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December / January 2021/22 Stylus Magazine
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DEC/JAN 32 21/22VOL NO. 6
Production Team Editor . . . . . . . . . . . . . . . . . . . . . . . . Gil Carroll editor@stylusmagazine.ca Assistant Editor . . . Keeley Braunstein-Black assistanteditor@stylusmagazine.ca
On the Cover WILLOW is a local multi-disciplinary artist specializing in contemplative playfulness. They occasionally open up a tiny shop out of their kitchen window, inviting visitors to join them in exploring ideas around creativity, capitalism, community, dreams, silliness, and mortality.
Art Director . . . . . . . . . . . . . . Kelly Campbell design@stylusmagazine.ca Cover Art . . . . . . . . . . . . . . . . . . . . . . . . Willow Advertising Contact . . . . . . . . Rob Schmidt manager@ckuw.ca Print by JRS Print Services . . . 204-232-3558
Contributors Nigel Webber Olivier La Roche
Tuva Bergstrom holdfastphotography
Ryan Haughey
Matt Harrison
Myles Tiessen
Mary Rose
Michael Duboff
Misha Falk
Amanda Fotes
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
Table of Contents The Business of Music: Record Label Agreements . . . . . . . . . . . . . . . . . . . Blah Blah Blah: Live Music Happenings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Winnipeg State of Mind: Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CKUW Program Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CKUWho: New CKUW Program Director Scott Price . . . . . . . . . . . . . . . . . . . . . Ulteriors: Album Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Features Hopscotchbattlescars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cassidy Mann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Memorypond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . METZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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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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December / January 2021/22 Stylus Magazine
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The Business of Music: Management Agreements MICHAEL DUBOFF, an entertainment lawyer at Edwards Creative Law One of the most important relationships in music is between the artist and the manager. The manager/artist dynamic will depend on the particular manager and artist, but, generally, the manager advises and directs the artist in connection with all matters relating to the artist’s professional career in the entertainment industry. That’s pretty broad. As such, It’s important that the artist and manager are clear on what the manager’s specific role is, their common goals and what their expectations are of one another. The Agreement: There may be a verbal or written agreement between the artist and manager ... or perhaps no agreement at all. A verbal agreement may carry risk for the future – for example, disagreement regarding what was actually discussed months or even years ago. Also, a verbal agreement generally does not cover all of the details that a written agreement should provide. A written agreement (always the recommended form of agreement) between the artist and manager should outline the details of the relationship to ensure that each party’s expectations are formalized. A management agreement doesn’t guarantee there won’t be conflict, but it does make the parties talk about the tough questions early on. It’s easier to have a conversation about how to divide up money before there’s money to divide. The challenge with having no agreement at all is that the manager and artist may have very different expectations of the manager’s entitlements, which can lead to conflict, and sometimes, loss of personal friendships and professional relationships. There are some sections of the management agreement that can either be drafted to be advantageous for the artist, or advantageous for the manager, or completely balanced. Ideally, both the artist and manager should fully understand how each element of the agreement can be structured, in order that the agreement is understood by both parties before its signed. The following are some of the common sections found in a management agreement: Exclusivity: The manager will likely be the artist’s only manager, but the artist may not be the manager’s only artist. If the artist isn’t the manager’s only client, it may be helpful for the artist to get a
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minimum commitment of time that the manager promises to provide. Term: This is the amount of time that the agreement covers. The term may be for a specific number of years. It may also have extensions that happen automatically unless one of the parties informs the other by a certain time that the term shouldn’t extend. The term may get extended automatically, or the manager may have the right to extend the agreement if certain thresholds are met. One threshold may be the artist obtaining a certain level of income. For example, a term might be one year which automatically extends to a second year if the artist has obtained a certain level of income in the first year. Services: Regarding the actual services, it’s important to be in agreement about what the manager is required to do, and what authority the manager has to act on the artist’s behalf. In performing this balancing act it is important for both artist and manager to understand the precise role of the manager within the artist’s career. Decision Making: There are a variety of ways to handle decision-making in management agreements. Ask yourself, does the artist need to pre-approve anything or everything that the manager does, or more likely, somewhere in between? Can the manager sign on behalf of the artist either with or without the artist’s prior approval? Compensation: One way for the artist to pay the manager is to provide the manager a commission equal to a certain percentage of funds earned from certain revenue sources. The percentage may be a set number, or it might increase based on the amount of funds the artist earns. It’s very important to define from the outset what’s commissionable and what’s not commissionable There are typical exclusions when it comes to calculating the manager’s commissions. There may also be revenue generators that the parties may agree are not commissionable, such as any work the artist has outside of the music industry. Expenses: Who’s responsible for paying for expenses? One scenario is that the manager can pay for expenses “up front” and get reimbursed from
the artist, either whenever the manager asks to be repaid, or only once the artist generates enough money. If the manager has some authority to make purchases in furthering the artist’s career and be reimbursed, are there any limitations on what decisions the manager makes regarding expenses? Perhaps there is a monetary threshold after which the manager needs the artist’s permission. Other: There are a raft of other issues that can be dealt with in a management agreement. These issues may include whether artist-generated funds are paid directly to the artist or manager, what monies the manager is entitled to, if anything, after the management agreement term ends (also called “Sunset Clauses”). Management agreements may also deal with the details surrounding the manager’s obligations to report the numbers (revenues and expenses) to the artist and to pay the artist, as well as the artist’s rights to examine the financial records of the manager. At the end of the day, the most important words on the agreement are the names of the people who are signing. As an artist, you want a manager that you can trust, and who’s a good fit with your work habits, style, and ambitions. The same goes for the manager. There must be a good fit. A formal written agreement can’t make an artist and manager a better fit with each other. However, having an open conversation about the topics raised here, among others, can help the artist and manager figure out if the other is the right partner. Plan for success, but also plan based on your needs, and work with the right manager who you truly believe can help take you to the next level. Michael can be reached at michael.duboff@edwardslaw.ca
Blah Blah Blah Stay warm and cozy this winter by attending some awesome live music events happening around town***Nashville MB Writers Sierra Noble, Wuinton Blair and Lana Winterhalt at Times Change(d) on Dec 2***New Orleans Night featuring Dirty Catfish Brass Band Dec 3 & Jan 7 at Times Change(d)***Fred Penner plays the Burton Cummings Theatre on December 12***July Talk with local opener Jaywood take over the Burton Cummings on December 14***Living Hour plays the Winnipeg Art Gallery Auditorium with Newfoundland’s Fog Lake opening***Bands as Bands is back at the Good Will on December 23 with Virgo Rising as Imagine Dragons, Jamboree
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as Oasis, and Fontine as Avril Lavigne***Guilty Pleasures returns to the Good Will on December 26 & 27***Happy New Years at the Good Will with Super Duty Tough Work headlining***Romi Mayes at Times Change(d) on Jan 20***Tunic releases a new album on January 22 at the Handsome Daughter***West End Cultural Centre and Real Love Winnipeg present Winterruption kicking off on January 25 happening over several days at the Handsome Daughter, Good Will, West End Cultural Centre, Park Theatre, X-Cues, Winnipeg Art Gallery, University of Winnipeg and more featuring a huge lineup that includes Teke Teke, Tops, Joey Landreth, DJ Shub, Diet Cig,
Dijah SB, Bootlicker, The Sadies, Charlotte Cornfield, Boy Golden, The Lytics, Rose Cousins, Diaphanie, Rich Aucoin, Priyanka, and many more***Leif Vollebeck is at the Park Theatre on January 27***The Trews rock the Burton Cummings Theatre on January 28***Breakout West is happening in Winnipeg in early February with lots of awesome Canadian acts including Marlaena Moore, Sam Lynch, Rosehip Teahouse, The Garrys, Warming, Super Duty Tough Work, Vagina Witchcraft and many more***
December / January 2021/22 Stylus Magazine
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WINNIPEG STATE OF MIND: farewell NIGEL WEBBER “You saw then what it took many time to see” - CL Smooth Predictably, the initial inkling came on an autumn day. The air was crisp, the sky a vivid blue. A gentle breeze forced the last of the leaves underfoot. A bench seat at the banks of the Assiniboine River provided a fitting backdrop to observe the world changing. With the inevitable but dramatic seasonal shift on display all around, his thoughts strayed to the popular words of a far wiser man than he. “Time is a flat circle.” The musings crossed his mind so frequently that they almost became self-fulfilling. A curious phrase, almost a non-sequitur, it certainly made him think but provided no true guidance to the pressing matter at hand. Out of nowhere, like a sunburst of consciousness, a shimmering hint of a memory, a fragment of a tune heard long ago stormed his mind. “Time is just a human limit, which but one glimpse can overcome.” Flooded with the remembrance of things past, a moment of blurriness. Refocused on the issue of the moment, a problem quickly emerges. How to define this glimpse? Can one subjectively know whether they’ve overcome? Finally, through the hazy mist of the subconscious came the clearest, most relevant words of all. “All we have to decide is what to do with the time that is given to us.” The sun rises. Eyes open. Was it a dream? Four years, gone in a blink, were they real? Love, death, birth, and rebirth, did they
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even happen? Winnipeg State of Mind started on a whim. On an idea for one article. Four years later, I can say with certainty that, yes, it was real, it did happen. Good times, bad times, and everything else in between, every second was real. And yet, now is the time to move on from Stylus. Starting way back at the end of 2017, I first had an idea to write about Winnipeg hip-hop. It felt like a lot was happening in our community but no one was writing about it. So I took it upon myself, didn’t wait for anyone to say it was okay, I just went ahead and took the plunge. Here, a huge shoutout to my editor at Stylus, Gil Carroll, is in order. Thanks to Gil for always being encouraging and never censoring me. Winnipeg State of Mind was all me, but it never would have happened without Gil’s help. If it’s not already obvious, I love Winnipeg hiphop. A lot. I am moving on from Winnipeg State of Mind at this point not to abandon the scene, far from it, but to put as much of my effort as possible into the research and writing of my book, “Gritty City: An Oral History of Winnipeg Hip-Hop Music, 1980-2015.” I have been digging into the history of Winnipeg hip-hop for two years and I am very excited to start sharing the stories I have collected with the rest of you. However, in order to do that in a relatively timely fashion, it now needs my full attention. Sadly, I never got the chance to write about all of the amazingly talented artists in
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Wyatt: My name is Wyatt King, I play drums and do half the vocals in this band. Simone: I’m Simone, I play guitar and do the other half of the vocals. Jude: I’m Jude and I play guitar. I don’t do vocals because I am lame. Eric: I’m Eric and I play bass and do backup vocals at our live shows.
TUVA BERGSTROM If you’ve been hanging around the Winnipeg hardcore scene in the recent weeks, you will have probably heard the name hopscotchbattlescars. With the release of their first EP first name hopscotch, last name battlescars on October 18th, and a menagerie of shows front right and center, they’ve been kind of hard to miss. Now you may be wondering, what is a hopscotchbattlescar? Good question, that’s what I came to find out.
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Stylus : You guys are one of the most talked about up and coming bands in the city. Obviously you are a very talented group of individuals, but I don’t think that I have ever seen a band take off this quickly. Tell me what its like being the new face of the hardcore scene? Wyatt: That was a lot right there, that feels really nice. It’s been great, we feel really good, and I care deeply about the music I’m making and the message I am trying to spread. It’s really great that other people seem to be latching on to that. This is my dream, so it’s really exciting that it’s working.
Winnipeg, especially the cavalcade of young rappers representing the city. To everyone out there who I didn’t get to interview: I see you. I respect you. Keep working. The music will never die. Winnipeg State of Mind will be back, at some point, quite possibly with some exclusive “Gritty City” content for you, the loyal Stylus readership. Until then, dear readers, I guess you could say it’s smell ya later. Follow @GrittyCityWPG on Instagram to learn more about Winnipeg hip-hop history and for updates on the book!
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Stylus : Yeah, it’s been wild, obviously there are so many talented bands in the city, but I feel like there was one point where I was like “oh, hopscotchbattlescars? What’s this?” and then turned my head and then two seconds later it’s like “HopscotchBattlescars HopscotchBattleScars HopscotchBattle:’’ and I’m like “WOAH WHAT WOAH!” It’s crazy how fast it all happened. So how did you all come together to start making music? Wyatt: It was Simone and I in the beginning. In the very very beginning it was my friend Brooke and I who wanted to start a band together. We both play drums, So I was gonna play bass and scream because I really wanted to scream, and she was gonna play drums. We got Simone in because Simone is an incredible guitar player. My friend got too busy, so when she dipped out I got behind the kit where I’m more comfortable and then Simone and I started making tunes for a while. We started around September 2020, as the covid restrictions at the time were pretty okay. We were able to have one in:person jam until everything shut down. So then we just started sending files back and forth and writing from our own little home studios. Stylus : So you guys started off in the pandemic
PHOTO: HOLDFASTPHOTOGRAPHY which in my opinion is the perfect place for any music to come from. I guess when you’re stuck inside and everyone is going crazy it’s kind of the perfect condition to make any art. I’ve also noticed that the atmosphere of the local music scene has changed a bunch since the pandemic, obviously with shows not being much of a thing at all until recently. How has it been starting off in the scene during such a strange period of time? Jude: For me, it’s kind of weird because at the point that we’re entering onto the scene, a lot of the bands that were active before the pandemic aren’t quite ready to fully come back, so it’s a very different world than what I was experiencing before the pandemic. A lot of the people, specifically from our first show, I had never seen before at a show in my entire life. Probably a good half of them were completely new faces. Very very few familiar faces now that I think about it. It’s a very different landscape. Stylus : It almost feels like there’s been this total reset of the scene. There was this whole community before Covid, and obviously in two years there’s going to be a change, but it was like the second show came back, I was teleported into this whole new world. You guys have been playing MAD shows this past month and you have a boatload lined up for the winter. Is there anything special that you guys do to prepare before a set? The energy from your live performances is insane, so I want to hear how you build up for that. Eric: We just practice a ton, one thing I find really helpful is to record our whole set and watch it a bunch of times. We’ll do that for every runthrough and it really helps to tighten up the whole set. Stylus : You have this really special vibe on stage, like when Eric will wear a dress and I’m like “yeah that’s what I’m talking about!” Are there any bands who you’ve taken inspiration from when it comes to your live shows? Wyatt: I always go back to The Chariot and their live performances. Back in the day just watching crazy live band footage and being like “I need to do this.” All I did during Covid was watch live sets. I would watch them and think about all the things that I wanted to do when I got back on stage. I don’t like to hold anything back because why would I, y’know? ‘ Stylus : Another question I have for you guys, which may be more personal to me actually because I don’t know a lot of things about a lot of things; The genre of music you make you describe as Mathcore, and I’ve heard some whispers about Mathrock and hardcore music and stuff, but the term Mathcore is pretty new www.ckuw.ca/stylus
to me. What does it mean? What’s the history behind the genre? Jude: Me and Wyatt can probably explain this one the best. Mathcore is a subgenre originally of metalcore, and it was birthed out of the late 90’s hardcore/metalcore scene. A bunch of bands were like “okay, this hardcore thing is pretty cool, but like, let’s make it weirder.” So now you got bands like Converge and Botch and The Dillinger Escape Plan who started taking their hardcore roots and combining them with a bunch of other wacky stuff and a bunch of noodly guitar junk and jazz and all this weird stuff. Eventually you ended up with Mathcore. Stylus : Who are some staple Mathcore bands that have inspired your sound the most?
Jude: We were actually supposed to go on tour at the beginning of October but that fell through because...reasons...the show got cancelled...BUT we are planning on touring, probably, I can’t be too concrete but probably late spring or summer 2022. Stylus : That makes me very happy! I had a hunch and I felt it in my soul and I was like “nah this is gonna be the band I end up seeing in Toronto or something, look at those crazy kids go.” I have one last question for you guys before I leave you to your business. This was probably one of my favourite things about your last show at bulldogs, You have these things called the HopscotchBattleCars. What is a HopscotchBattleCar? Who’s idea was this?
Eric: Oh, yeah, they’ve got some really cool stuff going on, super heavy, and then of course also See You Space Cowboy. They’re sort of chaotic mathy hardcore.
Wyatt: The idea first came from my friend Aaron getting the name of our band wrong all the time. He’d be like “hey! How’s hopscotchbattlecars doing?” and I’m like “Wait:that’s a good idea.” Y’know? So then we bought a bunch of hot wheels at the dollar store for like 1.50$ and then hand:painted them and repackaged them. They’re our hopscotchbattlecars and they’re just silly. I love that so much I cannot wait to own one.
Jude: Chaotic Hardcore and Mathcore are like two peas in a pod I feel. There’s a lot of bands that aren’t quite Mathcore but they’re close enough.
Jude: There’s a pile of hot wheels sitting in the corner of my room. We’re making a bunch more, not for the next show but we’re definitely making more.
Stylus : Winnipeg has a very strong hardcore scene, we’ve been known to have this really cool underground punk community, but you guys are still one of the first bands I’ve seen come out of the hardcore scene and gain so much local traction. I had this vision the other day when me and my friend were making a joke about how one of you must have sold your soul and that’s how you guys blew up so quick, but I was telling her how I wouldn’t be surprised at all if in the next few months you guys ended up going on tour? Do you plan on touring?
Eric: If we’re lucky we’ll have the battlecars ready for our show on November 27th
Eric: See You Next Tuesday for me, definitely. Jude: The Tony Danza Tap: Dancing Extravaganza.
Stylus : You have no idea how excited this makes me. Thank you so much for spending your afternoon with me. I am so so excited to see where hopscotchbattlescars ends up and I’m grateful that I caught you at the start of your journey. Peace n’ Love
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It was a windy November evening in Winnipeg when Cassidy Mann picked up the phone. She was in Toronto to meet with her new record label, END X MUSIC, the first she’s ever signed with. It was 2018 when she decided music would become a serious profession. It was a songwriting competition through Manitoba Music that opened the first major opportunity for Cassidy to follow this passion to become an artist. At the time Mann had been in school for music production. “It felt like the right thing to do. I didn’t really know which area of music I would do. I thought I could do engineering or production.” Cassidy has been writing songs for years. Among her musical inspirations are some old and some new writers. Noah Gunderson’s Pillar of Salt is the album that first came to mind when I asked for a recommendation. Mann also has an affinity for the poetry of Mary Oliver, pointing to the writer’s appreciation for nature. “I feel inspired by nature,” she told me. Regarding musician inspirations, Mann is inspired by artists like Joni Mitchell, Taylor Swift and David Bowie to name a few. “All of them seem to have a strong sense of self. All continually reinvent themselves. I feel like you have to be willing to do that as an artist.” Cassidy Mann first started recording herself singing and playing guitar around 15 years old. It was around that time she started playing a mix of covers and originals at coffee shops. What she found was it felt good to be singing for an audience. “I like to tell stories and connect with people. It’s easier to play to a crowd than to play for just a couple people. I like talking about my feelings and having the crowd be involved in that.” Her newest single, “Stop a Heart,” was released on November 5, 2021. The song tells the story of knowing a relationship is over before it has actually ended. What is left to be done is the formal ending of the relationship itself. I asked how it feels to have written and now released such a personal story. “Once you record a song it feels a little less scary. When I’m writing it feels vulnerable. I feel like when I’m writing, I’m working through the feelings, digging through the emotions for the first time.” “Something I realized through these songs is that these are feelings I needed to sort out. Sometimes I think about the people they’re written about. All my songs are based on my real life. But at the end of the day it’s just my side of the story.”
I asked what it takes to write a song, to which Cassidy said; “I feel like I have this feeling in my chest and I intuitively know I need to write a song. I sit down with an instrument and write as much of the song as I can in the first go.” Typically she’ll sit down with a guitar. She knows a song is complete when the feeling strikes that she can share it with other people.
“I don’t always feel that way. If I’ve written something and it feels like I’ve made sense of something I’ve been feeling or the song can explain to someone how I’ve been feeling. Then I feel like it’s probably ready.”
A constant writer, the pandemic gave Cassidy an opportunity to write to her heart’s content. “I was in school and working two jobs until the pandemic gave me the time to write,” Cassidy says. Coming to the latter stages of the pandemic, the time spent writing has created a newfound opportunity to pursue music more professionally. The way she described how it feels is as though she is at peace with the idea. “I didn’t know if it’d be possible to do music as a career. I tried doing some other things but couldn’t stop writing songs. It’s the only thing I never get tired of doing. It’s the only thing I can see myself dedicating my life to.” As for what’s next mum’s the word for Cassidy Mann.
“I’m gonna do some recording next week and I’m doing a lot of writing. This winter is gonna be recording time.” Upcoming shows haven’t been announced yet, nor have any single releases due to come. Still, a close eye ought to be kept on Cassidy Mann’s socials in the next couple months. “It took a while to find out what I wanted my music to sound like. Now it finally sounds like what I wanted it to. It finally sounds like me.”
MATT HARRISON PHOTO: MARY ROSE
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Interview with
Memorypond MISHA FALK Misha: What made you interested in creating ambient/sound art music?
M: What are some places you draw inspiration from?
M: Is there a community for sound artists in Winnipeg?
Sarah: I was a DJ for a long time and I started to not enjoy it that much. I really wanted to keep doing things but my relationship to music had changed quite a bit. I used to listen to music constantly and was always finding new songs, always involved, playing shows and doing so much but then I kind of went to hating songs. So I started listening to random melody-less, percussion-less stuff. It was a really big switch from club music to just weird sounds. I started really enjoying this and then began experimenting a little bit so that’s how that came to be. [DJing] is all BPMs and matching beats, tons of percussion and I just couldn’t… maybe it was all just too much and I couldn’t stand it anymore.
S: My favourite album is by Unfinished Portraits. He’s from Argentina and his album How to hide dark circles under my eyes is really inspiring to me. I also love the sound of water, dripping, and underground parking lots with weird dripping or pipes. In the back of my last one [how much longer now] there were some sounds from being in a bath. I really like water sounds.
S: It’s been covid for so long and this [making music] is relatively new so I haven’t been doing this for too long. Before covid I played a show at Greg Hanec’s space)doxa and I loved all the performances I’ve seen that he’s put together through that. I really appreciate Yoyu as well – he invited me to play a show once too. There’s been some really great and supportive people. Cam Scott asking me to play Send + Receive in Fall was kind of a dream come true. I’m excited to meet more people once we really start to mingle again.
M: How did you make the switch to making ambient music yourself? S: I guess the method that I use, or my practice is to very casually collect random stuff, not really seeking anything specific out. If I’m waiting for someone and something sounds interesting, I’ll just record it and then I’ll go and play with some computer synths and make some really small clips. I kind of felt like it was a similar process to DJing because I would just be going through life and picking stuff up and then whenever I was asked to perform or provide a piece, I would start to organize it and mix it together. It’s interesting how those two processes are actually quite similar. It’s just playing really.
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M: I guess that ties into the name of your project. S: When I record things it’s like this weird group of different times and spaces that I’ve been in. So I really like that it’s this weird creation of different moments and memories. And it [Water] is like this image I connect with that. M: Tell me a bit about your latest release how much longer now on soundcloud. What were some of the ideas you were working through with this piece? S: I made that for an online birthday party for a friend of mine. I guess it doesn’t have a story to it, it’s more of like pieces, putting pieces together. There’s this walkie talkie and the sound of a baby crying which was recorded in Cuba along with some of the ocean there. There’s also a xylophone that I borrowed from the library there.
M: How has the pandemic shaped your work? S: Music is such a casual thing in my life. I can’t even say that I have a real practice – I’ve been in university through this time which has been stressful… I don’t know if the pandemic has particularly affected things since this is such an introverted and personal thing already. But it’s nice that things are starting to open up. Even getting to wait outside for a friend gives me more opportunities to record sounds than just being in my home. M: Any new projects you’ve got in the works? S: BP [Bret Parenteau] asked me to do a tape for his label Makade Star. That’s probably going to happen over the winter…maybe in January. I’m excited for it, I think it will be fun!
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METZ
MOVED BY THE ENERGY OF LIVE PERFORMANCE RYAN HAUGHEY Rip to it. Trash to it. Bite and tear off a morsel of METZ, because there’s more than enough of them to go around as they tour North America and beyond. After biding their time, pent up and barred from getting on stage these last 20 odd months, METZ is ready to get back in front of a crowd of animalistic headbangers. They’ll be doing just that on November 29 in Winnipeg. Travel back in time to October of last year, and METZ are releasing their fourth full-length album. Atlas Vending is the slow burn of the fuse on a stick of dynamite. This patient calculation is a relatively new approach diverging from the direction METZ usually takes in their recordings. Alex Edkins (vocals, guitar) says that this evolution is the result of the band’s goal to make Atlas Vending something that their audience can listen to again and again. “We’ve certainly checked the box of making records that are like a slap in the face, and you need a break after it,” Alex says. “The first record was kind of like that, and that was the goal – it was kind of like, ‘hello world!’. At this point we’ve done that, and with Atlas we’re definitely trying to have more ups and downs, touches and go’s.” According to Alex, Atlas Vending is METZ’s best sounding record, from the music, to the lyrics, to the production. Produced by Ben Greenberg, mixed by Seth Manchester, and mastered by Matt Colton, METZ’s latest record is musical and methodical. The record strategically breaks down the walls of hardcore expectations and creates unique, individual moments with each track. “I think that’s why we still do this: there’s room for us to grow, and it’s happening with every record. The band is moving forward and that’s a good sign. That’s kind of what we hang our hat on. At the heart of it, we’re all just wanting to be better players, better musicians, and a better band. I think if you just go ‘1, 2, 3, bang!’ there’s nowhere to go, so it’s certainly the idea of making something that people can live in more. It’s fun for us and I think it’s more rewarding
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PHOTO: AMANDA FOTES for the listener.” “And in a live setting, it’s way better.” Well, if you want proof of that statement, look no further. In August of 2021, during a peak of lockdown in Toronto, METZ released Live at the Opera House. This live set is a retelling of Atlas Vending plus a couple of classic hits off their 2012 self-titled debut record. “We prepared for it like we were going on tour,” Alex says. “We just wanted it to be as close to our live show as possible. Obviously, the elephant in the room is the fact that there was no one in the room. I think it was a survival mechanism for us; we were so proud of the record and we were heartbroken that we couldn’t go share it with people and get that reciprocal energy going.” Alex says that recording Live at the Opera House was a weird experience. “Musicians and many industries suffered a lot (during the pandemic) and were forced to expand what it is that they do. Here we are, basically shooting a movie on a live concert set.” Alex says METZ is always down for a challenge, even though this project was never something they imagined themselves doing. “Maybe a live record for sure, but we wanted to actually be in front of people.” “So, we resorted to recording the live album and I’m really happy we did it – we’re really proud of how it turned out. I’m even more excited to be hitting the road in a couple of days and playing that record for people.” You’re not going to want to miss METZ in Winnipeg at the Park Theatre. When asked what it’s finally going to be like being back on stage, Alex says that the feeling is inexplicable. “Compared to recording the album, the energy is tenfold, a hundredfold. Live music has that ability to bring people together, and you can have that ‘WOW’ moment. I know I have. That’s why I got hooked. It’s this feeling of super loud, physical music in a live setting, I just love it.”
“We’re able to lose ourselves and get into the songs, but when there’s people there listening and they’re feeling it too, it’s great. It’s hard to explain without sounding a little bit like Bono or something.” Though METZ have created a new path for themselves to follow during their live shows, there is no loss of the spirit that occurs throughout their entire discography. Stylistically, METZ is METZ. And that’s never going to change. “We’re always going to be METZ because we invented that. That’s just us, there’s always going to be something connecting us with those early records,” Alex says. “We ground each other, the three of us. We don’t let anyone lose sight of how special it is, what we have together. I think we’re really aware of that and we feel really fortunate to be friends and love what we’re doing. And also, just feel privileged to tour around the world and play.” “Genuinely, I think that the way we actually play our instruments is singular. We have a style that is ours, and that’s a source of pride. It’s something we believe is true and that’s what’s tying us together. It’s our way of playing together, it’s our way of interacting as three musicians – the songwriting as well. I think each one of us has a very definitive style.” After touring North America, METZ will be touring Europe. “We’ve already started writing new stuff. There’ll be a record coming out eventually, but we’re not rushing into the studio,” Alex says. “We didn’t want Atlas to be lost. We wanted to give it its due because we’re really proud of it. We’re going to tour Atlas Vending for a while before focusing on new stuff.” METZ are played the Park Theatre in Winnipeg with Preoccupations on November 29.
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ckuWho?
New CKUW Program Director: Scott Price
STYLUS STAFF
PHOTO COURTESY OF SCOTT PRICE
Stylus: What was your progression from volunteer to now Program Director?
would probably be a hard sell at CBC.
Scott Price: I started volunteering at CKUW about a decade ago. My main motivation was frustration with how a lot of media covered certain topics and stories and how other stories never got any coverage. I started off in the News Department and started hosting the morning news show People of Interest and producing segments. It was fun and I learnt a lot. I then started my own show called Warning Shots, which was an international news show. I hosted and produced that show for two years. I had some help from people like John Wilson, who is a local comedian and Alex Paterson, who was a local activist, but I think he lives in Ottawa now. It was a lot of work but I really enjoyed doing the show and it was an excuse to research and interview people on subjects I was interested in. I took a few years off and then started Radio Free Winnipeg with my friend Grey in 2015. We did that show for four years. We covered all kinds of stuff from music and culture to left wing politics. I was also a member of CKUW’s board of directors for two years from 2017 to 2019. Radio Free Winnipeg ended in the fall of 2019. I started my MA in Archival studies at the U of M in 2019 so I didn’t have the time to do a show anymore. I was doing the grad student life from 2019 into 2020. When I saw the job posting for Program Director I jumped at the chance. I thought it was a good opportunity to work for an organization I believed in while I finished my thesis.
Stylus: What is the split between music focused shows and talk focused shows on CKUW?
Stylus : How has CKUW developed since you first started out as a volunteer? SP: Hard to say. In some ways CKUW has been the same as it was a decade ago but it has also changed in some ways. We’ve had lots of hosts and shows come through the station over the last ten years so the station does sound different than it did when I started but it’s still CKUW. Stylus: What sets CKUW apart from other radio stations in Canada? SP: We prioritize live and local. Not many stations actually do that. Campus and Community radio stations are some of the few that do that on the FM dial in Canada. We are also not afraid to take chances with programming. Things like Garageland, Work it out Radio, and Radio Camp are all examples of programming that CKUW has done in the past that would not air on commercial radio stations and
10 Stylus Magazine December / January 2021/22
SP: We lean more toward music shows. About 30% of CKUW is talk or spoken word shows. But we are always looking for new shows and programmers. If you’re really passionate about a certain topic or issue and want to scratch that itch through radio drop me a line. programming@ckuw. ca Stylus: How do you decide what programs make it onto the airwaves? SP: Well the first thing is they have to go through the training process and then submit a program proposal. I judge things on the program proposal and what shows we already have and what other stations have. To me it’s about how to curate a mix that is distinctive. For example an all indie rock show is a tougher sell to me just because we have a lot of shows that play indie rock but say if you want to do a show on local experimental artists or have an interesting take on how you want to present the music that gets my ears perked up. For example we have a new show on Mondays 5 to 6 pm called Journey Through sound that looks at the history of more obscure musical genres and scenes. Stylus: What is your favourite thing about CKUW? SP: The scrappy, DIY ethics of the place. It’s our little punk rock bunker. It’s a place for experimentation and community access.
Stylus: Any memorable stories from FUNDRIVE? SP: Local activist Ali Saeed coming by with homemade Ethiopian food, Kent Davies nearly blowing a lung and an artery during karaoke, the buzz of the phones, the live broadcasts from the Lo Pub. The volunteers and community coming together. Stylus: What are your hopes and dreams for CKUW? SP: That CKUW will be opening playlists and opening minds in 2031 - or at least a new space.
Ulteriors Fauna can be a little much towards the album’s end. At almost 50 minutes long, the LPs’ lack of cohesion becomes frustrating rather than compelling. Beyond that, Frame a Fauna is an excellent example of a true artist at work. It expertly shares Ouri’s skills as a songwriter and producer, and the diversity of her skills is beyond many conventional musicians working today. Myles Tiessen Ouri Frame of a Fauna There are moments on Ouri’s debut LP Frame of a Fauna where the beats cut out, the music seems to stop, and nothing is left except a muffled expanse. Like when you play a dusty vinyl, the needle crackles and pops on the first few rotations before launching into a lush soundscape. As a veteran producer/DJ with a background in classical composition, Ouri uses moments of quiet clarity to ready herself for the bombastic electronic breaks and experimental underground house. Frame of a Fauna feels as expertly crafted as it does exploratory. In some respects, it feels like David Bowie’s Low. It becomes hard to pick out just when a song will begin or end, when vocals will emerge, just what twists and turns the tracks will take along the way. Frame of a Fauna’s intentional directionlessness is a perfect way to showcase all of Ouri’s musical abilities. The album’s opening track, “Ossature,” begins with a collection of disconnected rhythms and distorted samples as Ouri’s soulful vocals whisper above. An uncoordinated four-on-thefloor beat pulsates through the track for about a minute before disappearing completely. The song is impenetrable, but the music remains addicting. Ouri’s art-pop-house music takes the listener on an odyssey through her subconscious as she explores shifting emotions, trauma, and vulnerability. The instrumentation takes on more burden of storytelling than the lyrics. “En Mon Doux Sein” may be one of the best tracks of the whole album. Ouri’s vocals are lost behind some of the most extraordinary tones ever put on a keyboard which blissfully ascends, creating a phenomenal solo over the song’s all too short runtime. Like the track’s title, the music is a brief and powerful meditation on motherhood and family. Not much needs to be vocalized, but a whole lot is translated through the instrumentation. The sonic maze that is Frame of a
“Wait Your Turn”, there is melancholy, longing for better days, with the line “Staring up into the sky; Waiting for the sun to shine; Winter’s cold all of the time”. A uniform, consistent record, it can be thrown on in the background and will have you tapping your foot, or with a more attentive listen can make you imagine heartwarming scenarios straight out of an 80s feel-good movie. Like any feel-good movie or music should, it will make you look nostalgically at your past, foolishly romanticize your present and anxiously anticipate your future like nothing else. Olivier La Roche
heartfelt lines. Each song, while being personal and honest, has a very mellow, relaxed energy. Leftovers is a low-tempo album good for unwinding. It’s music you can contemplate, relate to or read to. The relaxed melodies make for easy company while the words are written courageously true. This album is the sort an artist could paint or draw to the tune of. The final song makes a simple request for the future. “May Hard Times Pass Us By” is a final gentle note on this peaceful, thoughtful album. Matt Harrison
Chime School Chime School It’s very likely that you’ll begin to question if this album is a new release or a record of the past on your first listen. With its clean, dreamy strumming of 12-string guitars, there is an unmistakable jangle pop quality to Chime School’s self-titled debut. The newest musical endeavour of Andy Pastalaniec draws inspiration from several decades, as he explains himself in an exclusive for the album’s release: “I was obsessed with the 60s jangle…It took discovering the 80s-does-the-60s indie pop stuff to turn me onto the idea that I could create something myself that drew from those influences.” This album is just that. A modern take on this mixture of 80s and 60s sounds, Chime School is packed with every classic quality expected from such a blend, from the steady pop-rock drums of “Get a Bike” to the driven bass groove of “Anywhere But Here”. The electronic drums of “Dead Saturdays” add the modern feel while preserving the carefree, head-bobbing energy so emblematic of jangle pop. Both jolly and determined, the record spectacularly grasps the essence of acts like The Byrds in the 60s and The Soft Boys in the 80s. The songwriting summons themes of romance, wonder and longing, with straightforward but effective lines like “I don’t care for no one but I guess sometimes it’s you” on “It’s True”. The peppy energy of the song perfectly mirrors the smiley lyrics. On
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Dishpit Dipshit
Leftovers Le Ren Leftovers is a 10 song release from Le Ren via Toronto’s Royal Mountain Records. Le Ren’s debut album expresses the beautiful journey of love and growth. What you’ll hear are stories of heartache and her mother’s love sung in beautiful harmonies. Scattered throughout are moments of slide guitar reminiscent of classic country music with drops of piano landing elsewhere. The gentle singing of Lauren Spear - the brain and voice behind Le Ren is accompanied on several tracks by soft drumming. On all tracks she sings over a stringed instrument, be it a strumming guitar, ukulele, or slide guitar. Track three, “Was I Not Enough,” feels as lonesome as the title describes it. Written from a pain known only to a heart that once knew love about the pain of letting go. “I Already Love You,” the fourth song, tells a story of new love. The change of pace and the return of joy in these peaceful melodies is immediate. The slide guitar feels sorrowful at times while at other points it feels like accompaniment. This album steps between the highs and the lows. What once tore Spear down and what lifted her up is spelled between these many
The long awaited debut by Montreal punk queens Dishpit has proven a sleeper hit of 2021. Released back in March, Dipshit encompasses the passion and excitement of a high school band, without any regard for any rules, putting their craft to tape for the first time. Said energy translates to confidence as performers and songwriters after serving several years perfecting their stage presence. The lyrics provide a healthy dose of Fiona Apple and Patti Smith wrapped in the minimalist instrumentation, in which they sought the familiar hands of Steve Albini himself to produce the record. Tracks like “Splinter” and “Sold Out” give nods to Albini and his organic and balanced minimalist-rock production while matching the cheeky spin of his lyrics. Tracks like “1000 Ways To Die” and “Trash Queen” ripple through your eardrums and grab your attention, and remind you that it’s okay to rock out to power chords. Nora Kelly’s vocals have a range that’s refreshingly versatile, reaching baritone levels that snap to howling screeches that conjure the silhouette of Brody Dalle. Dishpit’s screeching aura continues to draw attention from peers and mentors of the punk community. Their broad and ambitious range have set a
December / January 2021/22 Stylus Magazine
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canvas that leaves us excited for what’s beautiful in all its chaos. Dilloway’s trademark tape to come. Daniel Kussy For fans of: Speedy Ortiz, Shellac, Patti manipulation is the star of the opener “Body_Erase”. A 17-minute abstract Smith foray into darkness, the track is as unpredictable as it is unsettling. Passages of near-silent buzz, like the sound of a cassette playing on mute, are interrupted at alternating intervals by jagged movements of tape, as if someone was playing with the rewind and fast-forward buttons on the player. The whole piece sounds as if it was retrieved from a cassette that spent years at the bottom of a lake. The warped tape sounds eventually seem to break the surface, inviting piercing guitar feedback to the mix, amplifying Body/Dilloway/Head the chaos. Finally, the ordeal ends with In the world of film, there is thrill, a sense of relief, as if the danger is no romance, comedy, horror. All genres longer. evoke a particular emotion or reaction Next is perhaps the most musical from the audience, from fear to laughter, track, “Goin’ Down”, a shorter piece from pleasant to uncomfortable. On of droning guitar. This song seems to the other hand, most music tends to represent a break from the darkness appeal to fewer emotions: joy, sadness, that came before, and is characterized sometimes anger. There seems to be by a calmer energy. Towards the end, very little place in the general music the song descends into a distortion of sphere for music that, like a horror warping tape once again, serving as a film, causes anguish and discomfort. preview of what is to come. It is not a familiar experience to many The last track “Secret Cuts” returns with a more abstract, machine-like feel. people. This project does just that. Birthed A pulse-like rattling is the skeleton from a collaboration between Kim of the song, sometimes interrupted Gordon, formerly of Sonic Youth, by bits of Gordon’s vocals and Nace’s composer Bill Nace and producer guitar. This time, the darkness is less Aaron Dilloway, it is disorienting, frightening. It is almost welcoming, as frightening and even anxiety-inducing. it combines the meandering confusion Somehow, it remains artful and of the opener with the musical voices
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of “Goin’ Down”. It is like reentering the darkness with courage and accepting it, rather than plunging into the unknown. This record is unique in its approach to emotion and music. It is dark and chaotic in all the right ways. It is pleasantly unpleasant. Olivier La Roche
Papercuts Baxter’s Bliss EP Jason Quever has always been a reliable set of ears, and Baxter’s Bliss, the newest release under the Bay Area Dream Pop veteran’s project Papercuts is an expectedly comfortable listen on the ears of his listeners. Serving as a producer for the likes of Beach House and Cass McCombs has helped Quever discover new angles to carve his sound from. The bright guitar tone melded with the Casiolike drum track could be mistaken for a Bloom B-side. Such a sound rings heavier when taking into consideration
that this EP, like many works of art released over the past two years, was written in the confinement of his home. “Try Baxter’s Bliss” is like a hazy non-canonical sequel to the Lee Hazelwood classic “Summer Wine.” Where Hazelwood is seduced by a mistress in the desert who leaves him with nothing but a heavy head, “Try Baxter’s Bliss” is a losing battle for Quever, trapped in isolation with his vice of choosing, and stuck in a loop of numbness and delirium. The Arcade Fire cocktail of instrumentation on “When Will You Come Home” (a song title which is the cherry on top of the isolation cake) makes it the busiest and most energetic of the tracks, and is a fitting end to the original songs written for the EP. Quever’s rendition of Leonard Cohen’s “The Partisan” makes haste with its tone. Where Cohen’s careful strumming of the guitar string plays to a Bon fire, his cover faces a blizzard, on tradjectory to his lonely sanctuary. “End Times Daily” is Quever’s tribute to the alt rock musings of Galaxie 500, bearing an acoustic guitar and a heavy handed piano too put a bow on this digital-only release. Daniel Kussy For fans of: Beach House, Living Hour, Andy Shauf, Galaxie 500
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