated and increasingly commodified, despite being fundamental to life. On this, Spoon’s ninth album, they explore their common ground and connections with the ocean surrounding their Vancouver Island home.

Jen Doerksen: How’s tour?

Rae Spoon: It’s going really well.

I’m really enjoying it. I’m enjoying touring playing with Respectfulchild, and I just learned how to drive so I’m enjoying driving on my own tour.

JD: How was making the album?

RS: It was a really nice album to make. I moved to Victoria a few years ago and recorded at a really nice studio – and my friend from Montreal came and co-produced it with me. It was really relaxing because it’s a studio on a really beautiful island. So we got to record for 10 hours a day and then go to the beach. It was really fun and a really relaxed process and I think it shows in the recording.

JD: What about the content of songs? The theme seems to tackle challenging ideas. Was it tough to write?

RS: I think the most difficult one to write was “In My Town” because it’s about assault and it’s the thing that if you mention, some people get upset right away. So I had to write a song about supporting survivors that people still want to listen to, but that isn’t triggering. “It’s Not In My Body” turned out really well. It was like a surprise song I was trying to write something and it turned into this… I was trying to write about being non-binary but also about how everyone has a body and I really like how it turned out. I’m really happy with it.

JD: Why did you feel it’s important to write “In My Town”?

RS: Over the years in my own life, I’ve dealt with situations with friends or in different communities and watching how, trying to support someone who has had something happen to them… a lot of

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PHOTO: DAVE TODON

people would side with the abuser. It was common to say someone was lying and control the narrative…

I see that over and over, in Winnipeg, Halifax, Victoria, and more. It’s a very ubiquitous problem. But it felt to me like something I should write about, and it felt good to take up space. If someone is a survivor and they hear it, hopefully it sounds like working towards supporting survivors.

And also to make it general enough that you won’t have just one person understand it. But not so general that people can ignore the meaning of it.

JD: What’s your next stop?

RS: We’re playing Edmonton next, then Saskatoon, then Winnipeg. Going across to Montreal, then two of us will fly to Halifax for one show, and then the car comes back across Canada to Victoria.

Living in Montreal I could split my tours. But now I just keep going.

JD: Anything you like about Tour?

RS: I build my life around touring. I started touring about 18 years ago.A lot of my friends are in different towns so. I really like getting to be in lots of different communities. It’s really physically challenging, so it might not be the most accessible, but it’s something I grew up doing and now its like ok… It’s like I was training to do it. Being a singer is really challenging for your body, and travelling every day.

JD: Anything about the album you want to share?

RS: I think with what’s going on with climate change, and in communities with abusers, and finding out what to do… I think the message of the album is that we can have hope. We can turn things around .We have more power than folks want us to think we have. We can stop pipelines. We can change things, even if it’s in our own communities.

I also designed it in the beginning for pool performances. I was trying to write songs to be performed at a concert where the audience is in a pool. So the idea of bodies of water is tied into that. The next goal is to bring it back for some pool concerts across Canada. Part of it is making pools more accessible like gender-neutral washrooms, or the physical or emotional accessibility to get into pools.

I don’t know where the pool idea came from… I was in berlin and feeling really arty that day.

JD: Do you like to go to the pool?

RS: I hate the pool actually. I’ve always had problems like what bathing suits to wear, or what change rooms to use, and now I can use them at the YCMA I go to but that’s only 3 months old.

But all body swims would be cool as a concert!

BETH CHRIS BRYSON

PHOTO: LUKE TOKARYK

Following an experimental route in any artistic medium involves taking chances, sticking by them, and a drive for continued evolution. Beth’s mutating avant-garde aspirations put the trio in a wheelhouse where not many Winnipeg bands dwell, but that hasn’t kept them from digging deeper into the unknown.

Frontman Stefan Wolf says a part of the new sound comes from him and bassist Ken Prue, who used to play in a band called Pop Crimes before Beth, freeing themselves from an established way of thinking and getting into fresh ideas.

“I feel like we were still in the realm of thinking in kind of a Pop Crimes mindset for like half of the writing process,” explains Wolf. “And then we kind of slowly started writing things that were definitely much different but we were still kind of tethered to that idea and now I think we’ve shed everything that we originally thought about.”

Beth is now composed of Wolf, Prue, and Charlotte Friesen on guitar. Wolf says they’ve had difficulty retaining members; drummers in particular, and now fill out Beth’s sound with a drum machine.

“We did it,” says Wolf. “It’s a joke everybody makes and then all of a sudden it was like you know what, let’s try it. Touring our vehicle is half the size; gas is half as expensive. Our accommodations are not expensive. It makes things so much easier. And I mean obviously writing is a lot more difficult.”

Beth’s evolving shape is exemplified in “Isolation,” the first track released as their new iteration that flows eerily with solemn basslines, shimmering guitar, electronic percussion and distancing ripples as Wolf ’s calm brooding baritone anchors the miasma.

The feeling is encompassing: grand yet spare.

“We want to create a full sound but we don’t want to just throw in a bunch of different parts that just fills it up. So it is kind of minimalist in that sense,” says Wolf. “It’s an amalgamation of everything that we learned before and everything looking forward.

I’ve always secretly loved electronic music. And I feel like for the first time in my musical career that’s actually kind of slowly moving in. Just like synthesizers and drum beats and stuff like that. It’s definitely not electronic music by any means. There’s ideas that are coming in there that are not rock oriented.

It’s more of a feeling than a genre that it’s coming from.”

Wolf says this feeling is more of an aesthetic, and describes an interest in the German Bauhaus art school and movement as an influence on Beth’s new sound.

“It was basically an idea that you would be trained how to make, like not only would you design things but you would actually build all of those things,” explains Wolf. “It was more of a technical school where there was like... you would be in choreography, you would choreograph the dance, but then you would also build all the costumes. And then you would build all the sets. And then you would write the music. So it was a very all-encompassing kind of full idea. And there was lots of stark angles and really broad shapes, it’s so surreal.”

“I feel like we crafted this whole idea, obviously with lots of help from our friends,” says Wolf. “And there’s a greater aesthetic that I can kind of see for this new iteration. Where the last one the aesthetic was basically gloomy, dark, and theatrical, which was fantastic, but I think this is a little bit more focused and different.”

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Wolf ’s been writing in various forms since he was fifteen years old and writes all of Beth’s lyrics. He says that over time as he’s gotten more comfortable writing what he actually means. He’s also found there to be more meaning in the experiences that come from expressing his writing.

“It’s getting better. I’m not going to say I’m completely there, but I can actually say what I want to say now,” says Wolf. “Which as performing those songs it definitely makes the performance a lot more meaningful, a lot more powerful and intense, for myself and then outwardly for the audience. Because then it’s like, I know what I’m saying and I’m saying it pretty directly so there’s not a lot of armor there anymore, which is terrifying and exciting.”

“It’s definitely a lot more comfortable. I feel like at this point when I get on stage and the band starts playing, that’s actually the safe zone,” says Wolf. “I could be in front of two people I could be in front of five hundred people it doesn’t really matter. The music is the armor. And then you’re just in it. And if you go back on that point, the only disservice you’re doing is to yourself. You might as well just give in to it and see what it does as opposed to what you’re going to do with it.”

Beth will continue to tour and will be releasing singles for the next little while as they work on pushing their sound and building a collection of music – but without feeling obligated to put out anything specific until they’re ready.

“We’ve got our work cut out for us for the next little while,” says Wolf. “I think we’re going to be not so secretive about it anymore. We’re just going to keep being loud.”

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ZOE LEBRUN The subgenre of art rock is generally described as being music that involves challenging, avant-garde, unconventional, or experimental musical elements. By this definition, one could come to the conclusion that Suuns is practically the epitome of modern art rock. With the release of their LP Felt, recent music video for their song “Look No Further”, and upcoming Canadian tour on the way, we talked to guitarist Joe Yarmush, to find out more about this intriguing group.

The Montréal-based band began a little over a decade ago when Yarmush met Ben Shemie (vocals and guitar). Yarmush recounted, “Ben and I were at a party talking about Spiritualized, My Bloody Valentine, Gonzi, and bands like that, and we just hit it off and decided to maybe get together and play music once in a while. We did that off and on for, six months, maybe, and then we were ready to record with the band at point, that was back in 2007 . . .

We got Liam [O’Neill, drummer] first, and then Max [Henry, bass] was friends with Liam, so the pieces just sort of fell together.”

Over the past years, the band has molded their sound into something completely unique from most other bands in Canada’s music scene, but that’s not to say that they themselves haven’t changed since the beginning of their careers as well. On the band’s evolution, Yarmush commented, “When we put out our first record, it was more rock-sounding, almost post-punk, a lot of angular guitars and stuff. The electronics were sort of in the backseat then, and it slowly morphed into more drum machines and synth-driven songs and melodies.” Suuns has always been unafraid to push the boundaries of their music and go against the norm. “We’re still a niche sort of band, and that allows us to do a lot of things that if you’re more popular, you might feel pressured not to try,” Yarmush stated, “we’re just trying to push music for ourselves as far as we can take it. I guess in general, we’re just trying to approach it honestly and make something that challenges people a little bit. Not all the time, but there’s definitely an element of challenge through our music for sure.” Part of this challenge for listeners lies in the

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PHOTO: JOSEPH YARMUSH lack of immediacy when it comes to Suuns’ music. Yarmush added, “early on I think we were really inspired by punk bands and a do-it-yourself attitude, and now we’re in a different stage of our lives and just want something that’s more complex and not easily-deciphered upon first listening . . . it’s not an immediate positive reaction or like an overwhelming embrace of our band. I’ve been told it takes a few listens.”

The music videos that accompany Suuns’ songs are equally as distinctive as their music. Their recently released music video for the song “Look No Further” off of their latest album Felt presents a thought-provoking and almost eerie scene, with children discussing magic and the metaphysical. “Our drummer Liam was actually in charge of that one,” Yarmush mentioned, “his friend had made this film about kids in Cuba, so it’s actually just scenes from this short film that’s just cut together to our music by the director of the film... it’s not a video that was built from the ground-up, so I think that’s a first for our video catalogue.”

Suuns will be playing live shows until mid-December, with plans to possibly start another record in the new year. Yarmush disclosed, “there are no concrete plans, I couldn’t give you any specific details, but it seems to me that almost every January or two we start working on a new record, whether or not that happens quickly or slowly remains to be seen.” As of right now, the band is busy gearing up for their upcoming tour, which will also be making its way to Winnipeg this fall. “We haven’t played in Canada that much, to be honest, so this will be a nice turn of events”, Yarmush added, “I love the venue in Winnipeg, the Good Will, so I’m actually really excited to go back there.”

You can listen to or buy Suuns’ music on almost every platform imaginable; physical copies of their records can be bought at their live shows, ordered in at most record stores, and digital copies can be bought or listened to online!

Suuns plays at the Good Will Social Club on October 9th at 7:00 PM.

A B E A C O N O F A W I L D, MUSIC-FILLE D SUMME R As the morning air grows crisp and I sit on an Eastbound train, the wood of my old washboard frame creaks in the last couple weeks of adventure. It’s hard to believe that six weeks ago, I apprehensively strapped an antique washboard onto my pack, jetted out to the Maritimes, en route to start busking in Charlottetown, PEI. From there, the washboard guided a zig-zagging trail through Nova Scotia, Quebec, Alberta, Manitoba, Ontario and predominantly British Columbia. Who knew that a sheet of rippled brass, slated into a wooden frame with few extra bells and whistles could morph into a versatile jukebox? Holding its own in jigs on the Halifax pier, to drum circles of Stanley Park’s Third Beach, sparkling in island campfires and private home studio sessions or even in the midst of an impromptu jam circle at an Agassiz festival that featured a Mongolian-style banjo, it became a highlighting beacon of a wild, music-filled summer.

Nowadays, unless you’re strolling down the streets of New Orleans, the washboard is commonly found as a decorative laundry-room wall piece. As per its literal name, cloth washing was its initial purpose in 19th century Europe, before making its debut as a percussion piece in Afro-American jug bands in the early 1900’s and continuing its journey around folk and blues circuits. Following suit, my inaugural washboard adventures began in a busking duet with a 20th-century pre-war blues, folk, countryswing, early jazz and ragtime guitarist. Most notable accompaniment included tunes such as St. James Infirmary, some Robert Johnson classics, Doc Watson’s Way Downtown and Deep River Blues.

Washboard setups can vary greatly depending on the musician’s preferences and band’s needs. For efficient control, a strap (or vibrant ceinture fléchée in

my case) attached to the apex of the frame to hang around the neck or shoulders is ideal, and thimbles on each finger is an effective way to get the volume and rhythm out of your hands. Typical add-ons may include (but not limited to) tin cans, woodblocks, and cowbells. My configuration incorporates these as well as cymbals, service bells, a set of tap shoes, ankle jingles and a dock holding the harmonica, kazoo, train and slide whistles. As recommended by modern day washboardists, to avoid rogue thimbles, I sewed a set of gloves with thimbles on the thumb, ring and pinky fingers, while attaching bottle caps and metal banjo picks to the rest to obtain a variety of textures. With this structure, I did not stray far from the washboard’s ‘traditional genres’ until this past summer when I found myself empty-handed in a drum circle at the Abundance Harvest Music Festival in South-Western BC. It began with a series of drums: djembe, doumbek, darbuka, djun djun and a red cedar frame hand drum, plugging away at a solid beat, drawing in dancers and musicians alike.

The circle quickly opened up to a violinist, a set of kalimbas, harmonica, guitars, a woodblock/agogo bell stand, chanting and finally welcoming the whole washboard shebang.

If this diverse array wasn’t enough, the phrasing and tone of the 3+ hour jam was unofficially guided by a Winnipegger, playing Mongolianstyle banjo. To paint an aural image of how a washboard came to flow in this mix, imagine the cowbell aligning into the drive of the bass, marking an approximate beginning

SOPHIE DOW PHOTO: BUIO ASSIS

to every 4 bars. The clanking of the tin can tuning into the darbuka, accenting middle-eastern flavours, the ankle jingles adding an upper octave to fast hand movement on the other drums and the rat-tat-tatting of the thimbles on the rippled metal introducing its own voice in a call and response with the kalimbas and agogos. Another episode of washboard escapades popped up around a campfire on Lone Cone Island, just off the Tofino harbour.

A Frenchman traveling around with a Chinese Pipa wandered into the firelight, suggesting a softer tune.

By circling thimbles and the soft part of the gloves on the cymbals, a foot- shaking jingle and the occasional service bell ding made for a warm bath of meditative song. In the last week on the West coast, the washboard spent a few evenings in the music studio of a talented Oud and post-rock guitarist, mashing up some licks with a looping pedal, shimmer effects and Arab folk songs. Woodblocks, gentle

cowbell and gentle brass patterns added the odd rhythmic line and narrative to these adventures.

Despite any skepticism or shyness throughout these travels, the decision to tear the washboard off the rusty nails above my washing machine proved to be a magnificent icebreaker and exchange in almost any circle across this beautiful country. Portable, versatile and unique, I look forward to the highways ahead and uncovering new magic within the framework of this beautiful antique.

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Space Jam: baseballl hero WORDS & PHOTOS: GRAEME HOUSSIN

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Even for someone who knows little about musical gear, Baseball Hero’s jam space looks beyond impressive. The basement of an unassuming Garden City bungalow, home of drummer Lino D’Ottavio, is a musical playground, packed with instruments, gear, recording equipment and paraphernalia of all kinds.

“I was astounded the first time I came down here,” said Allegra Chiarella, lead vocalist and guitarist.

“I’m unfazed at this point, but every time I think about it, I’m like, this is a lot.”

The far corner walls are piled high with amps of all sizes, functions and brands (1), near a rack boasting nearly a dozen electric and bass guitars (2). A small, separate room has been entirely devoted to drum gear (3).

“This is like, a big music nerd spot,” said Chiarella. “I can’t appreciate it because I don’t know shit about gear, but I think someone could have a field day.”

Much of the equipment, said D’Ottavio, was collected by his father Dino, a member of local 90s indie rock band Transistor Sound & Lighting Co. – a lucky coincidence the self-labelled “power-sad” alt-indie trio doesn’t take for granted.

“I found everything amazing – the access to all this equipment, but also (the ability to) record on the spot,” said bassist and vocalist Mirella Villa.

“In less than five minutes, it can be set up.”

The convenience of recording in their jam space was a saving grace for the group, considering their sudden formation. After Isaac Tate of Urban Vacation asked Chiarella to open for their album release, she quickly assembled roommate Villa and Joko Tea bandmate D’Ottavio – “We became a ramshackle crew,” Chiarella said – and released the single “stranger, come home” on Bandcamp just days before their inaugural performance.

But despite the benefits of access to gear and instant recording, the space has its limitations.

“There’s more restrictions than at other jam spaces, just because this is a family home and Lino’s

parents usually kick us out at around ten,” Chiarella said.

Yet the character of the space, and of the band, is best found scattered among the impressive gear. It’s in the weird little decorations and details, from the photos taped like patchwork to the walls and the family oddities stacked on end tables and spare music equipment.

Take, for example, the random collection of rooster and goose figurines littered around on the floor and the amps (4). Or a childhood sketch of what might be a green fox or maybe an ant, drawn by D’Ottavio, surrounded by vintage band photos, posters and news clipping of artists like The Beatles and The Susans (5). “The legs (of the fox/ant) are really intriguing to me,” Chiarella notes.

“I did my best,” D’Ottavio says.

And the iconic and mysterious animal plushie, star of the single art for “stranger, come home,” rests against a lamp on an amp in the corner (6). The cover photo, taken by Villa, was a last-minute decision, sparked when the group remembered they needed demo art.

“We haven’t determined what kind of animal that is,” said Chiarella. “Everyone thinks it’s something different. Is it like, Pepé Le Pew or something like that?”

“We just thought it was cute,” said Villa.

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Vaporwave: An

BY MARK RABKIN

I n t r o d u c t i on

IMAGE: ANDREW BLAIR

From the first reverb soaked, swirling saxophone lines I was hooked. Evoking thoughts of a bygone time in my life. Reminiscent of late nights and early mornings with the lights down low. Where the last wisps of smoke dance away.

Vaporwave stems from the early 2010’s. It takes influences from mood music of the 80s and incorporates chop and screw, smooth jazz, and elevator music. Often poking fun at consumerist culture, it has a dreamlike relationship with pop entertainment and advertisements from previous generations. It’s all about the A E S T H E T I C, cyber punk, glitch art and late 90s web design all coming together, creating a lo-fi motif for music steeped in nostalgia, longing and beauty.

The earliest pioneers of the genre include Ramona Xavier and Daniel Lopatin. Both producers have released music under various pseudonyms. Under one of Xavier’s many aliases, Macintosh Plus came arguably the quintessential vaporwave album in Floral Shoppe. Together with Lopatins album Chuck Pearson’s echo Jams volume one for which he took the alias of “Chuck Pearson”, they defined and laid the blueprint for a genre. One that’s had me mesmerized since day one, like driving through the early morning dark empty streets of a Winnipeg Sunday morning in January.

Both records heavily use samples ranging from Africa by toto to the soundtrack of the 1997 video game Turok: the dinosaur hunter. Both artists are unafraid to distort and manipulate a sample into something sonically unique. Vocals are slowed to a deep drawl and they cast traditional tempo by the wayside. Time signatures fade away and come crashing back over the top of synthesizers and reverb laden beats.

For people dipping their toes into the genre, Floral Shoppe and Chuck Pearson’s echo jams volume 1 would be an ideal starting point. A springboard into the deep end of the vaporwave.

AESTHETIC

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summer festival JEN DOERKSEN

PHOTOS: BNB STUDIOS

recap

Prairie Wind Festival - June 1-2 in Cypress River, MB

JAYWOOD AT PRAIRIE WIND FESTIVAL

Prairie Wind is a hidden gem in Manitoba’s festival season. What is basically a great party for the locals, the festival line up this year was packed with some of the best indie, rock, and roots talent Manitoba has to offer. I danced a lot at this one.

SEBASTIAN GASKIN AT TD JAZZ FESTIVAL

Winnipeg’s Jazz Fest is one long amazing festival. With free music at The Cube for 10 days straight, this year’s Jazz Fest brought talent of all kinds to downtown Winnipeg. My highlights were the fresh jazz from Parc X Trio (Mtl) and seeing so many of my local favourites like Marisolle Negash and Sebastian Gaskin!

MARISOLLE NEGASH AT TD JAZZ FESTIVAL

TD Winnipeg International Jazz Festival - June 14 - 24 in Winnipeg

RAYANNAH AT TD JAZZ FESTIVAL

LANIKAI AT WINNIPEG FOLK FESTIVAL

LEONARD SUMNER AT WINNIPEG FOLK FESTIVAL

10 Stylus Magazine Oct / Nov 2018

Winnipeg Folk Festival - July 5 - 8 in Birds Hill Park, MB Every year my WFF is different. This year, I changed volunteer crews and joined the video team. The highlight of my festival was dancing to A Tribe Called Red on Saturday night, and wandering around the campground at night time finding music. As always, one must stay hydrated at WFF, and this past year seemed to be a best year for many of my friends!

VEN

EER

Real Love Summer Fest - July 28-29 in Teulon, MB Full disclosure, I volunteer for Real Love Summer Fest. A true music festival, RLXSF will have you at the stage for 14 hours straight taking in some of the best local and international indie acts you could see.

This year’s performance from Nnamdi Ogbonnaya was the best concert I will see all year, and the following act from TOPS had me near tears with joy.

Plus, the nicest campground of the fests I’ve seen!

AT R E

AL L

OVE

SUM

MER

FES

T

KAKAGI AT ICELANDIC FEST

LEV SNOWE AT REAL LOVE SUMMER FEST

SPOOKY EYES AT ICELANDIC FEST

Icelandic Fest - Aug 3 -6 in Gimli, MB Not a music festival, but still has toptier talent from Manitoba on stage for three nights. I made it out Friday and Saturday night and saw the likes of Spooky Eyes and Super Duty Tough Work, among others, and every band was great. Even viisi’s producer spinning club beats at 10pm. Coolest thing for photos: the stage is beside the lake, so everyone gets that natural windblown look.

SUPER DUTY TOUGH WORK AT RAINBOW TROUT MUSIC FESTIVAL

LIVING HOUR AT RAINBOW TROUT MUSIC FESTIVAL

Rainbow Trout Music Festival - Aug 17-18 in Rosseau River, MB Oh, the ever wonderful Rainbow Trout. Party time! Great line up of locals this year, as always, plus a bunch of touring acts I was happy to discover! Nothing beats taking a break from the stage to go for a swim in the midday heat. My highlight this year was Smooth Moves, the smoothie vendor. Those ladies rule and definitely saved my life twice at least!

www.ckuw.ca/stylus

Oct / Nov 2018 Stylus Magazine

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Jakob Bro Trio ECM Records artist from Copenhagen

Sunday

Oct. 14

Monday

Jill Barber

Oct. 22

w/ Justin Nozuka

The Good Will Social Club 625 Portage Ave

West End Cultural Centre 586 Ellice Ave

7pm Doors/8pm Concert

7:15pm Doors/8pm Concert

$22 Adv/$27 Door

Todd Martin's Halloween

Winnipeg premiere of Gruber’s Frankenstein!!

Sunday

Oct. 28

Elizabath Shepherd

$30 Adv/$35 Door

Performing MONtréal: a humanist musical odyssey

The Good Will Social Club 625 Portage Ave

Park Theatre 698 Osborne St

7pm Doors/8pm Concert

7pm Doors/8pm Concert

$22 Adv/$27 Door

Saturday

Nov. 17

$25 Adv/$30 Door

Tickets available at jazzwinnipeg.com + the Jazz Winnipeg office

Sunday

Rayannah

w/ dancers Emily Solstice Tait and Jillian Groening & video projections

by Stephanie Kuse

The Good Will Social Club 625 Portage Ave 7pm Doors/8pm Concert

12 Stylus Magazine Oct / Nov 2018

$15 Adv/$20 Door

Nov. 25

@jazzwinnipeg #jazzwpg

NuSounds concerts presented in partnership with the Manitoba Arts Council, UMFM + Manitoba Music.

9AM

8AM

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NOON

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6AM

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MIDNIGHT

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Oct / Nov 2018 Stylus Magazine

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Wake up! Wake up!

EARLY MORNINGS WITH EMMA

ROGUE PRIMATE

AMPLIFIED RADIO

MODERN JAZZ TODAY

THE HAPPY STATION SHOW

SYNDICATED - WORLD MUSIC

GLOBAL-A-GO-GO

NIGHT DANGER RADIO

LISTENING PLEASURES

YOUR SHOW HERE

METAL MONDAY

MONKEY SPARROW

11 AT 10 Sports: Proper Footaball

PLAYING THE BLUES

BLUESDAY

Lost Chunes

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SYSTEM KIDZ

Winnipeg Arena is on Fire

The Green Blues Show

THE GREEN MAJORITY

COUNTRY

BOOTS & SADDLE

WINGS

CheezePleeze

Sock-Hop-A-Go-Go

DESTINATION MOON

Garage, Punk, Surf,and R&R

THE TONIC

THE World WORLD

INNER CITY VOICES

PSYCLE RADI0

New Classical

GROUNDSWELL

MAKING CONTACT

SHORTWAVE REPORT

T�e S�a� S�o�

POP/ROCK

THIS WAY OUT

DEPARTMENT 13

This Way Out

Metal Mix

T�E M�S� M�X

THE MOSHPIT

Day for Night

BEHIND THE CURTAIN

Flailing in a Time Warp

Local Experimental Music

S.A.N.E. * RADIO

Rock ‘n’ Roll

Country/ Roots/ Big, Dumb

TWANG TRUST

So Bad, It’s Good

AMATEUR HOUR

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MUSIC, OUT OF THIS WORLD

Classical Kaleidoscope

ALTERNATIVE RADIO

Jazz

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YOUR SHOW HERE

WOODEN SPOONS

World - Island music

FANTASTIC FRIDAY

THE WONDERFUL & FRIGHTENING WORLD OF PATRICK MICHALISHYN

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TAWNY, THE BRAVE

EAT YOUR ARTS & VEGETABLES

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ACCESSIBILITY MATTERS

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CHECK CA

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GLOBAL RESEARCH NEWS HOUR

HOW TO SURVIVE A TORNADO

LIVED EXPERIENCES OF HOMELESSNESS

NO FIXED ADDRESS

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DEMOCRACY NOW!

Cafecito Latinoamericano Morning News Magazine

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MORNING BREATH

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WE BUILD HITS

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Eclectic Mix

TEMPLE OF JAZZ

THE IVORY TOWER

THE ELECTRIC CHAIR

For Kids (Adults too)

MUD PUDDLE RADIO

Garage Rock/Surf/Teen Angst

T�E�A�E S�U�D�W�

THE SATURDAY MORNING SHOW

GROUNDWIRE

TALKING RADICAL RADIO

Caramel Sunshyne

WITH

Sexy Sundays

Caribbean

ISLAND VIBES

THE GASHLYCRUMB TINIES

RADIO FREE WPG

THE C.A.R.P.

The Completely Asinine Radio Show

YOUR SHOW HERE

P.I. NEW POETRY

Rank and File Radio: Prairie Edition

CACOPHONE

Alternative Gospel

YOU CAN'T HIDE FROM GOD

NEON BEIGE SOUND EXCHANGE

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Indigenous Artists

THE MEDICINE WHEEL OF MUSIC

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SHADES OF CLASSICS

CKU-Speaks

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

LOCAL SPOKEN WORD

MUSIC

EMAIL:

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FAX: 204-783-7080

ON AIR: 204-774-6877

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OFFICE: 204-786-9782

Check out new shows, 12 marked with a star!

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ALTERNATING

12 SPOKEN WORD

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LEE REED: STEAL CITY

SCOTT PRICE Scott Price: Explain what has been happening in Hamilton in terms of gentrification over the last 5 years.

Lee Reed: We’ve been in the throws of full blown, rapid-onset style gentrification; wholly swallowed and made part of the Toronto property bubble. We were one of just 4 cities named in the 2016 CMHC ‘red flag report’ on ‘dangerously overvalued’ property markets, the first report of its kind. Property values are skyrocketing here, and the rental market is following suit. The Downtown and East end have been squeezed dry. The new prices are often more than double what folks were paying 5-7 years ago. The result has been devastating for Hamilton’s working class. And for the downtown core, the effect on our music and art scene has been really noticeable.

Studios and practice spaces are all being turned into housing. Smaller and mid size venues are closing and becoming micro-brew pubs and high-end hipster foodie spots. The Hammer, a once mighty city of blue collars and music, is quickly becoming a centre of food tourism, expensive bikes, overpriced IPAs, scented beard waxes and pure-bred dogs.

SP: How did the genesis of the Steal City EP come about?

LR: I started railing about the gentrification situation about 5-6 years back. I had a couple poems about it that I would do at Hamilton shows. Almost like a little inside joke for my Hamilton crowd. I never pictured recording it. Fast forward to 2018. The situation was at fever pitch. Gentrification and the failed promises of the shiny new downtown were on everyone’s mind. And at that same I started working with the Hamilton Tenants Solidarity Network, doing tenant organizing. And it immediately became an alllife consuming thing for me.

Working with the folks from the Stoney Creek Towers, as they organized and went on rent strike, being immersed in all that working class Hamilton badassery - it was one of the most inspiring things I’ve ever been part of. And a pile of fresh and inspired writing about the situation just fell out of me. I generally take a year or more to finish a recording.

But the Steal City EP came together, writing to recording to mixing and releasing, in just a couple months.In a bit of a

14 Stylus Magazine Oct Oct//Nov Nov2018 2018

PHOTO: TONY HOANG hurry to use it as a fundraising tool, it still felt fully realized and there was nothing about it I would want to change.

SP: It is well established that artists are a part of the gentrification process yet most don’t want to talk about that too much or put out something that directly deals with it. What are the pressures of not “biting the hand that feeds” and how does that stifle people from speaking out?

LR: That pressure is very real. And I get why the majority of artists and musicians don’t engage with the subject. The hand that’s feeding everyone here is a developer’s hand. The new Hamilton has less snarky punk and more adult contemporary folk.

Less disruptive public art and more commissioned happy murals. Less challenging art and music, and more consumable bric a brac and trinkets. I would say the direct threat of being excluded from things isn’t that big but, artists changing their art to fit the city’s economic trajectory is very real.. and has really damaged our output of good art.

SP: In the song “The Cost of Tacos” you go through the waves of gentrification. First, how ridiculous are taco prices in Hamilton? Second, if we start seeing a bunch of fusion taco places in Winnipeg does that mean it’s time to throw down?

LR: The cost of tacos in Hamilton is out of control. Seriously. One of the world’s most beloved street foods, it’s core defining feature is its price. It is meant to be simple, fresh and cheap. But the new Hamilton has taken that beautiful simple, cheap thing and made it into some new-fangled locallysourced, hipster fusion foodie boutique yuppie thing. If a new spot opens up in the poorer part of town, and you see them serving any kind of $6 mango basil fusion thai pork belly something or other, you really need to act fast. Cuz you’ve got the dreaded gentrificosis. Cut out the rot. Cauterize the wound. Throw down!

SP: What are your plans for the rest of 2018?

I have a pretty busy year ahead. I’m hitting the road in October, out west and back, then around Ontario and Quebec, promoting my new full-length Before & Aftermath. I’ve got a few videos and my first ever vinyl in the works for that project. I’ve got some anti-gentrification workshops and events in November. I’m planning to go to do some shows in Europe this winter for this first time. And after a long break for touring, I’ll be joining back up in full swing with my Hamilton Tenants Solidarity Network pals to get back in the swing of tenant organizing in December. 2019 looks to be another big year for tenant struggles in Hamilton.

HOOT OWL MUSIC FESTIVAL RECAP T h e C o n t i n u i n g o f a B r a n d N e w Tr a d i t i o n

RYAN SORENSEN Apprehension might be the appropriate word to describe the mood towards Hoot Owl when it was first announced. The legendary Shine On Music Festival ran for years on the same site and over the same weekend as Hoot Owl, and the organizers of that event were well known figures in the music community. In film, sequels are rarely as good as the original, and the chances of success grow even smaller when a new creative team is in place. Hoot Owl organizer Lisa Mills recognized she had big shoes to fill, but she was determined to make it work. Heading into the weekend questions lingered about attendance and if the old Shine On crowd would return to check out the new iteration.

Those fears were quickly laid to rest as soon as one entered the Beavercreek Campground Park in Kerry, MB. There is a sense of familiarity looking at the layout of the grounds and the realization that nothing had changed. No matter what the festival is called, there is a spirit that exists on that land that always has and always will be there. There is some-

they were not into the heavier rock sounds. Although there were lots of stand out performances, it wasn’t until The Middle Coast and Red Moon Road hit the stage later that evening that the full crowd assembled by the stage and the party kicked into high gear. The energized patrons proceeded to dance the night away.

Moon Tan graced the stage around midnight, and delivered an superbly intense set that worked everyone into a fevered pitch.

PHOTO: CARY BILCOWSKI The night was capped off by a short performance

by Superband, which is thing unpretentious about the atmosphere comcomprised of members of The Middle Coast and pared to other festivals. It is a place where one is free to be who they are, and all forms of expression Red Moon Road. It was the perfect way to end a are not only welcomed but encouraged; nothing was fabulous evening of music from some of the provinces very best. A few additional bands performed too strange or out there for the crowd. There was a kindness in the air that had strangers approach- Sunday as the festival-goers began the heavy task of ing each other and becoming instant friends. Rylie packing up after a psychedelic weekend.

In summary it was a great weekend with many Saunders from The Village Idiots put it best: “Hoot highlights from the pig roast community supper to Owl Festival was a magical weekend, full of beaua fantastic fireworks display. The property owner tiful people unapologetically being themselves and seemed happy by the response the festival had gotspreading love to all.” ten, and is eager to try it again next year. Although Hoot Owl kicked off with a low key sound check it was not particularly well-attended, he said that night on Thursday for the early comers, before really launching into things on the Friday night. Hoot Owl reminded him of the early years of Shine On before it really caught on. Sure, a lot of the Deep Dark Cave, Skylar Bouchard, and Colour original Shine On fans decided to skip out this year,

by Numbers all gave fantastic performances that but there were lots of first timers out to balance it had the crowd going into the wee hours of the out. There is something special about Hoot Owl night. The Saturday line-up had a somewhat rocky that can be built upon, and he knows that it will start after the night before. The first year festival continue to grow in years ahead. aimed to have diverse acts and feature multiple Hoot Hoot! genres, but the crowds tastes were particular and

BLOOM :: WARMING :: BLACK THUNDER :: M A H O G A N Y F R O G : : Live at the Handsome Daughter - Show Review RYAN HAUGHEY Regina band Black Thunder’s Winnipeg stop on their tour was accompanied by three amazing bands: Bloom, Warming, and Mahogany Frog.

These artists’ sound ranged from electric ambience to heavy progressive rock.

From Hamilton, ON –with members from Winnipeg- Bloom began the evening with moaning vocals, droning guitars, and glamourous effects that followed along to distorted samples, letting atmosphere trump all else. Echoing vocal harmonies took music goers down a slowly flowing river – until Bloom had them hit the rapids.

Clad in black and white skater-punk garb, the group could go from a warm, swamp heat ambiance to a cold-hearted, steely metal. All audio surrounding

Bloom like a force field was complemented by a versatile drum beat, which kept everything together through long samples and thrashing strings.

Between the touring bands, Warming put on their always enjoyable set of tunes. The group smashed through the building with heavy plucked bass and colorful vocals. Brady Allard and Warming’s togetherness bonded with the tight sound at the Handsome Daughter, creating a web for their music to catch you in.

Thrash prog punks Black Thunder fronted large amp stacks – no need to worry about not being heard. Faster or harder? It doesn’t matter. Unexpected changes can be so drastic as to switch genres for moments at a time.

www.ckuw.ca/stylus

Vocal parts are sparse, but pack a punch when the hit. Never boring or repetitive, instrumental heavy forms are like a roller coaster, turning and twisting in dozens of directions. Vocalist Tony Frank snaps lyrics out like an angry canine. Dark riffs are sharply distorted for head banging goodness.

Equipped with countless keyboards, organs, and synthesizers, Mahogany Frog delivers their usual facemelting electro-blaring hard rock performance.

With an elaborate setup that spanned from the stage to the floor of the crowd. This Winnipeg group constantly invents and reinvents industrial psycho e-metal, making for a spectacular finish to the night.

Oct / Nov 2018 Stylus Magazine

15

ckuwho?

Listen to: Cacophone

2-4 PM on Sundays

ZOE LEBRUN Stylus: When did you start Cacophone and what made you want to try out hosting a show to begin with?

Sarah Jo: I was a professional broadcaster for three years. When that professional relationship ended, it took me a little while to bounce back. But I have really wonderful friends at CKUW and have been a long-time fan of the station, so the campus radio community pulled together and was like “just because that relationship ended doesn’t mean that you don’t belong in this community; people still need your voice to tell them these stories and be this advocate to explain this thing that is very real”. Classical music is a very real world, and it’s full of thoughts and people who are trying to come to terms with their own existence in different eras; they just do it in different ways, because music evolves as we evolve as humans and our understanding sonically parallels our understanding of ourselves, and I think those are things we need to reflect on. I think that happens still in popular music, it happens in all genres of music, it reflects some part of who we are, how we evolved, what we’re seeking, and what we understand, so that’s just some kind of sonic realization of it.

S: What gave you the idea for the title “Cacophone”?

SJ: It’s a play on the word “cacophony”, cacophony being chaos in sound. So, a “cacophone”, while not a word that technically exists, is someone that enjoys chaos in sound, and I think I am one of those people.

S: Is there an overriding theme to your show?

SJ: The show is basically a Western art music listening party, meaning music that came from Western European traditions starting in the middle of the last millennium and forwards; the last 500 years of music or so is what I talk about. It’s what you would consider academic music or serious music.

Classical music, in short, is what I talk about. I play a lot of Bach, but I also play Varèse, and some fusion type stuff too, but it’s mostly serious classical. I also talk a lot about the stories that make these works happen and the composers in what they were trying to accomplish or where they were in their lives at that time.

S: What’s your favourite thing about being a host on CKUW? SJ: Freedom! The freedom to share my opinions, play the music I want, be held to a standard of honesty and openness, and the flexibility of it. Going from being on the air five days a week, four hours a day, to being on the air once a week for two hours, is a lot more fun. Not that I didn’t enjoy being on the air full-time, I very much did, but it’s more of a special oc-

16 Stylus Magazine Oct Oct//Nov Nov2018 2018

casion, like a weekly listening party with whoever chooses to join me, and for those two hours, we’re just hanging out and listening to tunes.

S: Do you play any musical instruments yourself?

SJ: I have a Masters in voice performance from the University of Manitoba, though I started as a pianist. I’m singing actually quite a bit this season; I’m doing a couple GroundSwells, curating my own recital series, and doing some recitals with some friends, plus a couple premieres.

S: Why do you think it’s important to keep classical music (and other related/intertwining genres) involved in our lives today?

SJ: It gives us perspective on where we came from and on how people have dealt with things; there’s something to be learned in all history and all human experience. As a species, sometimes we feel like our problems and experiences are unique, and then we go back and we see these people who have been struggling to deal with the very same things, despite technological developments. It’s like eating a hamburger versus eating Kobe beef; there’s a difference in the experience that you have as a consumer, whether it’s food or art. It’s not to say that they aren’t both satisfying in certain moments, but sometimes you need late-night food and sometimes you need a transcendent experience. There’s popular music that can do that, and I would still qualify that as art music, I don’t think it’s limited to orchestral and chamber music and traditional instruments. It happens in all genres, but because classical music is my area of expertise and is what I’ve studied for more than half of my life, it’s what I focus on. We forget to listen farther, we forget to listen beyond what’s pleasing because we’re just so saturated in this day and age.

I believe that deep listening can change how we listen to each other. I think that listening in to art, of any sort, whether it’s with our eyes, ears, or internal echoes, if we can listen in to someone else’s human experience it can help us understand ourselves better and as a result, others. I have this really weird idea that music can save the world;

that art and creative expression can save the world, if we would just allow ourselves to listen openly and honestly.

S: Do you have a favourite artist or composer that you like to play on your show often?

SJ: Bach! I play so much Bach; I have everyone else playing Bach, reinterpretations of Bach, things that started with Bach, just Bach, Bach, Bach! I’ve also been on a bit of a Shostakovich kick lately. He was a twentieth century Russian composer who lived through some really crazy stuff, had some really interesting interactions with some really brilliant people in his existence, and also did things like sleep outside of his apartment so if the secret police came to get him they wouldn’t wake up his wife and kids!

There are all these crazy stories and that’s what people are missing with classical music!

S: What song have you been loving recently (and is there a reason why)?

SJ: There’s an Erykah Badu tune it’s called “20 Feet Tall”; I think it’s the simplicity that drew me to it. In the verses it starts “My love what did I do to make you fall so far from me . . . you built a wall, a 20-foot wall so I couldn’t see” then the last thing she sings in the verses is “if I get off my knees I might recall, I’m 20 feet tall”, so it’s kind of like, wait a minute, I’m seeing this from one perspective because I’m worried about something beyond my control, but when I remember who I am and what I do, I remember that I’m in control of my own existence. I think it’s really beautiful and I love that sentiment.

S: If you could have one special guest or cohost of your choosing on Cacophone for one episode, who would it be?

SJ: Maybe it would be Erykah Badu! She’s got a different philosophy, and I would just want to learn from her. I recently started writing my own music for the first time in my life, and as a classical musician, it’s super intimidating to write your own stuff because you’re exposed to all this incredible music and it’s so intimidating to think about putting out anything that would be even close to it. To be able to pick her brain about how she collaborates, what she controls, what she lets happen, and all of these other things would be amazing.

Sarah Jo and Cacophone are on the air Sundays 2pm-4pm on CKUW 95.9 FM

ra p tu r e

NIGEL WEBBER

Successful musicians often hide their private lives.

Not every artist would agree to an intimate, behind the scenes portrait of their life. The Mass Appeal produced Netflix documentary series Rapture is an overdue project. Produced by Sacha Jenkins and Ben Selkow, Rapture is an eight episode anthology series that tracks a different hip-hop artist each episode, with the exception of the shared Nas and Dave East episode. Other featured artists include Logic, G-Eazy and A Boogie with a Hoodie.

Of the eight episodes, only one focuses on a producer, Just Blaze. It also happens to be the stand out because Blaze shares the spotlight. His story is told through his visits with other hip-hop luminaries, including Large Professor and Havoc of Mobb Deep. The visit with Havoc produces one the shows greatest moments as Havoc demonstrates how he made the beat to the Mobb Deep classic “Shook Ones Part II.” Blaze is losing his mind seeing his mentor recreate one of hip-hop’s most iconic beats, but when Havoc forgets the bass line, Blaze is right there to play it. The magic of the Just Blaze episode is the inclusion of both undisputed icons like Havoc and upcoming, raw talent like Westside Gunn and Conway the Machine. The cameras follow Blaze to a recording session with the Buffalo street hustlers turned signed Shady Records artists. These scenes with Just Blaze in the studio are also some of the only times that music is seen being made and they demonstrate Blaze has now become the mentor to the next generation. The only real complaint about the Just Blaze instalment is some of the collabora-

tive scenes could have played out more.

Other episodes, in particular 2 Chainz, show that having no guests in the episode is boring and stale.

2 Chainz is a very prosperous artist but he is shown as an insulated celebrity living in a mansion outside of Atlanta. The only actual narrative thrust is that 2 Chainz broke his leg days before the tour the documentary crew was meant to follow. He persevered through and still completed the tour but he comes across as a one-sided character obsessed with his wealth and family and little else. Briefly some of the people around him are featured but hardly enough to make them fleshed out characters. Where this episode fails, the instalment on Rapsody succeeds.

The only female artist featured, Rapsody’s episode is about how her whole support team have helped her climb to her current heights. Rapsody’s working relationship with her mentor, legendary producer 9th Wonder, is shown in detail. But her work with another mentor, Rah Digga, had the potential for a better, all-female version of the Nas and Dave East episode. Even the Rapsody and 9th Wonder mentorship is portrayed on screen as a more hands on, personal and professional mentorship.

The Nas and Dave East episode, meant to show the passing of the torch from Nas, arguably the greatest rapper alive, to up and coming Dave East. However, the two men are barely seen on camera together and Nas is less a mentor than an enthusiastic supporter. The episode needed more scenes like Nas in the studio with fellow New York City legend Large Professor and Run the Jewels rapper Killer Mike.

Mike plays an unreleased track called “Black Power, White Powder” and seeks his elders advice on his politicized lyrics. Rapsody’s episode almost unintentionally veers into the political as she discusses the public’s reaction to a young woman who puts her music before her looks.

The true political show in the bunch belongs to T.I. The Atlanta based rapper and actor, known as a pioneer of trap music, has become involved with Black Lives Matter and other activist groups. Inspired by the police killings of Alton Sterling and Philando Castile, T.I. joined a protest march spontaneously with his son. Finding himself a leader to the young people, T.I. turns to his elders for advice on how to be a better leader. Veterans of the Civil Rights movement like Harry Belafonte, Andrew Young and Congresswoman Maxine Waters meet T.I. to discuss the current state of black activism. Belafonte remarks on T.I.’s jewelry, saying that humility is at the heart of a good leaders character. T.I. acknowledges the presence of his gold and diamonds but points out that his pendants include photos of his family. The contradiction of gold chains and populist activism isn’t resolved within this episode but the conversation that it sparked is a much needed one. Rapture, as a series, is much needed. Hip-hop fans deserve a quality series about the real lives of their favourite artists. If a second season comes about, one hopes the episodes following Rapsody and Just Blaze are used as models.

Local Spotlight

MADELEINE ROGER COTTONWOOD If you follow the Winnipeg Folk music scene, you may already be familiar with Madeleine Roger as half of the twin-sibling duo Roger Roger. After three years of cutting her teeth on the road with her brother Lucas, touring across Canada and Europe, Mad-

eleine’s debut solo album Cottonwood exudes the confidence of someone who knows what she wants to bring to the Canadian music scene.

Recorded at Paintbox Studios in Winnipeg with Madeleine’s dad Lloyd Peterson as co-producer, it is clear that Madeleine set out to make an album that is lyrically thoughtprovoking and meaningful, supported by deliberate and intelligent musical arrangements. The opening track “Sweet Little Lies” features a full band, and really drives home Madeleine’s ability to craft arrangements of pop sophistication, while the more sparsely orchestrated track “Soldier Song” highlights her skill as a classic folk storyteller. The natural, organic quality of the production gives the listener space to breathe and take it all in, with Madeleine’s voice always clear

www.ckuw.ca/stylus

in the mix, displaying her unpredictable singing style - comparable to Joni Mitchell - and her insightful lyrics.

Unexpected (and welcome) additions to the band include the glistening mandolin on the title track, the warbling electric guitar tone on “Automobile,” and the cheeky Jazz clarinet on “Luckiest.” Within the genre of Folk/ Roots music, Madeleine has a knack for including surprising musical treats for the listener. The variety on the 11 tracks makes for an engaging listen all the way through, and demonstrates Madeleine’s range as a songwriter and arranger.

One of my favourite songs on the album is “60 Years More,” which gives the listener some perspective on what it is like not only to be female, but a female in the music industry. The track ends with a plea for change,

but Madeleine has provided her own resolution: Cottonwood was recorded, produced and mixed in part

by Madeleine, includes 13 additional female musicians, and boasts artwork, graphic design and mastering all by women in the music industry. The album proves that you really do have to be the change you want to see.

Madeleine Rodger is an optimist.

“This is the luckiest that I have ever been,” she sings in the outro of “Luckiest,” reminding listeners to take note of those moments in their own lives.

In a time when we all need to be lifted up, Cottonwood’s message is that we can be happy by learning to appreciate what we already have. Grace Hrabi

Oct / Nov 2018 Stylus Magazine

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URBAN VACATION SUCCESS WITH HOUSE PLANTS Success With House Plants is Urban Vacation’s incredible debut LP. Recorded between 2016 and 2018, and entirely self-produced, Success With House Plants is, at its core, an experimental indie album which harbours a lot of industrial post punk elements. Tracks such as “Running Water” and “Self Portrait” draw comparisons to 70’s Post-punk group This Heat. From front to back, every track makes use of collected field recordings, which only adds to the organic roughness of the production.

Tracks such as “Constant Pneumonia” (the lo-fi song as I’ve dubbed it) have a blaring bass within its upbeat melody that leads to a blown-out chorus. The sound of humming, buzzing, white noise, or clicking of guitar pedals can be heard in between tracks.

Chatter can be heard typically at the opening and closing of a track, either from field recordings, or presumably of the band in the studio. The band uses these otherwise nuisances to their benefit to enhance the emotion of their sound.

Underneath the raw production and the overdubs and the looping field recording are beautiful, vibrant guitars, with peculiar synths and impeccable percussion. Tracks like “Running Er-

rands” and “Newspaper Days” will make you groove in your living room.

Success With House Plants is the perfect record heading into the fall/ winter season. There is a strong sense of sombreness and seclusion that writes a soundtrack leading up to a potentially harsh winter, and the daily struggle to leave the apartment on the coldest days. The opening track, “After the Flood,” echoes of falling leaves with its quiet acoustic guitar and light percussion, while Running Errands recounts a struggle of leaving your home in -30 weather for the sake of *ahem* running errands. Success With House Plants is one of the strongest releases of 2018, and I can’t wait to listen to this record more as it gets colder outside.

For Fans of: This Heat, The Microphones, Van Dyke Parks. Daniel Kussy

F.C COCONUT COCONUT ISLAND Local Winnipeg producer F.C Coconut released his newest album, Coconut Island in early May. This album is around 38 minutes long, and despite each track having its own variety and differences, they all flow perfectly to create a relaxing and stimulating album.

Within the first 20 seconds of the first

track, we are introduced with muted brass blaring and a slow transition into a slower hip-hop beat. These are just some of the many genres of music F.C Coconut samples and incorporates throughout Coconut Island.

Other styles the Winnipeg producer weaves effortlessly through the whole album are jazz, soul, island, as well as a more matured lo-fi feel. it would be hard to classify the best mood for listening to Coconut Island, as it is very versatile and effortlessly captivating.

The best way to describe the general feel of this album would be, as the title suggests, that wave of warmth and security that washes over you as you’re laying down on a secluded tropical island beach, and of course, you’d have a coconut in hand.

At many points throughout Coconut Island it sounds as if F.C Coconut sampled old vinyl records, you can hear the fuzziness of the record, which provides a distant but present feeling of nostalgia. These small things that F.C has incorporated into the album show off his great attention to detail.

All in all, if you were unfamiliar with F.C Coconut and enjoy the fusion of different genres made into one, or you’re simply in need of unwinding and taking your mind off things, Coconut Island is worth the listen. Neda Masoomifar LEV SNOWE FADED BLUE One of the most affecting scenes in last year’s critical darling Call Me by Your Name is of a heartsick lover, waiting and awash in blue. The scene follows in the footsteps of Joni Mitchell’s Blue and Maggie Nelson’s Bluets – art that recognizes the cathartics and heartsick mysteries of blue. Add

Lev Snowe’s Faded Blue to the list.

The five track collection, inspired by Snowe’s travels across the Canadian Shield, is a twinkling and dreamy world unto itself, all dancing shadows and sun dappled highway.

Faded Blue is cohesive nearly to a fault, and the album floats by quickly with few major distinctions between tracks. However, on a release this short, dedication to a particular mood and style helps give a better idea of who an artist truly is. It allows Snowe to more thoroughly explore the multitudes of blues and purples that he teases from his slick synths and watery guitar.

Though it plays with familiar tools, Faded Blue has enough strong hooks and solid grooves to keep the listener’s attention, though a longer record would almost certainly require some experimentation beyond the twinkling 80s pop sound that Snowe has so clearly mastered.

A mix of programmed drums and live percussion make up the album’s backbone, sometimes with both used on the same song, as on the final minute of “Could Be” when the guitar drops away and a programmed kick drum and sighing synths send the song drifting into the night.

Perhaps the best example of Snowe’s arranging skills (besides six-minute highlight “Dream Away the Night”) is the album’s title track. There’s a darkness to the song’s slippery, blooming arrangement that paints a deeper shade of blue than what’s found on the rest of the album, with wobbling bass and slick, neon guitar.

It’s an album like a healing bruise - a tender black and blue, forever shifting.

Kaelen Bell

Punk and Metal WOOLWORM DESERVE TO DIE Deafening blows to snare, tom, and cymbal alike accompany low tuned guitars drenched in feedback on this album. Vancouver group Woolworm follow many hard-core tropes while simultaneously sending out shoegaze vibes. Deserve To Die is a masterful display of songwriting talent and energy-invoking recorded performance.

With a burst of heat, the album starts out with a lineup of fiery songs, each one better than the last. Though the lyrics can be depressing, every track has a unique twist that draws listeners in deep.

18 Stylus Magazine Oct / Nov 2018

The second song on the album is just under two minutes long. “Seer” is fast paced, driving forward underneath the low and crooning vocals, leading up to the huge leap that rings sheer musical pleasure. The vocals run a riff along with the main guitar line as everything seems to get a little faster.

The next track, “Judgement Day” sits in a reclined groove, steadily painting over the catchy chord progression with pensive lyrics. The song alternates back and forth between heavy and soft, climaxing in vocalist Giles Roy belting out the chorus at top range.

Deserve To Die sparks an intensity in the listener and then flows along

subtly until it’s ready to take the lead through even more intense audio.

The title track begins with shredding guitar and bass half time over the chord progression while the drums keep a type of dripping reverb with cymbals. Once the song takes off, the simple form catches the listener and begins to burn. The lyrics express guilt and pain, the words of one who is burdened by their own mistakes.

The pinnacle of this song bursts into flames as screams ripe with agony continue on with the lyrics.

As the song comes to a close, the fire dies down, but doesn’t go out. The latter half of the album follows the precedent placed by the first half.

Woolworm’s album is built to satisfy exactly what the listener needs after each song with the next. Deserve To Die proves that hardcore doesn’t always need to be heavy. Ryan Haughey ALKALINE TRIO IS THIS THING CURSED? Alkaline Trio’s latest album asks Is This Thing Cursed? One listen is enough to answer with a firm “no.” In fact, it’s anything but. In their ninth studio album, Alkaline Trio reached back across their 20-year career and pulled influence from all their greatest albums. They managed to compose an album that perfectly encapsulates two

decades of ever-evolving punk rock.

Is This Thing Cursed? is arguably most reminiscent of their Crimson era, a fan-favourite album of theirs that’s often praised as a peak in their career.

Their newest album spans the range of punk from upbeat pop with “Little Help?” to their more signature brooding, gothic sound with “Goodbye Fire Island.”

“Worn So Thin” has the distinct fingerprint of Dan Andriano’s unique bass vocals and clever lyrics. It’s quick tempo and harmonized vocals are a throwback to Alkaline Trio’s earlier album From Here to Infirmary.

“Throw Me To the Lions” has Matt Skiba’s soaring vocals and Derek Grant’s snappy drumming that brings the listener back to their album Good Mourning.

The titular song and first single, “Is This Thing Cursed?” is a smooth blend of all their sounds. It opens with a soft piano melody and slow tempo, a sister opening to their album Crimson. It picks up to a fast tempo, harmonized vocals, and steady bass. Their second single “Blackbird” is fast, dark, and conceptual. Matt Skiba’s vocals and lyrics throwback to their album Maybe I’ll Catch Fire.

“Demon and Division,” the third single of the album, has a newer sound.

Its slow bass and synth like piano is similar to one of Matt Skiba’s side projects, Matt Skiba and the Sekrets.

“I Can’t Believe,” their fourth single, gets a little lost in the mix. It’s dark lyrics and punchy guitar makes for a solid track, but it doesn’t stand out amongst three other solid and varied singles.

“Sweet Vampires” has a catchy melody and upbeat sound despite grim lyrics, a typical Matt Skiba song. “Pale Blue Ribbon” is fast, catchy, and contrasted with Dan Andriano’s deep vocals.

“Heart Attacks” goes back to their typical dark lyrics, acoustic rhythmic guitar, and solid drumming. “Stay” has a swaying melody and meaningful lyrics about breakups and relationships paired with powerful vocals.

“Krystalline” is the last song on the album, and honestly, what is an Alkaline Trio album without an acoustic love song? With a simple chord progression and Matt Skiba belting out the lyrics about “kiss[ing] away the memories and fuck[ing] away the pain,” it’s a typically dramatic end to a solid album. The 3:30 min track closes out with about 1:15 min of dis-

cordant bass sounds, distorted vocals, and dismal echoes.

A dark and quiet end to a loud and frenetic album that will surely last in fan’s minds as a phenomenal contribution to 20 years of music. Christiana Jones PROTOMARTYR CONSOLATION E.P. Post-punk band Protomartyr’s recent E.P. is a perfect mixture of consonance and dissonance. The lyrics present images supported by the melodies and vice versa. Dark chord progressions transform into beautiful ones without any awkward transition.

This four track E.P. is short but packs a heated punch with the right hand, and then a cold one with the left.

The first track, titled “Wait”, starts out noisy as distorted guitars roll and the drums thrash out tom beats. When the chords progress and the guitar licks rise, beauty falls through to surprise the listener with cerebral musical choices. The song’s dissonance comes from the clash of thrash and symmetry. The balance pulls at your ear to listen closely while the vocalist shouts and croons melancholy.

Protomartyr’s consistency on this E.P. is impeccable. Reverb on the guitar fills any empty space to create a wall of noise that melts over the listener and coats them with the epic Protomartyr sound.

“Wheel of Fortune”, the single track from Consolation E.P., is the hardest song on the collection. With an almost gothic sound, vocalist Joe Casey’s voice is thrown around while spouting and shouting political lyrics criticizing corrupt capitalism.

The song switches between two themes: the first is Casey’s clobbering rant backed by wailing guitar and smashing drums, while the second is a wavy synth breakdown followed

by Protomartyr’s screaming sound builds back up to the first theme, repeating the cycle.

The ballad-esq final track, “You Always Win”, delivers a longingly emotional feeling while remaining in that consistent distorted sound. The bass places a handsome line to be followed by the talk-singing vocals. Toward the end of the track, the drums pick up to bring a sense of urgency and finality to the close of the E.P. Ryan Haughey

Under the Needle

SAM TUDOR QUOTIDIAN DREAM There is a certain kind of honesty you feel with Sam Tudor. Layered harmonies feel close and raw. A creeping violin comes close and fades away. Tudor sings about lonely truths and how it feels inside one’s mind. On their latest album Quotidian Dream, the poetry in the lyrics feel eerily personal and familiar, like you have felt the same things he sings about. Tudor captures the human condition skillfully and leaves you feeling like you know him, and he knows you.

A clarinet sings bridges and feels soft and beautiful. Instrumentation is vast and diverse but feels whole and complete. Wonderful musicians play these parts tenderly with skill. On

the album you’ll hear wind instruments, drum machines, piano, layers of vocal harmonies (reminiscent of the Fleet Foxes at certain points, particularly the chorus of “Joseph in the Bathroom”), violin, charming acoustic guitar parts, ect.

The sonic arrangements are impressive. Tudor composes beautiful builds that can be heard on tracks like “Truthful.” These forced swells feel natural like a wave building and bursting with power and ease. He knows just when to cut a part, to make a cliff or drop a track out on its ass. Tudors successful compositional decisions leave you feeling emotional, moved and understood.

Drum beats feel mechanic and playful with a layer of darkness behind them.

Kind of like a goofy joke that was meant to be a whisper said with love.

The first song, “New Apartment” merely paints the picture of a night inside a new space and the comfort/ discomfort that lies within that first night, alone in your new apartment.

A powerful and specific mood is captured perfectly in this track.

Stand out Lyric: from the track “Chlorine” “They chlorinate the water while I’m drowning in the pool.” Just one great example of Tudors charm-

www.ckuw.ca/stylus

ingly grim metaphors.

Quotidian Dream is an album I’ve played non-stop over and over again because of its honesty, intensity, and melodic greatness. Skye Callow SALTWATER HANK STORIES FROM THE NORTHWEST There are rare moments when it seems that every hippie you’ve ever met was right; that time really is a construct, man.

That it’s all in your head – that the past and the present and the future and every minuscule, incomprehensible halfway moment exist at once.

That you can touch the air beside your face and brush against uncountable realities.

Though you’d never call him a hippie, it seems Saltwater Hank is in on the secret. On an album of whip-smart, heartbreaking, and often hilarious bluegrass, Hank manages to dissolve the membrane between past and present, crafting a dust-clouded world of somewhere-in-between.

Hank, the stage name of Tsimshian folk artist Jeremy Pahl, is a storyteller through and through. He spins tales that traverse the heart-pounding wilds and mind-numbing labours of a

life. His are stories of loss and wrongdoing and truth and chow mein. His are Stories From The Northwest.

The recordings are unassuming but undeniably rich, full of furious fingerpicking and Pahl’s lilting and often haunting voice. The constantly weaving fiddle, courtesy of Chloe Nakahara, is seemingly alive, as if in constant duet. The record feels like an amalgamation of local passions and talents, from the crack backing band to the album’s art by Prince George graphic artist Evann Campbell. It feels like a celebration; a coming together of small town voices and outsized talents.

And while the ingredients are relatively simple, the songs rarely are.

The slyly political suite of “Coyodel #1” and “Coyodel #2” are equal parts comical and moving, while the stirring “Ballad of Maud Watt” tells the story of the folk hero who travelled through frigid winds and snow to petition on behalf of beavers.

Delving into the legends of the past and the politics of the present, Stories from the Northwest is an album that bends folklore and reality into new shapes, an album that celebrates Indigeneity and history and the ground beneath your feet. Kaelen Bell

Oct / Nov 2018 Stylus Magazine

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Hip Hop

BLOOM AT THE HANDSOME DAUGHTER AUGUST 24 PHOTO: MIRINA VAN DER VEEN

LEE REED THE STEAL CITY EP Veteran Hamilton based rapper Lee Reed has released one of the most relevant EP’s of the decade, The Steal City EP. Lee sets his sites on the gentrification of Hamilton which has recently been subsumed into the Toronto housing bubble. While artists have always been a part of the process of gentrification I haven’t come across such a sharp analysis of the process and effects of gentrification. In “The Cost of Tacos” Lee spits amazing lines on how consumption habits are used as weapons in gentrification “First you get the coffee\Then you get the artists\Then you get developers in waves like zombies\then you get the taco\ then you get the condo\then you gotta go because it’s not for you”. While at times playful and sarcastic Lee also delivers lines with anger and defiance in tracks like “The Rents”, “fuck the high booster air farting love for art only so far as it sells homes\ fuck the motives of ownership\ all the new non-inclusionary zoning of it\fuck the rush to throw broke folks under the bus for motherfucking light transit\ fuck the fake progressive stances that pave bike lanes over the working class”.

While the lyrical content is on fire, the production and beats are filled with catchy hooks that make this EP something you’ll have on repeat. Lee Reed performed live in Winnipeg on October 4th at the Windsor for a fundraiser for the Rooster Town blockade. All proceeds from the EP will go to the Hamilton Tenants Solidarity network. Scott Price

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95.9 FM CKUW CAMPUS/COMMUNITY RADIO TOP 30 ALBUMS ( July 31 - September 25, 2018) !=LOCAL CONTENT * =CANADIAN CONTENT re=RE-ENTRY TO CHART #

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Oct / Nov 2018 Stylus Magazine

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22 Stylus Magazine Oct / Nov 2018

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