August / September 2019

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August / September 2019 Stylus Magazine

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2 Stylus Magazine August / September 2019

AUG/SEP 30 NO. 4 2019VOL

Production Team

On the Cover

Editor . . . . . . . . . . . . . . . . . . . . . . . . Gil Carroll

MEGUMI KIMATA is an artist from Japan currently living in Winnipeg. She is obsessed with drawing animals, including horses, cats, and humans, and hopes they bring happiness to everyone who sees them. She also makes music with her electronic project called French Class.

Assistant Editor . . . . . . . . . . . . Jen Doerksen

You can follow her on Instagram @frenchclassmusic.

Art Director . . . . . . . . . . . . . . Kelly Campbell Cover Art . . . . . . . . . . . . . . . . Megumi Kimata Advertising Contact . . . . . . . . . Rob Schmidt

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

Contributors Chris Bryson Lily O’Donnell Ryan Haughey Ben Waldman Nigel Webber Mark Teague Zoë Lebrun Evan Chandler Daniel Kussy Jesse Popeski Margaret Banka Ryan Sorenson Joshua Davi BNB Studios Jared Gauthier Woven Masters Graeme Houssin Ali El Moudi Daniel Emberg 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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Table of Contents Blah, Blah, Blah Events Around Town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Space Jam: Lana Winterhalt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

CKUWho: Adult Kindergarten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

Live Show Review: Gym Tonic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Local Spotlight: Rayannah, Begonia, and more . . . . . . . . . . . . . . . . . . . . . . . .

CKUW Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

03 08 13 16 17 17 18 20

Features node.594 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Super Duty Tough Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Glassreel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Rainbow Trout Bike Jam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

30 Years of Stylus Magazine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

47th Winnipeg Folk Festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

04 05 06 07 10 14

August / September 2019 Stylus Magazine

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THE GREY JAYS PLAY THE CUBE AT WINNIPEG FRINGE FESTIVAL / / / PHOTO BY BNB STUDIOS

CONVENIENCE PLAYS THE CUBE AT WINNIPEG JAZZ FESTIVAL / / / PHOTO BY BNB STUDIOS

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BLAHBLAHBLAH Happy 30th anniversary to us! Let’s celebrate by taking in and discovering as much local music as possible this year***Transistor 66 is throwing a rocking good time party at the West End Cultural Centre on August 9th with Man Candy, Rock Lake, and Satanic Rights or head over to the Good Will for Nice Cops, Ceilings, Louser, and Shaner and McLeaner or at The Cavern check out The Tims, The Gerry Hatricks, and The Great Steelhead also over at Times Change(d) have a nice time with Gabriela Ocejo and JayWood***An impressive and cool show at the Burton Cummings Theatre on August 10th with Close Talker’s Immersion 3D-360 Headphone Concert or over at the Good Will is a spooky night featuring Mariachi Ghost and Ghost Twin or at the Handsome Daughter is the amazing Moon Tan with The Love Tongues, and The Moon Runners also happening at the Park Theatre is Anomalism, Endless Choas, Witchtrip, and Zombie Assault***Sunday August 11 at the Good Will is Lucas Chaisson’s album release with Nic Dyson,

and Kris Ulrich***August 12 at the Handsome Daughter check out Supercrush, Whip, and The Sorels or over at the Good Will is emo legends The Appleseed Cast with Sit Calm, and Muscle Worship***Casati performs at CityPlace Terrace for their Downtown Concert Series on August 13***August 15 at the Park Theatre is Sniper J, MC Lam, and TTCRUISE as well as MEME X happening at the MET with Elle Fast, Joe Silva, Shael, Kilma, Adam Scott, and DJ Mae***Harvest Sun Music Festival takes place in Kelwood, MB on August 16-18 featuring Veneer, Mise En Scene, Sol James, Shotgun Jimmie, Madtrappers and more or check out Rainbow Trout Music Festival in St Malo with performances from Royal Canoe, Holy Void, Palm Trees, Rob Knaggs, The Emu, JayWood and lots more or if you have to stay in town, check out the Sebastian Gaskin EP Release Party at the Handsome Daughter***August 17 at the Handsome Daughter check out Morning Show, Merin, and Brite (FKA notme) or over at the Royal Albert celebrate The Sorels EP Re-

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lease Party with The Rules, and Man Candy***Hoot Owl Festival of Music and Art is back in Kelwood MB on August 22 with Mobina Galore, Sweet Alibi, Malcom-Jay and many many more also happening at Times Change(d) that same day is Trampoline with Darsombra (Baltimore)***August 23 is the 2019 Whoop & Hollar Folk Festival in Portage La Prarie with ATLAAS, Ashes and Dreams, D.Rangers, Amy Brown,Justin Lacroix and many many more***August 24 at the Good Will is Holy Void’s album release show for Naught with Black Cloud, and Man Candy***Godspeed You! Black Emperor play at the Burton Cummings on August 29***August 30 at Times Change(d) is Smoky Tiger, Sports Club, and The Manitobandits (album release)***Sherbrook Street Festival celebrates 15 years in

beautiful West Broadway on September 7th with Rayannah as Shania Twain, Mariachi Ghost, Virgo Rising, Fowler, Mosa and many many more also at The Garrick is Sun Kil Moon***Harvest Moon Festival is back in Clearwater, MB on September 13 with Amadians,Boogey the Beat, Olivia Lunny, Slow Spirit, Warming and many many more***Rhye is at the Garrick on September 15 presented by Winnipeg Folk Festival***A heavy hitter show at the Park Theatre on September 19 with Propagandhi,Mosa, and Flash Out***September 20 at the Pyramid catch Black Mountain with Majeure***September 24 at the Garrick is Winnipeg Folk Festival favourites Too Many Zooz and Five Alarm Funk***Let’s hope for another 30 amazing years of Stylus***

August / September 2019 Stylus Magazine

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node.594 WORDS & PHOTO: MARGARET BANKA

In the last few years, Winnipeg has seen an increase in the number of multipurpose or collaborative ventures - think Forth, The Good Will Social Club, Little Sister Coffee Maker South Osbourne, and Prep Collective to name a few examples. These types of arrangements echo rather loudly the environment typically seen amongst artists and their studio spaces - besides the obvious economic advantages that come with sharing one roof, a multi-conceptual approach to how we use space can also yield considerable synergetic results.

For Colin of node.594, space can be part of the equation rather than just a passive container or creation. Housed in the former Neon Factory at 594 Main Street, the alternative venue has been gaining ground since October 2018. Though the name is short, it conveys a strong vision: “The name was happened upon by a mispronunciation of another word that lead to the breakthrough realization that nodes are pretty ubiquitous in a lot of fields from technology to biology to trades, and since it refers basically to a single point of connection between lines or pathways, it seemed incredibly fitting with what the goal of the space is in itself.”

The absence of structured functionality delivers the greatest potential for forging those connections; when I enter node, the front of the space is gloriously empty, hinting at the unlimited ways it can be used. This versatility, notes Colin, is appreciated by node’s patrons: “People like that you can change the space up - it keeps them guessing. It can look different every time.” He points out that each room has been used at different times by musicians with their gear set-up, or by artists to exhibit their work. We walk through three rooms, which gradually shrink in size the further back we go. Each is filled with the textbook Edwardian charm that is characteristic of Winnipeg’s Exchange District: high ceilings covered with ornate tiles, creaky hardwood floors, and brick walls exposed throughout. The basement is sprawling (and possibly haunted).

A musician himself, Colin’s jam space is currently set up in the backroom and his bandmate, Evan, plays while we talk. Colin is keen to enable musicians to meet and work by holding laidback sessions - think ‘90s coffeehouse, but with the improvisation and collaborative spirit of a FolkFest workshop: “I’d like to start a little series - I’m working on it right now - called Big Open Door, where we just have bands come in to do an hour-long set in front of the open door.” Working with the large garage door at the front of the node, which can be fully opened, Colin plans to bring in a pop-up table for coffee, or something similar, that can be served to spectators. He doesn’t worry about the unruly rep that neighborhood sometimes gets, but rather embraces it. “You can either shy away or just go in and try to be a catalyst for exposing the area. I think a venue would do great in this spot - it’s in an up-and-coming area with a big door.”

Being located in an artistically central neighborhood (The Edge Gallery and MAWA are across the street, and there are a couple of art studios on the floors above node), making those connections has been an important part of the node’s role in the area: “We’ve done a couple First Fridays so far. I like to do crosspromotion and contact some people in the area, to say, ‘you know, why don’t we try to get on each other platforms’”.

Opening a space and putting out programming idea is just one part of Colin’s journey with node.594: “I’ve wanted a venue ever since I was a kid. I just said it would be cool to have a space where I could see all these people meet each other and stuff like that.“ Since day one, Colin has had the full support and encouragement from girlfriend Zephyra Vun, or Zeph, as well as the instrumental assistance of friend Matty Dirks, and he continues to plan the next step. “What I’d like to do is have this space fully licensed for whatever purpose - so I could have an occupancy that would allow for liquor license or body modification. That way people can come up to me and I can say, ‘what do you want to do?’ And we could do it.”

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super duty

tough work

JOSHUA DAVI

PHOTO COURTESY OF WOVEN MASTERS

Chances are, if you’ve spent any time attending live music in Winnipeg within the past half decade, you’ve come across Super Duty Tough Work. The 7-piece hip hop outfit has taken over the 204 scene through jazzy instrumentation and lyricism to challenge the greats without even putting out a project during that time. That’s all changing on September 5th with the release of their first official EP Studies in Grey.

The band has established themselves by putting on killer live shows and getting the crowd involved with their energetic stage presence. “How this group started was with the idea of just throwing really good live events, shows and events and parties, and we would provide the soundtrack, or be a part of the soundtrack,” says lyricist and frontman Brendan Grey, explaining that bridging the gap for those unable to attend live performances from the group is a necessary step for them moving forward. “Unless people experience the show, they’re not gonna understand what it is. Right?” Grey continues, “that is not possible for the majority of people, so the next thing you do, I suppose is to release a record. Right?

So that’s kind of where that came into play.”

Just because it’s their project, doesn’t mean it’s iden-

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tical to their shows. Those who have experienced a performance from the group will have just as much reason to pay attention.

“We tried to make it interesting in that, you know, it’s not the same structure or formula over and over again,” says Grey, “there’s some songs as you would imagine them to be, then there’s some interludes, some instrumental music, you know, a whole bunch of samples and all sorts of things.”

While Grey often writes and creates original material himself, which he later brings to his bandmates to develop and perform, he also credits producer FC Coconut AKA YEONE for his role in creating some of the beats that the band has reinterpreted into songs they perform and record live. “So, I’d say like he’s maybe one of the extra members in that he did a lot of the production which then turned into, you know, our music” he continues to explain how each musician’s own personal style affects the final product, “so sometimes it morphs completely into something new.” It’s not surprising, considering they boast a roster of exceptional local artists, including: Marisolle Negash on keys, Kevin Waters on drums, Ashley Au on bass, Gabriela Ocejo on guitar, Anthony Bryson on trombone and Olivier Macharia

and Eamon Sheil on sax. The band carries an energy unlike any other, with each member playing an important role in their unique sound. “I searched em out,” says Grey, through “lots of trial and error and trying people out and this that and the third you know, it kind of solidified this line-up of who it is now in the last few years.”

The first single from their new EP has hit all streaming services and it’s a sign of good things to come. They also have a video for “The Famine” in production and on the way, keeping it close to home being edited by local artist Peatr Thomas.

The GoodWill Social Club will host the official release party for “Studies in Grey” on September 7th, kicking off a Canada-wide tour to take place through September and October. While all official dates are yet to be published, Grey did provide some insight into some stops they plan to make. “We’re still finalizing all the details, but yeah, it’s looking like Vancouver, Edmonton, Calgary, Saskatoon, Sudbury, Toronto, Montreal, Ottawa.” Things are looking good for Super Duty Tough Work.

August / September 2019 Stylus Magazine

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Glassreel WORDS & PHOTO: MARGARET BANKA Stylus met with lead vocalist Kelly Beaton and lyricist/ guitarist Trevor Graumann, who make up exactly half of the four-piece Glassreel. Missing on the fun was drummer Andrew Workman and bassist Ken Phillips.

In Winnipeg’s large pool of musical talent, it goes without saying that a good deal of projects are a long time in the making, and Glassreel is no exception.

“Trevor and I have known each other for ten-plus years,” explains Kelly, “We used to play in a band together a while back, and we’ve both been in different projects since, but then we reconvened and decided to do this.”

After drawing other members Andrew and Ken into a “dadrocker resurrection”, Glassreel was born in 2017, performing their first proper show in December 2018, while steadily maintaining local appearances since: they opened for Wintersleep at the Garrick in May of this year, performed a tweener set in July’s Real Love Music Festival.

What is their sound? “In the most general sense, pop,” is Trevor’s description, having been compared to other token members of the indie pop family such as Belle and Sebastian, or Stars. They list

the Beach Boys as an influence that is especially evident in their vocal harmonies. “I think our songs are pretty catchy, and there’s a simplicity to them as well.”

Kelly laughs when she confesses that the journey for a band name, however, was not as straightforward. “We would just be on the phone saying, ‘What about this?

What about this?’ All the ones we settled on were already bands.”

After some back-and-forth, the name Glassreel stuck. “I like the imagery behind both the words alone and together; there’s fluidity and transparency and it’s cyclical. Like Trevor said, there’s a simplicity to our sound, which reminds me of the name.

In the day and age of the internet, Trevor lists another unique perk that goes along with a well thought-out title: “Since we’re still early on [Google Search] right now, when you Google us, after the few things that we have up, it’s really just glassworks and art. You don’t get any other bands.”

While Glassreel is busy with plans for a new video and an EP release in the fall, make sure to check them out on Spotify and Soundcloud, or take Trevor’s word and search for them on Google - they are easy to find!

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ut Music Fes o r T w o tiva b n i a l R Bike Jam

JARED GAUTHIER

PHOTOS PROVIDED BY RTMF

When you think of a festival, a bicycle probably isn’t the first image that comes to mind. For Rainbow Trout Music Festival, bicycles and the popular Bike Jams have become synonymous with the festival, raising awareness, and funds, to help grow a local celebration.

The Bike Jam originally started as a birthday bike ride for Ben Jones, Founder and Creative Director of the Rainbow Trout Music Festival.

“We were just out riding our bikes, and we brought a stereo with us,” says Will Belford, Shop Manager at Natural Cycleworks and Director of Operations at Rainbow Trout Music Festival. “It was so much fun, we stayed out all night.”

That’s when the ball (or tire) started rolling.

“From that point on, we just started inviting more people,” says Belford. “We got a bigger stereo and invited people, and about 60 people or so came and we thought ‘Hey, this is fun’.”

Now, the Bike Jams have grown into a monthly event during the summer, supporting the festival and bringing in new riders each time, like Natalie Gauthier.

“I just remember not having biked in years and going to my first jam being terrified of other cyclists,” says Gauthier. “But I had so much fun at the jam that I started going every month and cycling more

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and more.”

For other riders, like Kayla Goosen, it was an introduction to the Rainbow Trout Music Festival.

The community atmosphere of the jam definitely hyped it up,” says Goosen. “I didn’t even know what [RTMF] was before that jam and then I heard a bunch of stories about all the shenanigans that went on there and I was in.”

Events like the Bike Jams and the RTMF Alley Cat, presented by Natural Cycleworks, are also ways for festival organizers to help raise funds.

“Everything we do is always thinking about how people’s experience can be better,” says Belford. “That means getting more tents for shade. This year we’re also going to build another structure.”

One of this year’s headliners, Royal Canoe, have a strong connection to the Bike Jam. In 2017, they filmed their music video for “Fussin’’ featuring Begonia during a fan-filled Jam. “Everyone was generous with giving us space and letting us be goofballs while lip syncing our song in a crowd of bikes,” says Matt Peters, vocalist in Royal Canoe. “It’s fun to be a part of this thing that you’re normally participating in and integrating it into this artistic expression.”

Even though she didn’t make the video, Goosen says that Bike Jam was special for her.

“That jam was so magical. We all kept biking behind the camera and the song was so catchy; we were all dancing on our bikes,” says Goosen. “[It was] such a fun and interactive idea.”

Royal Canoe is making their first appearance since 2013, and this year’s performance will mark an important milestone for the band.

“We did the math and we’re pretty sure this is going to be our 500th show as a band,” says Peters. “So, we felt like that would be a cool way to celebrate with our friends.”

For Peters, friends and familiar sounds are what keep him coming back to the Rainbow Trout Music Festival.

“It’s amazing when you go to the festival for one day and you get to be exposed to all this great stuff that is happening in Winnipeg and Manitoba,” says Peters.

Royal Canoe will be playing at the RTMF Saturday night at midnight.

Until then, you can catch one of the many hardworking people involved with the festival on the streets during one of the ever-growing Bike Jams this summer. Just don’t forget your helmet, and a few bucks to donate to the cause.

August / September 2019 Stylus Magazine

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Space Jam: WORDS & PHOTO: GRAEME HOUSSIN

Tucked away in a shady little corner of West Broadway is a fairytale apartment block, stacked up high on great arches from the sloping riverbank. It’s where indie-pop songwriter Lana Winterhalt chose to settle two years ago, when she returned from Saskatchewan after university.

“It’s such a nice distance from everything, and it’s just like… it’s green,” says Winterhalt of West Broadway.

“It feels the most natural for an area without having to live too far from everything.”

Winterhalt meets me at the door and leads me up.

“Don’t worry about taking off your shoes,” she says.

The little cluttered-but-tidy apartment calls itself home for Winterhalt and her husband Josh, and doubles as her jam space. Knick-knacks, odds and ends lie with intention on shelves, bookcases, end tables (1) – many hailing from across the world, Winterhalt says.

“Josh lived in Kenya and Spain, and his grandparents were peacekeeper hippies in the Middle East and Africa,” she says. “So we have all these quirky little things from so many different places.”

She leads me to the multi-purpose room, which serves as a guest room, study, sewing room, and Winterhalt’s mini home recording studio (2).

“This is where I spend a lot of my time,” she says. “I like the flexibility of it, because I’m definitely the kind of person [who will] start with something really small, walk away from it, come back, walk away from it... so I find it beneficial to be in a space where I can do a million things.”

Her set-up is minimal, but economical – a Mac laptop, her signature keyboard, a microphone, and her pride and joy: a Steinberg audio interface (3).

“This box is virtually everything I could ever need and more,” Winterhalt says.

For recording demos and playing live, Winterhalt explains, the setup is simple: everything plugs from the Steinberg into her Mac. The keyboard’s sound can be customized through patches.

“Mostly all my demos are electronic and mimicking other sounds,” she says.

While Winterhalt records in the home studio, she finds inspiration for writing in a specific corner of the living room. Next to a short window ledge, between the wall and a vintage organ from her grandmother (4) (“For recordings it’s not that practical because it has a huge fan and you can hear the belt,” she says), Winterhalt has carved a cozy dreaming nook.

(5)

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lana winterhalt

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“If I’m ever recording a song or writing or something, I’ll sit in this spot,” she says.

Under a hanging plant on the plush floor pillow, Winterhalt finds creativity looking to the street below, watching passers-by.

She lets me sit and take a look. The trees stretch even higher than the third-floor window. The sloping, green avenue is a far cry for inspiration from her old source: the 6-hour prairie drives to and from Saskatchewan.

“There’s actually a guy that walks around and plays the accordion, at least once a week at night,” Winterhalt says. “So we just sit in this spot and watch.”

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NEW ALBUM FROM MOBINA GALORE THE PARK THEATRE OCT 06 W/ OFF WITH THEIR HEADS

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AVAILABLE SEP 06

Photo: Dwayne Larson

August / September 2019 Stylus Magazine

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f o s r a e Y 30

e n i z a g a M s Stylu CHRIS BRYSON AND DANIEL EMBERG

Even in the heyday of print publications, 30 years was a long time. For a small budget, locally focused music publication, 30 years is worth celebrating.

Stylus has now made it over that hump, continuing to bring locally relevant music news and serving as the physical program guide for CKUW 95.9 FM, which is also our current publisher. Over the early summer, a couple of volunteers sat down with over a dozen past and present Stylus editors and staff members, whose experiences span from the first edition to the one in your hands. There was far more said than could possibly fit within these covers, so this is not intended to be comprehensive.

Karla Hilton was the very first editor of Stylus magazine from 1989 to 1990. This was pre-internet, and Hilton says it was a time when zines were becoming a really big thing, popping up all over the country.

“It seemed like, at least in Winnipeg, there was a pretty vibrant music scene but not a lot of focus on the musicians and the music,” explains Hilton. “So Stylus was a way to capture sort of, a) what was going on in the media landscape, which was this zine culture; and b) tap into what already existed, which was a pretty vibrant, pretty connected music com-

munity.”

Hilton had a CKUW radio show before being editor of Stylus, which she then left for the same role with the Uniter. She eventually left Winnipeg to do her master’s in journalism at Carleton, and then worked at the CBC for 23 years as a radio producer and radio reporter before leaving in 2018. In talking about her experiences with Stylus and the Uniter, Hilton says that they helped solidify her commitment to want to do journalism and show how such a decision could be put into motion.

Ted Turner’s name has been around the University of Winnipeg’s media world since 1990, and on the Stylus masthead for many of those years. He points to Stylus as a key factor in getting the community to pay more attention to CKUW, which existed at the time as a closed-circuit station heard in just a few rooms on campus. Further, he points a decision by the station’s then-manager (Chris Jacques) as crucial to keeping Stylus alive.

The budget was dry in 1990, and Turner credits Jacques with a stroke of genius in keeping it viable.

“He found enough money for one page of newsprint that folded out,” even making it cheeky to boot. “It was right when university policy on smoking had changed.

The space in Lockhart they call the Hive was one of the few places you could still smoke, plus it was one of the few spaces where you could hear CKUW. So Chris, on the cover, put like, a no smoking sign and a note thanking the university for increasing our listenership.”

By the next fall, Turner was managing CKUW and approached Bartley Kives about taking on Stylus with the goal of making it a standalone magazine. Turner looks back on this as a crucial moment that helped the magazine really start to look more sustainable.

“Someone like Bart was a gift, with his talent, tenacity and resourcefulness,” says Turner, “He really dove in and gave it all he had. There was a lot of generosity from Bart too, in terms of finding resources to do it. If we didn’t have computer equipment, can we borrow some?”

Approaching 30 years in the media business, Kives points to his time with Stylus as one of valuable experience and much learning, but cer-

JULY 1997 STYLUS COVER BY JOHN SUTTON

10 Stylus Magazine August / September 2019

tainly one with growing pains.

“When I was involved, it was very student papery, lots of in-jokes and trash talk.” Citing just one example of that, Kives says, “During my time we published...well, not a takedown of Propagandhi, but a piece that got a really bad reaction and created a rift.

We printed a picture of Chris Hannah’s childhood home in Charleswood to show how not punk he was. It was totally immature, and I still look back at what an immature little jerk I was.”

After finishing a degree, Kives moved away to pursue a master’s degree in journalism. Stylus would be headed next by Jill Wilson, continuing a theme of CKUW being a source of people power for the magazine.

“I started writing in ‘91 because I had become a DJ at CKUW,” says Wilson. “One of the requirements—not really enforced—was that you write a piece for the magazine. My first piece was on the Barenaked Ladies, who played at the Athletic Centre, what’s now called the Duckworth Centre.” Writing that piece led to an abiding friendship between Wilson and the band, though Stylus has not always been terribly friendly to them.

During Kives’ run as editor, Chuck Molgat (another future editor), wrote a takedown of the band called, “Fuck the Fat-Assed Bare Naked Losers,” which, believe it or not, Kives describes as, “A hilarious takedown of the Barenaked Ladies. I remember Jill (Wilson) telling me that Steven Page loved it.”

Wilson knows there were more interviews than she cares to remember, and very few stick out. One that leaps immediately to mind is a New Zealand band called The Mutton Chops. “Just a super, super smart band,” says Wilson. “After a lifetime of interviewing people, musicians are probably my least favourite.

They just tend not to be super articulate. Not that they’re not smart, but sometimes it’s like pulling teeth.”

Smart content was a priority for Wilson, as she tapped a contact from Montréal to contribute an ongoing comic series called “Kevin The Duck,” as well as bringing The Pompous Old Fart into the fold...but we’ll return to that last one. Wilson has since gone on to a couple of decades’ worth of media work, largely with CBC and currently with the Winnipeg Free Press.

Barb Stewart was a part of Stylus magazine from around 1993 to 2003, as a contributor, assistant editor, and editor. Stewart says that music is what kept her sane while growing up on a farm in the middle of nowhere. After arriving at the University of Winnipeg as a student, she eventually got involved with CKUW where for many years she had a radio show with the aforementioned Jill Wilson, through whom she was eventually introduced to Stylus.

Stewart was there when CKUW went from being closed-circuit to FM. Stylus began as the program guide for CKUW, which is still one of its functions,

and Stewart says that as the station grew so did the magazine. She describes it as a very hands-on, grassroots movement put together by the love and passion of its contributors and team. Stewart describes the co-workers who defined her time at Stylus as like a family, and some remain good friends today.

“Those were important bonding times, and I think they’re still kind of a group of people who I will always probably be friends with because we just went through so much together at that time,” says Stewart.

From the mid-90s to around the mid-00s, Deanna Radford also went through the roles of Stylus contributor, assistant editor, and editor. She started writing for Stylus during her first year of university, during the Wilson/Stewart editorial era.

Radford says the first issue she did as editor was hard copy style, but she and Ted Turner had a designer friend who had been badgering them into going digital. This is another point Bartley Kives finds baffling, even if Wilson and Turner both have detailed stories about wax, paste, and having to figure out how to fix ads after screwing them up.

Kives says that back in 1991, he sought layout lessons from a friend. “I asked a guy named Michael Koch-Schulte,” says Kives. “Mike had worked for the Winnipeg Free Press weeklies and was hanging around the Uniter. It was early days of desktop publishing, and he showed me how to use Ventura,” an early program for desktop publishers. “If anyone after me was doing cut and paste, that’s just bizarre.”

This is Radford’s story time though. “Within a few months, that was a huge evolution for us to move from editing hard copy to print, and we really pushed to have a full-colour, glossy cover stock...so it was an increased expense,” explains Radford, “But the idea was this is a student-run organization, but also it’s the kind of place that you want people to have relevant experiences producing work that was in line with other productions, in the world and Canada and so on. That was huge. That was a big deal.”

After the format change, it came up that Stylus should “invite artists from outside the university to contribute artwork to do the cover art for the magazine,” says Radford. “So that was also a way that we could broaden our relevance within the creative community in Winnipeg,” and the relevance hits home when looking back at iconic cover images from artists such as Marcel Dzama.

Radford says that Stylus and CKUW were foundational for her, and that even though it wasn’t always easy depending on budgetary concerns, it’s remarkable the magazine has continued until now.

“That the commitment from volunteers and the interest continues is really fantastic and is a special thing,” says Radford. “I think it’s a really positive outlet for people to try something that they might not have dreamed of trying. To try different things without consequence as a volunteer is liberating. It’s awesome, and a rare thing in Canada.”

Sarah Michaelson joined the fold through CKUW, but in a way distinct from the others. As she says, “They were looking for a couple of energetic young hosts, and then in theory there would be audio contributions from Stylus contributors.” Eventually, the show just became Michaelson’s music program and lasted until 2016.

“I feel like I made fiscal changes,” says Michaelson when asked about what defined her time as editor.

She specifically cites a glossy insert that featured the CKUW program guide. “I think it was great, but it didn’t make much sense.”

Michaelson also worked to make the magazine appealing both for its content and its personalities, on the theory that the latter can be a way of gaining reader loyalty. She lists off regular columns such as Pompous Old Fart, Charly Hustle’s Mighty 45s, and Weird Shit with Kent Davies, and a comic called Baby de Beauvoir, featuring infant mockups of de Beauvoir and Sartre. Michaelson cites the trust readers had in these contributors as analogous to that of community radio hosts, or staff picks at a video rental shop.

Eventually, Michaelson had to step back from the editing role. Fortunately, she had an excellent working relationship with assistant editor Jenny Henkelman, so after doing the requisite paperwork the two simply switched roles and kept working together.

Henkelman had been with Stylus in the roles of contributor, web-lady, and assistant editor before taking on the editor job. Throughout her time at Stylus, Henkelman says working with Michaelson was a good fit, as they shared values in terms of being inclusive and welcoming, and sought to instill those in the magazine. For Henkelman, it was important to take a friendly approach so people would feel welcome, a place where they knew they were being seen and could feel comfortable and proactive.

Stylus’ 20th anniversary fell during Henkelman’s

tenure as editor. She took that seriously and says she wanted to make sure they marked the occasion with an appropriate celebration. “I wasn’t sure how long the magazine would be able to last,” she says, “Given the way magazines are going.”

Henkelman found Stylus was a good way to learn “how to manage a project from start to finish, and get something out on time every month, or every second month. And kind of understand that even though it seems like a big thing to get a publication out every two months, it’s like you can break it down into steps and it’s a pretty doable thing if you have good collaborators.”

After getting some experience as a writer with the Manitoban, Sheldon Birnie was editor of Stylus from 2012 to 2015 before moving on to his current role with the Herald in Winnipeg as a community journalist.

Being editor gave Birnie an appreciation and better understanding of that side of writing. One of the things he liked, aside from the nuts and bolts, was, “Allowing people to kind of explore and develop as a writer or photographer, whatever it was. It was neat seeing folks who got their first byline, developed confidence and improved over the course of a year or two and somehow are still doing stuff.”

Birnie describes the struggle for funding that has been with Stylus for most of its existence, and says that he was relieved when CKUW became its new owners. “I was relieved [by] the current model, where CKUW has taken ownership of it and kind of steering it a little bit more,” says Birnie. “Very relieved when that came about because it just meant it would continue on and was in the right hands.”

Ted Turner cites Birnie’s arrival as a great shot in the arm for the magazine. “He had this esoteric focus on the music he loved, but he also saw what all the other ‘musics’ do together. It’s so specific, so sincere, and we benefited from that. He had confidence and didn’t have any attitude. It’s a great combination.”

Having moved on, though, Birnie just wants to see Stylus continue doing its job. “Hopefully that’ll be something that works for the station for years to come because it was a great experience for myself.

Hopefully it’ll continue to foster these early careers, or at least give people a taste of writing or photography, what-have-you, so they can see if they like it or not,” says Birnie. “It’s a cool opportunity for sure. It’s doing what it’s meant to do and that’s great to see.”

It was in her first year at the University of Winni-

L TO R: DEC/JAN 2008/09 COVER BY TAKASHI IWASAKI; APRIL/MAY 2008 COVER BY CYRUS SMITH; OCT/NOV 2009 COVER BY DUNCAN MCNAIRNAY; OCT/NOV 2014 COVER BY DANY REEDE www.ckuw.ca/stylus

August / September 2019 Stylus Magazine

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peg in 2010 that Victoria King started volunteering for Stylus, perhaps seeing it as a step toward her goal of becoming a journalist. While that objective changed, King always really loved music, wanted to learn more about it, and continues to work in the industry with Jazz Winnipeg.

King had never been exposed to much Winnipeg music before joining Stylus. “I grew up in Elmwood in North Kildonan, and that sort of music scene didn’t exist there,” she says. “So it was cool to come downtown and go to shows, meet people and write about stuff, and to connect with other writers or musicians.”

At her first Stylus contributor meeting, King also met a friend with whom she would go on to host a CKUW show for a number of years. “It’s places like Stylus and CKUW that you can really just dive in feet first and get experience,” says King. “That’s important. There aren’t other spots in the city like that. You have to pay a lot of money to go to school and learn to do those things, whereas those organizations exist to help people.”

“I’ve always felt, with Stylus and CKUW, that what they do really well is tell local stories,” explains King.

“And that’s so important to talk about small local bands. I always loved when Stylus would do weird artists that no one’s really heard of. It seemed like they were usually willing to write a story about someone who was new in the scene who was just starting to hustle. And that was really cool because sometimes I think those stories feel too small to tell, but then when you start talking about it you realize they’re pretty important. It shows growth and it shows change. It helps you connect with your community.”

Kaitlyn Emslie Farrell started contributing to Stylus around her second year of university and was with the magazine for about five years. Emslie Farrell started out doing news writing but branched out from there, into features and taking pictures, before eventually becoming assistant editor.

Over her time with Stylus, Farrell also maintained a CKUW radio show, the “Prairie Punk Perspective” column in the magazine, multiple bands, and even a DIY record label. All

these activities worked hand-in-hand, immersing her more deeply in the local music world.

“It got to a point where the bands were familiar enough with me that they would just tell me when they were doing stuff. I felt like I had unlimited access to this hub of information around the community,” says Emslie Farrell. “Stylus being Winnipeg’s only music-focused magazine—exclusively for music—I find that it is a big draw for readers, because there aren’t six other things they can read. It’s a good thing for Stylus, because it keeps the loyalty of its readers. It’s written your way, not essay format...you can swear in your articles, it’s very raw.”

It is only space restrictions that have allowed us to make it this far before mentioning Rob Schmidt.

After growing up in northeastern Ontario, Schmidt chose to attend McMaster University in part because he wanted to get involved with the campus radio station. After the station hosted a national radio conference in 1996, he was hired to move to Winnipeg and help CKUW become a broadcaster on the FM band, rather than just a closed circuit station pumping through a few creaky old speakers on campus.

Schmidt was the first full-time staffer at CKUW, and remains the station manager to this day. Given the tight links between the station and Stylus, he has been close to a lot of the changes and says one of the real struggles with the magazine has been the continuous demand to justify its existence and keep it going.

“It’s hard to measure, right? When people look at businesses, they look at well, how much money is it making? How many copies do we print? How many get picked up?” says Schmidt. “It’s hard to stack that up against how many lives has it saved because it’s turned people on to music that has brought joy and given them inspiration in their life? These are kind of ridiculous extremes to go to, but I really feel that community radio, Stylus, and art and culture have those effects because people have told us that.”

Over the years Schmidt has seen the influence of Stylus on the music scene and beyond. Through his own music discoveries upon moving to Winnipeg, to volunteers and contributors getting experience and building confidence, to feedback from readers and people who have been a part of and affected by the magazine, Stylus’ importance is evident.

“When you see yourself in the media, when you see yourself reflected, it’s incredibly empowering, and it validates what you’re doing, it validates your culture, your friends, your community,” says Schmidt. “And that’s power people can take to their personal lives. It can make them happier, make them more successful. It can make them just have a better life.”

“I just hope people can see the bigger picture, and see the value that it brings to the community, and recognize that even though it appears to cost a lot of money, it’s really a fraction of what gets done in any of the corporate media,” says Schmidt. “Stylus is an underdog, an underground magazine.

It’s not big money corporate stuff, but the influence that it has compared to the money that gets thrown around on these other things, I think, is so worth it. It’s so important, and I hope people continue to recognize and understand that.”

Columns have not always been a hallmark of Stylus, but it is hard to overstate the reverence still felt for the Pompous Old Fart. Many of the past staff were reluctant to name any old favourites, for fear of leaving people out. However, those who remember Pompous Old Fart were effusive in their praise for the man behind the eponymous pen name. If the name is unfamiliar, it doesn’t take much to piece things together.

The Pompous Old Fart was Alex Wilson, father of former editor Jill Wilson, who explains the inspiration accordingly: “I read this old US magazine and they had this kind of satirical column where a skater boy reviewed albums but his only prism for looking at music was through skate punk. I thought all my dad likes is classical music and he could do reviews from that perspective. He was a doctor, but his favourite thing was writing, like, these scathing letters to hotels.”

“Pompous Old Fart was world class, as funny as it gets,” says Ted Turner. “I’d watch people pick up a Stylus and go straight to the back page to read it.

Incredible guy, I miss him.”

Sarah Michaelson says, “I can tell you he was actually pompous and old, and I loved him. We would make him review wonderfully preposterous things like a U2 album. He was really good with badass insults, but sounding very elite while doing it. That was the whole angle. If you boil it down, it’s like the music snob everyone tries to be in their twenties...in some ways, Pompous Old Fart was satirizing us as reviewers. At least I felt it.”

Stylus’ current editor Gil Carroll attended the U of W from 2010-2015. Through being around at the university and his friends, he started doing fillin shows and volunteering for CKUW, eventually becoming deeply involved in the local music scene through his own bands and promotion outfit, Real Love Winnipeg.

Carroll likes the community elements of Stylus and says that a general goal of his is to give people “the opportunity to get involved with the music community,” and that Stylus is definitely a way he can accomplish that.

As involved as one can get, though, nobody is on top of everything in the Winnipeg music ecosystem, and Carroll knows it. “If anyone wants to write about a different scene, like we’re always open to it,” he says. “I still think we do a good job of covering different sort of zones in Winnipeg scenes, but there’s definitely stuff that we don’t know about and I would encourage someone to tell us about it, write about it.”

Looking towards the future, Carroll thanks, “the Winnipeg community for continuing to support Stylus and CKUW for believing in Stylus and funding it. And to all our advertisers and everyone who’s ever contributed. Yeah, thank you, and I think another thirty years. So much ongoing support. People seem to really care about it, so it’s nice.”

He’s right, of course. This all goes away if people quit contributing, or quit reading. Other past staff members are right, too, when they say that Stylus has served as a jumping off point for some remarkably successful media careers. At risk of getting carried away with emotion, let’s close with this.

To all of the people who have been involved with the magazine along the way, thank you for your caring support. Thirty years of Stylus wouldn’t have been possible without you, nor will thirty more.

AUG/SEPT 2005 COVER BY JENNY HENKELMAN

12 Stylus Magazine August / September 2019

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KACEY MUSGRAVES PHOTO: KELLY CAMPBELL

F o l g k e p F i n e n i s t i W v a h t l 7 4

pin down only one genre.

Blues rocker Larkin Poe kicked up some dust with raunchy guitars and heavy soulful vocals, but right RYAN HAUGHEY after that Tim Baker of Hey Rosetta rowed through The Winnipeg Folk Festival is a time for sharing a light indie rock set that was just as passionate as its love, creating memories, and most of all, enjoying forerunner. Toward the end of the night, Death Cab music. Artists from all over the world come together for Cutie was forced to lay down their instruments to create a shared experience in our Winnipeg home. for the duration of a distant thunder storm, but they Acts at both Main Stage and Little Stage in the For- were able to return to the stage and finish their set est play their hearts out and share themselves with under the bright lights of the Main Stage. the audience for one magical weekend.

Aside from the countless concerts that occur over The festival starts on Thursday evening, with the the course of the weekend, Folk Festival is also field in front of the Main Stage covered almost en- known for its workshop performances, where pertirely in festival goers’ tarps and blankets. The first formers are teamed up to play alongside each other night showed that the ‘folk’ in ‘Folk Festival’ doesn’t onstage. The workshops are a more intimate way for the artists to share their songs and their creative process with the audiTAL NATIONAL ence and with each other.

PHOTO: RYAN HAUGHEY Usually artists will take turns playing songs, but the most special moments are when they all begin to pitch in musically to create a unique version of the

song. Such was the case when Car Seat Headrest and Snail Mail played along with Mt. Joy’s “Astrovan”. Their differing styles meshed into something altogether new that was only to be heard at Folk Fest.

Sometimes the most exciting performances you can catch at Folk Festivals are the ones you entirely didn’t intend to see. When sitting around before or after an act that you were looking forward to, you might just experience something even more special from an artist or group you’ve never heard of.

Laying in a hammock after a workshop, I first heard Nigerien group Tal National take the stage and kickstart their set. It didn’t take long for me to feel the heart of this West African rock band bang to the rhythm of their songs. With giant smiles on their faces, Tal National shared their music and their positivity with the audience at Green Ash stage. It’s always a great moment when an act you didn’t even know about becomes a highlight of the festival.

Winnipeg Folk Festival breeds musicians. Artists are on stage and in the audience, but the Young Performer’s Program (YPP) gives young musicians the chance to experience Folk Fest from up on the stage.

Throughout the week, YPP participants are grouped with a Folk Fest performer to hone their craft and meet and learn from other musicians.

One of the toughest decisions that Folk Fest forces upon festival goers is whether they should spend the evening at the Main Stage or at the Big Bluestem stage. Big Blue @ Night is always a dancing blast with exciting artists.

On Friday night, it was a tough choice whether to see Mt. Joy and Jason Mraz at Main Stage or Living Hour and Car Seat Headrest at Big Blue, but sometimes you can catch a bit of both if you run. As K’naan finished off the night at CHRISTINE FELLOWS PHOTO: RYAN HAUGHEY

14 Stylus Magazine August / September 2019

SNAIL MAIL PHOTO: KELLY CAMPBELL

July 10-14, 2019 Main Stage, the other side of the festival got to see a beautiful performance from Alvvays, who always make a night memorable.

The mornings and early afternoons at Folk Fest can be so cathartic, and the lineup complimented this feeling with relaxing music from artists like Haley Hendrickx, whose performance on Saturday afternoon laid a blanket of peaceful calm over the audience at Shady Grove. Saturday’s daytime headliner at Green Ash was Snail Mail, a highlight for indie music fans. The young artist grew into their comfort zone onstage under the hot sun and delivered a mesmerizing set.

Coming off of a wild Saturday night, regardless of whether you caught the barrage of Scandinavian psychedelia at Big Blue – Altin Gün, MAMMÚT, and FM Belfast – or the folk turned rock concert at Main stage – The Lone Bellow, The Sheepdogs, and Half Moon Run – Folk Fest Sunday would keep things rolling even through the near 30 degree heat.

The final day started off with an energetic workshop where Tal National, Mdou Moctar and Los Pachamama y Flor Amargo played off each other’s energies and styles to create a unique mix of world beats. The audience could feel how much fun the artists were having, which made the workshop all

CAR SEAT HEAD REST PHOTO: KELLY CAMPBELL

the more exciting.

Local songwriter extraordinaire Christine Fellows shared with the audience some beautiful, intimate moments. The talented and fashionable Begonia funked up and rocked out to transition day into evening. Kacey Musgraves finished off the festival with some “cosmic country” tunes that had the audience feeling the Folk Fest love. The saddest part of the weekend was the end, but it came with some cherished memories and unforgettable moments.

Till next year, Folk Fest!

HALEY HENDRICKX PHOTO: RYAN HAUGHEY

ALVVAYS PHOTO: KELLY CAMPBELL

www.ckuw.ca/stylus

August / September 2019 Stylus Magazine

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ckuwho?

Listen to:

Adult Kindergarten Thursday nights 7:30-9pm

ZOË LEBRUN the weekly skill-testing question. More importantly, I think it was Nightlines that broke that strange notion that people should be tribal about music genres. If it fits thematically or with the flow, there should be no reason not to play Nancy Sinatra back-to-back with The Orb or something like that. This is an ethos Adult Kindergarten rips off wholesale without apology.

Do you ever miss what it was like to be in kindergarten? If so, tune in to Adult Kindergarten Thursday nights with Jeff! With a genre-free collection of music and a D.I.Y. ethos, Adult Kindergarten encourages us to open our minds to new sounds with enthusiasm. We spoke with Jeff to learn about the show, how genres can trap us, and why we should all go back to kindergarten.

Stylus: Tell us about Adult Kindergarten!

Adult Kindergarten: We are a music show on CKUW. Beyond the station’s mandate of not playing music that you could hear on commercial radio, it is essentially a genre-free show. That said, I am naturally guided by my own tastes. I tend to be attracted to music that comes from a D.I.Y. ethos because I am a punk rocker deep down. Additionally, I think I tend to gravitate to music which is either profoundly beautiful, genuinely surprises me, or messes with my previous assumptions about sound in some way.

S: What got you into radio?

AK: When I was a kid, I got into top 40 music like most people do. For some reason, I started listening to the radio late at night with my headphones on. That’s when I discovered campus radio and the weirdo late night CBC shows that were on the air in the 80’s and 90’s like Nightlines and Brave New Waves. Hearing these shows was like opening a door into another world of sound. In the 90’s, I was a regular contributor on the Nightlines answering machine where I would make requests and answer

16 Stylus Magazine August / September 2019

S: How long have you been hosting Adult Kindergarten?

AK: I began doing community radio in London, Ontario in 1992. I did that from 1992 until 1999. I travelled the world, having adventures and collecting records. Eventually, I moved to Winnipeg in 2010. I started volunteering at CKUW shortly after, alternating Thursdays on the 25th Floor Juke Joint with Mike Litwin. Mike left the station a year ago and then the show became Adult Kindergarten. I do pretty much the same thing now as I did on the previous show except now you get me every week.

S: What inspired the name of your show?

AK: The name comes from a track from Ken Nordine 1960’s album Word Jazz. On that particular track, Ken describes meeting together with friends and having jam sessions with household appliances taking the place of accepted musical instruments.

I really like the ethos that extends from that track.

I love the idea that music is something that brings people together, but also how anything can be music. There are no rules, and it is best to approach art in general with the wide-eyed enthusiasm of a child.

S: How do you go about choosing music for Adult Kindergarten?

AK: Ha! At home, my primary entertainment is spinning records. Throughout the week, my records and CDs accumulate on the table in my dining room. Every Thursday, I clean up the mess of the week by putting the records in a bag and bringing them to the radio station. I always arrive about 45 minutes before the show and I give a cursory listen to all the new CDs that have come into the station; Some people tell me that the station has a library of digital music, but I don’t believe in that so it doesn’t exist in my universe. So, the show is basically a conglomeration of things I have been listening to at home throughout the week and groovy new things which have come into the station.

S: Do you have a favourite artist to play on your show? If so, why?

AK: I always feel guilty if I repeatedly play a given artist. I have certain rules that I have established over the years. One is not to play more than one track by any given artist per week unless I am interviewing them. Another is trying not to play any of the same tracks I played the previous week. That said, I sometimes break the second rule if the track is an absolute banger.

S: If you could have any guest on your show, who would it be and why?

AK: When I have musical artists on the show, I also use it as a chance to explore the recordings which have changed the way they view music. Ultimately, the further out in left-field these album choices are, the more excited I get. Probably, my ideal guest would be someone with a really out there music collection. Now, for example, I’m not a huge Dead Kennedy’s fan really, but I know that Jello Biafra is a real fan of outlandish thrift store and yard sale scores. He is really into weirdo novelty records, 50’s exotica records, and CB slang trucker country. Talking to him would be next level awesomeness.

S: You play a wide variety of genres on Adult Kindergarten; do you think there is something about having such broad musical taste that can teach us or help us improve upon our lives?

AK: Yes. I think there is nothing useful about being tribal about your music tastes. If you decide, for example, that punk rock is great and decide that nothing else measures up, you are lost. Open your mind and travel the world of sound. Travel broadens the mind.

S: What are your top five songs on repeat right now?

AK: Deliluh- Salford, Black Moth Super RainbowAerosol Weather, Philip Glass- Music For Changing Parts, Pharoah Sanders- The Creator Has A Master Plan, Jon Gibson- Cycles.

S: Do you sometimes feel like there are some adults who should go back to kindergarten?

AK: Kindergarten is a state of mind. All adults should allow themselves to return to kindergarten.

Try it. Invite some friends over to fingerpaint, build lego, draw pictures, read stories, and listen to records. It’s the best!

Get back to a kindergarten state of mind with Jeff and Adult Kindergarten, Thursday nights, 7:30-9:00 pm.

Winnipeg State of Mind NIGEL WEBBER Myazwe is riding high in summer 2019. Impressive debut album, check. Sold out release show, check.

But the born and raised Winnipeg rapper isn’t stopping there. Myazwe has been big plans but for right now, on his new album Things I Never Said, he’s keeping it local.

It all started in the South End of Winnipeg when a young Myazwe, his cousin and some friends were bored on winter break. So they started rapping under the name Fantastic Five. After a few years of just having fun with friends and then finishing high school, Myazwe decided to take rapping seriously.

Initially taking the stage name Oz Jackson, Myazwe was pulled aside by a close friend in late 2015. The friend could see the raw talent in Myazwe but knew with a little guidance, he could bring out the raw, truthful emotion that was bubbling up already. The most important first step was a name change. To fully capture the new, honest vibe, he had to start going by his real name. Myazwe also finds pride in the uniqueness of his given first name and how it can also stand out as a powerful rap name.

After releasing a couple shorter project under the name Myazwe, Things I Never Said feels like an effort from an artist that is just on the cusp of being a well-recognized rapper. Only time will tell whether Things I Never Said is the project that allows Myazwe to blow up. But with his drive, it is certainly within reach.

Sonically, the record feels a lot like Atlanta trap.

Myazwe did spend four months interning at a recording studio in Atlanta in the lead up to making

this album, so the connection is clear. The primary producer on the album is Pascal, who began sending beats to Myazwe while he was in Atlanta. Plans changed and Myazwe came home from the ATL early and immediately hit up Pascal. The two knew of each other but had never really met in person.

But when Myazwe came back to Winnipeg, all he wanted to do was record and Pascal had a basement studio. In that collaborative environment came some of the best features on the album. After Myazwe had recorded his verse for “Us” it felt like it needed something else. And since YSN Fab happened to be hanging around the studio, they let him hop on the song.

The spontaneity and energy given by that type of performance gives the tracks produced by Pascal a stronger, more fleshed out quality. The best example for this is the stand out track “Prayers for my Dawgs” again produced

by Pascal. This is the song where Myazwe really goes in. By far the rawest, most real lyrics on the whole project are found on this song. With the

GYM TONIC LIVE SHOW REVIEW LILY O’DONNELL

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right push, one could see this track become big.

Despite having lived in one of hip-hop’s central hubs of Atlanta, and the recent trend of local rappers moving to Toronto, Myazwe is committed to Winnipeg. Not only to living here for the foreseeable future but also by putting exclusively Winnipeg artists on his album Things I Never Said. Every producer and rapper on the record is either living in Winnipeg currently or was born and grew up here.

This commitment to the city that raised him could be the reason why Myazwe is the next big thing to come out of the 204.

On June 13th, sounds of loud, fast paced synth beats accompanied with shouts of other-worldly, apocalyptic lyrics could be heard shaking from the graffitied brick walls of the Handsome Daughter. The stage had been graciously blessed with the synth punk 4-piece band, Gym Tonic.

The group hails from Berlin, however there is a Winnipeg connection. The bassist, Karen and the drummer, Andrea are both from Winnipeg, however they’ve lived in Berlin for over ten years. The band is also signed to Winnipeg based label, Transistor 66. The dance floor was filled with smiling Winnipeggers hopping about to the up-beat, strange, punk sound.

Gym Tonic was doing their first Canadian tour, promoting their newest album that came out in April, Good Job.The album is loud, fast paced and poppy. The lyrics are fun and melodic, sometimes aggressive when shouted in unison, but sometimes the songs are slow but enchanting. The content of the lyrics adds another level of oddity, making the band seem to be from another dimension.They appear to maybe not even be real but instead, a weird ensemble you simply dreamed up after falling asleep to the Twilight Zone. With songs like “Survivor of the Suicide Bridge” and “B12 Injection”, the songs sparkle and sing out very danceable tunes with dark, often Sci-Fi themes.

PHOTO: ALI EL MOUDI

This bizzaro, dream-like aura rings through their album as well as once they hop on stage.

The group was sporting matching metallic grey robot-esque outfits, fit with breast plates and shoulder pads. Karen, the bassist, cited the female robot in the 1920s German movie “Metropolis”, known as “Maschinenmensch”, or “man machine” as the influence behind the costume. This is the third matching costume set the group has tried and truly adds to the unique nature of the band. The band members were smiling the entire show, as the audience helped them out with much of the lyrics.

Karen, the bassist, compared her experience with the Winnipeg music and the Berlin music scene; “In Berlin, there’s so much going on and it’s very international… whereas Winnipeg, everyone’s from Winnipeg.. But that’s great and that’s cool, it makes it very special… Winnipeg is still in my heart, it pulls on my heart strings.”

While Gym Tonic may be a German based synth punk band with a flare for the bizarre, they will always have a strong Winnipeg connection. On that warm night at the Handsome Daughter, a gleam of pride could be found in the eyes of the audience. They saw the creative seeds of Winnipeg spread internationally and come back to party and play for their hometown.

August / September 2019 Stylus Magazine

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Local Spotlight moves from Haywood-Smith that also chronicles the timeline of an artist growing from a bedroom artist into a multi-instrumental songwriter. Daniel Kussy

JAYWOOD Time Time is the long-awaited brainchild of Winnipeg indie-funk sweetheart Jeremy Haywood-Smith under an alias you’ve become more than likely become acquainted with: JayWood.

Touting a girthy 14 tracks and written and recorded over a two year period, Haywood-Smith navigates a series of circumstances while simultaneously subjecting themselves to new musical environments and sounds. The final product is a well curated blend of lo-fi, hip-hop and funk elements that continuously builds in atmosphere and emotion while constantly keeping your foot tapping.

The first section of the record lyrically explores the trials and tribulations of young adulthood and independence.

Sonically, it’s a progression into groovy indie-rock by way of Bloc Party. “Another Life” is a guarded kick in the pants to get your feet moving.

The Middle section of the record transitions into a phenomenally danceable, funkadelic jam. Between tracks “Club 3d X,” “23 tonight” and “Love,” is a consistently fruitful, dance-y jam (save for “Jibber Jabber,” a tongue-in-cheek skit). It’s within this section of the album where the instrumentation gets creatively layered. Beneath the headbopping bass and air-tight percussion are guest vocals, a tasteful brass section, as well as a güiro (see “482 Shoeglazed FM”). For how well danceable this tracks are written, they lyrically share experiences in the nightlife/club seen through a spectator lens worn by someone who continues to question where they fit in that environment.

The album closers, “Mooncats” and “Downtime” bring the energy down in favour of the lo-fi, post-Demarco vibe.

Housepanther vocalist Bailey Woods provides her haunting voice as backing harmonies on both tracks.

Through the vast instrumentation, saturated track list and cheeky humour implemented within the production and through independent skits, Time is a collection of bold artistic

“weird, fat, and loud,” and as Begonia, she screams, ‘Look at me now!” But on most tracks, her invincibility is buoyed by profound vulnerability: “Mirror Talk” is about the day being half-gone and not yet getting out of bed, “a melFor fans of: Bloc Party, Gorillaz, Mac ancholic daydream,” she calls it. On Demarco and Shradio on CKUW 95.9 “Two Beers In,” Begonia is a “ragdoll FM with my insides hanging out,” an apt comparison to the catharsis of using your pain to inspire art.

The title track begins with frantic clapping, and the lyrics take the cue: Begonia rattles through anxiety after anxiety, fear after fear, eventually culminating in a pained scream that acts as a pseudo-chorus we’ve all sung before. This is the power of Begonia: her music feels like something we’ve all been waiting for the chance to say, but couldn’t quite phrase. And though she lists Nina Simone, D’Angelo and BEGONIA Erykah Badu as influences, she never Fear tries to mimic them: Fear is a throwback to something that’s never existThree years ago, Alexa Dirks began ed, but thank god it’s here now. Ben to transform. Dirks—an eminently Waldman talented vocalist equally comfortable singing lullabies, headbangers and neo-soul ballads—had made a name for herself in local circles for her work in ensembles like the Juno-winning Chic Gamine. But at the 2016 Winnipeg Jazzfest, she stepped forward, redubbing herself ‘Begonia’ and signalling the blossom of the most dynamic and intriguing artist the city has seen in years: a glittery, hot-pink supernova who felt like Canadian music’s worstkept secret.

With her long-awaited debut album RAYANNAH Fear out September 13, that secret Nos Repaires will finally come out. Fear is a deeply personal album, at once bursting Rayannah’s newest album Nos Repaires with ruminations on solitude, depres- cannot help but highlight the thriving sion, self-doubt, anxiety, and panic, all Winnipeg francophone music scene. bundled up in that serene feeling that The creation of a smooth and all-concomes with an artist fully embracing suming soundscape flows seamlessly themselves in both the past and the and naturally through aspects of synth present tense. and electronica paired with Rayannah’s Though she’s surrounded by an en- own powerful vocals. viable supporting cast—including The opening track “Ce Matin” begins three-fifths of Royal Canoe and Dirty nearly silent and slowly builds over the Catfish horn work—there’s no doubt course of the song, effectively setting Begonia’s voice is the central character. the stage for the enormous peaks and On opener “The Other Side,” Begonia valleys of sound that characterize the discusses her complicated relationship rest of the album. At the same time, with religion, and it sounds as if it were the final and title track, “Nos Repaires”, recorded in a cathedral, the isolated vo- slowly fades away as the album closes, cal of a gospel choir of one. “I want to perfectly framing the wild changes that cross to the other side,” she chants, and typify the songs in between. Tracks we’d let her take us there. range from over five minutes to as On stage, Begonia dresses exclusively short as forty-five seconds and contain in bright-coloured costumes: it’s how shifts in tempo and style that convey a she feels most powerful, “almost like wonder-filled, wide range of emotion, a superhero version of herself,” she and provide the perfect illustration to says. Growing up, people called her accompany the narrative of the album.

18 Stylus Magazine August / September 2019

Rayannah makes the interesting choice to intersperse her French tracks with a couple tracks entirely in English. English speakers may be excited to see these song titles, but the experience of listening is changed very little by the language of the lyrics. Nos Repaires is decidedly emotive in its varied style, but one of the most amazing things about the album is that, even with the possibility of a language barrier, the story can still be felt. Rayannah’s lyrical prowess transcends typical storytelling and expresses itself in a much more universal language, resulting in a connection and understanding that becomes all-inclusive. Mark Teague Reccomended if you like “What’s up Winnipeg” on CKUW 95.9 FM

SCREAMING AT TRAFFIC I Don’t Like Sports From showing up on Montreal-based Spotify playlist Punkanormal Activity, to selling out shows across Western Canada; Screaming at Traffic is speeding down the #1 HWY of the Canadian punk scene and nothing is going to slow them down. Their album takes you on a roller coaster from major feels on the first track “They Call Me Thrillhouse,” to the uplifting upbeat track “Weekend Cartoons”. The lyrics in these songs are so refreshing and completely relatable for us early millennials and beyond. The album is filled with catchy guitar melodies, aggressive vocals, and lyrics that are genuine and real. They pumped out 11 tunes with producer Jordan Voth, which quickly caught the attention of UK based Little Rocket Records who announced in Aug 2018 that S.A.T was going to be a part of the team.

On my first listen of the album I found myself tapping my foot, rocking my head and really feeling the raw emotion that went into this record. I started to recognize tunes that I’ve never heard before, and I immediately wanted to hear them again. I think it was the song “I Don’t Like Sports” where I physically stopped what I was

doing and started singing along. I was excited by the raw aggression in the vocals but also by the catchy melodies in the choruses. When it came to “Weekend Cartoons” I thought about my childhood and how much I could relate. Maybe it’s because I also don’t really like sports, or maybe because I still watch weekend cartoons, but this album resonated with me. Have a listen, a real listen, and get lost in a punk rock album that’s aggressive, catchy, genuine and fun. Evan Chandler

melodic solos, like the climactic end of “Last Known Sighting.” Upon first listen, the acoustic and electronic wall can seem daunting, but further listens reveal standard verse-chorus song structures with earworms like the refrain of “Vanita’s Waltz.” The standard song structures never feel obvious because of the band’s knack for arrangements that shift rhythms, instrumentation and dynamics from section to section.

The overall concept of the album, described by Fuhr as being “about memory...and different ways in which we can remember the same event, see the same event, distort the same event in our mind and how it can change who we are,” comes across best when the words are clearest; in “Italics,” the line “I can feel a sickness forming” is mirrored in the swelling strings. At times it is difficult to understand the lyrics, which can obscure the thoughtprovoking concept the band is trying to explore. Perhaps this ambiguity is YES WE MYSTIC deliberate, achieving Yes We Mystic’s Ten Seated Figures ethos as “the kind of art that is loud in its motivation and subtle in its truths.”

On Yes We Mystic’s sophomore album Jesse Popeski Ten Seated Figures, Winnipeg quintet (or are there ten of them?) create an Recommended if you like Crystal Palace, album that is broad and epic in sound Sundays from 12:00am – 6:00am and concept.

The band describe their current development as a “sonic landscape...brimming with sounds that are unidentifiable, but still created with the same instruments Yes We Mystic has always used.“ The band achieve this texture by contrasting acoustic and electronic instruments in consistently creative and unexpected ways.

In “Panthalassa,” the jarring electronic buzzes of the verse give way to the warmth of strings in the chorus. The roles are reversed in “Young Evil,” EX ØMERTA where the strings evoke psychological turmoil over a repetitive electronic There is an old saying, you only have backdrop. “Felsenmeer” best exempli- one chance to make a good first imfies the blending of these elements pression, which Ex Ømerta has clearly into a cohesive sound as piano, strings, taken to heart as they crafted their deguitars, drums and electronics interact but release. The self-titled full-length behind singer Adam Fuhr’s emotional record’s arrival on the local scene has vocals. been highly anticipated since the The drums serve a particularly impor- smash single “Sink In” dropped a few tant role in the sound of the album, months back. Not only has Ex Ømerwith the off kilter groove of the open- ta delivered an exceptional record that ing track “Uniform” contributing to the their fanbase will devour, but perhaps disorientation that recurs as a theme in a transcendent one that is equally as the lyrics. Sonically, the drum kit and good as any commercial album reelectronic drum sounds contribute to leased in recent memory. the vastness of the album’s sound, with Upon first listen, the parallel to UK percussion hard panned to one side rockers Royal Blood is unmistakable. of the spectrum or the other to add Both deliver intense, minimalistic rock breadth. n’ roll tunes with dark undertones.

While the instrumentation and ar- But the more I listened to Ex Ømerta, rangements make the music distinct the more I began to appreciate the and unique, one of the attractive as- subtle difference. There is something pects of the music is how it still feels unique and dangerous sounding about like a rock band performing together, this album that pulled me in right with guitar driven songs and distorted, now. This brand of rock music with

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cross-over pop appeal lives and dies by how catchy it is, which this delivers in spades. Each song is infectious and the hooks are designed in a way that had me singing along by the final chorus. It makes great use of the full album design, mixing what could be monster radio singles with edgy compositions that take more chances, but always pay off. The album had already won me over with exceptional tracks like “Blow Up”, “Romantic Horror” and “No Problem”, which seems destined for major FM rock radio station play.

But when I heard the departure song “Wait On”, Ex Ømerta went from being great to phenomenal.

Overall the record is bombastic and fun, cool and sexy. To my ears, listening to these 11 songs are a perfect experience from beginning to end. It strikes all the right notes and checks each box required for a classic album.

Ryan Sorenson WESTMNSTR Clear Line EP Bedroom-rock quartet WESTMNSTR returns with their sophomore EP, Clear Line, and it is chalk-full of the same DIY goodies as 2018’s perfectly titled Date Nite Was Tacos and Wine. Produced once again by local experimental folk-singer Cole Shway, the 5-track record plays like a labour of love by all those involved. The songs are littered with local Winnipeg references as well as I assume biographical moments from the member’s lives. It comes across as deeply personal and I found it incredibly engaging.

The band’s sound draws from a lot of influences. It’s an original mix of indie, folk, rock, and just a hint of punk thrown in for good measure. The songwriting is quite good throughout.

Dreamy guitar melodies combined with passionate vocals and strong hooks makes for a refreshing listening experience. There are some great three-part harmonies from vocalists Ryan Haughey, Myles Erickson and Teagan Wolstencroft. Although they have only been a band for just over a year, they perform with a chemistry that usually takes years to develop.

Overall Clear Line is a great effort from a fledgling band that I would definitely check out. It’s streaming for free on their Bandcamp page right now. Ryan Sorensen Reccomended if you like Gashlycrumb Tinies on CKUW 95.9 FM

gig, from being part of several festivals, to opening for local legend Bif Naked at The Red River Ex, to playing The Forks’ mainstage on Canada Day, to performing at the Blue Bombers Stadium for a CFL half-time event. All eyes are on this band right now as they drop their self-titled EP, which more than lives up to the hype. Amadians EP is a perfect fusion of pop, jazz, soul, rock and funk, and is the best-produced album I’ve heard so far this year.

At the centre of each of the five tracks are monster, melody-heavy vocals from singer Courtney Devon. There is something captivating about the way she sings that channels a feeling of nostalgia, yet that feels remarkably fresh.

It’s bright and poppy, but with some dramatic weight and soul that is far beyond her years. The feel-good vibes of the record often clash with the weighty subject matter of the lyrics, giving the album unexpected depth. The rest of the band is fantastic too, with guitarist James Roth’s effortless guitar work and the ultra groovy rhythm section held down by bassist Ian Powell and drummer Kyle Fox. Each member of the band is ungodly talented and brings something unique to their roles that is miraculously is even more than the sum of their parts.

Full credit also goes to their production team. Matt Schellenberg from Royal Canoe is credited with pre-production assistance and Evan St. Cyr was the engineer on this project. It cannot be understated what a fantastic job they did brining this project to life. With so many intricacies in the sound it would be easy for the songs to get muddled or pieces left behind, but everything fits together like a 3D puzzle.

Overall this record is worthy of all the attention and praise of these rising stars in the province. It’s the perfect soundtrack to the rest of your summer! Ryan Sorenson

HOLY VOID NAUGHT

Holy Void’s first full length record titled Naught plucks you out of wherever you are and places you into the band’s own hypnotizing dimension. Vocals Amadians are having a moment right dressed in darkness caress the clean, now. Every week this summer it seems rumbling bass tones as ghostly guitar they are performing at some massive melodies levitate over each track.

AMADIANS Amadians EP

August / September 2019 Stylus Magazine

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The record starts off with long, rising feedback like a rollercoaster about to take off down a slope. The first tune is a ride flying off the tracks through slamming blocks of guitar tone, taking its passengers smashing through each wall of sound until coiling back up, ready for the next go-around.

“Covered in Blood” spreads shadowy vibrations with unnerving lead melodies drenched in reverb and lyrics that send shivers down your spine. “Oh my son, you’re covered in blood” repeats spookily until the vocalist is screaming them.

Long drawn out vocals on “Down” open the fiery pits of hell and thorny synthesizer tones drag you in.

The title track “Naught” slowly eases listeners into its embrace with a rolling guitar pattern and then pops off with a clear, driving drumbeat. Organ like synths build harmonic unease by slowly rising and falling with the pulse of the song.

Over the final four minutes of the record, “Wretched Child” confirms the album as a psychedelic nightmare truly reminiscent of the band’s designation, Holy Void. Naught surrounds its listeners like a dark aura similar to the cold blackness of a wintery night’s sky. Ryan Haughey

real deal.

Upon receiving the album, I laid down, put on headphones, added a dash of the devil’s lettuce to the recipe mentioned on their Facebook page and let myself get lost in the psychedelic madness that is Dizzy Mystics. Listening to a few more songs I thought I had these guys figured out. Then I came across “Diamond Duller” and I realized why I was so interested by them in the first place. Tool… I’ve always been a huge fan of Tool, but I’m not a fan of comparing artists to other artists. In this case it was the first thing that popped into my head from the opening line of “Diamond Duller”.

This song is huge, coming in with gritty hard rock vocals and switching back and forth with their psychedelic selves. If you are looking for something outside of the norm, something funky, jazzy, interesting, addicting and a little weird. Check out Wanderlost by Dizzy Mystics and get lost in this progressive rock masterpiece. Evan Chandler

Reccomended if you like “Winnipeg Arena Is On Fire” on CKUW 95.9 FM

A TOPIARY Live: In the Valley of Death

about past love as the song crescendos towards the end.

Another heavy-hitter is “Who Loves the Sun”, in which the vocalist speaks of themselves as being the elements at different times in life. While at times referring to people as “the sun” sounds vaguely like a Shakespearean rip-off, it doesn’t feel that way at all in this song; the heartfelt manner in which it’s sung makes the metaphor feel as fresh and substantial as it was back in 1597.

While the members and history of A Topiary remain a mystery, Live: In the Valley of Death has the ability to captivate a listener completely, and I am no exception. Zoë LeBrun

There’s something about a band that chooses to keep its members’ identities anonymous that will be forever intriguing. After all, who doesn’t love good music, mystery, and the fantastic costumes that come with the territory?

With their otherworldly stage attire and cascading “experimental love-pop” (self-described on Bandcamp), A Topiary has been on my mind since seeing them perform a while ago, and I recently had the good fortune to come across an album of theirs entitled Live: In the Valley of Death.

Opening with “I Still Love You, Ben”, The song tells the story of someone Recommended if you like Shradio, Dept. who has realized too late that they 13, or Morning Breath didn’t put enough of themselves into a love that was actually worth it. Filled with nostalgic detail, this song feels like it belongs in a dramatic movie moment, and the track puts one into a state of self-reflection as you join the vocalist on their journey, reminiscing

95.9 FM CKUW CAMPUS/COMMUNITY RADIO TOP 30 ALBUMS ( May 29 - August 6, 2019) !=LOCAL CONTENT * =CANADIAN CONTENT re=RE-ENTRY TO CHART

DIZZY MYSTICS Wanderlost The first track I heard from Dizzy Mystics was “Letter” which I instantly fell in love with. It was so complex with great vocals, great music and just a lot going on. I found myself days later trying to sing along but was seemingly having trouble finding a melody to latch on to. I’m used to a catchy chorus forcing its way on to my brain and not letting go. Regardless of what made this song good I knew I wanted to hear more from these technical geniuses. I went out and saw them live at the Windsor and was blown away by the amount of talent on that stage. I don’t want to say it was a surprise, but a relief that the song “Letter” wasn’t an over-produced track with ridiculous amounts of studio layers. Every member in the band was invested and flawless with every note, and I knew these guys were the

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