Stylus Magazine Oct/Nov 2022

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On the Cover

Contributors

Duboff

Hanco

Tiessen

Sheppard

Knaggs

timschal

Doug Kretchmer Sam Doucet Noah Cain Paul Newsom Ryan Haughey Grace Holtfrank

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Song Parodies and Copyright Law:

Criticism is … Critical (and Other Truisms)

MICHAEL DUBOFF, entertainment lawyer at Edwards Creative Law – Canada’s Entertainment Law Boutique™

Have you ever thought to yourself, “Hey, I’ve got a fantastic idea for a parody song”? If so, your next thought might have been, “do I actually though?” Creating new lyrics to an already-famous song might be funny; certainly, laying different, incongruent lyrics over a familiar song can have that effect. But does that mean it is a “parody” for the purposes of Canadian copyright law?

A work of parody, under certain circumstances, may be exempt from what would normally be an infringement of copyright. Traditionally, the concept of parody exists at law as a form of criticism and commentary and is an extension of freedom of expression. In Canada, works of parody are protected from claims of copyright infringement under the doctrine of “fair dealing”, which is similar to, but distinct from, the U.S. doctrine of “fair use”. Generally, fair dealing, and the specific parody exemption, are an attempt to balance a creator’s ownership rights with an individual’s right to freely express themself.

The fair dealing exemption is codified in the Copyright Act (Canada) and provides that, under certain circumstances, use of a copyright protected work does not infringe copyright if the work is used for one of the following purposes: research, private study, criticism, review, news reporting, education,

satire, or parody. Importantly, not all song parodies, even if they are referred to as parodies by the artist, qualify for the exemption. Here is a hypothetical that has a relatively common fact pattern: a song (let’s call it Gangnam Paradise) that an educator wrote and recorded to teach children phrases in Korean, is sung to the melody and over similar beats as those featured in the song Gangsta’s Paradise, made famous by Coolio. The song contains no commentary on gang culture or criticisms of Coolio – Gangsta’s Paradise is actually about the pessimism a gang member in south central LA felt about his life, surroundings and violent, dangerous lifestyle.

Would the spoof song Gangnam Paradise qualify for the parody exemption to copyright infringement in Canada?

There are few Canadian cases that have directly dealt with parody songs, but U.S. law on the subject can be informative (though not determinative) in helping determine the scope of Canada’s parody exemption, especially if you’re a Canadian artist who plans to distribute music in the U.S. (i.e., probably everyone). The famous U.S. Supreme Court case, Campbell v. Acuff-Rose Music, Inc., found that where a potential parody imitates the characteristic style of the original author, the parody version must “ridicule or criticize the copied work itself.” This is

not the only consideration a court would make, but if the principle in Acuff-Rose were applied to our example, arguably, the lyrics of Gangnam Paradise would not qualify as a parody as it has nothing to do with the lyrics of Gangsta’s Paradise and does not contain any criticism of Coolio or the song’s message. In our example, the parody version would likely infringe the copyright in the underlying song, Gangsta’s Paradise.

You may wonder how Weird Al Yankovic, perhaps the world’s best-known parody artist, avoided copyright disputes in making his “parodies” as they almost always fall into the “funny new lyrics” category and not the “criticism of the subject matter or author” category. He did this simply: by getting permission from the copyright rightsholders in the form of a licence. Note, Coolio claimed he didn’t personally approve Weird Al’s song Amish Paradise as a “parody” of Gangsta’s Paradise, initially saying that he thought it took away from the serious message of the original work (though he softened his position on his opposition to the spoof years later). Another twist in this story is that Gangsta’s Paradise uses and interpolates samples from Stevie Wonder’s lesser-known track, Pastime Paradise!

Also important to note is that parody only exists as an exemption to copyright infringement, and

there is no similar exemption in trademark law.

So be careful that your song doesn’t also use logos, brands or slogans owned by others without their permission.

It has been said that a joke is a misdirection, a magic act that plays with expectation, logic, and surprise.

Certainly, new lyrics sung over a familiar tune can, in this way, create something genuinely amusing. But the surprise at discovering the difference between the everyday use of the term “parody” versus a “parody” for copyright law is something you or a music publisher might not find particularly funny.

If you have any questions about parodies, including regrading helping you get permission whether or not your song arguably is a parody, or other entertainment law questions, please reach out, we’d be happy to help!

Blah Blah Bla h

*** New Wales Oct 8 at the West End Cultural Centre *** Kacy and Clayton Oct 8 at Times Change(d) *** The Pairs October 12 at the West End Cultural Centre *** JayWood Slingshot Album Release Show with Mooki & Gabriela Ocejo Oct 14 at the West End Cultural Centre *** Windups & Eugene Ripper Oct 14 at Times Change(d) *** Lev Snowe with Sam Singer & Sophie Stevens Oct 15 at The Handsome Daughter *** Tim & The Glory Boys Oct 16 at the West End Cultural Centre *** Classified Oct 18 at the West End Cultural Centre *** Campfire Sigh Album Release Oct 20 at The Good Will Social Club *** Juvel Oct 20 at Times Change(d) *** Bullrider Album Release & Hana Lu Lu Oct 21at Times Change(d) *** PIQSIQ Oct 22 at the West End Cultural Centre *** Mariel Buckley & Andrina Turenne Oct 22 at Times Change(d) ***

Kandekt, Stucco, Beth & MoyaMoya Oct 28 at The Good Will Social Club *** The Sadies Oct 28 at Times Change(d) *** Fleece with Pastel Blank and Big Loser Oct 29 at The Handsome Daughter *** Sky Wallace Nov 3 at the West End Cultural Centre *** Adam Baldwin Nov 6 The Good Will Social Club *** Encore Nov 4 at the West End Cultural Centre *** Fencing, Sweeping with Fast Tripper Nov 5 at the Handsome Daughter ***JD Edwards Band Nov 5 at Times Change(d) *** Roman Clarke I Think It’s All A Dream Album Release Shows! Nov 10 & 11 at The Good Will Social Club *** Secret Beach Nov 11 at Times Change(d) *** Anchor’s Up Tour Nov 12 at the West End Cultural Centre *** DB and The Deadbeats Album Release Nov 12 at Times Change(d) *** Blessed Circuitous Album Release with Stuck and Fold Paper Nov 17 at The

Annaxis

CBT

CONTENT WARNING: This article contains a discussion of topics including anorexia, mental illness, and self harm.

I was fortunate enough to be able to ask Winnipeg’s Annaxis about her brandnew EP: CBT or “Cognitive Behavioural Therapy,” in which she brings her unique brand of dark pop with indie influences like Kate Bush, and Mitski, making the listening experience sombre yet beautiful at the same time.

Each song paints this picture of suffering, perseverance and recovery through the worst times.

“I’ve had mental health issues since middle school, and I guess you could say CBT is a reflection of that,” she explained. “I’d do my best to channel those emotions and deal with them

healthily. So, the songs just kind of ebbed and flowed with whatever I was feeling at the time.”

This carries perfectly into the opening track, “24 hours” which she told me she wrote in just grade 9.

“[It’s] about recovery from self-harm, and how it kind of gets stuck in your head and is incredibly difficult to move on from.”

Despite the theme, the instrumental is almost upbeat with “too many synths for its own good, in the best of ways” This song sounds perfect for a late-night drive in the city and sounds like a darker version of The Weeknd’s 2020 smash hit: “Blinding Lights.”

The next track, “In My Own Mind” has a

Good Will Social Club *** Grey Jays & Sam Singer Nov 17 at Times Change(d) *** Andrew Neville and The Poor Choices Nov 18 at Times Change(d) *** Tyler Shaw Nov 22 at the West End Cultural Centre *** Living Hour Someday Is Today Album Release Show with Mulligrub Nov 24 at West End Cultural Centre *** Zrada w/ Dr. Henry Nov 25 at the West End Cultural Centre *** The Fretless Nov 27 at the West End Cultural Centre *** Jamboree, Leon’s Getting Larger & Two Tomatoes Dec 9 The Handsome Daughter *** The Small Glories Dec 17 at the West End Cultural Centre *** Red Moon Road Dec 22 at the West End Cultural Centre *** Jacob Brodovsky I Love You And I’m Sorry Release w/ Madeleine Roger & Ellen Froese Jan 19 at West End Cultural Centre ***

PHOTO: GRACE HOLTFRANK SUPPLIED BY ANNAXIS

more upbeat energy. “It’s about fighting my personal demons and believing in my ability to move on,” she explained that her dad can be heard singing background vocals which adds to the theme of fellowship and recovery.

“I Don’t Like Bathrooms” is probably the darkest moment of the EP. “As a sufferer now recovered from an eating disorder, bathrooms have never been a safe place for me.” This feeling echo’s in the lyrics of the track; she sings about how bathrooms are “too perfect” and “too clean” and how she is too messy for them. This track was a powerful one.

“‘RIP’ is different from other tracks,” she told me. It isn’t about death but rather a friendship that soured because of “mental illness and its complications.” It feels like a letter from an old friend, leaving all their feelings on the table.

The closing track, “Ana and the Teen” is the melancholic point on the EP. On the surface, it sounds like a conversation between an adult authority figure and a younger person. But the true meaning is much blacker. “In a lot of internet communities, Ana is short for anorexia. The song is a conversation between me and my illness.” The

song is about the singer having an internal battle with her condition. This is an excellent metaphor and makes the message come across very well. The instrumental on this track is much simpler than the others but works so well in connecting to the lyrics.

I was extremely impressed with this project, and l look forward to a full-length album from her.

SOS FEST Friday, Day 2

WORDS & PHOTOS: ROB KNAGGS

On a weekend where events were wild and plentiful, the Park Theatre’s inaugural SOS Fest came out swinging with a stacked lineup of North America’s finest and fastest. Ever the enthusiasts of the extreme and electric, Cory Thomas and the team Ninjacat Productions pulled no punches in putting together a three-day lineup of exciting punk rock that was on for all walks of life, for those who crossed the border, those who crossed the street, and for young and old. Literally. Parents who grew up scraping skateboards on handrails and scrapping at each other in mosh pits, listening to everything from local basement acts to the staples of Fat Wreck Chords, and Epitaph, are now bringing their kids decked out in fauxhawks and black band shirts to show them how it’s done.

Winnipeg’s Clipwing hit their marks early, balancing melodic guitar lines and full-throated vocal harmonies. Reminiscent of the gruff stylings of Polar Bear Club and Hot Water Music, the local quartet brings quality song craftsmanship and joyous energy to the Park Theatre stage, with their bassist taking every chance to rev the crowd up, bouncing around the stage and throwing up metal horns.

Stickaround loves a chorus, and they love it loud and catchy enough that it’ll be in your head like a Sookrams-induced hangover. Short and fast, Stickaround’s snarling chugging brand of pop-punk had fans singing it all back in their faces before spinning back into fellow slam dancers.

As Dangercat takes to the stage, the crowd inches ever forward to jeer and give one last heckle to their friends before they take The Park for a ride. A little less NOFX and a bit more Jawbreaker in style, Dangercat has made a name for themselves for their brash sincere ruggedness that leaves venues smiling and bopping.

As someone still catching up on Canada’s music history, Belvedere’s set hit me like a damn train. The Calgary skate punk stalwarts blasted through a set of metaltinged riffs and infectious harmonies without catching a breath. Crafty guitar work, wild facial expressions, and high kicks abound; Belvedere took SOS Fest for a spin through their 25-year back catalogue while showcasing songs from their latest record, Hindsight is the Sixth Sense. With the set about to close, singer/guitarist Steve Rawles lays down his Les Paul to announce, “Now, we don’t do a lot of covers, but when we do, they’re sure as hell going to be Bad Religion covers,” whipping the mosh into a frenzy of sweaty hair and raised fists through “Do What You Want.”

Touring in celebration of their 20th anniversary as a band, Toronto’s The Flatliners return to The Park Theatre in full voice, screeching and seething through “Performative Hours,” the opening track of their latest record New Ruin. Ripping

through a set of tracks from Cavalcade and Inviting Light, Chris Cresswell’s trademark aggressive howl cuts through the interplay of noodling guitar lines and over drummer Paul Ramirez’s explosive and pounding kit. After dodging stage invaders and song requests, Cresswell takes a moment to unite the crowd in the name of equality and love before roaring through an impassioned performance of “Oath.” Wanting to do away with the pomp and circumstance of encores, The Flats tear through crowd favourites the poppy singalongs of “Monumental,” the ska-punk rage of “Fred’s Got Slacks,” and the anthemic soars of “Eulogy” to close out a spectacle of a night. Book out your calendars for next year; your kids will love it.

Concert Review:

Foxwell at Rainbow trout music festival

Foxwell was the first band to grace the stage at this year’s Rainbow Trout Music Festival. But, the Winnipeg quintet, helmed by singer-songwriter Mike Fox, did not let the pressure get to them as they delivered a jaw-dropping, genre-blending performance of new wave mastery. It was hard to believe this was the band’s second ever live performance as they effortlessly drifted through post-punk, psychedelia, folk, and experimental in astonishing fashion. Rarely do you get to see a band so evolved at such an early stage in their career.

At the time of publication, Foxwell has only released one single on their Bandcamp page titled “Running.” That song is groovy and catchy, instantly grabbing your attention and living on repeat in your brain for hours to come. Fox’s soothing tenor bounces between the motorik drum beat with illusory lyrics like “I was dreaming/ I was screaming/ I was screaming for you/ lost in the city I thought I knew.” The track is an excellent blend of jangle-pop and coldwave.

For fans of that single, I am pleased to say their unreleased material is as strong and vibrant as that

single. Going into the set, I knew I would only be able to recognize “Running,” which is part of the reason I can’t reference any of the song titles here. Still, during the set, the band was unbridled and loose. It created an environment for the band to freely express their ethos and explore different nooks and crannies of genres that wouldn’t necessarily be linked.

Most songs feature expertly arranged cellos and synthesizers working harmoniously to create lush and dreamy tracks that captivate any listener. “Like a beautiful drug dream, she bathes herself in refined delight/It’s starting to feel like the good life,” sang Fox over a particularly meditative folk song about a lover.

The set flipped between hard rock and singersongwriter tunes, and I’m not sure who decided to follow up a bossa nova song with a Krautrock anthem. Still, it was fun and added to the band’s ability to float in an undefinable music realm. Mainly, throughout the performance, I was astonished by the musical diversity and talent onstage, and as the set drew to a close, I thought the band showed me

everything they had.

That is until their closing song, which dove head first into the experimental and honestly pretty fucked up waters of Scott Walker (As a huge Scott Walker fan, I must say here is where Foxwell really won me over). Performing “The Old Man’s Back Again,” Mike Fox showed his astonishing vocal capacity. Rivaling either of the Walker Brothers, Fox floated above the blitzed-out cello and tremolo heavy guitar. Their cover was so experimental and freaky it felt like a deconstruction of Scott Walker’s entire solo career, new and old music styles culminating into one euphoric track. All said and done; it was a marvelous performance.

Due to the nature of being the opening act, the start of Foxwells set was plagued by mostly music press and event organizers. Still, as their songs reverberated off the banks of the nearby Roseau River, festival attendees couldn’t help being pulled by the gravitational force of the incredible, mostly unreleased material.

WORDS

SPACE JAM: Booter

WORDS & PHOTOS: REISHA HANCO

“I wish to be buried here,” says David Schellenberg of Alannah Walker’s cozy West End basement and Booter’s jam space home. The band members— Alannah Walker, Brendon Yarish, Ian Ellis, and David Schellenberg—all agree that it’s a convenient space.

“I don’t have to leave my house,” says Walker. “I like a spot where I can always just come down and play.” The band appreciates not having to share it— except, of course, with their other bands. Walker is a member of Housepanther and Polyglots; the foursome plays in multiple wedding bands and a Tegan and Sara cover band. The room is perfect for Booter, but with the added bodies in some of their other practices, it’s not ideal.

“If you can imagine, you know, another two people with three more keyboards setup. It’s very tight, for

the wedding band especially,” says Yarish. Even so, it’s still preferable to their old practice spot above the Goodwill. “It doesn’t smell like stale beer and cigarettes.”

“That space has some crazy memories,” adds Ellis. Walker’s basement is fairly quiet in comparison. “This basement is used pretty much exclusively for band practices. And laundry.”

“What’s the craziest laundry you’ve ever done down here?” Schellenberg asks her.

“The time that the water just started coming out of the hose, it went all over the floor.” Walker also talks about having to deal with a recent sewage backup and how her mom managed to replace one of the rugs with an exact duplicate. “When the sewage backed up, there was a carpet identical to that.” She points to one of the rugs. “She had a spare, like she came across another one of

these and then took it and asked me if I wanted it.

I think while I already had the other one.” The rest of the band laughs, having just learned of the carpet switcheroo. “You know, rugs are expensive, so I’ll take what I can get from my mom.”

The band shows off some other cool pieces around the room: an old etched reflective glass hanging on the wall from the previous owners, a framed drawing of the band done by Housepanther’s Bailee Woods, the cozy hanging lights that Walker put up all over the room. Ellis shows off the band’s retro mini-fridge. “This is the most important part, the fridge that is always full of soda water, no matter how much soda water we drink out of it.” The cold refreshments are a welcome reprieve from the basement’s exceptional heat.

“It’s very hot in here, and this is the only fan that we have,” Schellenberg says, pointing to a small table fan. I ask the band how else they deal with the uncomfortable temperature.

“Short practices,” says Walker.

“Yeah, I don’t think we’ve had a practice for Booter that’s longer than two hours,” Schellenberg adds.

“It’s also extremely hard to play the songs,” says Ellis. “They’re so fast, I just start sweating normally, and it gets so hot that I start pouring sweat and I’m just soaking wet by the end of practice.” He jokes about being stinkier than the cat litter, but despite the smell and the heat, the bandmates agree it is a great jam space. “I love Alannah’s house. I love being here.”

Check out Booter’s new album 10/10, and follow them on social media to find out where they play next!

Concert Review: Prog rock giants Mahogany Frog dazzle Rainbow Trout Festival goers

My first outing to the Rainbow Trout Music Festival was quite spectacular. Not only was one of my absolute favourite bands headlining day two of the two and a half day festival, but as soon as I checked into the gates and received my media pass, I could feel the good vibes in the air.

After a fun-filled day of checking out the eclectic lineup on the stage (with a bit of tubing on the beautiful Rosseau River to cool off), Mahogany Frog hit the stage. I’ve seen the band many times over the years, and they always deliver a fine performance. Did I say performance? It’s more like a trip where the music takes you and your imagination on a sonic journey.

The four members (plus a juggler… why not) came on a little later than their scheduled 11:30 pm start time. No one seemed to mind that they started late, but after hip-hop artist Dill the Giant’s set, some of the folks in the audience seemed a little caught off guard by the high-energy (not to mention the complex arrangements) performance. After a few songs,

though, most of the audience seemed to enjoy what they were hearing. One younger fella next to me said that he didn’t quite understand the music but, after a few songs, said, “hey, these guys are pretty cool; I can get into this. Pretty interesting stuff.”

Surrounded by a bank of keyboards was Graham Epp, who showed off his wizardry with ease. It was quite amusing watching him go from keyboard to keyboard, with guitarist Jesse Warkentin joining him on keys once in a while for a dual synthesized attack. Once in a while, Epp would leave his keyboard fortress with Warkentin in charge while he would take over guitar duties.

The rhythm section consists of Andy Rudolph on drums and newcomer Clayton Rudy on bass. These guys are a tight outfit. With Clayton’s fuzz tone bass complimenting Andy’s fluid drums, the keyboards and guitar nicely weave throughout and around these rhythm aces.

The band not only brings me back to the experi-

mental and prog bands of the ‘70s but also seems to put their unique stamp on their (sometimes lengthy, but never redundant) compositions.

As I mentioned earlier, the band takes you on a journey, and this journey stretches on for over an hour, with the audience screaming for more when they ended their set. They kindly obliged but left the audience wanting more.

I spoke with former bassist Scott Ellenberger, who was in the audience watching the band for the first time since he left the band a while ago. He said it was quite the surreal experience watching and hearing some of the riffs he once played with the band.

The last time I saw these guys was in June of 2018 when they opened up for The Flaming Lips at the Burton Cumming Theatre. Now, if that’s not a good endorsement for a band, I don’t know what is. I talked with Jesse just before that gig, and they were quite honoured to be opening for Wayne Coyne and the band.

WORDS & PHOTOS: DOUG KRETCHMER

CKU Who?

Destination Moon with JP Perron & Kayleigh McMillan

Stylus: How did you get started with CKUW?

JP: Our friend Adam, who hosted “Rockin’ Chair AM”on Wednesday mornings, asked if we wanted to fill in on a few episodes. We really enjoyed making a radio show, so that led us to Destination Moon.

S: How would you describe your show Destination Moon?

K: We always start with some space or moon songs, then we’ll move into some other genres like Rockabilly, Garage, R&B, Surf, Exotica . . . we are trying to keep nostalgia alive by playing a lot of 50s Forward B-Sides, some really great old records.

JP: We have a lot of fun making the show and hopefully listeners will hear a hidden gem that we brought to the airwaves. We like to keep the music going on the turntables with an instrumental to talk over and play a lot of soundtracks, novelty and sound-effect records. Often we will play some samples from B-movies or spoken word bits and we will occasionally do theme episodes.

S: What inspired Destination Moon? What is your origin story?

K: When I started picking records, I remembered listening these familiar tunes on Oldies compilations that I remembered hearing on the radio in the car

with my grandma when I was younger or in the movies I watched. I really liked artists like Link Wray, The Sonics, Chuck Berry and Bo Diddley.

JP: We’ve been on the hunt for late ‘50s/early ‘60s vinyl and like to look through bins to find hidden gems. I heard so much great music on community radio stations like CKUW or CFCR in Saskatoon, so when we started Destination Moon we wanted to inspire people to dig deep too and look for some great vintage musical oddities.

S: What is your favourite thrift store/bargain bin/yard sale find and why?

JP: We find a lot of great music by taking chances, but it helps that we like to listen to songs others may consider junk like the twist & novelty records. Our theme song comes from the Ames Brothers LP ‘Destination Moon’ which is often found in bargain bins. We take a lot of inspiration from other collectors of ‘Trash’ like Lux & Ivy from The Cramps.

S: Will you tell us any of your favourite record-finding places?

JP: We like to look for vintage vinyl whenever we travel and Manitoba has a lot of people who like music. We go to garage sales, flea-markets, thrift stores and record swaps. Also, I’ve got to mention the fantastic local record shops like Into the Music who are Friends of CKUW.

S: Anything you would like to add?

K: We would like to thank all the people who tune in to hear what we do.

JP: Yeah, programming music to play on Destination Moon every week has kept us active listeners, we are always finding new songs for the show. Little lost treasures that have been unearthed.

KEELEY BRAUNSTEIN-BLACK

PHOTO: DELF TIMSCHAL GRAVERT

Local Releases

stand out: grief and growth. Slingshot is a demonstration of Jaywood taking stock of a transformational period in his life and taking those experiences with him going forward. We’re fortunate to witness an artist that can turn the arduous side of life into something so inspiring.

Sam Doucet

JAYWOOD SLINGSHOT

There is perhaps no cliché more prominent in music reviews than the one of the artist who refuses to be pigeonholed into one genre. Well, dear reader, that cliché is alive and well with Jeremy Haywood-Smith, aka Jaywood’s new album Slingshot, a dreamy and dynamic collection of musings that represent his first fulllength release since 2019’s Time. It’s a deeply moving record that is the result of a tumultuous few years for Jeremy, with personal and global events giving him much to reflect on musically.

Listening to Slingshot is like playing “Eclectic Songwriter Bingo.” Those who’ve listened to Jeremy’s previous output won’t be surprised to hear shimmering synths, lilting vocal harmonies, and the occasional wellplaced hip-hop guest spot. Right off the bat, the whimsical electronic intro leads into the first song, “God Is A Reptile,” a low-key, funky number with a beat that shuffles along subtly before exploding into a flourish of psychedelic splendour. “Just Sayin” is reminiscent of fellow genre-hopper Bartees Strange, blending carefree indie-pop with subtle nods to disco, synth-pop, and garage rock. A few songs later, “Shine” offers a distinctly Tribe-tinged laid-back hip-hop cut bolstered by the appearance of guest vocalist McKinley Dixon.

Presented as a concept album that takes us through Jaywood’s mind from dawn to dusk in one day, and as alluded to earlier, he bares his personal and musical self unreservedly. Some lyrical ideas are more readily decipherable than others, but two disparate yet complementary themes

THE SECRET BEACH SONGS FROM THE SECRET BEACH

The opening track and lead single of Songs from The Secret Beach by The Secret Beach is called “The Secret Beach.” So, what (and who and where) is The Secret Beach? If this were a murder mystery, “Micah Erenberg in the Interlake with the Tascam 388 Recording Console” would be an accurate, albeit inadequate answer. The Secret Beach contains multitudes. It is the evening behind the wind and a cat pawing at static on a TV screen. It is looking for a way out while knowing it needs to be there to be the one for everybody it will become. It is Existential Interlake Psych-Surf.

Rather than seeking detached perfection in the album’s production, Erenberg’s analog approach has given Songs from The Secret Beach a raw presence and intimacy reminiscent of The Band’s recordings at Big Pink. At various points (most powerfully on “God is…”), my attention was drawn to the act of recording, the specificity of the moments in time that Erenberg has captured on this album. A screen door swings shut, fingers squeak on strings, objects move about the room.

Above this sonic landscape, Erenberg’s lyrics float like clouds. They are precise (“you know the edges of every broken plan”), sweet (“like a bee loves honey,

a tree loves rain, I miss you again”), funny (“God eats a paella some cool kid made all wrong”) and profound (“hard days, bad ways, I have always been the same”). Operating from a posture of intense acceptance and sincerity, Erenberg dwells in tension and uncertainty, rejecting wornout dichotomies and materialistic solutions to the questions of death, love and livelihood. The questions that Erenberg asks on Songs from The Secret Beach don’t require answers. They require contemplation. It is fitting, then, that the album’s final track, “How Many Times,” is composed entirely of questions.

Even as it explores weighty topics— the no-win bargains of our economic present (“Get a job, oops, too bad, that didn’t work”), grieving in the wake of death and heartbreak (“it don’t make sense when good friends die so young”), and hidden mental health issues (“I become manic though I appear serene”)—this album never feels bogged down in negativity or naval gazing. There is a great sense of wonder and appreciation for these mysteries and suggestions of hopeful ways forward through openness, mindfulness, and, most of all, “Less talk, a lot more rock and roll.” Noah Cain

this Winnipeg troubadour has taken his time in releasing his debut fulllength, the ever-so-cloyingly titled I Love You and I’m Sorry (ILYAIS). It’s the first recordings we’ve heard from him since 2019’s Sixteen Years EP, which introduced many local ears to Brodovsky’s pensive and unhurried brand of indie folk.

ILYAIS offers the listener a more richly developed selection of songs than on previous releases – owing to the patience and care Brodovsky took in writing the songs, as well as the who’s who of local musicians that lend their talents to the ten tracks herein. The lyrics on this album range from literal and bleak, to metaphorical and brimming with whimsy – with the fluctuations in musical tone to match. The opener, “Me and My Mental Health,” paints a picture of helplessness and guilt, in a combination all too familiar to those of us living through unprecedented global strife from a distance. “The Night Baker’’ picks up the pace with a more pronounced beat and a curious story cloaked in – I assume – at least a metaphor or two. Elsewhere on the album, we’re treated to a truly touching account of Brodovsky meeting his sweetheart, a brutal fly-on-the-wall retelling of postbreakup conversations over coffee, and a universally-relatable number about the weight of expectations.

JACOB BRODOVSKY

I LOVE YOU AND I’M SORRY

Jacob Brodovsky has been doing a lot of thinking. At a time when many artists are pumping out material at breakneck pace to keep their names in the conversation, and most of them are already working on their second or third pandemic-driven album,

Brodovsky’s voice sometimes tiptoes over his gentle strumming and at times, cascades over the wailing slide guitar that lends an air of melancholy to many of the slower tracks on ILYAIS. Well-placed strings, piano, and vocal harmonies offer a new depth to his compositions. The influences of John K. Samson and later-era Wilco are on full display here, but Brodovsky’s engaging mix of highly personal and undeniably universal musings are something that listeners will be wanting more of before long. This album took its time coming into being – but the result is the album Brodovsky wanted to give us, one whose tone is bleak, honest, and endearing.

Sam Doucet

Ulteriors

hint that this clamour represents.

Ghostkeeper’s connectedness with his ancestors is present in every snare strike and wailing guitar string. Shane simultaneously credits and embodies this connection through the album’s ongoing and ever-changing instrumental flair.

at some spots, seem to imitate that cracking and can sound distorted or gargled at times. Although it can come across as a bit excessive, the distortion does seem to add something to the anger in the music, perhaps further expressing the absolute blind fucking rage of the album.

GHOSTKEEPER MULTIDIMENSIONAL CULTURE

Ghoskeeper’s Multidimensional Culture sounds whimsical, nostalgic, mystical, and weird. Variously inspired by pow wow music, the great pop bands of the 60s, and seemingly more subgenres than could be neatly listed, the record feels as complicated as it does Canadian.

“Summer Child” – the closest thing to a sombre track on the whole record – sounds like the soundtrack portion for a dream sequence in a 70s cult film, cutting an otherwise warm record with a hint of dreamy detachment. Shane Ghostkeeper seems to ape Lou Reed with frequent single- and several-word sang/spoken deliveries, sliding more to one extreme or the other as songs’ narratives demand. Fellow vocalist Sarah Houle provides a melodic contrast to Shane with wispy, soaring lines accented now and then by vibrato.

Yet more compelling than the emulation of any vintage, eclectic influences is the channelling of said influences through the lens of Ghostkeeper’s Indigenous heritage, shooting tracks through with transcendental depth. “This is a reckoning of perception…a smooth redemption,” sings Ghostkeeper on “Ancestral.”

“We make sound to witness that which creates us…ancestral selves working on Multidimensional Culture.” The album’s lyrics run the gamut of serious through whimsical through challenging through comfortingsometimes within a single line.

The album’s perpetual inclusion of radically different sounds in the same sequence - jazz brushes rattling snare drums, phased guitar sounds coming and going like guests, and all manner of space-age guitar feedback harmonizing with vocal sections - is initially strange to make sense of. Yet the album’s lyrics (and those of “Ancestral,” in particular)

It is not easy making albums that sound good, and nor is it easy to make albums that sound purposeful. Ghostkeeper has pulled off both these aims with Multidimensional Culture, which grows more interesting with every listen. Scattered like clues through the tracklist, everything the band had intended to say is carefully and humbly situated with awesome purpose. Paul Newsom

For fans of: St. Vincent, Silver Jews, The Velvet Underground

It’s the type of album you listen to when you’re debating whether or not everyone in your life hates you or if you just need some new meds and a nap. Going through some of my favorite tracks from the album, that fact just becomes more clear to me.

Whether you’re still thinking about that one situation you never really got over, or if you’re going through some serious post-nut clarity, “It Probably Wasn’t Worth It” is the song for you.

“I always thought that the future would hold some better feelings, but I just feel old.” The lyrics on the track “DUDE! SHUT UP!!” are just a bundle of relatability.

This album leaves you feeling as though even after you turn it off, you take a small part of it with you, and I think that if you want an album that just feels completely and entirely fucking raw, this is it. Gabriel Fars

hopeful progression as the bass and drums set the pace of this drive in a top-down convertible. The guitar is like wind blowing through your hair, providing counter melodies to the smooth vocals. “Perfected Steps,” tells a story of a burnt-out star singer, giving the audience enough to go on to follow along, yet enough space to fill in the space between the lyrics with imagination when the bar sounds of clinking glasses and low chatter chime in. The guitar flutters down the melody, matching the backing vocals as they sing, “The more you want, the more you miss, the more you wish that you had it.”

Rubbery synth waves launch us into “Janet Planet,” and the groove continues. TOPS vocalist and flutist Jane Penny has a way of seamlessly swerving in and out of lyrical rhythms, placing the puzzle-piece lyrical phrases with ease. By the first chorus, these technically placed syllables feel natural to the listener. Gleaming keyboard parts give the hook a soft, crystal-like edge. “Waiting,” the EP’s third track pulls us up onto the dance floor with a near-disco-type drumbeat. The lead guitar flows like a ribbon through the air, hitting all the melodic phrases throughout the chorus. When the time comes for a guitar solo, the backing vocals mimic the guitar solo as it bends and throws.

SHOEHOLE MAGIC HATE BALL

Making deals with the devil, the embarrassment of still living with your mom, being a drunken manchild–This album really is about the important things in life. The things that you think about when you’re sad and still awake late at night when all you can do is stare up at your roof and pray that your brain will shut up so that you can just. Go. To. Sleep.

Magic Hate Ball is an incredibly raw album, but not in the way you might have expected. Shoehole presents their lyricism and music as a form of vulnerability and the honest truth about human emotions. Even down to the chords and rough guitar strums, you can hear a wave of aggression behind the music. Even the choice of tone in the lead singer’s voice is intentionally as angry as possible, even cracking at some spots because of the emotion put into it. Guitar parts that,

EMPTY SEATS TOPS

Montreal’s sweetheart band TOPS builds on their already sparkling discography with their most recent EP, Empty Seats. After their previous fulllength record, we’ve come to expect their usual driven, bubbly pop style –and on Empty Seats, the band delivers. But it’s never tired or recycled. All five songs hold something new to discover for TOPS in both storytelling and composition.

For example, opening track, “Perfected Steps,” lays back in the groove like a yacht rock classic. Rhodes ring out a

On the 80’s power ballad “Party Again,” synths and keyboards drive the beat forward through the hook – “I just can’t live without hope.” This love song is hopeful yet cynical. “This must be some kind of joke.” This struggle between outlooks is complemented by the upbeat pull of the keys and guitar. This tune again reminisces in a glossy 80’s pop filter, of course, groovy as ever.

Finally, “Future Waits” bookends Empty Seats with a dramatic call out to smokey rooms and broken costume jewellery. Icy Rhodes stabs through the smoke while the vocals softly flicker amongst the soft wall of pink harmonies. “The future waits for no one.” Longingly, TOPS reaches back into the past, but there is nothing to grab onto. Time is an unending force, flowing ever forward. What does the future hold for this band? Probably more great music like this. Ryan Haughey