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October / November 2021 Stylus Magazine
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OCT/NOV 32 2021 VOL NO. 5
Production Team Editor . . . . . . . . . . . . . . . . . . . . . . . . Gil Carroll editor@stylusmagazine.ca Art Director . . . . . . . . . . . . . . Kelly Campbell design@stylusmagazine.ca
On the Cover CHRISTINA HAJJAR Christina Hajjar is a Lebanese artist, writer, and cultural worker based in Winnipeg, Manitoba on Treaty 1 Territory. Her practice considers intergenerational inheritance, domesticity, and place through diaspora, body archives, and cultural iconography. As a queer femme and first-generation subject, she is invested in the poetics of process, translation, and collaborative labour. https://christinahajjar.com/
Cover Art . . . . . . . . . . . . . . . . Christina Hajjar Advertising Contact . . . . . . . . Rob Schmidt manager@ckuw.ca Print by JRS Print Services . . . 204-232-3558
Contributors Nigel Webber
Myles Tiessen
Olivier LaRoche
Michael Duboff
Ryan Haughey
Isabella Soares
David Tymoshchuk
Tuva Bergstrom
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
Table of Contents Winnipeg State of Mind: Queen Desi Ma . . . . . . . . . . . . . . . . . . . . . . . . . . . CKUW Program Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CKUWho: What’s Up Winnipeg with Jonny B . . . . . . . . . . . . . . . . . . . . . . . . . . . Local Spotlight: Album Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ulteriors: Album Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Features The Business of Music: Record Label Agreements . . . . . . . . . . . . . . . . . . . Anthony OKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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October / November 2021 Stylus Magazine
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The Business of Music: Publishing MICHAEL DUBOFF, an entertainment lawyer at Edwards Creative Law Publishing the music that an artist creates is often a primary goal when one thinks of music as a business. Having your music heard in other mediums – TV series, movies, advertisements and games – comes with a number of legal considerations. Every person who writes lyrics and/or composes music is “self-published” until they work with a publisher. At that point, the individual is no longer self-published, but rather has a “publisher” – which comes in all shapes and sizes. A publishing administrator’s focus is collecting royalties. A co-publisher collects royalties, but also seeks opportunities for the musician to work with other musicians, such as by sending the musician to writing camps, and also pitches for opportunities to have the music be used in audio-visual works from TV series and films to ads and video games. Having a co-publisher really means you have a publishing partner – you are likely working with the publishing company for the long term, or at least for a long time on specific compositions. Due Diligence: Once you have received a formal offer from a publisher, or earlier, do your due diligence on the music publisher, including by researching their roster of artists. Also ask what they think they can do with your music from a publishing perspective. Compensation: In a co-publishing agreement, one
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of the ways publishers are generally compensated is by being assigned 50% of the copyright of the relevant musical works, which means that the writer and publisher share (a) mechanical royalties, (b) the up front funds received from song placements with respect to the synchronization rights (which is generally 50% of the up front fees with the other 50% going towards the master use rights controlled by whoever owns the master), and (c) the publisher’s share of performance rights royalties (which is usually 50% of the fees provided by SOCAN (the Society of Composers, Authors and Music Publishers of Canada) with the other 50% going towards the writer’s share). If a singer/songwriter co-wrote a song with another writer, and the singer/songwriter alone is signing a co-publishing agreement with a publisher, the publisher will generally receive 50% of the singer/songwriter’s rights – not 50% of the entire composition. There are single song co-publishing agreements, co-publishing agreements for specific recordings / albums, and co-publishing agreements for periods of time (for example, for a period of now until 3 years from now). The amount of content subject to the deal varies based on the parties involved. Advances: One element to consider is how much money, if any, the publisher is providing up front in cash to you, as an advance against future revenue. If
the publisher is confident that they can obtain high value placement opportunities for you, one way to test that confidence is seeking an advance, or asking for a higher advance. The advance is not owed back to the publisher if no money is generated, however, the advance is recouped by the publisher from what they would otherwise pay to you from royalties generated in future. Those Darn Expenses: If the compensation formula involves the publisher reimbursing itself before funds from publishing sales are divided between you and the publisher, it’s important to consider your approval rights and the publisher’s limitations, related to the publisher’s expenses. The Right Partner: As alluded to above, doing due diligence is extremely important. The most important consideration is who the publisher is, and if now is the right time to work with a publisher. If you have an album coming out in 6 months, and a publisher wants to offer you an advance of $2,000 today, with otherwise industry standard terms, if you want to bet on yourself that your album will do very well, and be able to command a much larger advance once the album drops, wait to see how the album does before negotiating an advance with a publisher. That’s easier for me to say, and I recognize that if you need money for rent or other purposes sooner than later, you might need to take a smaller advance today, even if you are betting on yourself – which you should always do. Plan for success, but also plan based on your needs, and work with the right publishing partner who you truly believe can help take you to the next level. Michael can be reached at: michael.duboff@edwardslaw.ca
WINNIPEG STATE OF MIND: Queen Desi Ma NIGEL WEBBER
PHOTO: QUEEN RECORDS
becoming a hip-hop artist has she learned Hindi enough to write and sing in a language she was unWinnipeg has slept on one of our own, only for familiar with only a few years prior. With a lot of support behind her, Desi Ma decided to pursue the the rest of the world to wake up first. Queen Desi potentially lucrative enterprise of making music for Ma may be born and raised in Canada but she’s turning a whole lot of heads in the UK and her an- Bollywood films. Both the films and the songs on the accompanying soundtrack are predominantly cestral homeland of India. Desi Ma has developed in Hindi, and so Desi Ma learned Hindi. In 2019, a vast and wildly impressive skillset, which includes she performed on the soundtrack to the Bollywood being able to not only switch between rapping and singing but to do so in three different languages, film “Gully Boy” which was India’s selection for the Academy Awards’ Best Foreign Feature category. English, Punjabi, and Hindi, at times in the same Desi Ma explains that, “It’s one of my biggest acsong. Talent is a prerequisite for the music industry but it’s the individuals with those intangible factors complishments thus far. [After] you’ve been doing it for so long, you’re really hard on yourself,” but of drive and passion coupled with hustle and a little notes that the uphill struggles and the challenges bit of luck that mould into an artist as unique as that presented themselves through her career only Queen Desi Ma. made that moment so much sweeter. “[Then] when Representing her culture is so important to Queen Desi Ma that she put it right in her name. you see your name in the movie titles at the end, that really made me proud. It was like, okay, yeah, you’re Desi is a term that broadly refers to people whose doing this.” ancestral origins are in the Indian subcontinent, and It didn’t start so easy, though. Describing first as Desi Ma says, “I really wanted to make sure I’m being in a studio at 16 with no idea how to count representing for my heritage.” Having spent a lot of time in India over the years visiting her family and the bars in her rhyme, Queen Desi Ma was hooked of course growing up in Canada, Desi Ma already from day one. Aware of how talented she could be, Desi Ma worked tirelessly on her craft, learning spoke English and Punjabi. However, only since technical elements like song structure while also underGet involved with standing the message she was conveying through her musical voice. Once the decision was made to do music as a career, nothing was going to stop Desi Ma. With time There are lots of ways to volunteer, split over the years and we’re always looking for contributors! between Canada, India and the UK, Desi Ma is now livMeet local and ing that goal. While touring musicians! giving credit to all the places she’s spent Meet other time over the years, music lovers! the UK still holds a special place. They Interview new and notable bands! also just really love her music out there. Impressively, Desi Ma has been on BBC Radio 1 multiple times as well as Discover and re view performed in Lonnew music! don, Birmingham, Manchester, among many other UK citConnect with your shows! e ies. Queen Desi Ma v li ph Photogra local music scene! also spent time on a UK based record Contributors who identify as POC, Indigenous, women, transgender, non-binary, gender queer, LGBTQ*, and/ or two-spirit are especially encouraged to volunteer! label before formTo contribute writing: Email editor@stylusmagazine.ca or assistanteditor@stylusmagazine.ca ing her own imprint, To contribute graphics and comics: Email design@stylusmagazine.ca Queen Records, Visit us in our office, 0RM12 a move that may Connect with us on Facebook, Twitter, or Instagram have seemed like a ”Catch a swollen heart from not rollin’ smart” - GZA
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gamble but as she explains, “things always work out, there’s no reward without risk.” Being her own boss has always been important for Desi Ma. Constantly on the go throughout her daily life, Desi Ma couldn’t afford not to own the masters to her own songs. It meant some headaches, some delays, some projects shelved, but in the long run it meant that Queen Desi Ma will forever own her own music. Strong on advocating for others, Desi Ma’s words of wisdom start with, “Artists have to remember that you’re the ones that are putting out the music, you’re the ones with the talent, with the ideas, so you never have to sell yourself short.” She is also able to back up her words with action; Desi Ma used to do hip-hop youth programming at the Broadway Neighbourhood Centre and also did hip-hop writing workshops in the Women’s Correctional Facility here in Winnipeg. Helping the youth was especially important for Desi Ma, saying that, “Just making sure that when these kids get those opportunities [in life], they’re ready for them.” An ultimate goal is to take the same kind of programming to India where there is a serious need. Right now though, Queen Desi Ma is focused on something uncommon in today’s world of singles and short EPs, she is working on a double album. To be put out through her own Queen Records, Desi Ma was tired of just putting out single after single and wanted the opportunity to show off how talented she really is and truly showcase her version of Queen Desi Ma, unobstructed by outside forces. While the album is still in production, there are plans for songs in English, Punjabi, and Hindi, and some with a mix, as well as features from an as yet unnamed cavalcade of Bollywood hip-hop stars. It’s an impressive undertaking in the first place, made even more bold given the TikTok-length attention span widespread throughout today’s society but Queen Desi Ma has proved she has the talent, now is the time to showcase it.
October / November 2021 Stylus Magazine
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MYLES TIESSEN It’s not easy to reflect on the little details that make up our day-to-day life. We’re often rushing through our day, going from one thing to the next in a frantic fashion. We also don’t often like to look back on our past for fear of embarrassment, discomfort, or something else entirely. Rumination can feel like an isolating and arduous activity. So why then does Anthony OKS make it seem so damn easy? On his new EP In The Garden, Anthony (Sannie) effortlessly dances around issues that have plagued his mind for ages. It’s a six-song EP that displays Anthony’s ability to shift his lyrical flow, storytelling, and style to create something that sounds lush and full of songs that are both nostalgic for times past and optimistic for the future. Anthony effortlessly moseys his way through an ethereal garden - stopping to smell the roses that represent his isolation, family, and promise for a better life. “Not to be cliche, but with the isolation and lockdown, there was a longing for community and family,” says Anthony as we talked over the phone during a break in his soundcheck for his show later that night. That unification of family wasn’t meant as hyperbole or intended to be exclusive. His father’s large family linked Anthony to people he didn’t know existed. During the pandemic, he was connected to at least 30 new family members. “That got me thinking about my parent’s stories and [throughout lockdown] there was a lot of time to think about people in my life and new relationships I want to form, my relationship with my partner- all exciting things, but very emotional.” Anthony directly links these emotions to the new way he approached writing In The Garden. With more signing and a focus on hooks, In The Garden is approachable and filled with poetically crafted metaphors expressed in creative new ways. “I’m not a trained singer, so some of the parts I sing might sound a little raw, but I think they sound better that way.” Whether it be singing or rapping, Anthony brings the same vitality, celebrating his prosperity and tribulations. The sound of In The Garden is loose and carefree- incorporating jazz, samples, and exciting features, including one from the Winnipeg-based Begonia, into a beautifully colored theatrical-sounding project. Rhyming over beats created by paalsh, Anthony’s approach to lyrical expression has shifted on this project.
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As he discusses his creative process, Anthony’s humility shows. He talks in metaphors almost as much as he does literally, and he is innately aware of his faults. “Even though this is my project, I’m still a team [player]. I never try to control things I’m not a master at. I can make the music for sure. I have an eye for imagery and design, but I’m not a designer, I’m not a producer, I’m not a label, I’m not a lot of things.” By allowing himself to recognize and let go of the trappings, he can provide space for his strengths to grow and shine. After all, this collaborative approach has been incredibly successful for Anthony. As a founding member of the hip-hop group The Lytics, he is no stranger to letting others take the lead. “It’s nice to have other eyes on things because you can get pretty comfortable with one or two great ideas, but when you have another person you’re working with on something specific, you can lean on them.” Collaboration is a significant factor in how In The Garden came to fruition, but Anthony’s ability to canvas his own mind and reflect on his experiences in unique and compelling ways is what thematically exalts the EP. On one of the EP’s stand-out tracks, “All About You,” he experiments with self-deprecation as a way to promote emotional growth. The second-person narration begins with a self-made hero, “Starring in your own motion picture/ You the lead, you the victor/ In the edit room, you try to find a way to look bigger./ Re-write your parts, so you come across a bit sicker/ No team, no familia.” With its all too smooth beat and dream-like guitar hook, the song lulls you into an illusory meditation reminiscent of some of J Dilla’s best work. Before long, the goliath-sized protagonist implodes under his own weight and is left to reflect on his life. “Only here for some time and then we go/ Life will keep on moving — with or without you/ So be sure to spread your love man, make it known./ Yea, Don’t make this life about yourself/Don’t make it all about you.” The platitudes found on “All About You” serve as mantras for Anthony while working on In The Garden. While reflecting on the inspirations for this project, he spoke of family and loved ones. “Aside from music, [inspirations were] conversations I was having - understanding my relationship a little better
and thinking back on the trials and tribulation regarding my relationship and how it’s blossomed over the years.” There are several songs on In The Garden that reflect on family. In particular, “Boy From Freetown” recounts the story of his father’s journey from Sierra Leone to Canada, and “Line of Fire” is about fighting depression with the power of brotherhood and music. On “Line of Fire,” he raps with tunnel vision over a machine gun-like snare drum, saying, “I lost some years when I was younger, My soul was deprived/ I lost some smiles when I was weaker, I wasn’t alive/ countless nights I stayed up thinking bout stress in my life.” Despite the melancholy lyrics and sonically dark production, Anthony maintains that “Line of Fire” is about hope. “I’m talking about the things we [as brothers] thought of and dreamed of as kids and what kinds of things we wanted to make realities.” The bond formed with his brothers is documented throughout In The Garden and is clearly influential to how he views himself as a musician. “There are a few things I’ve realized have given me purpose; music, family relations, things you may take for granted at the moment, but when you have a little bit of time to sit down with your thoughts, you realize ‘oh shit’ these things are very important to me, and I should cherish them and write about them.” Anthony has the ability to absorb and process a remarkable amount of stimuli around him. Even though we spoke over the phone, he remained attentive and alert. “Quarantine made me pay attention to the finer details of everything; what I was eating, what music I was listening to, what I was talking about with my friends, family, my partner, future plans and memories. Drifting off [thinking] about playing shows with The Lytics and how that made me feel. I just stopped and thought about everything and what everything meant up until now and what the future holds.” Listening to Anthony sing and rap his way through a beautifully crafted album is a rewarding and captivating experience. Most likely because In The Garden is reflective of his innate ability to stop, listen closely, and think. It’s full of hopeful and sincere songs about finding his place within his everdeveloping family.
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October / November 2021 Stylus Magazine
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ckuWho?
What’s Up Winnipeg with Jonnny B
Fridays 2:00-3:00 PM
STYLUS STAFF Stylus : How would you describe your radio program? Jonny B : My program is all about promoting shows that are going on in and around Winnipeg. I do that by playing music from bands and artists that will be on stages in the weeks ahead. I prioritize local music, but do make a point of playing a bit from touring bands who are in town. S: How did you get into the music you now love and play on your show? JB: It’s funny cause I’m not really much of a ‘music guy’ actually. I’d originally joined CKUW with ideas of doing some kinda sports show, but as I was shadowing other hosts during my training I saw just how much new and amazing music came through the station that I just had no idea existed, so i quickly pivoted my show idea into something that forced me to pay attention to what was happening musically in town. So ya, just being around the station and seeing what comes in has been a big part of that.
had to expand elsewhere in Canada, and some international stuff as well. Another thing was that prepandemic I’d occasionally go through spurts where I’d interview folks live in the studio about their music and upcoming shows. I didn’t like doing that too often, but not really being able to do it for almost 2 years has been a bit of a bummer.
this town to be playing the same artist every week so I try to space it out a little bit.
S: How do you discover new music or the artists you play on What’s Up Winnipeg? JB: Mostly just by keeping my ears peeled for shows going on, whether that’s online, social media, word of mouth, or good old fashioned posters. Over time, I’ve also been able to connect with some artists and labels directly and they keep me in the loop on new releases, which has been really nice.
S: How did the Pandemic affect your ability to make radio?
S: How do you decide what to play each week?
JB: Well, since my show was all about promoting upcoming live music, I very suddenly found myself with nothing to work with. After a few weeks of just sorta taking music requests from listeners, I decided to start playing newly released music. Again, with a priority on local artists and labels but definitely
JB: New and local gets top priority, but I also try to keep things fresh. After doing this show for 3 years, there’s some point where some bands will be super active playing gigs, but there’s too much talent in
Local Spotlight
ANTHONY OKS IN THE GARDEN When Soul blends with a Hip Hop beat in perfect synchrony. That’s what you get in Anthony OKS EP In the
Garden! Fresh with a saxophone-led rendition that is both chill and lyrically pinpointing anything and everything from struggles to carrying on to appreciate life to the fullest. “Clearly Now” is the first track, and it is a bold intro to the EP’s cohesive sound, while at the same time highlighting the importance of setting the clichés aside and just looking towards the future. This theme progresses once “Boy from Freedom” kicks in and takes the spotlight. The narrative starts with a boy struggling to find his own path amidst police brutality and racism. It then proceeds to a resilient conclusion, in which we find out that the boy could be Anthony’s father and shining role-
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PHOTO COURTESY OF JONNY B
model. The groovy vibes unveil in “All About You,” which couldn’t be more well partnered with the message of living in the moment while leaving self-centeredness aside. After all, it is better to appreciate those you care for before it’s too late. All of a sudden, In the Garden is graced with Begonia’s tender and melodic vocals in a call and response duet on “Fortified”, which evokes the perspective of two individuals in a steady relationship. A whirlwind happens and “Line of Fire” retrieves to the earlier arrangements, again focusing on being steadfast and facing risks with fearlessness. Its call to action is in the
repetitive chorus “caught in the line of fire, but not ducking down”. Lastly, “Mic Live” is directly related to looking out for your dreams. In OKS’s case, hopping on stage and making the crowds go wild, making him feel alive. Overall, Anthony OKS’s In the Garden is a polished end product of soul-led moments mixed with the traditional hip hop beat with a touch of poetic language that enhances its meaning in a worth-listening tone. Isabella Soares
October / November 2021 Stylus Magazine
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Ulteriors
track. The trajectory of “Morning Sun” is also emblematic of the album arriving to its end, as its floating, undecided nature evaporates into a progressively quicker ASHLEY SHADOW record, “Bury.” The synths!! The synths and more determined movement in its ONLY THE END came back!! A wonderful addition to final minute, as we float into the morning the closing track, almost as if they came sun. Simply calling this album a ride through There was a special atmosphere I to say goodbye. “Bury” is reminiscent of noticed the first time I listened to Only the earlier works of CVRCHS, It’s the space would be unjust, as it makes a The End. I didn’t know how to describe it kind of song you can dance and also cry number of intriguing stops along the way, in the beginning. It felt warm, like being to. The perfect way to say farewell to a each song adding nuance to the journey. An album of epic proportion, Aftertouch wrapped in the arms of someone who record like this. loves you very much. This is Ashley’s All in all, this album feels more like sees the band hone their experimental second release, and it’s a brilliant one. an experience than a direct collection edge in a cinematic narrative that ties the Entwined with Lana Del Rey-esque of music. Only The End provides the record together beautifully, making it no vocals, The classic country-folk-rock same feeling of a summer night in a less of an experience than their previous blend this album provides takes you campground, or an easy afternoon down media ventures. Olivier LaRoche along on a serene journey of nostalgia by the lake. It offers an atmosphere of CASPER SKULLS and acceptance of the world as it is. safety and comfort, and is the perfect KNOWS NO KINDNESS The rhythm behind “Gone Too Long” record for any long adventure you may feels like a steady march. The snare find yourself on. Tuva Bergstrom Casper Skulls throws listeners through drums smoothly guide the song along a fast-paced portal of sonic emotions while Shadow melodically pleads to fix ABSOLUTELY FREE with Kindness. On the opening track, a love that once was. The guitars on this AFTERTOUCH “Tommy”, Casper Skulls presents track stuck out to me the most on the album. The warm undertones create this Aftertouch is the second full-length LP indecision with the short piano intro lovely yet lonely ambiance, making this by Toronto trio Absolutely Free, a group that gives listeners insight into the views one of my favourite songs on the record. defined by their experimentation with of “Tommy’s” perspective. However, the We continue with the contemporary the boundaries of music as performance storyteller expresses tentativeness for waltz“For Love,” a similar yet more playful art. Since their formation in 2011, the intimacy with a transition into the clean track to its predecessor. “Don’t Slow Me band has orchestrated a multitude of guitar riff with the lyrics “Tommy I just Down” takes us back to earth. This track media endeavours, such as musical don’t know”. The following guitar riff is feels like a hot summer’s evening. Ashley installations like their project On The youthfully insightful, with lyrics that sounds like a warm prairie breeze as she Beach at Camp Wavelength festival explore the possibilities of relationships, sings about a love she used to know. This where 1-minute songs were performed exploring commitment and emotional track features Bonny “Prince” Billy, who’s one at a time to individual spectators. attachment. Casper Skulls experiments with unique voice contrasts Shadow’s perfectly to Following their debut record in 2014, the create heartbreaking yet almost euphoric group scored a number of films before ideas while remaining true to traditional harmonies. The guitars on this song offer finally undertaking their second album indie styles. Taking the low-end drum beat intro into a guitar and bass riff in a homesick twang, similar to the likes of this year. Neil Young. The years the band spent dabbling “Thesis” draws listeners in and falls back The sentimental feelings of “Don’t Slow across the spectrum of arts are not into the traditional indie rock riffage with Me Down” linger on the next track, only apparent on this new record, but smooth, reverberating vocals. Casper “Grey.” The light synth that appears at the culminate in spectacular fashion, offering Skulls has a way of pop/rock styles into end of the track allows for a whimsical a smooth brand of quietly complex synth a presentation that calls upon a lifetime atmosphere we haven’t experienced yet pop with all the cinematic flair expected of twists and turns. on the album, but adds to the air of from a band with their pedigree. The diverse flow of each track pulls hopefulness Shadow was aiming for The album feels like a dreamlike ride listeners into a unique story with with this project. “From You” feels like a through the galaxy, propelled by intricate each track. “Ouia” starts with a steady, nostalgic throwback to the days of Joni polyrhythms that meld seamlessly with haunting railroad current that speeds up towards the conclusion, which pulls Mitchell. The arrangement of the guitars silky synth passages. is in line with the rest of the album, The introduction to the song listeners hair first off of a diving board but Ashley’s heartbreaking lyrics on “Remaining Light” is a perfect example into “Witness”, a track that challenges this track about confronting the darker of this blend, with every instrument melodic expectations and cements the side of someone you adore make this a joining the initial vibraphone with an artistic style of twangy lead guitars and specially unique piece. increasingly complex pattern, creating a clean, solid rhythms. Each track makes room for each The energy picks back up on “I Will layered rhythm soon joined by dreamy Remember,” featuring a luxurious pads and piano. The echoed vocals are instrument to shine, while still sounding organ paired with rich guitars the final addition, as the song calmly complementing one another with melody and rhythm. “Proem” transports to create a groovy, soulful cocktail of achieves its peak. sound. “Unspoken” has the same moving Two songs later, the great “Are They the listener into the album title track by rhythm found at the beginning of the Signs” kicks off with arpeggiated revving ethereal synthetic effects into a album which once again feels like a march. synths reminiscent of a Beach House chorus that beats only when the lyrics The tone of the instruments behind tune, eventually replaced by the drums’ “Know No Kindness” signal for a stroll Ashley’s haunting vocals produces an determined groove and lead singer Matt through an embracing sonic comfort. This record’s final track calls back almost ominous feeling, contrasting the King’s vocals. This new dimension brings hopeful vivacity of the rest of the album. us into a driven, almost funky chorus the piano from the opening song and “Nobody” has a sound only comparable before sending us back down to earth expands on the emotional vulnerability to that of Arcade Fire. Distorted guitars with the same arpeggiated synths to with lyrics such as “I loved you in spite of everything in my own selfish way.” Casper and atmospheric drums fill the song announce the end of the track. up perfectly, only to be highlighted by The closer “Morning Sun” sees us back Skulls doesn’t have to take a brand-new a pleasant airy synth that can be found in space, watching the sunrise among approach to indie rock composition scattered about the rest of the album. the stars. The meandering synths sound because their full and emotionally With softer character, “Caitlin” takes straight out of Mac Demarco’s “Chamber deep sound encompasses listeners with us back to the country-folk roots of of Reflection” and provide a similar out- their own brand of emotional relativity Only The End. A delicate comedown to of-body feeling characteristic of that which uniquely draws in listeners own 08set Stylus Magazine / November 2021 emotional vulnerability. Ryan Haughey the scene for theOctober last track on the
CHARLES SPEARIN MY CITY OF STARLINGS My City of Starlings is the most recent musical venture of composer and multiinstrumentalist Charles Spearin, best known for his work with Do May Say Think, Broken Social Scene and Gord Downie. The Toronto native delivers a mostly instrumental glimpse into his mind and heart throughout the pandemic and from years prior. With elements of electronic, avant-garde, pop and rock, the record displays an eclectic mix of sounds that flow into each other quite well. Spearin explains that while it is not exactly a “pandemic record”, his experience in the past year and a half definitely shaped the project. The album reflects the city of Toronto not only with its long list of local collaborators, but in concept as well. Daily walks through the city with friends replaced visiting coffee shops and bars over the pandemic, and Spearin relates the creative direction of his recent work to these new habits, categorizing the album as “about Toronto, but from a kind of a naturalist perspective.” Some moments on the album are crystal-clear nods to the city, like the traffic sounds and chirping birds on the track “Diaspora”. The same song ends with a beautiful segment of piano being played in what sounds like a large room, with the occasional sound of people walking by and feet tapping to the rhythm. Moments like these paint such a vivid picture that accompanies the music in a way very few songs can, especially with no lyrics. Sound alone evokes a vision, a smell, a feeling of old floorboards creaking below. Other segments of the record similarly sound as if the listener is stepping off the sidewalk and into different buildings along the way, where thoughtful, slower paced melodies rule. The song “Vireos in Bellwoods” acts as the soundtrack to exploring an abandoned temple or church, with its lamenting strings accompanied by a melancholic oboe. This combination suggests a dark but gorgeous curiosity one might feel exploring such a regal building. The song “Three Voices (Braided Carefully)” is carried by angelic chants laid over clean, strummed guitar chords that drift between unsettling and euphoric. Following “Vireos in Bellwoods” on the track list, this song feels like reaching the last room in the abandoned temple and finding a shrine covered in gold and treasure, equally breathtaking and creepy. Spearin sends the listener on an unexpected journey through the city, with a few mystical stops along the way. The most intriguing part of this soundscape is that it can be related to anyone in any city. It may have been written with Toronto specifically in mind, but this adventure takes place in the listener’s mind, and so in any city you want it to. Olivier La Roche
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