www.ckuw.ca/stylus
October / November 2019 Stylus Magazine
1
2 Stylus Magazine October / November 2019
OCT/NOV 30 NO. 5 2019VOL
Production Team
On the Cover
Art Director . . . . . . . . . . . . . . Kelly Campbell design@stylusmagazine.ca
KRISTIANE CHURCH is a photo and video-based artist, thematically exploring female representation, and performances arising out of anxiety and obsession. She received her BFA Honours from the University of Manitoba in 2015. Kristiane has exhibited in artist-run centres throughout the city of Winnipeg, also exhibiting nationally, most notably at the Art Gallery of Ontario (Toronto) as a recipient of the AIMIA AGO Photography Scholarship in 2014. She has participated in residencies at Plug In ICA and the Banff Centre, and collaborated on her first performance at Blinkers in 2018. Currently, she is working on short films and running a gallery out of her apartment.
Cover Art . . . . . . . . . . . . . . . Kristiane Church
Cover image: 2019, B&W PRINT
Editor . . . . . . . . . . . . . . . . . . . . . . . . Gil Carroll editor@stylusmagazine.ca Assistant Editor . . . . . . . . . . . . Jen Doerksen assistanteditor@stylusmagazine.ca
Advertising Contact . . . . . . . . . Rob Schmidt manager@ckuw.ca Print by JRS Print Services . . . 204-232-3558
Contributors Ryan Haughey Olivia Michalczuk Nigel Webber Mary Vallarta Ben Waldman Ally Gonzalo Mark Teague Noelle Sagher BNB Studios Zanna Joyce John Iverson Beto Barkmo Robyn Adams Kaelen Bell Isabella Soares Keeley Braunstein-Black
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.
www.ckuw.ca/stylus
Table of Contents Blah, Blah, Blah Events Around Town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03 Space Jam: Rayannah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .04 CKUW Program Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 CKUWho: Red Box Radio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Winnipeg State of Mind: Anthony OKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Album Reviews: Animal Teeth, Dead Soft, Secret Garden, and more . . . . 14 CKUW Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Features Chastity Belt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . We Will Rock You Musical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Photo Feature: Zaki Ibrahim talk and performance . . . . . . . . . . . . . . . . . . . . . Photo Feature: Filipinx Night - Cell7 and Kimmortal . . . . . . . . . . . . . . . . . . . . . . . . Photo Feature: Harvest Moon 2019 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
06 07 08 09 10
October / November 2019 Stylus Magazine
01
PHOTOS BY ROBYN ADAMS FROM FIELD TRIP AT NUIT NORTH, SEPT 28
SHANLEY SPENCE WITH DRUMMER DARRYL BUCK
JORDAN STRANGER AKA TOTEM DOOTEM PAINTING A LIVE MURAL IN THE FIELD TRIP SESSIONS BUS
SHANLEY SPENCE
02 Stylus Magazine October / November 2019
SETH HEINRICHS FROM HEINRICHS MANEUVER SINGING
BLAHBLAHBLAH Hope everyone is having a great start to their school year! Let’s go out and enjoy some amazing live music in our city and make some new friends ***Polaris Prize winner Jeremy Dutcher is at the Burton Cummings on October 9***Go out and raise money for a great cause on October 10 at the West End Cultural Centre with the Artbeat Studio Benefit Concert featuring Doc Walker, Nation of Two, and Bart House Band or catch Real Love Thursday at the Good Will
with Brent Penny, Urban Vacation, and pout***Canadian favs Said The Whale are at the Garrick on October 11***October 12 at the Burton Cummings has some heavy hitters with Descendents, Joyce Manor, and Night Birds also Tegan and Sara are at the Garrick as well as Boniface at the Park Theatre***PUP and Charly Bliss play the Garrick on October 14 or over at the Park Theatre get heavy with Black Tongue, VCTMS, The Machinist, and 156
www.ckuw.ca/stylus
Silence***If it feels good do it with Sloan at the Garrick on October 18 or at the Handsome Daughter a nice show with Selci, Veneer, LOA, and ygretz (Regina)***October 19 at the Millenium Library go see Sophie Stevens, Erika Fowler, and Scott Richards***Real Love Thursday at the Good Will on October 24 has an awesome bill with Lev Snowe, JayWood, and Convenience***Roman Clarke’s album release is happening on October 25 at the West End Cultural
Centre***Relive your childhood fun times with The Offspring and Sum 41 on November 21 at the Bell MTS Centre***The Good Will Social Club celebrates thier 5 Year Anniversary on November 24 with Chastity Belt and Living Hour***November 28 at the Good Will is Rich Aucoin***
October / November 2019 Stylus Magazine
03
Space Jam:
R aya n n a h
WORDS & PHOTOS: KEELEY BRAUNSTEIN-BLACK Located at 333 Garry street, Rayannah’s studio is tucked away in this building that appears small on the outside yet is deceivingly large inside. This building houses an eclectic array of artists; from visual artists to writers to vintage clothing vendors and curators; “so many different types of people that I haven’t met or don’t know about, because the building is bigger than you would expect. There are people hidden all over, working, and it is cool to be in that space” says Rayannah. We walk up a single flight of stairs to her studio. She adds, “For me it’s good, it’s a small size. I do most of my work in the city alone, because most of the people I hire generally live in different places around the world. This is my cocoon, that when
04 Stylus Magazine October / November 2019
I come home and need to work some stuff out on my own.” The room is dimly lit, using white string lights, an interesting lamp on a shelf that casts an orange glow, and some funky incandescent bulbs. According to Rayannah lighting is extremely important to her creative process, “I guess what I learned from this space is that light is really important, because when I first walked in, it’s got fluorescent lighting, and it’s just not the vibe to be making music in. At least not for me. So then I just had to make it as cozy as I could. It has these little interesting redeeming factors about it; it’s got this old wallpaper that is kinda beveled, and this stained glass
window that leads to nowhere. It’s just kinda these funny features of these old buildings in the exchange that you wonder what was here before and it’s fun to think about that stuff. I really learned that you can make a space change based on what you do with light. Get some cute little lights going on in here, so that I feel inspired to make some music”. Rayannah and I talk about her equipment and music pedals, “I don’t know how many pedals I own. I think that like many musicians, you don’t know how it happens but suddenly you have all this gear. This space has a mix of things I use fairly regularly, things that are a part of my daily life as a musician,
a few pieces that are super integral to my work and then it kinda has other stuff that are relics like these percussion instruments that are hidden away and cables that need to be tested or mended. It’s this fun mix of functional and dysfunctional. Also a room that is full of projects, which is what I guess is the whole idea of a studio. It feels as if there is always a bunch of unfinished things that are waiting for me in this room when I come back from being on tour”. As we talk about pedals some more, I mention that I just purchased my first pedal for a ukulele. Rayannah responds, “That’s the whole idea, you don’t want to approach instruments or music in the way that it is supposed to be. You’re here to do things differently or try pushing an instrument in that different direction push that sound in a different direction. I think that is where it can get most interesting if you are taking something that typically belongs in a certain realm and are pulling it into a darker space or something like that. That’s where you can really get some interesting tension and paradox”. While the size of the room is rather small, it does have a pile of merch, little kitchenette, little desk with a laptop, a shelf, alongside the pedals, mic, and
keyboards, and on occasion four other people; “You can actually fit a few people in here at a time. Four is what we’ve done. I think we can definitely get some more people in here. But generally, I kinda mentioned this is the space where I develop things at first and then, once it’s time to bring it to the wider band or take it to a bigger stage. Say I am working on a song or a show then I will go out of this space and into a bigger rehearsal space or something like that. But it is nice to have a home base, that you can leave things, you can leave stuff set up. It helps me feel settled because I am moving so much all
www.ckuw.ca/stylus
the time that having a spot is really handy when I come home”. Out of curiosity I ask her how she got started, “My solo project that is amazing that I do now started about 5 years ago. I was traveling on my own in Europe and I had brought my loop pedals. Which was ridiculous because it was super super heavy to travel with. I had one of those hiking backpacks, and I had very few clothes in it most of it was my pedals. And I had friend up there that booked some shows for me, in France. Those were actually my first shows. I landed at the Paris airport and he picked me up and he was like ‘I booked you some shows’ and I was like ‘I don’t know any songs ya know, I am not really ready for this,’ and he was like ‘well figure it out’ I don’t know nothing like a little
fire under your ass to make stuff happen sometimes.’ Lets just say they weren’t my best shows of all time, but they were a start. By the time I came home from that trip, I had bought my website, set up Facebook page and all this stuff. I had sort of made the decision: I am going to start something. That feels like forever ago now”. “Starting a music project is like going out on a limb, sometimes it takes these weird circumstances or you kinda have these bursts of ‘I don’t care. I am going to do this’, that kind of of energy you need to get over that first barrier of putting yourself out there. It’s kind of nice not to have a choice. It’s kind of nice to just to have someone throw you in the pool,” says Rayannah.
October / November 2019 Stylus Magazine
05
KAELEN BELL Chastity Belt are beginning to settle - into their sound, into themselves, into each other. The four piece have been making music together for nearly 10 years, filtering both the ridiculous and solemn through their particular brand of scuzzy, playful punk-rock. Their latest release, however, feels like something new. It’s the work of a band who’ve grown up alongside one another, the sound of four people locked gently in sync. “We’ve been through a lot together, we’re like a family,” says lead vocalist and guitar-player Julia Shapiro. “And it’s hard work. it’s like a four-way marriage without the sex. Or maybe the music is the sex.”
Chastity Belt
PHOTO: BETO BARKMO
just having fun,” she says. The band’s previous albums, 2013’s No Regerts, 2015’s Time to Go Home and 2017’s I Used to Spend So Much Time Alone, though beloved by critics and fans, don’t always represent the band at their best and most intentional, says Shapiro. “We haven’t necessarily been 100% happy with how [our previous records] have turned out. We felt a little bit stressed while recording everything before [Chastity Belt],” She says. “So with this one we made sure to give ourselves ample time.”
Shapiro says the choice to call their new record Chastity Belt reflects the group’s newfound confidence and belief in their sound – a declaration of intent.
The newly relaxed recording strategy birthed an album that moves patiently. Chastity Belt is a dreamy set of songs that luxuriates in long, loping melodies, shimmering guitar and rich touches of embellishment. Horns, synths, and strings glide within the arrangements, slipping between the familiar tapestry of guitar, drums and bass.
“I feel like this is the record that we’re most proud of, and we put the most effort into. It felt like the right thing to call it…and we also just couldn’t think of another name,” She says over the phone, laughing.
Shapiro credits this evolution in sound to a newfound openness among the band and the comforting influence of co-producer Melina Duterte, otherwise known as Jay Som.
Shapiro describes the new record as more nuanced, the sound of a band whose ethos has evolved from mischievous and scrappy into something resembling maturity, a step into deeper waters.
“It was easy to communicate with her. She was there the whole time, just listening and making sure it sounded good and answering our questions,” she says of Duterte. “She kind of had a bigger vision of what was going on... It was nice to have a fifth member there to bounce ideas off of.”
“When we started out we had no idea what we were doing. We didn’t think it would get this far. We were
06 Stylus Magazine October / November 2019
Shapiro says her debut solo record, Perfect Version, which was written and recorded during the band’s brief 2018 hiatus, also helped her see the music differently. “I think it made me think more about mixing and helped me listen a little more thoroughly,” she says. Chastity Belt’s short break from one another following the release of I Used to Spend So Much Time Alone was a chance to regroup and, as Shapiro put it, become present again. She credits the time away with reminding the band why it is they do what they do, and giving them the emotional tools to do it right. “We can disagree on things during the recording process, but it’s not really a stressful thing now, it’s just about conversations,” she says. “When you’re doing something creative, there’s a lot of sensitive conversations that need to be had. We’re all pretty sensitive to each other’s feelings.” You can hear all of this – the conversations, the time away, the sensation of standing on new ground – In the quietly stirring arrangements of Chastity Belt. It sounds like evolution, a different kind of animal. Ease rarely comes easily. But by putting in the work and pushing through the strife, Chastity Belt has found a sense of relative calm – a sense of place. As they sing on new track ‘Effort’ – “It’s effortless, effortless/effort, it’s effort.”
We Will Rock You Musical ANNERIN THEATRICALS:
ZANNA JOYCE
PHOTOS PROVIDED BY ANNERIN THEATRICALS
On Wednesday September 3, Winnipeg Centennial Concert Hall was the site of the North American premiere of We Will Rock You, a musical based on the music of Queen by Calgary’s Annerin Theatricals. It was pretty full, of what I could see. In looking at available tickets on the website it appeared to be nearly sold out. The crowd was really mixed, though mostly middleaged to older. Settled into their seats, they seemed ready to be entertained. The show began with a 50 year overview of technology, starting back in the late 60s and zooming right through to 2043, when the earth was now world and the only remaining organizational structure being GlobalSoft, a massive corporation with nefarious intentions. Replete with pop-culture references, the audience twittered in appreciation. Pun intended. From the first notes of the full chorus of Radio Ga
www.ckuw.ca/stylus
Ga the audience was enthralled. The show is a blend of known and lesser-known material but an audible smile met the beginning of nearly every song.
as walls. There was a little trouble with a couple of microphones in the first act, but all of these were resolved by the second.
Enter the hero,Galileo (Trevor Coll), and later the heroine Scaramouche (Keri Kelly) with their big, big, voices and engaging stage demeanour. They eventually meet up with some kindred spirits in the person of Buddy (Kevin Doe), Oz (Allysse Ernewein) and an ensemble of talented actor-singers.
The show ended with a resounding version of Bohemian Rhapsody, and the ensemble seemed genuinely pleased and surprised to receive one of Winnipeg’s easily offered standing ovations.
There were some really strong performances. The duet between Khashoggi (Kyle Gruninger) and Killer Queen (Krystle Chance) on A Kind of Magic was notably excellent, with two powerful voices fully extended. Running through the favourites, the revue combined a fanciful storyline with a simple yet effective set to create four different scenes. Moveable panels acted as screens for the lighting display, as cells, and
Overall, a very enjoyable performance, if you feel like light and airy. There was a low point in the first two songs of the second act, though, with intimate partner violence presented as a normal result of a pretty inane argument about the hero suggesting he was better suited to go off investigating on his own. It would be interesting to see if this was in the original text or it was added in for effect. As we internalize “#metoo” we may find that these scenes are sickening more than funny.
October / November 2019 Stylus Magazine
07
ZAKI IBRAHIM AND BAND PERFORMING PHOTO: NOELLE SAGHER
PHOTO FEATURE:
Zaki Ibrahim talk and performance Presented Sept 12 at the Forks by the Uniter Speaker Series and Wall to Wall Mural and Culture Festival
GLOWING ATTENDEE PHOTO: NOELLE SAGHER
08 Stylus Magazine October / November 2019
EVENT PRODUCTION TEAM PHOTO: BNB STUDIOS
ZAKI IBRAHIM TALK PHOTO: NOELLE SAGHER
CELL7 (ICELAND) PHOTO: ALLY GONZALO
KIMMORTAL (VANCOUVER) PHOTO: ALLY GONZALO
PHOTO FEATURE: Filipinx Night
Presented Sept 21 at The Good Will by Wall to Wall Mural and Culture Festival
FASHION FORWARD ATTENDEE PHOTO: MARY VALLARTA www.ckuw.ca/stylus
KHAO’S FILIPINX MENU PHOTO: MARY VALLARTA
October / November 2019 Stylus Magazine
09
Harvest Moon 2019
PHOTOGRAPHER: OLIVIA MICHALCZUK
FU FU CHI CHI CHOIR
ROMAN CLARKE SILENCE KIT
10 Stylus Magazine October / November 2019
SLOW SPIRIT
AMI CHEON
7AM
6AM
8PM
7PM
6PM
5PM
4PM
3PM
2PM
1PM
NOON
11AM
10AM
9AM
8AM
www.ckuw.ca/stylus
THE GREEN BLUES SHOW
6AM
5AM
4AM
3AM
2AM
1AM
AMPLIFIED RADIO
MODERN JAZZ TODAY
METAL MONDAY
Hip Hop + Electronic
k-blc radio
11PM
Sock-Hop-A-Go-Go
Garage, Punk, Surf,and R&R
THE TONIC
THE World WORLD
INNER CITY VOICES
PSYCLE RADI0
New Classical
GROUNDSWELL
Truth Before Reconciliation
Movers and Makers
T�e S�a� S�o�
POP/ROCK
THIS WAY OUT
DEPARTMENT 13
Old Parlour Radio
SYNDICATED - WORLD MUSIC
GLOBAL-A-GO-GO
NIGHT DANGER RADIO
LISTENING PLEASURES
MONKEY SPARROW
Your Show Here
PLAYING THE BLUES
BLUESDAY
Lost Chunes
Home and No Home
SYSTEM KIDZ
Winnipeg Arena is on Fire
Your Show Here
THE GREEN MAJORITY
COUNTRY
BOOTS & SADDLE
Jazz
YOUR SHOW HERE
Hurlements sur la prairie
Two Princes
BEHIND THE CURTAIN
EMMA'S ECHO CHAMBER
Local Experimental Music
S.A.N.E. * RADIO
Country/ Roots/ Big, Dumb Rock ‘n’ Roll
TWANG TRUST
So Bad, It’s Good
AMATEUR HOUR
SPACE CADET
MUSIC, OUT OF THIS WORLD
Classical Kaleidoscope
ALTERNATIVE RADIO
Cheeze Pleeze
WINGS
WOODEN SPOONS
World - Island music
FANTASTIC FRIDAY
THE WONDERFUL & FRIGHTENING WORLD OF PATRICK MICHALISHYN
Electronic
PHASE ONE
Dub City Steppers
Adult Kindergarten
Pop/Rock
TAWNY, THE BRAVE
EAT YOUR ARTS & VEGETABLES
PAGES
WHAT ON EARTH IS GOING ON?
Past 'n Present Folk 'n Roots
B�R�I�G D�G
MANITOBA MOON
Brain Drainer Radio
Electric Dance Party
QUADRAFUNK
Funky
CHECK CA
Latin Urban
MAS FLOW
CKUW's Top 30
Chart Noises
YOUR SHOW HERE
What's Up Winnipeg?
GLOBAL RESEARCH NEWS HOUR
HOW TO SURVIVE A TORNADO
Shradio RADIO ECOSHOCK
LIVED EXPERIENCES OF HOMELESSNESS
NO FIXED ADDRESS
SUNNY ROAD Roots Music
SPORTS TALK
ACCESSIBILITY MATTERS
PLANETARY RADIO
This Way Out
VOYAGE
FEMISPHERE
YOUR SHOW HERE
DEMOCRACY NOW!
Cafecito Latinoamericano Morning News Magazine
DEMOCRACY NOW!
10PM
MIDNIGHT
YOUR SHOW HERE
PEOPLE OF INTEREST
MORNING BREATH
CRYSTAL PALACE
Dancehall and Reggae
DANCE HALL FEVER
Hip-Hop
RED BOX
Hip-Hop
WE BUILD HITS
PSYCHADELIC ROCK
THE TRIP
Where Angels Fear to Tread
Eclectic Mix
TEMPLE OF JAZZ
THE IVORY TOWER
THE ELECTRIC CHAIR
For Kids (Adults too)
MUD PUDDLE RADIO
HUMAN RIGHTS RADIO
THE SATURDAY MORNING SHOW
Your Show Here
Caribbean
ISLAND VIBES
THE GASHLYCRUMB TINIES
Rank and File Radio: Prairie Edition
THE C.A.R.P.
The Completely Asinine Radio Program
Local Comedy
Jokes On You
Bikini Drive-In
THE SHORTWAVE REPORT
CACOPHONE
Gospel
YOU CAN'T HIDE FROM GOD
NEON BEIGE SOUND EXCHANGE
Growing Up Ethnic
Indigenous Artists
THE MEDICINE WHEEL OF MUSIC
Classical and New Age
SHADES OF CLASSICS
CKU-Speaks
MONDAY TUESDAY WEDNESDAY THURSDAY F R I D A Y SATURDAY S U N DAY
DESTINATION MOON
9PM
October / November 2019 Stylus Magazine
11
LOCAL SPOKEN WORD
MUSIC
EMAIL:
CKUW@UWINNIPEG.CA
FAX: 204-783-7080
ON AIR: 204-774-6877
NEWS DESK : 204-786-9998
OFFICE: 204-786-9782
Check out new shows, marked 12 with a star!
9
6
WEEK
WWW.CKUW.CA
ALTERNATING
12 SPOKEN WORD
8
ckuwho? Listen to: Red Box Radio
ISABELLA SOARES Saturday nights at CKUW are the perfect moment to relax, rewind and remember hip-hop at its most vibrant and golden age. Red Box Radio brings back nostalgic hits from the 80s and 90s, with bits and twists to help end your day in an upbeat note. Stylus had the chance to sit down with host DJ Platform (a.k.a Dennis) to chat about the show’s background, curiosities, and so much more! Stylus: What are three words that define your program? Red Box Radio: Educational, informative, and keeping up to date with the current scene of underground hip-hop. S: When and why did you decide to do your program at CKUW? RBR: It was essentially just dropped in my lap, because the person who did the show before me got a job in Toronto. I was a good friend of hers, so she just pushed it to me and asked if I would like to do the show, and if I was interested in radio. I said, “Sure”, because she knows I am very passionate about hip-hop and stuff that is in the old school element of hip-hop. I decided to carry on the torch, since her show was a throwback show as well, but I put my own twist into it. S: What is the story behind the name DJ Platform? RBR: In 2000, there was a group named the Dilated Peoples. I am a big fan of their singles leading up to their debut album called “The Platform”. It came out in 2000, which was the same year I started to DJ, so I named myself DJ Platform because I used pump that album all the time. S: What artists have you discovered recently and added to your show’s playlist? RBR: A lot of the artists come from the original form of hip-hop, so most of them are underground, not mainstream. They are anywhere between Quasimoto and Peanut Butter Wolf. I try to represent the underground scene more than the mainstream that is played on the radio most of the time. S: What artists do you personally love to listen to and share with listeners at Red Box Radio? RBR: I am a great KRS-One fan, Public Enemy, and most of the guys from the 80s and 90s. They are my favorites to follow even to this day, because some of them still release new music. S: Why are Saturday nights the best time to host? RBR: It’s kind of in the prime time when people are
12 Stylus Magazine October / November 2019
Saturday nights 8-10pm PHOTO PROVIDED BY DJ PLATFORM
going to a club or maybe to a friend’s house. They are on the road or at home just relaxing after a long week. My time slot is from 8-10 p.m., so more people would tune in at this time and day other than throughout the week. S: How do you expect your listeners to feel like when they tune in to hear your program? RBR: I want them to feel like the good stuff is being filtered, because there is a lot of slack stuff out. I want to save them from leg work trying to find the good content from back in the day, since I am exposing them to the best of the best.
add extra segments to the show that I haven’t done before, but you can only know if you tune in. Turn on Red Box Radio to hear the best of the old school and underground hip-hop tracks on Saturday nights from 8:00-10:00 p.m.
S: If you could call any guest to come on your show, who would it be? RBR: I’d probably say DJ Premiere is my favorite DJ/producer of all time, or maybe Swann who is my favorite rapper of all time. I am really into turning tables and scratching to reach others, so I would also say DJ Praise, who turns tables and singing. I do feature some scratching a beat on the show too. I play some clips and juggle them myself. S: What is it about old school tracks that attracts your attention? RBR: It is kind of what I grew up on, and I feel like it is more intellectual and it speaks about relevant stuff that regular people can relate to. They don’t talk a lot about superficial things, but they talk more about what is going on in the streets, inside the community, the neighborhood or pop culture. They also incorporate the original elements like turntable scratching, with break-dancers in their videos and shows. We can’t focus on evolution if it strays too much from what hip-hop was originally. S: Is there anything you would like to add about your show? RBR: As time goes on (I am already ten years in), I always try to
DJ PLATFORM
Winnipeg State of Mind NIGEL WEBBER “Sacrificed, hustled, paid the price / Want a slice, got to roll the dice” - Nipsey Hussle 2019 is the year that Anthony OKS fully launched his solo project. But don’t get it twisted, he’s a veteran rapper. Twelve years as a member of Winnipeg’s most all-time notable rap groups will do that for you. But even before the formation of the Lytics, Anthony OKS was surrounding himself with music. An education in the world of hip-hop started early with the help of two older brothers. Oldest brother Alex would be in the basement, tinkering with music production, chopping up his own beats right in front of young Anthony’s eyes. Combined with brother Andrew’s collection of skateboarding vidANTHONY OKS
PHOTO SOURCE: MANITOBA MUSIC
www.ckuw.ca/stylus
eos and ’90s boom-bap rap tapes, Anthony began to seed a life of hip-hop. Originally starting as just a duo of Andrew and cousin Mungala Londe, Anthony and eventually Alex would join the group that would become the Lytics. Anthony OKS looks back on those earliest days of the group with fondness, simpler times playing around with your bros in the parents basement. From their very first show at the Pyramid to twelve years later having toured all across North America, Europe and Japan and even having their music featured in an Apple commercial, Anthony OKS says he could never have predicted the world of success the Lytics have had. But there was something left to be desired. Since 2016, Anthony OKS has been writing songs that didn’t fit in the positive vibe, party rocking mentality that has always defined the Lytics. The result is his debut EP Take Time. The process of over three years of writing, Take Time finds Anthony OKS in a more contemplative mood. The deeply personal writing on songs like “My Life” show a level of growth and maturity not found enough in the world of hip-hop. The result is a slower, less headnodworthy project. This is exactly what Anthony OKS is going for. By not giving “My Life” a heavy drum beat or bass line, Anthony OKS allows his voice and lyrics
to surge to the forefront of his music. In a shifting climate of hip-hop, decisions like this are among the gutsiest that can be made by an artist. By playing against the expectation of the Lytics discography, Anthony OKS is able to deliver a more powerful and honest project. The fact that the only vocal feature on the whole project is jazz singer Joanna Majoko singing the hook on “Let It Fall” is evidence that Anthony OKS wants his voice to be able to stand alone. Take Time isn’t all headphone thinking tracks. The closing song “You Are My Star” is an uplifting anthem that will have your hands swaying side to side at the next live show. Combined with a few non-EP singles that have been popping up in the last year, including tracks featuring Cadence Weapon, Andrew O and Tommy Illfiger, Anthony OKS’ live show is guaranteed to get you moving. Honed over a dozen years rocking the mic on stage, Anthony brings it every single performance. Most importantly, he’s enjoying himself while he’s doing it. Anthony has vivid memories of playing a solo set at a packed show in Japan. Despite a language barrier, he felt like he was able to connect with the fans on a more emotional level, letting the music take over. A show for the ages, to exist now only in memories and the ever-present hope that the next one will match it. Fans of hardcore hip-hop, surely you’ve stopped reading by now. But hardcore fans of hiphop, those who are patient, those who “take time,” you’ll get Anthony OKS’ debut EP. Even without knowing the history you just read, if you truly listen to Take Time you’ll hear deep personal growth, as a person and as an artist, and all the struggles and fears that go along with that.
October / November 2019 Stylus Magazine
13
Local Spotlight When I turned 18 in 2013, as a latecomer to the city’s music scene, Animal Teeth—now featuring Stefan Hodges on guitar and vocals, Ian Ellis on drums, and Adam Nikkel on bass— was one of the first Winnipeg bands I saw and heard, and one of the first that made me never want to miss a show. I don’t know them personally, but I feel like I do, and that’s exactly what any band should hope for. ANIMAL TEETH Nice Cave To survive as a band for seven years is one thing, but to leave listeners wanting more is another. Animal Teeth, which in August released its (likely) final album Nice Cave (Disintegration Records), managed to do both.
about the city’s first warm days after a bitter winter, Hodges croons, “Everyone looks so dumb smiling, as though they hadn’t thought of doing it before,” which is how I felt while listening to him sing it.
(TV Blues), with lyrics—”Mostly I’m just missing things that I lack”—reminiscent of the dearly departed David Berman, a double Drag City comparison, I know. Album closer “Cave” pulls the ribbon tight around the band’s seven-year run, with Hodges plainOn “Dredgeman,” the band lets loose, tively wondering what’s coming next. the only track with instruments too “It always hurts me not to know where loud to hear the lyrics. At 2:36, it’s I’m supposed to be,” he laments. lean, with a bigger emphasis on twang, but Animal Teeth’s greatest strength Regardless of what comes next for Anremains in lettings its lyrics float above imal Teeth’s members, the band has left and between the bursts of sound. That a sizeable bite-mark on Winnipeg mumagic happens on ‘Like a Saint,” which sic, and has been right where it should features stand-out alto-sax from Kath- have been. I wish them well in retireryn Kerr and witty, self-deprecating ment, and have my fingers crossed for a poetry circling around it. reunion. Ben Waldman
But Nice Cave is far from a mailed-in finale or a rehash of well-trod territory, and it shows off Teeth’s considerable range as an ensemble. It’s as sharp and soft as anything the band has released, with lyrics that punch you in the gut and place a pillow under your head before you crash to the ground. On At times, Hodges leans into converopening track “Dada (Springtime),” sational talk-singing a la Bill Callahan
Ulteriors glib references to the woes of modernity and dwelling in sarcastic self-deprecation. This lyrical theme is expanded upon throughout the album but serves to highlight a rare self-awareness without degrading into a defeatist tirade. Musically, the album makes use of the jam guitar that has become a popular favorite among various west coast indie bands like Skeggs and Fidlar.
self-titled debut album. Their second full-length LP is full of grit and force, with shades of delicate beauty. Big Blue is a fresh take on the alternative-punk trend in today’s rock music. Thoughtful melodies are accent to crunching guitar tones that blast through simplistic, raw chord progressions to create memorable moments throughout the album. Boxy bass tones barrel along with the clear, consistent Dumb has gained a reputation for vocal melodies and tasteful harmonies. DUMB spending an unreasonable amount of Club Nights time on the road and, although they The opening track “I Believe You” are currently on an extensive tour of builds a ladder of subtle guitar parts Club Nights, the newest release by Europe, this is good news for Win- that stretch over the distorted groundVancouver indie-punk-quartet Dumb, nipeg. Club Nights begs to be heard work laid out by the rest of the intreads an increasingly fine line between live; and with tour dates resuming in strumentation, climbing with the nostalgia and progression. The album Canada as of early December, we can rhythms and counter-rhythms toward brings back memories of Nomeansno excitedly wait for the announcement of a screeching, feedbacky drop-off. The and The Dead Milkmen while capital- a Winnipeg show. Mark Teague chorus on “Tulips” is made majestic izing on the band’s own witty, hardby the soft harmonies, while dreamily hitting lyrics and contemporary style. delivered lyrics paint a sad but realistic vision of luck and death. Club Nights wastes no time. It comes The second half of the record is full out of the gates with an attentionof quiet cadence, making way for grabbing guitar riff and does not let pretty vocal performances. “Whatever up until the album is over. All of these I Want” features some cleaner guitar qualities become indispensable when lines, but when the crunch punches creating an album that blows through back in, it hits harder than ever. fourteen songs in less than half an hour. While most of the tracks clock Big Blue tells several stories both in at under two minutes, Dumb still through clear lyrics and vivid melodies. manages to create a narrative that is Sometimes, at the end of a phrase, the as intriguing as its musical accompaniDEAD SOFT final chord in the progression is held ment is catchy. Big Blue for dramatic sustain – which is where Dead Soft shines: building subdued The eponymous opening track sets the Vancouver’s Dead Soft have released tension and breaking it down with tone for the rest of the album, making several EPs and singles since their graceful resolve. Ryan Haughey
14 Stylus Magazine October / November 2019
CHASTITY Home Made Satan A thin layer of darkness encompasses the shining crystal ball that is Chastity’s sophomore album, Home Made Satan. The visions the crystal ball bestows on listeners are those of flickering strobe lights, dirty mirrors, shadow puppets, and people in masks – all of which piece together the music video for “Sun Poisoning,” one of the lead singles on the record. Home Made Satan is the second album in a trilogy that was started off spectacularly with Chastity’s debut album Death Lust. “The character in Death Lust gets out alive. Home Made Satan is about continuing to fight for your life, and defending other vulnerable lives,” says Brandon Williams, the mastermind behind Chastity. Williams says he recently realized he has over 6000 notes in his phone – some are grocery lists, but most are
ideas and lyrics. “They all come from a visceral spark of something, and are only collected later on to reinforce each other under one song.” He writes almost every day, lyrics or otherwise, and says he has a few ideas for the third record in the trilogy already prepared. “I’ve written three songs for it this summer… they are quite up the middle 2000s clean guitar style emo songs so far. I’m hoping to add a lot of strings.”
walls of any listener’s skull.
Chastity recorded the album within a tight timeframe between touring, yet the album sounds very well composed and highly thought out. “Even though we toured a lot, there was still time at home and I spent my time sensitively,” Williams says. He spent some thirteen days recording, sleeping in the studio until the album was finished. “I was really after this record, it felt urgent or As for Home Made Satan, the record something – to write and complete a sounds slightly lighter than its pre- somewhat political record, especially decessor. “I get bad migraines, I have after spending so much time in Amersince I was a kid, and some of my worst ica.” have been after shows. I think yelling rattles anyone’s brain, and doing it for “The challenges of touring sort of 30 minutes a bunch of nights in a row, played into the writing of this record. has gotten to mine,” Williams says. You get cheaper fuel and hotels outside “The biggest sonic difference (between of the city, and so we would almost the records) is, I think, no yelling? It’s always end up in the outskirts after hard for me to hear drastic differences shows. It felt like stepping off a closed because the two came from the same movie set, going from playing in an emotional place for me, yelling my American city to sleeping in an Ameriwords or not.” can outskirt. It was dismal, especially the trailer parks in the north where it Williams says he was also curious to gets cold during the winter. We would hear what the hardcore and emotional talk about feeling sympathetic to a lot lyrics of his would sound like over of American people.” more tender music. Home Made Satan does have its moments under a hard- Williams give valuable credit to Simon core spotlight, but some of the most Larochette for mixing Home Made spectacular moments on the record Satan and finding a way for Williams come quietly and hit hard. The song to listen in on the mixing process while “Dead Relatives” is less than two min- still on the road. “Massive credit to Siutes long and boasts no heavy hitting mon for caring so much for these songs drums, but rather lyrics that would and seeing these mixes through to bebang themselves painfully against the ing as great as he got them, and for
allowing all of that brightness on the I can happily say that the songs - I’m sorry.” latest release by Necking – Cut Your Teeth – not only redefines the label Home Made Satan holds a lot of per- of post-punk, but contributes to the sonal and political significance. Wil- concretization of the genre as a whole. liams hopes audiences will have their The incendiary nature of the opening own unique experience listening to lyric catches immediate attention and the record. “I think the record to me the album does not let go for 23 sucis about feeling sympathy for the lost, cinct but blistering minutes that would about caring for yourself and others, make Keith Morris proud, until we are and about a collective conscience tug released and left to question what is of war.” Ryan Haughey happening on the west coast. Necking delivers an album with a mosaic of inspirations, all placed neatly into the frame of early punk-rock. It even goes as far as, in a shameless homage to Jello Biafra, reminding us to “Kill the Poor”. We see a solipsistic refrain in “I Still Exist” before transitioning into a familiar, but re-imagined, surf-punk twang throughout “Rover”. “Go Getter” begins with such intensity that it cannot help but motivate, which pairs nicely with tongue-in-cheek lyrics reminding the listener to “do chores”, “don’t smoke”, NECKING and “don’t swear”. “Habbo Hotel” caps Cut Your Teeth the album and begins with what would seem to be a reasonably calm outro, beThe term “post-punk” tends to be fore exploding in a race to the finish. thrown around as indiscriminately as With the release of Cut Your it’s “post”-prefix cousin post-modern. Teeth, Necking has doubtlessly assertUnfortunately, these terms tend to be ed their spot in the thriving Canadian used most often to describe the amor- punk-rock scene, after opening a show phous and, in the case of the latter, the for Bleached the have begun their first unsettling nature of music that has tour and are showcasing their brand inspiration in 80’s punk, but struggles of Vancouver-DIY across Canada and to conform to our current notions of into the U.S. Mark Teague genre.
Neo-Classics
SHARON FENDRICH Red Sky Prairie (Independent) This is an exceptional musical masterpiece from Sharon Fendrich, particularly when you consider the fact that this is her debut album. The eleven selections on this album are very beautiful, expressive and passionate, and are genuinely memorable musical masterpieces. Sharon Fendrich is an extraordinary composer with an opus of very well crafted and beautifully arranged musical creations.
The performances from pianist Sharon Fendrich, four world-class Dutch musicians, and the stunning Russian soprano Anna Emelyanova are outstanding, heartfelt and nothing short of breathtaking! The well-balanced and varied combinations of piano, cello, violin, flute and voice paint a vivid picture on Red Sky Prairie. I find it really hard to pick a favourite among the pieces on this album, as every song stands out brilliantly on its own. But as a collective they form a musical treasure trove of sound, colour, character and beauty. Red Sky Prairie is certainly one of the best albums in the new age/neo-classical genre to be released this year. And I would definitely place Sharon Fendrich in the same extraordinary class of musical artists as Secret Garden, David Lanz, and Loreena McKennitt. This album is an absolute must have for all lovers of heartfelt new age or neo-classical music! John Iverson
www.ckuw.ca/stylus
piano, a live album, and a compilation album. Rolf Lovland wrote and arranged all of the pieces, and also penned the lyrics for the three vocal selections.
SECRET GARDEN Storyteller
Of particular note on this recording is the inclusion of four pieces that Rolf Lovland wrote as part of a new musical he scored called “The Pilot”, which he arranged as instrumentals for this new album. This is music is as beautiful as you will ever experience!
Fionnuala Sherry and Rolf Lovland My initial reaction upon hearing this sound as incredible as ever, performing new album from Secret Garden was with unparalleled talent, expression again a resounding WOW!! and passion, which is what we have come to expect from them. The band Storyteller by Secret Garden is com- members of Secret Garden are once prised of entirely new material, with again top-notch, very capably completen of the thirteen tracks being instru- menting the soloists with their stellar mental. This album sees a return to musicianship and ardent passion for the format of most of their past releas- the music. Plus the performance of es, after an album of mostly previously the Czech National Symphony Orreleased material scored for violin and chestra under the baton of Rolf Lov-
October / November 2019 Stylus Magazine
15
land is breathtaking. And for the three vocal selections included you could not ask for more capable singers than the heartfelt tenor Brian Kennedy, the beautiful soprano Cathrine Iversen, and the emotive Espen Grjotheim. This heartwarming ensemble has once again created an amazing treasure trove of musical delights comprised of beautiful melodies that evoke a kaleidoscope of images and emotions. It is difficult to pick a favourite among these thirteen gems, but of particular note for me personally are “Beyond the Blue,” “Open Doors, One More Chance,” “Nostalgia,” and “End of a Journey.” This album contains both slow, melancholic works that will soothe your soul, and faster upbeat tunes, all of them coloured by the Norwegian and Irish backgrounds of the two main performers. All in all a superb album from this ensemble that has been going strong for almost twenty five years! If this is the first Secret Garden album you experience, you will surely end up wanting to have all of the others too. But if you are a diehard Secret Garden fan like I am then this is another stunning addition to your collection.
HEINRICHS MANEUVER
ARTWORK BY LAUREN WIEBE
Bravo Secret Garden for creating yet another musical masterpiece!! John Iverson 95.9 FM CKUW CAMPUS/COMMUNITY RADIO TOP 30 ALBUMS ( September 23-29, 2019) !=LOCAL CONTENT * =CANADIAN CONTENT re=RE-ENTRY TO CHART #
SHANLEY SPENCE’S HOOPS AFTER HER DANCE PERFORMANCE PHOTOS BY ROBYN ADAMS FROM FIELD TRIP AT NUIT NORTH, SEPT 28
16 Stylus Magazine October / November 2019
ARTIST
RECORDING
1 * Rheostatics Here Come The Wolves 2 * Fly Pan Am C’est Ca 3 ! Holy Void Naught 4 * Shotgun Jimmie Transistor Sister 2 5 ! Big Dave McLean Pocket Full Of Nothin’ 6 * Curtis Nowosad Curtis Nowosad 7 ! Sol James Fighting 8 ! Absent Sound Hola Sol 9 * Pup Morbid Stuff 10 ! Paige Drobot Zero Thought 11 Gym Tonic Good Job 12 * Bruce Cockburn Crowing Ignites 13 * Various Artists Class Of 2019 14 ! Begonia Fear 15 * Ian & Sylvia The Lost Tapes 16 ! Man Candy Model Boyfriend 17 ! Smoky Tiger And The Manitobandits Royal Rumpus 18 CHAI P U N K 19 Ride This Is Not A Safe Place 20 ! Jacob Brodovsky Sixteen Years 21 ! JayWood Time 22 * Orville Peck Pony 23 * Ada Lea What We Say In Private 24 The Babe Rainbow Today 25 * Alison Young So Here We Are 26 ! The Bros. Landreth ‘87 27 * D.O.A. 1978 28 (Sandy) Alex G House Of Sugar 29 Iggy Pop Free 30 ! Electric Cows Wheatfield Fuzz
LABEL
Six Shooter Constellation Transistor 66 You’ve Changed Black Hen
Sessionheads United
Self-Released Transistor 66 Little Dipper Transistor 66 Transistor 66 True North No List Rex Baby Stony Plain Transistor 66 Self-Released Burger Wichita Self-Released Self-Released Royal Mountain
Next Door/Saddle Creek
30th Century Triplet Birthday Cake Sudden Death Domino Loma Vista Dub Ditch
www.ckuw.ca/stylus
October / November 2019 Stylus Magazine
17
WINNIPEG FOLK FESTIVAL
UPCOMING EVENTS TICKETS AVAILABLE AT TICKETMASTER.CA | WINNIPEG FOLK FESTIVAL OFFICE (203-211 BANNATYNE AVE.) NOV
OCT
3
12
CURRENT SWELL
WITH CARMANAH
PARK THEATRE
PARK THEATRE
OCT
16
THE PAPER KITES
WITH TALL HEIGHTS
BURTON CUMMINGS THEATRE
18
19 FREE CONCERT!
MILLENNIUM LIBRARY
W IN N IPEG FOLK FESThop
251 DONALD STREET
OCT
27
KIM CHURCHILL
NOV
9
THE EAST POINTERS
WEST END CULTURAL CENTRE
WEST END CULTURAL CENTRE
OCT
7
PARK THEATRE
DEL BARBER
OCT
NOV
NOV
Sophie Stevens
17
Erika Fowler
rks In the City Wo
Scott Richards
SAN FERMIN
WITH BAD BAD HATS
FORTUNATE ONES WITH SHERMAN DOWNEY
WEST END CULTURAL CENTRE
DEC
13 BURTON CUMMINGS THEATRE
PARK THEATRE
OCT
28 RICHARD THOMPSON
JAN
17 WITH NEON DREAMS
WITH ELIZA GILKYSON
FORT ROUGE UNITED CHURCH
OCT
31 PARK THEATRE
18 Stylus Magazine October / November 2019
BURTON CUMMINGS THEATRE
FEB
25
GEOFFROY
THE GOOD WILL – SOCIAL CLUB
WITH OCIE ELLIOTT