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August / September 2020 Stylus Magazine
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AUG/SEP 31 NO. 4 2020VOL
Production Team Editor . . . . . . . . . . . . . . . . . . . . . . . . Gil Carroll editor@stylusmagazine.ca
On the Cover ANNIE BEACH AND HASSAAN ASHRAF are high femme beauties on a mission to decolonize everything in their creative paths of music with the electronic music duo, ‘Heartberry Kief,’ and their collective art practice about culture, language, text, politics, racism and decolonization.
Assistant Editor . . . . . . . . . . . . Jen Doerksen assistanteditor@stylusmagazine.ca Art Director . . . . . . . . . . . . . . Kelly Campbell design@stylusmagazine.ca Cover Art . . . Annie Beach and Hassaan Ashraf Advertising Contact . . . . . . . . Rob Schmidt manager@ckuw.ca Print by JRS Print Services . . . 204-232-3558
Contributors Chris Bryson
Matt Harrison
Nigel Webber
BNB Studios
Keeley Braunstein-Black
Daniel Kussy
Olivier LaRoche
David Akello
Isabella Soares
Zoë Lebrun
Myles Tiessen
Carly Boomer
Paul Carruthers
Colin Medley
Ryan Haughey
Brett Enquist
Osani Balkaran
El-Shaddai Nyakiir
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CKUWho: Sunnyroad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Live in Winnipeg: Photos from Shows Around Town . . . . . . . . . . . . . . . . . . Album Reviews: French Class, Paige Drobot, Field Guide, and more . . . . . CKUW Program Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Features Winnipeg State of Mind: ACAB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tough Age: A Feelgood Fight for Acceptance . . . . . . . . . . . . . . . . . . . . . . . . . . DJ Zuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The O.B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Winnipeg State of Mind: Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Isolation and Live Music Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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NAH, NAH, NAH Shows are sort of starting to happen again in Winnipeg but please keep safe and wear a mask indoors***Real Love Winnipeg, The Good Will, and the
WAG are teaming up to present an evening of live music on the WAG rooftop garden on August 13 with Amos the Kid and Housepanther performing***The
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Good Will is starting to do shows again 15th and Scott Nolan & Glenn Buhr on starting August 1***West End Cultural Saturday, August 22nd*** Centre announced two shows in August, Leonard Sumner on Saturday, August
ACAB NIGEL WEBBER
Winnipeg State of Mind
“There could never be justice on stolen land” - KRS One
commanding delivery and the catchy chorus make the track a classic.
I immediately thought of that scene from Network. “I’m mad as hell and I’m not gonna take this anymore!” It feels like the whole world is there right now. As it should be. But there was another, less quoted, line from that same monologue which stood out, “I’m a human being, goddamnit, my life has value!” The prescience of good, meaningful art, whether in films like Network or rap music, is that it has the ability to deliver universal truths in a context everyday people understand easily. Meaning, in extraordinary times like those in which we live, music will not solve any problems. But, the hope is, the right music can deliver a message in a clearer, more memorable way than regular speech can. Examining the history of music can also help provide some semblance of context for the current raised awareness of police brutality on communities of Colour. This list is by no means comprehensive, but includes a mix of classics, brand new tracks made in the wake of George Floyd’s death, and local favourites. Black Lives Matter.
KRS One - “Sound of da Police” 1993 NWA “Fuck The Police” is the greatest antipolice song, but it is thoroughly from the street-level viewpoint. Of course, it’s the Teacher, KRS, who gives us the defining philosophical argument against police in rap music. Every song on the topic since owes something to KRS and his ability to connect modern policing and its racist beginnings in slave patrols, all through the words, “officer” and “overseer.” “Need a little clarity? / Check the similarity!” Coupled with the unforgettable chorus, Showbiz’s boom-bap beat, and KRS One’s knowledge, “Sound of da Police” should be taught in schools.
NWA - “Fuck The Police” 1988 There’s a reason this song is still the most known anti-police brutality song. While not inventing the sub-genre, even within rap music, “Fuck The Police” perfected it. Few songs in the history of rap can stake claim to there being a ‘before’ that song, and then a definite ‘after.’ “Fuck The Police,” arguably the most important five minutes recorded on wax, is documentary evidence of the LAPD’s brutal gang mindset in the 1980s. Verses by Ice Cube, MC Ren and Eazy E detail the harassment they experienced at the hands of racist cops on an everyday basis. Seeing this song blasted on loud speakers in front of the police headquarters was a beautiful sight. Main Source - “Friendly Game of Baseball” 1991 Leave it to Large Professor to come up with the best metaphors, using baseball as an analogy for police violence. The anger in Large Professor’s voice is palpable as he raps memorable lines like, “My life is valuable and I protect it like a gem,” and, “dead is my antonym.” By presenting the same material as most of the other songs on this list, but through the metaphorical lens of baseball, Main Source created one of the most thought-provoking, ear-worm songs listed here. State of Mind - “Jus’ Talkin’” 1992 Winnipeg’s first ever official, physical release of rap music, “Jus’ Talkin’” is a response to the uprising in Los Angeles that followed the acquittal of the police who were caught on camera attacking Rodney King. Released as a cassingle only a few months after the LA uprising, “Jus’ Talkin’” is a plea for unity, a humanist approach. Rapper Chris Knight’s
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Rondo & Crazy Rak - “No Justice, No Peace” 1993 Another response to the Rodney King verdicts, this little known Bay Area duo delivers a raw yet funky entry to this list. “No Justice, No Peace” is a street-level response to police brutality. Over a staccato beat and a jazzy saxophone, Rondo raps lines like, “it’s going down in history / World War III is what it finsta be / cops getting off scot-free gets me,” expressing a revolutionary anger that was boiling over in the wake of the Rodney King verdicts, particularly in California. Adopting a Malcolm X-like “by any means necessary,” mentality, Rondo’s closing lines, addressing the listener, say, “keep pushing the issue, Black / use force if you have to.” Fermented Reptile - “The Law” 1999 Taking on the characters of a cop and a boss, the Fermented duo of Gruf and Pip Skid make a visceral connection between forms of power on “The Law.” The cops are there to protect the boss and their property, not the people or their lives. When the massive problems with police are presented from one of their own perspectives, in an unvarnished way, there’s no hiding from their systemically destructive nature. Winnipeg’s own Fermented Reptile were so ahead of their time we’re only just starting to catch up. Kairo - “Sound of the Police” 2018 Indebted to many of the earlier tracks off this list, local rapper Kairo distills the sub-genre down to its essence on “Sound of the Police.” Over an eerie Hoopaloop beat, Kairo’s raps create a vivid picture in the listeners mind. As he details the cops intimidation and harassment techniques, you feel the anguish and exasperation in Kairo’s delivery. An important voice in contemporary Winnipeg hiphop, Kairo speaks some truth on this track.
NWA were targeted by politicians and conservative activists for their anti-police songs. In 2020, Super Duty Tough Work was put on the Long List for the Polaris Music Prize and nominated for “Rap and Hip-Hop Artist of the Year” by the Western Canadian Music Awards. The song itself calls out cops for sexually assaulting women, something largely ignored previously on this list; mentions the Colten Boushie case; body cameras failing; and the structural issues that allow police to get away with their violence. Put it on repeat. YG - “FTP” 2020 Released on June 12th, it’s no surprise that YG has a ‘fuck the police’ song. Already having a song against the fascist-in-chief (“Fuck Donald Trump”) YG is unapologetic in his hatred for police. Breaking down all allusions of neutrality, YG raps, “it’s the Ku Klux cops, got hidden agendas / It’s the truth, I won’t stop.” Tragically, hip-hop was robbed from the opportunity of hearing Nipsey Hussle on this track when he was murdered last year. YG does it justice on his own, bringing it home with lines like, “I’m tired of being tired of being tired.” Lil Baby - “The Bigger Picture” 2020 Also released on June 12th, Lil Baby was one of the first major trap artists to put out a response to the recent Black Lives Matter protests in the wake of the murders of George Floyd, Breonna Taylor and Ahmaud Arbery. Expressing sentiments that are far too universal, Lil Baby raps, “I see blue lights I get scared and start running / that shit be crazy / they supposed to protect us.” Lil Baby was previously not necessarily the most political rapper, but his message on “The Bigger Picture” connects police brutality to systemic and historical racism. Acknowledging his own status, he raps, “I got power, now I gotta say something.” The brilliance of Lil Baby, however, is his ability to package such an important message on a track that makes you want to hit replay every time. “You can’t fight fire with fire/ I know, but at least we can turn up the flames some.” More songs like this in 2020. Honourable Mentions: Body Count - “Cop Killer” 1992 2Pac - “Trapped” 1993 Geto Boys - “Crooked Officer” 1993 J Dilla - “FTP” 2001 Killer Mike - “Don’t Die” 2012
Super Duty Tough Work - “FTP” 2019 Owing more to the J Dilla version of “FTP” than any other, local heavyweights Super Duty Tough Work bring a modern and Canadian context to antipolice brutality rap songs. 30 years earlier, artists like
August / September 2020 Stylus Magazine
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ckuwho who? ?
Listen to: Sunnyroad Fridays 10am-11am KEELEY BRAUNSTEIN-BLACK Stylus: What is Sunnyroad? Joan: It’s mainly a music program. I like to play a lot of local and Canadian music and focus on folk, roots, and crossover genres such as blues, country, jazz and pop and even some rock. I take the motto of Louis Armstrong who said “There are two kinds of music, the good and the bad. I play the good kind.” That being said, I confess a fondness for banjos and mandolins and ukuleles. I also like to play some older music even as old as the 1930s on occasion. Once in a while I have a guest and they bring in some of their favourite tunes or something based on a theme. I like to read a poem or share something from a book I am reading. I see Sunnyroad as a calm port in the storm of life, and I hope listeners feel that way too. I want to promote artists, introduce new work and celebrate the old. I enjoy the process of putting the show together and though I do not always state a theme, I suppose each show has its underlying vibe reflecting where I am coming from as I put the show together. S: What three words or phrases you would use to describe Sunnyroad? J: Authentic, roots-based, handmade. S: What inspired the name Sunnyroad? J: The song by Icelandic singer/songwriter Emiliana Torrini is where I got the name from. I thought it would make a good intro song for the show. It’s a morning show and it’s a positive song and conveys the kind of atmosphere I wanted to create. S: How did you get into radio? J: I was always interested in it, but it wasn’t till about 11 years ago when I saw Stu Reid emcee a folk fest stage and talk about CKUW and his show that I considered it. I told a friend of mine, and she was an old friend of Stu’s, and we met for coffee and he told me all about CKUW. I started volunteering and sitting in on some shows, like Stu’s show Twang Trust, Kent Davies’ Friday afternoon show highlighting local music, and Robin Erickson’s old time music show Hit the Big Wide Strum. All those people mentored me and helped train me. Six or Seven months later I was offered a time slot of Friday morning at 10 am. I’ve kept that time and it will be 10 years next month since I started Sunnyroad. It’s been a great pleasure for me. S: Currently who are your favourite musical artists?
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J: Well, let’s face it. There is so much music out there. And just not enough time. Christine Fellows and William Prince are two perennial favourites and of course John K Samson. I love Pharis and Jason Romero. The latest offerings by Alex Cuba, Charlotte Cornfield, waxahatchee, Joel Plaskett, David Myles, Phoebe Bridgers, Trampled by Turtles are all wonderful. Oh yeah, Gillian Welch. And I am looking forward to the new Kathleen Edwards. Songs of Our Native Daughters is a gorgeous album that will introduce you to musicians who all have their own solo works as well. I know I’ve left lots
out. Recently I’ve loved Miniscule from Ontario and Erica Mah from the Northwest Territories. Hey, send me your music if you think I’d like it. The Small Glories, Taylor Janzen, Big Dave Maclean, Sean Burns, Red Moon Road are all amazing local artists. Also The Bros. Landreth, Kaia Kater... Ok, see what I mean? Listen to Sunnyroad every Friday at 10:00 am on CKUW 95.9 FM PHOTO PROVIDED BY JOAN OF SUNNYROAD
WINDOWTALK AT THE PARK THEATRE JULY 10
VAGINA WITCHCRAFT AT THE PARK THEATRE JULY 10
Live in Winnipeg: Photos from shows around town
WAG D AT THE JAYWOO
ROOFTOP
JULY 16
VAGINA WITCHCRAFT AT THE PARK THEATRE JULY 10
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August / September 2020 Stylus Magazine
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Tough Age A Feelgood Fight for Acceptance CHRIS BRYSON
PHOTO: COLIN MEDLEY
Over the course of their career Tough Age has been refining and evolving a style of jangly indie pop with a fuzzy, lighthearted punk edge. Originally planned for release earlier in the year but postponed due to the state of the world, Tough Age’s newest album, Which Way Am I?, finds the band in tried and tested form, with some added twists. Jarrett Samson (vocals/guitar) says his record collector history and musical curiosity is part of what has led the band into new directions. “A lot of the stuff that I like is very varied and what I’m drawing from is not often from music that sounds like what we’re making,” explains Samson, “I think I just wanted to push against the expectations of what it is.” Samson mentions folk rocker Richard Thompson as a huge influence, although he says it’s not a through line that he thinks anyone would draw. He likes to have his influences a couple steps removed, and to look at them from different angles. The band’s pushing against expectations is most evident on the second half of Which Way Am I?, with an overall mellower vibe, which pairs nicely with the album’s thematic dichotomy. “I can only speak for myself. Penny’s songs I can’t speak to the motivation. But in the way we sequenced it, it was like the first side is fighting against acceptance, and the second side is sort of like acceptance,” says Samson. “It’s sort of like both sides of defeatism. A-side and B-side of self-defeat and self-flagellation.”
OSANI BALKARAN
Samson wanted the first half of the album to be more singles-oriented tracks, and the latter half to be more coherent altogether. The second half of the album, the acceptance half, finds the band deviating from their sound with rewarding results. From the krautrock groove of “Repose” to the dreamy ambience of “Mathers Ave,” to “Possession’s” fluttering flute, the weaving and winding melodies of “Patience Of Mind” and the bubbly shimmering guitars of instrumental closer “In A Desert,” Tough Age are growing beyond their
roots. Although Samson says there won’t be anything to commemorate the release of Which Way Am I? quite yet, he’s happy enough just to have it out for people to enjoy. Which Way Am I? was released August 7 on Mint Records.
DJ Zuki
From rocking the party as a DJ and creating diverse beats, Zuki has played and created unique styles and dispensed groove for several years now. From adolescence to young adult Zuki travelled the globe finally settling in Winnipeg at the age of 20. Through these travels he was able to experience the world for what it is, and never fought it, just embraced it. Today we know him as DJ Zuki but like many other musicians Zuki has had a gradual and humbling beginning into the world - of music. Starting off with modesty and a pinch of inquisitiveness, DJ Zuki ventured into the world of DJing in his early 20’s. Through learning and growing he met other creatives like himself, and later decided to do his first DJ show with his musical friend Anthony OKS. They were rocking the party and going further than they had ever thought or expected when they received their first residencies
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at Bar Italia, a local bar in the city of Winnipeg. DJ Zuki was also becoming more involved in creating beats. Eventually DJ Zuki, the young creative began playing many live shows, made amazing remixes and created a whole new world of instrumentals. Starting off curious and modest DJ Zuki made beats on his own. Learning the craft and grasping the fundamentals, Zuki was able to make a beat that people liked, however, Zuki wasn’t into making just likable music, he wanted to disrupt the average listener’s experience. This authentic style allowed for beats that are meant to take you out of what you’re doing, double back, and figure out what you just heard and then put it on repeat. Zuki approaches beats with great awareness of what he’s doing; he draws inspiration from horns from Cuba and talking drums from Nigeria. These instrumentals give the listener a throwback and
journey. The beats are mostly instrumentals with no vocals which lets the listener go into a realm of the mind that they may have never been before. With precision and thoughtfulness Zuki has added layers and resolutions in a way that catches the listeners attention giving the music moments of breath. As of now, Zuki studies the craft of making beats and recently performed his first beat showcase live. If you are one of the few lucky audience members to have heard his first live show at the Anthony OKS E.P. release in March 2020 consider yourself blessed as it was a show that was amazing and an intimate experience that he hopes to bring more of in the future. Lately because of COVID-19 Zuki has created the most he’s ever done and hopefully in 2021 we will get to hear what he has been working on.
The O.B. ISABELLA SOARES Music can have different meanings to different people. It can be the soundtrack to a memorable moment, a way of displaying feelings that are kept within, and the opportunity to share thoughts that must be heard and advocated for in this world. To local artist, Osani Balkaran (The O.B.), creating music was a systematic process that resulted in healing, transformation, and an unimaginable freedom. Stylus had the chance to speak with him about his evolving career, the meaning behind his authentic sound, and catch a glimpse of his creative progression. The O.B.’s first direct contact with making music was through a Studio 393 Freestyle workshop. His relationship with the studio evolved into an unbreakable partnership as he acquired skills that helped him develop as an artist, as well as break into the local music scene. “The first year I went there I learned about dancing and art making. After that, I learned beat making and rapping…Through them I learned a whole bunch of skills, as well as from the people that they would bring from out of town.” While looking back, Osani admits that he wasn’t a natural when it came to song-writing and producing. It was a process in which he had to observe the musicians around him, analyze his perspective towards past experiences, and combine both of these elements into an honest and unique sound. “Music to me before was just about researching… now I will do it when I don’t even realize it.” The creative process wasn’t the only challenge The O.B. faced in his early days. Performance was
equally nerve-wracking, and it took a couple years to become used to embracing his stage presence and interacting with the audience in an organic manner. “When I started performing, I would just do my music and crack some jokes. Over the years a lot has changed and now I have props on stage, more energy, and new songs that I have made… At 14 I was shy and had only one type of energy, as I became older I now have a mix of slower songs, upbeat songs and I really think about what is happening around me before I go on stage.” The bold lyrics within Balkaran’s music are evident and introspective. His first single, “Not a Terrorist”, is a result of the awful experience he and his community had with the police after events such as 9/11 which shaped the way people perceived and treated people of East Indian descent. The song came together after a discussion he had with the Winnipeg Police Service through an art class at Graffiti Studio 393. “This song is divided into three parts. The first part talks about my family’s experience with the police after 9/11. The second one is about myself growing up and the experiences that I had with the police, and the third part is about how the police affected my community.” The O.B. has also been transparent when addressing his fight against addiction through his music. After all, music was a great contributor to his healing process, for it enabled him to express the struggles that he kept to himself. “I am almost 4 years sober right now, and when I was writing that music I was having a hard time with addiction. At the time, I was making these
songs for myself to get it off my chest. When people listen to them I hope that they feel less ashamed and more inspired to go get help.” Other than the candid lyrics, the beats and sound mixing form the majority of this musician’s identity. Diverse music genres and artists that were courageous in experimenting with rhythm and references influenced the mix of styles that are present in Osani’s work. “In 2013, I was listening to a lot of Tyler the Creator, Future, and Travis Scott. I loved what they were doing because it was so different and janky…I also listened to a lot of Indie and EDM, so I combined these styles to create my own.” Even though The O.B.’s album is still in the works, he has shared with us that his influences have changed from his previous tracks and that he is heading off to lighter sounding and energetic music. “I have been drawing inspiration from records of the early 2000s. The album that I want to put out sounds a bit zany, happy and is a whole animated world.” While we wait for the final outcome of this anticipated album, The O.B. has proven to be a noteworthy and courageous artist willing to learn and improve throughout the years, and is not afraid to be vocal about his beliefs and experiences in order to make an impact in his community. Some of his songs are available on bandcamp.com, and his single “Not A Terrorist” is available on streaming services.
PHOTO: EL-SHADDAI NYAKIIR
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August / September 2020 Stylus Magazine
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Winnipeg State of Mind Producers NIGEL WEBBER
Staged photo of Hoopaloop’s Akai gear - photo by Brett Enquist
“Just think while I sink into the brain structure” Erick Sermon Hip-hop music in Winnipeg is in a moment. Artists representing different sub-genres of rap, from boom-bap to new school to trap, all are finding their place in Winnipeg in 2020. While most of the attention is usually heaped on the rappers and DJs, less attention is given to the producers, those responsible for making the actual music in the song. With the lack of attention comes a lack of understanding of proper titles. An i mportant distinction must be made between a producer and a beat maker. Producers typically work with artists in-studio and are often involved in the writing of the song as well as the mixing and mastering. A beat maker typically will make a wide selection of beats, tailoring them to a famous artists’ sound — called ‘type beats’ — and then upload them to YouTube where other artists can download them and use them in their own songs for a small fee. Winnipeg has its fair share of both beat makers and producers, but in this special edition of Winnipeg State of Mind, let us take a look at three local producers all with varying levels of experience and expertise.
Hoopaloop Hoopaloop is coming at hip-hop production from a different angle than most. Making beats for about three years, Hoop started his musical journey playing guitar and singing in metal bands. He knows that he’s got a lot of catching up to do in the hip-hop world but in 2020, he’s well on his way. The metalhead past has lead to the frequent use of live guitar, bass or piano on his tracks and a noted love for analog recording equipment, particularly the Akai brand and their MPC gear. There is a through line that connects Akai with some of the most impactful moments in Hoop’s music career. Hoopaloop is most associated with the local rapper Kairo. They just released an EP titled Give Thanks in late February. The two first met on the
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recommendation of Pollyfree, an Edmontonbased rapper who worked with Hoopaloop while living in Winnipeg. Before their first real recording session, Hoop and Kairo had to make a stop at a music store for some headphones. It was on that day that Hoop purchased the MPC X, Akai’s new, software connected, drum machine and sampler. At that first session together, on the first take, the pair made the song “Radiate.” Hoop still regards it as one of the favourite tracks he has ever produced saying “‘Radiate’ is kinda what set the bar for us.” The song also got a video treatment from director Brett Enquist. A few months after the “Radiate” video came out, Hoop asked Enquist to come to his studio where they staged a photo that shows all of Hoop’s Akai gear artfully assembled in his Trendkill Productions studio. Hoop posted the photo to his Instagram and moved on. But a few months later, the Akai official Instagram page re-posted the photo of his studio. As cool as it was to see that, the repost lead to one of Hoop’s biggest successes. One of the people that caught wind of Hoopaloop through the Akai re-post was Ishq Bector. A quick PSA for young Winnipeg hip-hop heads: know the name Ishq Bector. Then known as Sunil aka Sun Lo, Ishq was a founding member of foundational Winnipeg rap group, Frek Sho. Before moving to India in the early 2000s to be a Bollywood musician, Ishq rapped and produced all the beats for Frek Sho, who started in Winnipeg in 1994. Now living in Vancouver, Ishq is an undisputed star in India. He’s written songs for famous Bollywood movies, written English versions of popular Indian songs and continues to produce his own music. Ishq reached out to Hoop and asked if he would do a hip-hop remix of Ishq’s new song “Chaand Sitare ft. Supa J.” Within a day of first making contact, Hoop had the files in his inbox and was developing a remix off a background synth. Ultimately the remix helped introduce Hoopaloop to a new crowd of listeners and expanded his musical horizons saying “it was a real challenge but [Ishq] had faith in me so that meant a lot.” While that remix remains a one-off, it is Hoopaloop’s work with Kairo that is setting him apart. With a big 2020 planned, Kairo and Hoop were compelled to end 2019 with Never Back Down. Released as a single in the final days of last year, Never Back Down and its cover art will make sense to anyone who lives in Winnipeg. The art, made by Hoop, is a collection of headlines from local media, showing the record number of homicides that took place in 2019 and the police brutality at a local 7/11. Kairo reflects on that in the chorus of “I vow to never back down / All the bad shit occurring in my damn town / I can’t drown getting caught in negativity / the system that’s in place was designed just to get rid of me.” Hoop explains that, “it’s hard to find a constructive way to talk about it [but] we wanted to put light on it in a way that wasn’t just negative yet
could embrace the negativity of constantly seeing those headlines.” It’s been a dark time in Winnipeg of late but Kairo and Hoop want the community to know there is a way to talk about it.
Pascal (left) with Myazwe after winning the Winnipeg Beat League in 2018 - photo by David Akello Pascal Beatz On the south side of Winnipeg, a new movement in local rap is heating up and it’s largely due to Pascal Beatz cooking up in his home’s basement studio. Also making beats for about three years, Pascal was inspired by his older brother, a rapper, to get into production. Starting in his last year of high school, Pascal quietly learned his craft, only letting a few people, like his brother and cousins, hear his beats. But in 2018 Pascal heard of a new competition for Winnipeg producers and decided to enter the inaugural Winnipeg Beat League contest. Looking back now, Pascal remembers, “I was the youngest person there out of like sixteen contestants,” but he wasn’t about to be intimidated. As that night in November 2018 wore on, Pascal kept advancing to the next round. His trap-style beats had the crowd pumped up. When it was all said and done, Pascal was crowned champion. The plaque he won that night is now mounted on the wall of his studio, he gazes up at it while telling the story of that night, saying that winning “gave me the confidence to start sending beats out to artists and posting stuff online.” The first of those artists was Myazwe. The local rapper made waves in 2019 with the release of his album Things I Never Said and an opening spot for YG and Tyga at the MTS Centre. And much of that rise is fuelled by Pascal’s beats. While not the only producer Myazwe works with, Pascal produced more than half the songs on Things and expects to have a similar amount on Myazwe’s upcoming album. Pascal entered the 2nd Annual Beat League contest in 2019 and placed third. Disappointed not to repeat his title, Pascal humbly remarks “it was nice to see all the [other] producers in the city pop off.” He notes that the most important part of Beat League and similar events is to build up the community of producers so they don’t feel isolated, so they can share tips and tricks and just become friends.
Malcolm-Jay Rapper-producers are nothing new. From Pharrell to Q-Tip to Kanye, producers who also rap have been around. Even locally there has been sufficient representation through the years with artists like BBS Steve carrying the torch passed on by the likes of The Gumshoe Strut and mcenroe. Malcolm-Jay is another heavy hitter on that relatively short list. Producing since about 2012 and rapping much longer than that, Malcolm has developed his skills to the point where he is now giving back and teaching beat making. Originally starting with the occasional workshop at Studio 393, Malcolm
was asked to start teaching a weekly workshop at Ndinawe on Selkirk Avenue, a youth drop-in centre. Now there for over a year and a half, Malcolm says that he just loves teaching the youth what he can. Teaching beat making and rapping to youth has also led Malcolm to a weekend workshop at the youth jail and now to his latest endeavour, teaching adults. After being asked many times about teaching hiphop producing to adults, Malcolm took the plunge in early 2020. At his office space on Donald St., for a very reasonable fee, Malcom-Jay teaches everything from “Intro to Hip-Hop Production” to “Business Tools for Artists” to “Intro to Rap Techniques.” Through his website, winnipeghiphoplessons.com, Malcolm is trying to do for others what no one did for him in his early days. He explains that, “this took me years to learn but it would have been a lot faster if someone had just shown me all these tricks.” He understands that the competitive nature of hip-hop hasn’t always allowed room for teaching and bringing up the next generation but he wants to see more collaboration instead. On the topic of an event like Beat League, Malcolm notes how important it is to get all those producers in the same room but would rather see them join forces somehow instead of actively competing against each other. At the same time, Malcolm recognizes that his style of hip-hop, more socially conscious and with a live band, often fits more with the local rock
crowds than the modern hip-hop scene. The fact that they can co-exist is what is important. Ultimately, no two producers are alike. Some can rap, some can play instruments, some can DJ but none of these are prerequisites for getting into producing or beat making. With just a laptop and a free, easily downloadable program, you can start making your own beats. And with social media, it doesn’t take much to get those beats out into the world. It’s even possible, with the example of Murda Beatz from Fort Erie, to go from smalltown Ontario to being one of the most popular and successful producers in the rap game working with Migos, Nicki Minaj and Drake. But, as all of the producers interviewed for this piece stressed, it starts with showing up to events and supporting the hip-hop community locally
Malcolm-Jay performs live with rock band Lounge FM - photo by Carly Boomer.
The other artist making big waves over Pascal’s productions is YSN Fab. Pascal initially saw Fab in a freestyle video on Instagram, blown away that such a talented rapper lived in Winnipeg. Although Fab came through the studio shortly thereafter, it took a while for his second visit to happen. But Pascal describes that second session as when he knew they had something and, “since then we’ve been locked in.” That session Fab recorded Nobody Loyal, his first single, which currently sits at over 156 thousand listens on SoundCloud alone. Pascal is tight lipped here but hints at big things to come from YSN Fab in 2020. Pascal, who doesn’t play an instrument or rap, is in the process of learning to DJ so he can be considered as a tour DJ for YSN Fab and Myazwe. Until then, as his producer tag says, “you already know Pascal cooking up, right.”
Local Spotlight
FRENCH CLASS TAPE 2 Tape 2 is the second release of Winnipeg-based artist Megumi Kimata, who goes by French Class. Upon first listen, this project is difficult to pin down. Does it make you want to dance? To dream? To laugh? After each listen, it becomes increasingly clear that the answer is D: all of the above. This tight group of seven tracks, ranging from thirty seconds to three minutes in length is a unique experience. The diverse assortments of synths and sequenced drums make for a constantly entertaining listen, with a surprise at every corner. What may seem bizarre at first immediately becomes familiar, a truly impressive
quality given the shorter length of the songs. If you close your eyes and play this album from front to back, you will be taken on a magical, electronic twentyminute journey through space and time. It may take a few listens, but you will be sucked into a colourful, crazy world of flying cats and castles, exactly like the album art suggests. Another intriguing quality of Tape 2 is the freedom that emerges from the lack of context, specifically in the song titles. The absence of lyrics on the tape and song titles like “Ancient Frog” and “Manatee” do not reveal much about the music, however, this becomes one of the most beautiful qualities of the record, as it allows one to dream up all sorts of landscapes and scenarios while listening. The song titles are but a prompt for the imagination that ensues during every listen. With the help of your mind, this album becomes the sonic equivalent to your favourite Cartoon Network show: it’s a short, sweet glimpse into a vibrant world of magic and smiles. The versatility of Tape 2 is equally impressive. Cuts like “House Tune” make use of more traditional house-
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influenced drum patterns, almost like something you’d hear on an early Daft Punk record. Other tracks like “Ancient Frog” sound like they could come straight out of the mellower parts of the anime Naruto. Despite this wide range of influences and connections, the album manages to meld together seamlessly, guiding your daydream one synth at a time. Olivier LaRoche
here is decidedly lo-fi and sun baked. This EP is the direct result of the covid-19 pandemic and is perfect for staying indoors for long periods of time, becoming anxious and/or infuriated by the news, finding solace in watching dust float around a room, and that subtle feeling of impending doom. These sentiments are all barely addressed but can be felt in the songs of Dirty Omen. Running a total of 12 minutes and 27 seconds, Dirty Omen consists of five tracks with some of the songs being oddly reminiscent of some old-timey pop music with the rhythmic patterns, harmonics, harmonies, back-up vocals, synths, and use of saxophone. The EP also draws influences from a mix of genres like hip-hop, alternative, electronic, lo-fi, and ambient. The songs are punctuated by crisp vocals that pull no punches in their directness BIRDACROSSWATER and language. One moment you are DIRTY OMEN listening to some tunes you swear your grandma could have grown up Written and released during with, then the lyrics splash over top quarantine, this digital album available reminding you that this is indeed on Bandcamp is an outstanding a product of our time. Who am I example of how humans process kidding, my potty mouth grandma feelings and experiences through totally would have listened to a song creativity. birdsacrosswater’s music with “motherfucker” in the lyrics back
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in the day if she had been able to get her hands on it. Drawing inspiration from the current events that have rocked the world, while being informed by experiences on a very personal level, Dirty Omen has the ability to touch almost everyone through our shared experiences of taking action through inaction — sitting around and watching dust and pretending everything is going to be alright to protect ourselves and others. When listening to this EP, you find yourself going “Yup. I totally did that, or felt that during lockdown at some point.” Dirty Omen touches on and evokes a myriad of raw emotions that come over you in waves. The cover art also fits the style of the music perfectly with the face of someone who could be a 50s pin up model, only with a cloth mask. Made by the collage artist Ming Wu, the art was also “an artistic response to this new world we find ourselves in”. Which is perhaps why they fit together so well. They were on the same wavelength at that moment in time. Keeley Braunstein-Black
PAIGE DROBOT WOMAN / EVERYTHING Woman / Everything, the latest release from local musician Paige Drobot, is everything that your summer playlist needs. Drobot takes rock and roll and turns it on its head, offering a completely unique perspective on the genre with tidbits of jazz peppered throughout her work. Much like its album artwork, Woman / Everything feels and sounds ethereal, taking you to a distant place and working its way into your mind where it stays for hours after listening to it. The track “Woman,” my personal favourite of the album, gives listeners a taste of what it’s like to be both a woman and a serious musician, using some of the misogynistic comments that Drobot has heard over the years at shows as lyrics. As such, “Woman” offers us a playful critique of Winnipeg’s music scene and an upbeat song to listen to as well, showcasing Drobot’s sense of humour and skill on the guitar. Following “Woman” comes “Everything,” a more subdued track
with a lighter sound that falls into a waltz-like rhythm. “Everything” embodies a bittersweet trip down memory lane with a cinematic feel; if you listen closely enough, its infectious melody can make you feel almost as if you’re light enough to float on thin air. Once again, Drobot’s guitar-playing and song-writing skills are evident in this track with its subtle technical nuances and key changes that reflect her attention to detail and studies in music. Woman / Everything is available on Bandcamp, iTunes, Spotify, and at your local record shops. Recommended if you like Night Danger Radio, Crystal Palace, and The Trip. Zoë Lebrun GUILLERMO GALLACHER ARCOIRIS Local Winnipeg musician Guillermo Gallacher’s ARCOIRIS (RAINBOW) offers melancholy dream-pop moods and excellent guitar playing, as well as a combination of Spanish and English lyrics which enhance enjoyment for listeners. ‘Adonde quedo tu crazon?’ ( Where is your heart?) starts off the three song project ARCOIRIS on an especially melancholic note. Layers of guitars fill the soundscape, the main melodic line conjures images in my mind of sad cinematic scenes after a heartbreak. Just as the guitar lines begin to be a bit repetitive, the percussion comes into the forefront of the track emphasizing the guitars, and shortly after the main melody is played on what sounds to be a xylophone effect on a keyboard, giving it the feel of childhood. Gallacher’s singing then fills the soundscape, with melancholic crooning to the love interest of the song. Keyboards lightly fill the pocket in between guitar strums creating a well balanced and full listening experience, and an excellent start to ARCOIRIS. The second track, “flowers take their time”, expands on the melancholic feel of the project, the woozy guitars and keyboard effects are reminiscent of a Mac Demarco demos tape. Once again the soundscape is full of guitar lines and keyboard, enough to reward listeners with unique flourishes and moments with return listening. The lyrical content of the track reflects the idea that patience is required for beautiful things to form. The chorus is more of a sad reminder than inspirational statement, and the verses seem to take more of a stream of consciousness style, which fits the sonic mood of the track quite nicely. The final track, “a lil something”, showcases the skill of Gallacher on the guitar, the brevity of the track reminiscent of a Tony Molina track,
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ending on the peak of a guitar solo. Gallacher’s latest offering showcases his skill in both musicianship and production and is another welcome entry into his blooming catalogue of lo fi dream pop offerings. Paul Carruthers
though Gillingham struggles to define this feeling as comfort or numbness. In the winter season, it’s not unreasonable for these feelings to coexist in order to feel at ease. For fans of: The World is a Beautiful Place and I am No Longer Afraid to Die, Smashing Pumpkins, Us and Us Only. Daniel Kussy
DEVON GILLINGHAM DECEMBER EP
CASIMIR GRUWEL
As I sit in my apartment in July without air-conditioning, I feel the whistle of the northern wind trace my body with an instance of blissful relief upon hearing the December EP, a collection of lengthy emo-revival tracks from New York (by way of Winnipeg) Jazz virtuoso Devon Gillingham. “Sunrise,” an aptly named track to start the EP, plays as a lonely but fruitful departure at the crack of dawn. “I left something in the wrong time” cries Gillingham, desperately searching for this something left behind. Gillingham comes to grips with the galvanization of the human psyche that is ‘Seasonal affective disorder’ on “December” as the dreadful winter takes heed on his everyday life. The wheel of hysteria surrounding social anxiety, and echoing regrets of wasted love leaves Gillingham anchored, and Gillingham finds small accomplishments in stepping outside and leaving his home. “When December comes, I will walk outside.” The last two tracks of the EP work in tandem to give introspect into Gillingham’s psyche, in how the mind is begging for a place of solace while simultaneously deteriorating at the cold hands of the dreadful season. “First Herd: Seldom” plays out like a car accident in slow motion, a seemingly quiet drive that ends unexpectedly in a heap of chaos, amplified by the growing assault of noise, as the sound of metal rubbing against wood gets more aggressive. What’s left is an old recording of a disgruntled reporter wishing for change, as if the snow begins to layer over top the wreckage. Meanwhile, “Second Herd: Echoes” is a complete contrast from its former, asking for tranquility. Gillingham sings with his heart “but if you want I’ll stay/and we’ll be beautiful/ and we’ll be nothing.” All the while it’s as
Casimir Gruwel’s self-titled debut has come a long way. With tracks being written and released as far as 5 years ago, the relinquishing of such a body of work is a cathartic accomplishment for the Winnipeg singer-songwriter. An artist who once served as a work horse dedicated to helping fulfil the visions of other artists, Casmir Gruwel was patient in fulfilling his own. His debut self-titled album maintains a consistently chill vibe that reverberates like the entire pallet of a Bob Ross painting. The opening track “Winter,” tells of a tale that could be etched within one of Ross’ paintings. Gruwel sings of the trials and tribulations of the brutal season overtop a fingerstyle guitar and a rolling drum pattern. On “Merit” the guitars float in a way that carries the song, even during vocal breaks the finger-style playing tastefully fills an unforeseen gap. The bridge introduces an overdrive heavy guitar, as if the cloud we’ve been floating on through evaporated beneath us, only to be caught by a Lord of the Rings characterization of an eagle. Before you know it, we find ourselves in the middle of a hair metal track. The loud guitar moments like these are otherwise dispersed across the album on tracks like the “Take Time,” a misty slow jam where the climax sees Gruwel, in sleight-of-hand fashion, pull a Slash influenced solo from out of his sleeves. Tracks like “Silk” and “Paperbacks’’ are sonically relaxed, as if they were conceived on the fallen tree Gruwel has placed himself within a forest on the album cover. Gruwels voice is calming yet fruitful throughout the album, and his melodic vocal style shines on these tracks. The slide guitar on “Rocks’’ provides a glistening ambience to accompany Gruwels voice in lieu of a sun setting in said
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forest. As the album winds down on “Burning the Matchbox,” Gruwel sings as passionately as ever with backup harmonies during the bridge to lift him off his feet. Once the band is brought back into the mix, Gruwel begins to ascend. For fans of: Dan Mangan, Jeff Buckley, John K Sampson. Daniel Kussy
SLOW SPIRIT NOWHERE NO ONE KNOWS WHERE TO FIND YOU
riffs reminiscent of stoner metal arrive. Many of the songs on Nowhere drift in-between shoegaze and garage rock. In that tough-to-navigate space is where the beauty comes. On “Hard Season,” an acoustic guitar meets a punk-rock drumming pattern — an advantageous dichotomy that creates for rewarding consecutive listens. The experimental curiosity of Nowhere is what drives the record. Influences from Sylvan Esso or late Bon Iver can be heard on tracks like “Paisley Pattern” or “State of Disintegration.” On one of the album’s best tracks, “Sketchy Symbology” opens with a sample of what sounds like fresh snow crunching under shoes. Bohrn sings, “When I see it in my dreams/ I believe it/ I believe in anything” in a capella before a hypnotic finger-picked guitar supports her alluring melody. The song meanders through a diverse selection of instruments, eventually settling on warm saxophone to close the track. The unique production is both creative but restrained, which is fascinating when you realize Matt Shellenberg and Matt Peters from Royal Canoe worked on the track. Slow Spirit deserves extra points for not falling into the beastly and audacious production that Royal Canoe enjoys so much. The album’s last track, “Italo Calvino,” finds ease in the organic nature of music. The simple folk-inspired song utilizes croaking frogs and open expanse to display the diverse talent of the band. Bohrn seems to have some respite in the existential quandary of her journey. Myles Tiessen
instrumentation that fits together like a jigsaw puzzle. Throughout Field Guide’s EP, longingly nostalgic poetry recants the aching feeling of the end of a relationship. The EP starts off with a quiet but commanding presence on “It’s Important”, while a gleaming synth glows underneath an ensemble of clarinets and a soft, smooth vocal. Steel guitars wail, pulling the song forward with a woefully driven melody. The title track is painful and hopeful, the way it hurts sometimes to have faith and the strength to move forward. Field Guide sings softly but with clarity and tone that is comparable to artists like Andy Shauf. “Since You Were A Kid” shares vulnerable moments and the longing for the mutual support between lovers. The piano accompaniment breaks down the high-level production from the rest of the EP to express the deepest sentiments of the artist. If you’ve ever had your heart broken, You Were is an empathetic hand on your shoulder that tells you you’re not alone. Like a dreary rain on a summer day, Field Guide reaches inside and pulls out the most vulnerable parts of the human heart and then exposes them with delicate and thoughtful musical choices. Ryan Haughey
praise. One of 40 albums nominated for the Polaris Music Prize Longlist, the ten song album is lyrically devastating and compositionally stirring. Survival opens with messy punk and power rock chords which slim down for a synthy power pop anthemic tune. The first two tracks prepare you for the album to take any direction. The front half of Survival feels like an expertly curated compilation album. An interesting quality of the album is that the songs are written in plain language, though selecting particularly powerful words and phrases that swirl and meld into the tune that make them feel exceptionally impactful. The impressiveness lies within the arrangement of words rather than the vastness of vocabulary, which creates a pillow for impact of hard hitting lyrical
punches. “Tall Girl” is a painful story, specific enough for ambiguity, though providing the appropriate imagery to cut to deep painful places in your own life. The album is emotionally exhausting, and plays on nesting into your body through familiar and nostalgic synth and punk sounds, once inside eating at painful aspects of life, growing up, feeling alone, misunderstandings, and misdirections. “Living Proof,” for example, displays the powerful and crushing storytelling ability of vocalist Cassia Hardy, which sonically could be featured on the Stranger Things soundtrack. “Tether” presents us with a dream pop tune that spirals into chaos, which often does, and in this case, comes off as gimmicky and leads you to a song that is, compared to the rest of the album,
With Nowhere No One Knows Where to Find You, Slow Spirit continues to push traditional rock boundaries. The band’s utilization of an electronic sound gives depth to the production, all while keeping it refreshing and compelling. Punchy drums anchor most of the songs, which see jazz-like instrumentation built on top. The effervescence of Natalie Bohrn’s rich alto vocals bounces around, blessing the chaotic instrumentation. One of the keys to success for Slow Spirit is Bohrn. Her compelling lyrics are matched only by her incredible voice. On “Woman”, Bohrn effortlessly displays her dynamic vocal rangesounding like an indie Mariah Carey. FIELD GUIDE “I wish I was a monarch butterfly/ YOU WERE When the cold arrives, my wings would carry me to the sun/ I could Winnipeg artist Dylan MacDonald go back to where I came from” Bohrn weaves a perfect storm of mournful sings, shortly before sludge-like guitar storytelling, soulful melodies, and
Ulteriors
Wares Survival Collaged together with undying bop power, Edmonton based Wares’ album Survival, has already garnered national
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Released July 24th from Winnipeg artist Field Guide, You Were is a five track EP revolving around the pain of losing someone you once wandered into love with, and what it took to wander back out. A siren of smooth slide guitar and piano are coupled together throughout to strengthen what the singer has to say about love found and lost over a lifetime. This EP listens like a broken heart singing itself to sleep before waking up stronger, ready to carry on. The third track, titled “Sometime,” is
about overcoming being heartsick with someone who understands the feeling fully as they walk the same lonesome road. Together they stand before their shared pain hand in hand, keeping each other upright with their company and understanding. “You’re probably hung up on somebody too; I can just tell, somebody hurt you” he sings of this nameless companion. The track ends by saying “If you need someone just for the night; maybe we can both be that for each other sometime.” The fourth track, “Since You Were a Kid,” is written about distant memories of a past lover, a past life, and a future that will never be anything more than a dream. The singer and his piano are the only voices heard singing these gentle and poetic verses. “No matter what happens I’ll love you; and I did; but sometimes you can’t hold on to the love that you’ve had since you were a kid” he sings of the person who has long since gone their way. Of these five tracks, this most clearly articulates how suddenly life can change and how it feels for one to watch the clouds of their hopes drift away. This EP tells personal stories about moving on but having your sleeve catch on every branch of memory as you walk out of the forest which was once true love. Despite the pain, there is a musical fluidity found across this record. In addition to having been tremendously written, this is a beautifully crafted compilation of gentle guitar soloing carried beneath serene moments of piano. The greatest strength of this soothing EP is the honesty woven throughout. It may reopen your mind to an old flame and the day you realized you had taken the first steps off that familiar path. These lost loves and old pains are what made the singer of Field Guide who he is today and gave him the strength to seek love again. Matt Harrison (@MattHurrison)
unexceptional, but do not fret and stick with Survival. “Jenny Says” follows, which is an album highlight and a gorgeous stand alone song, though another emotional doozie. Survival doesn’t give you a break from painful experiences, much like life in some instances, though lyrically exploring some of the ups that come with the downs would round out the album, rather than just exploring positive emotionality with strictly instrumentation. It seems Survival is trying to have a song for everyone on the album, though their strength in specificity and storytelling would be interesting to see with lyricism equally as upbeat and exciting as the music itself. Olivia Michalczuk
Isolation and Live Music Update RYAN HAUGHEY A few months ago, we interviewed Winnipeg artist Rayannah about her experience in isolation. We got to catch up with Rayannah again after she returned to the stage at the West End Cultural Centre for their ‘Bring Your Own Mic’ concert series. The series is ticketed partially for in-person experiences and for online experiences, a method that supports artists in a great new way. “It was really lovely to get back on stage,” Rayannah says. “That’s the profession that I signed up for, and that I’ve been dedicating my life to for the last decade. I think I underestimated how much I missed it and how much that feeds my work.” Rayannah says she really enjoyed having the support of the WECC team to put on a partially online show. “I knew folks were there and I knew folks were watching online, but I could focus on the performance, whereas with other shows that I’ve done on my own I’m always kind of checking on technical things, like ‘is the stream still going?’” “Even if you’re playing as a solo artist, you’re working with all kinds of people to put a show together, and that community aspect of work was something that I really missed while being on my own,” she says. When selling online tickets, Rayannah agrees that it boosts the enthusiasm of online audience. She says it’s common for people to tune in to a livestream only for 45 seconds to a minute. In a world where it’s so easy to scroll and swipe so quickly through social media, it can be difficult to retain the attention of an online audience. “When having a ticketed event, it’s something that we opt into when we pay and make the choice to carve out that time to participate in a show, so I think it does change our attitude toward it,” Rayannah comments. The last time we spoke with Rayannah, she says things were still reactionary. “We had just lost a bunch of tour dates, we were still unsure if some dates were happening or not, we were unsure how to proceed with booking for 2021. Everything was just so insecure,” she says. “Now obviously that’s still the case, but I’m feeling a little bit differently about it. My team and I feel as though we can start being creative about how we can adapt. So instead of trying to shoehorn our previous plans into a pandemic world, we can just build things differently
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around the parameters that we’re given.” Artists can truly thrive under tight parameters, and Rayannah says she’s been trying to make the most of her situation by coming up with new creative ways to peak those parameters. She says that she is currently working on some exciting plans that have yet to be announced, but will take place in the fall. Another artist that has already played a successful show in the WECC’s concert series is Red Moon Road. Red Moon Road’s own Sheena Rattai, says the band hadn’t played together since March 7th earlier this year. “I think that’s the longest we’ve gone without playing together since forming the band,” the vocalist and instrumentalist says. “It was pure magic to be back onstage. I literally leapt onto the stage!” The emotional toll of isolation, Sheena says, was made less strenuous by connecting with friends and family online and over the phone. “It was pretty beautiful to see all of the creative ways that folks found to connect with one another,” she says. However, Sheena says she found herself frustrated in isolation, trying to be creative but feeling stuck due to the stress of what was going on globally. “If I felt any inkling of inspiration, I tried to follow it as far as I could. I didn’t complete many songs but I did get a lot of starter ideas out,” the artist says. “Now that some of the restrictiveness of this pandemic has lifted in Manitoba, I feel like I’ve been able to breathe a bit of a sigh of relief and can settle into fully fleshing out some of those fledgling ideas.” In May of this year Red Moon Road released their Nonsuch Sessions Live EP, a performance of three previously unreleased songs that were filmed and recorded at Nonsuch Brew Co. The project was made in collaboration with BNB Studios and Synonym Art Consultation. “Our team was amazing and the atmosphere in the space was really wonderful,” Sheena says. The set was a lush “glamour jungle” of plants from event sponsor Shelmerdine. “It was such a fun and magical evening and it felt right to release it to the world when we were all in lockdown. We hoped it would serve as a lovely little escape from the crazy reality shift at the time and would bring joy to our listeners and viewers.”
In terms of creating ways for the community to experience and enjoy live music, Sheena also commends Fête Jockey for their newly launched Sidewalk Soirée series. The even company had run a contest for followers where the winner would be treated to a performance or artistic experience right on their sidewalk from a safe distance away. “I think that we are pretty lucky that it’s summer time right now and that our numbers here in Manitoba are so low,” Sheena says. “It’s allowed for folks who feel comfortable to gather outside at a safe distance to do just that. I feel some dread about the colder months and what that will do to our ability to come together for live music in indoor spaces, especially if we see an increase in numbers for the projected second wave.” “But honestly, I think it’s a bit of a losing battle to try and think too, too far ahead. Things can change so quickly in all of this I think the immediate future is enough to grapple with. So for me, I’m just looking forward to the couple of yard concerts we have coming up and I’ll deal with whatever comes after that. On step at a time.” Sheena will be teaming up with Fête Jockey as a solo artist, as well as with Red Moon Road along with other artists to play socially distant house and yard shows. They can be booked by getting in touch with Fête Jockey via email at assistantfetejockey@ gmail.com. Sheena also recently performed a set along with Aaron Shorr and Julian Bradford that will be broadcast from Jazz Winnipeg’s Facebook page on August 3 at 8pm. Online concert goers can support Jazz Winnipeg and their artists by donating on the Jazz Winnipeg website.
August / September 2020 Stylus Magazine
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