Dec / Jan 2015-16

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Stylus

Dec/Jan

Issue6 2015-16 Volume26

Production Team Editor . . . . . . . . . . . . . . . . . . . . . . . . Gil Carroll Art Director . . . . . . . . . . . . Andrew Mazurak Assistant Editor . . . . . . . . . . . . . Victoria King Cover Art . . . . . . . . . . . . . . Shannon McFarlane

On the Cover SHANNON MCFARLANE is a visual artist, born and raised in Winnipeg, who had had public showings in Regina and Vancouver. Working primarily in ink, Shannon’s work touches on themes that explore outer space, the wilderness, and human ideals and longings. Her portfolio can be viewed online at www.artworkbyshannon.com.

Email: shanmcfar@gmail.com Instagram: @artworkbyshannon

Advertising Contact . . . . . . . . . Rob Schmidt

manager@ckuw.ca Print by JRS Print Services . . . 204-232-3558

Contributors Mike Skwark Talula Schlegel Eric Roberts Lisa Ewasko Rachel Narvey Andre Cornejo Chris Bryson Ras Rico Ryan Nash Olivia Michalczuk Topher Duguay Natalie Bohrn

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 editor@stylusmagazine.ca www.stylusmagazine.ca Contributions will be accepted in the body of an email. No attachments please. All submissions may be edited and become the property of Stylus. Unauthorized reproduction of any portion of Stylus is strongly discouraged without the express written consent of the editors.

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TableofContents Blah, Blah, Blah Events Around Town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Live Bait Mac DeMarco // Daniel Romano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 CKUWho Blast or Bust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 CKUW Program Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Local Spotlight RasTamils // M&M Meats // Boys Club // Higher Love . . 14 Ulteriors Young Galaxy // Snake River . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Root Cellar Grey Lands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Iconoclast Yaujta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Under the Needle The Paper Kites // Young Rival . . . . . . . . . . . . . . . . . . . . . . 16

Features AudioOpera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Well Sister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Basic Nature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Chron Goblin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Cannon Bros. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Dec/Jan 2015-16 Stylus Magazine

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A new year is upon us. The live music scene is full of amazing bands. Let’s get out there and support live music in Winnipeg. *** December 5, check out the Ghost Hole cassette release with Human Music at the Handsome Daughter *** December 6, pop a bottle at the Good Will for the Champagne Years album release party with iansucks *** Wow! Yes, we are bringing back the Stylus Launch Party at the Handsome Daughter on December 10 with notme, Holy Void, Bicycle Face, and Mulligrub, or head on over to Locals Only 5 at the Park Theatre with Brady Allard, Micah Visser, Adam Hanney, and ATLAAS. Over at the WECC, Current Swell are playing *** December 11 at the Handsome Daughter, check out Electro Quarterstaff, and the JP Hoe Hoe Hoe Holiday Show is back at the Burton Cummings Theatre. At the Good Will, you’ll find Cancer Bats and Lord Dying *** December 12 is the Art City Talent

Show at the Good Will, as well as the album release party for Scott Nolan’s latest, Silverhill, at the Park Theatre *** Catch the seventh installment of Bring Your Own Headphones at the Good Will with sounds from Seafreezing, Fresh Water Girls, and Not Half on December 13. Later on that day, Half Moon Run and Folly and the Hunter play the Park Theatre, and over at the Pyramid, Propagandhi, Blackhound, and Aphelion shred *** The Sturgeons are at the Park Theatre on December 16 *** December 18 has got it all. Come party at the Good Will for the Big Fun Lineup Launch with Basic Nature, Not Animals and Benowa, while Ridley Bent plays some tunes over at the Park Theatre. Stand under the mistletoe at the Times Change(d) High & Lonesome Club for a Country Christmas, and over at the WECC, Andrew Neville & the Poor Choices, The Crooked Brothers, Carly Dow, and others team up

to present a holiday tribute to Stan Rogers. Finally, at the Windsor you can catch Authority Zero, Versus the World, and Clipwing *** Celebrate three years of Real Love Winnipeg on December 19 at the Good Will with Living Hour, Animal Teeth, Slow Spirit, and Moon Museum (Edmonton), or see the Young Pixels at the Cavern. All they want for Christmas is rock ‘n roll. Mobina Galore and Lone Wolfe play the Park Theatre.

Over at the Pyramid, Imaginary Cities are sure to put on a good show *** On December 27 at the Park Theatre it’s the Unity Zine Launch Party with Viewing Party, Joko Tea, Mmars, the Inflatable band, The James Ulysses Band and Tim presented

by Orange Hat Entertainment *** December 29 you can get down with Guilty Pleasures at the Good Will.

Also sure to be great - Ultra Mega, Blond Goth, and Smoky Tiger play the Times Change(d) *** Happy New Years Eve! Be at the Good Will

with Soul Train, or at the Handsome Daughter where Real Love Winnipeg hosts Zrada, Little House and The Madtrappers. You can also get hot ‘n dirty with the Dirty Catfish Brass Band at the Park Theatre *** January 2, RasTamills is at the Good Will *** January 6, watch the future of Manitoba music unfold at New Music Night presented by Manitoba Music at the Good Will *** January 9 see Micah Erenberg and the Hearts at the Good Will *** Check out the Uniter Fiver showcase at the Good Will on January 14 *** January 16, get lost with Black Cloud at the Good Will for the release of their debut album Sundogs with sets from Mammoth Graveyard, Umami and The Shoal Lake Kid *** Vance Joy and Reuben and the Dark play the Burt on January 19 *** Alex Cuba shakes up the Park Theatre on January 24 *** Enforcer, Warbringer, Cauldron, and Exmortus are at the Park Theatre on January 25.

Hey Don’t forget TO USE THAT 2015-16 CKUW Friend’s CarD!

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Dec/Jan 2015-16 Stylus Magazine

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04 Stylus Magazine Dec/Jan 2015-16

BY M IKE S KWA RK

I meet AudioOpera at a Salisbury House ‘Xpress’ near the University of Manitoba. He is dressed in a white and green coat with patches sewn on that look like they came from an ornate quilt, over a black t-shirt with a purple dragon on it. He posits his purple cotton pants once belonged to a “dead grandmother,” and his taupe New Balance velcro sneakers are the type you might find on an early morning mall walker. His shoulder-length black hair—or rather, long in the back, straight bangs across the front—coupled with a fairly thick beard makes him look like a cross between a friar and a wizard. He looks as likely to laugh at some LARPing as he does to participate in it. His music sounds like it was produced by a techno-magic aficionado, starring in a film directed by the same guy as “Napoleon Dynamite.”

“The Xpress really gets the grease,” he says, ordering a double cheese nip with fries and substituting the coleslaw out for gravy (it is noon). “They know how to do salt.”

Salt is one of AudioOpera’s true loves. He jokes that he’ll be joining the 27 Club (a group of musicians who all died at age 27) due to his status as a “salt connoisseur.”

“There are some who question the salt, but they simply cannot handle it,” he scoffs. “Mortals.”

AudioOpera is a very funny guy.

His jokes are delivered so deadpan that they could be easily missed if you’re not in on them. His minor actions have the same light comic slant to them—when he gets his drink from the self-serve fountain he makes swamp water by alternating between a spritz of Pepsi and a spritz of Dr Pepper. He does not call attention to these actions in any way other than doing them.

He sometimes refers to the general public as ‘mortals’, but in a way that is more comedic than condescending. He seems to be at once completely cognizant of his surroundings and has no trouble expressing himself, but he also does not seem to be completely comfortable—like he should have wandering eyes, but doesn’t.

When I ask if he has any shows coming up he laughs. “The last time I played here was in the summer, so I could test out my lights before going to New York” he says, “I barely ever play live here.” This is due partly to the lack of recognition for, or misunderstanding of, what he does.

“People see you with a laptop and assume you’re just a DJ,” he says. “But I’m playing all my own mu-

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sic, I’m manipulating the songs live, I have lights that I’ve spent hours programming . . . I don’t want to devalue that [hard work] by playing some mediocre thing for a hundred bucks. On the other side, I’m going through the airport with all this gear and [airport security] thinks it’s a bomb. So it’s pretty great either way.”

Despite this, the trip to New York found AudioOpera playing a showcase curated by one of the labels/collectives he is a part of, Noise Collectors.

He also commenced work on a collaborative EP

there’s tons of money being thrown around,” he explains. “Here the only real way to get anything funded is through grants. And they’re great at doing what they know - indie bands, folk singers - but they don’t seem to really understand the stuff I’m doing and the money, time, and effort that goes into it.” Watch an AudioOpera video and it’s clear these aren’t slapped together overnight. His last one presented him as a sort of techno priest moving through the desert. The music blogosphere has taken notice.

Vice’s high art subsidiary i-D premiered his latest (self-described) ‘non-video’ for the single “Poor Handwriting” off of his PHOTO BY AVERY STEDMAN new EP, which is an ethereal, swirling, melancholy, but enthralling listen. Best played in it’s entirety, the LP The Runaway Prince premiered on Fader. “It can be a bit frustrating when I can show I’m on this, that, and the other, and then struggle to get a third of the budget I need for a project,” he says.

AudioOpera has been a recognizable online name for some time. His first brush with internet notoriety was a couple years ago with his Twitter account. Featuring an iconic photo of a ramen noodle-haired Justin Timberlake in the early 2000s with the colours inverted to look like he had a horrible spray tan and the tagline “Do I Look Tan?,” it became popular for jokes that, seemingly unwittingly and always effortlessly, combined nostalgia, pop culture, and salt, usually in far less than the allotted 140 characters. He very quickly amassed thousands of followers. “Then Vine came out and my phone was so shitty that it couldn’t handle it,” he says, “all the top Twitter people went to Vine and I didn’t. Twitter is dead now. There is a lot of funny stuff on Vine, but most Viners suck. It was kind of a missed opportunity, but I don’t care. I don’t want to be a Vine comedian.”

AudioOpera’s plan for the rest of the year and into 2016 is to continue working tirelessly on music.

He is working on the aforemenwith rapper and Das Racist affiliate, Lakutis, which tioned collaborative EP, and “constantly” creating is being co-produced by himself and label head Hot new solo material. Despite his frustrations, he plans Sugar. to continue to attempt to “work” the grant system.

Despite his successes outside of the city (he is “Look out for me going up against a 16 year-old guialso affiliated with Juno-winner Ryan Hemsworth’s tar genius in the next round of grants,” he says. “I’m Secret Songs imprint), AudioOpera laments the here to get that money, baby.” lack of funding he is able to get locally, especially regarding music video production. His qualms seem Listen online at soundcloud.com/audioopera directed towards a dated system. “In the States,

Dec/Jan 2015-16 Stylus Magazine

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WISTFUL, SOULFUL, FOLK MUSIC

BY TALULA SCHLEGEL

Jaymie Friesen released Sacred Sights from her solo project Well Sister early this November. Friesen had been tracking and mixing this EP since January, and finished the project four months later.

The former singer of From Giants had been creating and performing her new songs since the band’s dissolution and is now officially presenting them, accompanied by a handful of talented musicians, as a more refined version of her known work. The result is an entrancing and enchanting collection of songs. Stylus got a chance to sit down with her in a busy Sherbrook Street café for an exclusive interview on the inspiration for the EP. Stylus: Tell me about the name for the EP. What meaning does it posses for you?

Jaymie Friesen: [Laughs] That’s a big one…I knew that “Sacred Sights” would be the single. I felt like it was maybe the strongest song, but I felt like it spoke most truly… it was kind of the anger of that album. It felt right to name the album that.

Stylus: The lyrics in the song “Falling,” “Please don’t stop your singing, you are my songbird” have always really stood out for me. Alongside being very beautifully written and sung, they have a sense of yearning to them as if you had a guide that you now covet. Can you explain what this song means to you?

JF: The line “you are my songbird,” that’s maybe a call out to what keeps me alive, that’s song and music. So it’s kind of for myself, ‘don’t stop singing.’ I often remind myself not to stop singing but (it’s) also for other people…song is food and song is healing. One of the things that’s challenging about talking about my songs is that there’s never a cohesive narrative. It’s not like I can just break it down, because often I have lots of different images and words and I kind of just mold them into something. So I can’t really say this song is about X-Y-Z. I think maybe the essence of “Falling” is about human brokenness, and that in our brokenness we are together and that should be understood.

Stylus: I always interpreted the song as ‘to someone’ but it’s more introspective than that.

JF: It’s both. It’s a reference to myself and to people around me, or to anybody who sings and anyone who just expresses themselves - don’t stop

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PHOTO BY ERIC ROBERTS

doing that! That’s what keeps us alive, y’know?

Also I think in some ways the crux of that song is the line, “now we see the battle lost it’s just as worthy as a battle won.” I think it’s about even when we are defeated and broken and we’ve failed and we’re just down and out in the dirt, that’s where we find connection. That’s where we find love, and that’s where we meet as souls.

Stylus: The second song on your album, “Sacred Sights” touches upon feelings of doubt, worry, distance, and redemption in some form. They also mention a bomb being dropped on these sights. What is the literal translation of the poetry in this song?

JF: It’s a hard one. The whole song came out of a conversation I had with a friend about, why make art? Why make beautiful things when the world’s going the way it’s going? It seems so futile, our attempts to restore life. We feel so overpowered by mass forces in this world that are just destroying places that are so sacred. I mean life is all sacred. I think that verse… it’s this picture that came to me of someone walking to this site that’s just been blown up and their heart is aching and it’s a catastrophe but they’re not overwhelmed by that. They’re just going to slowly pick up their tools and use their hands and are going to start making something worthwhile. It’s still worthwhile to make something beautiful in this shit.

Stylus: I’ve heard that the song “Audrey” takes inspiration from a woman you sang for in a care home. Can you tell me what that experience was like and in which ways she influenced you to write this song?

JF: A thing I’ve done for the past couple years is one-on-one music with residents at the Misericordia [Hospital]… I had this three year, I guess you could say friendship, with Audrey and I never really got to know her because her cognitive ability to speak and express herself was quite low. I wrote the song while sitting with her. The guitar part came from our time spent together, then weirdly the song is about watching Audrey and her life alone and, in light of that, my own desire at the time to never get married or never have a family, and so I saw a parallel. I always felt very kindred to Audrey and so it was always kind of like I found myself in her. The song is also about a heartbreak or the end of relationship. It’s a couple different stories that weave

together.

Stylus: “Hands” is one you wrote while traveling in Spain. How was that trip for you and in which ways did the elements of that journey shape this song?

JF: When I was there I was walking the Commune of Santiago, which is a pilgrimage in northern Spain. I just walked for five weeks.

“Hands” kind of came out of this spiritual crisis I was having on the walk that really had to do with this really awful rash I had on my hands.

In a very literal way, the song was actually about my hands but it’s also a metaphor for what hands mean to me. I think the song came out of this place of not understanding how healing works, and why do some things in life heal and some things don’t. How come, on this trip, did my ankle heal, but not my hands? Now I extrapolate that into life… that’s something I often struggle with. Why did that person suffer from mental illness their whole lives and that person didn’t?

So it’s me, at the heart of that song, wrestling with that question. But I have hope! I experience healing in some parts of my life, and others that haven’t. The song is talking about hands and feet but I would say it’s more figurative even though at the time I was literally talking about my hands and feet.

Stylus: Which song is best at bringing you back to the experience that it’s about?

JF: It depends on the day. Sometimes it just depends on how it sounds in a certain space too. I think the one that demands me to feel the most emotion is “Sacred Sights.” It’s like that with all my songs, but that one in particular. I can’t really perform that song unless I’m willing to be in it. It requires emotion to present or share it.

Stylus: When do you find your music comes most fluidly?

JF: Probably when I’ve been troubled or disturbed by something. When I’ve had some sort or emotional experience that is disconcerting to my heart, often my music is trying to make sense of something. Often troubling experiences are something we need to make sense of. It’s not to say I don’t make music when I’m not troubled by something, it’s just I have to do this. It’s therapeutic for me. The EP is more isolated experiences I went through, but there definitely have been a series of song that have come out of one experience and its repercussions.

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BY RACHEL NARVEY

It’s the first snowfall of the year and already Winnipeg drivers seem to have forgotten the rules of the road. I make my way across Main, narrowly avoiding a few ambitious cars. At her apartment, Lizzy Burt (one half of Basic Nature) offers me some tea.

While we wait for her counterpart, Claire Bones, to arrive, we talk about staying motivated, how gross the mall is, and holistic healing.

“I want to learn everything,” Lizzy says about natural remedies. “I feel like knowledge is a tree and the more branches you know, the more it helps with everything else. At the place I work, we sell this peppermint headache treatment, but sometimes the headache is a symptom of something else. There’s like, 300 different types of headaches. Or 30,” she laughs. “One or the other.”

Basic Nature is barely a year old, but the kinship between the two musicians makes them seem like a more seasoned band. Listening to their album Circles and Lines feels like wrapping yourself in a blanket of glowing strands of light. While their music has been referred to as dreampop and shoegaze, Claire and Lizzy self-describe their sound as “country-rock space princess.”

For someone new to their music, the duo can suggest ways of tuning in, tailored to your zodiac sign. “For a Taurus, it would be someone putting earphones on their head,” says Claire. “If you’re a

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PHOTOS BY ERIC ROBERTS

Sagittarius, probably a live show at The Goodwill,” Lizzy adds. “I think if a friend were to show a Cancer, you know, someone they trust. They’d have to listen to it two or three times though.”

While Lizzy cites Slowdive’s Souvlaki as one of their sounds’ influence, their focus on intuitive collaboration makes their music their own. “You just lose track of time,” Claire says. “We’ll be working on a song for an hour and it’ll feel like a couple minutes.” As far as material goes, Basic Nature’s songs center around achieving a kind of catharsis. “Even though I don’t intend them to be, almost every song is lyrically about something very specific,” Lizzy says. “I think playing music is the only way for my soul to really get over anything.”

Though the two have been in other bands, they emphasize the greater opportunity for creative agency that comes with being in a duo. Together, they’ve created a safe space where they can share or play anything. The concept for their “Eyelids” music video, a surrealist vision where a girl is surrounded by figures with giant eyes, originated from one of Claire’s drawings. “It was really nice to both believe in the same story,” Claire says. “We’re really good at feeding off each other’s ideas.”

Last summer, Basic Nature toured across eastern Canada to promote their music. Other than eighthour driving sessions which made both of them feel

like zombies, they enjoyed the opportunity to play in different cities. “I didn’t realize how comfortable it was to play in Winnipeg,” Claire notes. “Here, we know everything about the venue. We know who’s going to be there and who’s going to do our sound.

But as soon as we got there, everything worked out.”

The band appreciates Winnipeg for its downtown area and strong arts community, though they did cite the need for more Winnipeg-based music blogs. What they don’t like about Winnipeg? “The little roundabouts,” Lizzy says. “Those are the worst.”

Basic Nature played at the Good Will with Autumn Still and Bicycle Face at the beginning of November. Looking ahead, the band plans to tour again this upcoming May, as well as release a second album. “It would be nice to play a two-hour set one time, because then we’re warmed up,” Claire says.

“It’s almost like by the time we’re warmed up it’s basically over.”

“For our next CD release we’ll have like, a twohour song,” Lizzy adds.

“And lots of costume changes,” Claire concludes.

Visit Basic Nature online at basicnaturemusic.wix. com/basicnaturemusic, and on Tumblr at basicnaturemusic.tumblr.com.

Dec/Jan 2015-16 Stylus Magazine

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Blast or Bust

Wednesdays from 9 p.m. to 10 p.m. on CKUW 95.9 FM or ckuw.ca

BY ANDRE CORNEJO

So what’s it gonna be? YACØPSÆ. Six Brew Bantha, Death Toll 80k, or Looking For An Answer?”

“Let’s start with YACØPSÆ” Sam Doucet is sitting in my living room, and has brought over some choice cuts to take a listen to. I had recently interviewed him at the Handsome Daughter before karaoke started, but due to ‘unforeseen technical difficulties’, the recording was lost. He was kind enough to reschedule with me and take another stab at the whole thing.

Sam is the brains behind CKUW’s Blast or Bust, a wonderful foray into brutality, that airs Wednesdays from 9 - 10 p.m. It showcases the fastest and heaviest music you’ll hear on any raDAVE FERGUSON dio station in the city, and is the perfect pick-meup on the way to any midweek gig.

On the origins of Blast or Bust, Sam explains, “I started doing community radio when I was about 16 in Edmonton on the U of A’s station, CJSR. I did that for a couple of years, and when I moved to Winnipeg one of my goals was to get back into radio. I had a plan to do this grindcore show because there wasn’t anything like that on CKUW. I’ve been doing it for just over two years now and I love it. I’ve got a huge collection of records, and I’m always trying to find the newest and greatest stuff online. The show is a great outlet to share all of that with people.”

He goes on to express his gratitude towards the listeners. “One of the great things about CKUW, and the people that listen to it, is that there’s such a diversity of programming. That’s what people are looking for and people respond to it. That being said, the stuff that I play might not be for the casual listener, even for somebody that’s really into the diversity. I’m definitely grateful for when people try their best to listen and appreciate the show, even if it’s difficult. I try to offset the overly aggressive music with a little bit of humour. As a DJ, I like to try to make people feel welcome.”

During our first meeting the week before, we

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had talked a little bit about some show highlights.

Blast or Bust recently celebrated its 100th episode.

The show featured a live set from local grind outfit, Plague, just as they were gearing up for a U.S. tour.

It was an awesome show, and was one of the most socially anticipated radio appearances.

Another standout episode was during CKUW’s 2014 Fundrive. Archagathus went into the studio for a live ‘acoustic’ performance. “I forget exactly everything they had brought,” Sam states. “I think there was a saxophone involved.” This makes sense if you’ve seen the cover of their Canadian Horse album. “There were some pots and pans involved, and some kind of box being shaken around that was filled with dried pinto beans or something. Kazoos as well.”

The halfway point of Einstweilige Vernichtung has been reached on the record player, and Sam explains his love of YACØPSÆ after he flips the record.

“This is the band that just did it for me. People

tend to get into grind from one of two ways: either from punk, or from metal. You start listening to punk when you’re a teenager. In my case I was listening to NOFX, Rancid, etc. Then I started listening to faster stuff. I heard Drop Dead and I couldn’t believe it. From there it was a natural progression for me. What’s faster, what’s crazier, and a bit uglier?”

“I feel like I hit a pinnacle when I heard YACØPSÆ,” Sam explains. “It’s a band that I play quite a lot on the show. I have a particular affinity for this band, because their first demo came out the month that I was born. Actually,” he starts and starts to roll up his right pant leg just past the knee. “I got these tattoos when I was, let’s see, 21? They’re modelled after their band logo. I got ‘BLAST,’ here (right leg), and ‘BEATS,’ here (points to left leg).”

As for filling up on material for the show, Sam describes the sources he usually draws from.

“When I’m planning my shows, I try to play a good mix of new stuff. I rely heavily on Bandcamp. That’s generally what bands in North America and parts of Europe are using to get their releases out as soon as they’re ready. As someone who doesn’t have endless amounts of cash in my pockets to spend on tapes and records, Bandcamp is great for finding new stuff and bands can get the hype they’re looking for with new releases. I try to play a number of bands with new stuff off of Bandcamp.

I play stuff from my collection and I sometimes do theme sets, like trying to play bands from specific countries or material with certain lyrical themes. I used to do a set, which I don’t do anymore for some reason, that was five songs from five different artists that, in total, were a minute or less. An average of 12 seconds or less per song . . . you know what,” he exclaims, “I’m bringin’ it back!”

Catch the return of this segment and more grindcore on Blast or Bust, airing Wednesdays from 9 p.m. - 10 p.m. on CKUW.

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Chron Goblin

by Chris Bryson

Sitting in the Handsome Daughter with the mem- album.

“It was an opportunity to fully immerse ourbers of Chron Goblin, they seem to be a band with in the recording process. To not have to be selves stage on e noticeabl as some innate chemistry that’s attached to everything back home or to have a job as it is off. With an hour or so before going on to during the day to worry about,” says Sandulak. “It show. g upcomin the for play, the guys seem pumped ourselves into it.”

The members of Chron Goblin met in University. was nice to finally put music Chron Goblin was the just wasn’t it But similar shared and They lived close to each other Pike, who they reAdam was It make. to interests and eventually started jamming together. hoping the experience an make helped that with, corded joined, Hepp Richard This was before bass player Brett Whittingsays great,” was “Adam e. adventur but his time was soon to come. spend eight or d “We’ band. the for r drumme ham, guitarPurdy, Devin “One night, Darty [aka working breaks, no row, a in studio the in ten hours ist] and Brett [drummer] asked me if I’d want to he’d done was session the as soon as Then together. and t basemen the in sing while we were drinking tonight? do to want guys you do what kay, o ‘ I totally didn’t want to. I was pretty nervous about be like bowling? Do you want to it and then I did it, and we kind of wrote a song Do you want to go metal clubs that people like to strip dozen a of go to one right off the bat. Like, maybe in an hour we had our game. He had us Blazers a to went We at?’ out hang some got we’ve ‘woah, first song and we were like, other bands. It of bunch a with barbecue a over for good chemistry here,’” says Josh Sandulak, singer with this guy work to going we’re h o ‘ like, just wasn’t of sense a radiates of Chron Goblin, whose voice It was like a studio.’ the in stays business enjoyment from telling the band’s story. “So then we and our Adam. He with e experienc e-clock round-th whole big player bass a kind of kept going, and we needed and journey great a thing whole the made time so we put the word out and we got our big definitely us.” for e adventur boy Richie.”

What was created out of their experience in Chron Goblin released their latest album Backwith Pike is Backwater, an album of musPortland and long a been s it’ water on November 13 and energy, and a sound derewarding journey to get them to where they’re cular groove and bustling of influences but conation amalgam an from rived the for Portland to at now. The band went down its own. uniquely s that’ way a in cocted recording of Backwater, a city known for its music wide variety of pretty a have definitely all “We delve could they felt scene, and a place where they up today we ride van the “On Brett. says deep into what they were wanting to do with the tastes,”

were listening to Judas Priest, Goat, Sharon Jones & The Dap-Kings, and Egypt. We all like rock ‘n’ roll and classic rock, some heavy metal, hardcore, punk, so I think it’s a blend of that.”

The guys are currently on tour, and it’s not their first time. The four of them travel in a van together, and despite having their van’s alternator die during tour, they’ve made it to every city and managed to stay on schedule. Touring seems to have grown on them, in ways more expected and some not as much.

“We had people up in Toronto telling us, ‘your last album got me through a really hard period in my life, and it means so much to me,’” says Darty.

“So to have those deep connections with a city we’ve never been to is just amazing.”

There doesn’t seem to be any letup in sight with Chron Goblin touring or going to festivals. “Next year we really want to get back to England and then tour Europe for the first time. That’s definitely a major goal,” he continues. “And we’ve already been asked to play a really cool festival in the spring down in the States.”

There’s no doubt there’s been progression in Chron Goblin’s sound, and their live show is crisp, tight, and heavy. With some stellar new music out, some raucous stage presence, and a taste for the new and unexplored, it’s likely we’ll see these guys around for a while and they’re only getting better.

Cannon Bros. also by Chris Bryson

In November of 2011, Cannon Bros. released Firecracker/Cloudglow, a propulsive garage rock album full of subtly fuzzed-out guitar, burgeoning backbeat drums, and fronted by the interchanging vocals and heady harmonies of Alannah Walker and Cole Woods. Firecracker/Cloudglow landed Cannon Bros. on the longlist for the Polaris Music Prize in 2012.

Three years later now, it seems there’s been no shortage in momentum or inspiration for the duo, despite a three-year hiatus in recording. Taking what Woods called, in an interview with Metro News, the “Guided by Voices approach,” Walker says that it wasn’t intentional, but more of an overflowing of musical ideas. “I don’t know if that was necessarily intentional,” says Walker. “I think that as we were writing songs we kind of just all of a sudden had a lot of really short songs. So it wasn’t intentional the fact that they were short. But then as a result it had been awhile since we had recorded our first album so we then also just ended up having a lot of songs. All of the songs that made it onto the album we really wanted them there and because the songs are so short we could have them all without it being too long.”

For Walker and Woods, staying a two-piece seems to have benefitted them with the flexibility it brings. “It’s definitely a lot easier to just have the two of us scheduling practices and going on tour.

We can take a car because we don’t need too much equipment and stuff,” says Woods. But there’s also flexibility with the potential of their sound. “On Firecracker/Cloudglow we tried to make it sound like a two-piece. There is bass but it’s really subtle

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and it usually was like a low keyboard that was doing the bass, so it wasn’t very noticeable. But on this latest album, [Dream City] there are actual basslines and we didn’t shy away from that,” says Walker.

It was at the Dream City album release show at the Good Will in October that Woods’ girlfriend (who he plays with in another band, Human Music) played bass with Cannon Bros. for one of the first times live. “It’s definitely something I’d like to continue doing in the future,” says Walker. “I think it adds to the sound and our live show but at the same time it’s not always as convenient to do that so it’s nice that we can do it both ways.”

Being friends with Cam Loeppky (who Cannon Bros. recorded Dream City with) and still being signed with Disintegration Records, the twopiece have found their recording space to be what they need to get ideas out fast. “We both really like having [him] record albums,” says Walker. “He’s a friend of ours as well so it’s a pretty casual environment when we’re in the studio with him. With this last album we actually recorded it at his house, which is kind of cool as well because it wasn’t like we were in a studio, it was more of a casual environment which was nice. It was a pretty smooth process, we kind of went in knowing exactly what we wanted. We didn’t spend a lot of time in the studio figuring out parts or anything like that.”

Loeppky and Disintegration Records have also helped bring the band to places they might not necessarily have gone to otherwise. “They have knowledge and experience that can help us do lots of things that we might not have necessarily been able

to do without them. And they’ve kind of pushed us to do things that maybe we wouldn’t have on our own or wouldn’t have taken time to do so on our own,” says Walker.

Walker and Woods’ schedules have gotten busier in the time since their last album was released, but they’re still making time to play M for Montreal, a Manitoba Music showcase, then a show in Toronto before heading home, and they hope to do something in Winnipeg again soon as well. “At this point we’re a little bit busier with other things going on,” says Walker. “During the time our other album came out I was still in University and kind of had a bit more flexibility of when my courses were and stuff like that. So we definitely got to do a lot of really exciting things and play with some awesome bands, and hopefully we’ll be able to continue that in the future but it’s just a little more of a time constraint now than it was in the past.”

But there’s no doubt that the passion and enjoyment is still behind Cannon Bros., with developing their sound and taking a natural course towards something a bit fuller, more concise and refined. Walker and Woods are still rockin’ with the panache and push of full-bodied power pop.

“The main thing I want is for people to enjoy the album and come see us if we’re in their city,” says Walker. “The main thing for us is it’s really nice when people enjoy what you’re doing, so hopefully that continues.”

Listen to Cannon Bros. by visiting cannonbros.bandcamp.com.

Dec/NJan 2015-16 Stylus Magazine

13

Local Spotlight help advance the dynamism of reggae music in Canada and the world over, forever. This album surely should find a place in your collection because years from now when it becomes a collector’s item, you ought not to be taken by surprise. (Self-released, rastamils1.bandcamp.com) Ras Rico Recommended if you like Fantastic Friday, Fridays from 6-8 a.m. on CKUW 95.9 FM. RASTAMILS It’s a Dream Reggae music in Canada has been static and ordinary for the last decade or so. Many have come, but few have been chosen. We have not seen much to compare to the likes of Messenjah and Truths and Rights, but today, we have in our midst in Winnipeg up and coming talent that may be able to fit those shoes. RasTamils demonstrate this with their latest and original album, It’s a Dream. The three best tunes for me on this album are “Keep the Faith,” “It’s a Dream,” and “I Feel Like a Lion.” Their diversity lends to the beauty of this album; reggae in its broad spectrum of presentation always cries out to new innovations.

“Keep the Faith” is solid. It could be called dancehall/rub-a-dub. In this sense, it is original. It really sets the tone for one to enjoy the all-round niceness of this album. Bouncy, lyrical, and musical.. “It’s a Dream” and “I Feel Like a Lion” follow closely with beautiful lyrics and nice backup. The beauty about this album lays fundamentally in its rhythm section.

The drums are crisp and attentive.

The back-up singers really contribute significantly to this product with their sweet harmonies. However, it seems that the producer tried hard to keep them more subdued. Tunes like “War,” “Time to Heal,” and “Keep U in my Heart” help to keep this production honest. This album attempts to recreate and reintroduce the power of rub-a-dub and lovers rock reggae.

Lovers rock, especially, had taken a hiatus. It is now back, thanks to RasTamils. When it comes to reggae in general, this is a very good album. When it comes to reggae in Canada, this is an excellent album and as such, would

14 Stylus Magazine Dec/Jan 2015-16

BOYS CLUB Boys Club Lives Forever Winnipeg-via-Edmonton quartet Boys Club would have fit right in during the late 90s when the Get Up Kids and American Football had every mid-twenties ex-punker wearing a sweater, and the term “emo” was still a derogatory term used by fans who occupied the harder end of the underground music spectrum. With clean jangly guitars, solid drumming (that is mathy at times), songs like “Delores is Dead” (featuring guest vocals from Mobina Galore’s Jenna Priestner) and “Olive Oil” stand out with their instrumental passages and almost Constantines-like vocal delivery. The guitar style really reminds me of Mike Kinsella (Owen, Cap’n Jazz, American Football) with some cool odd-time riffs and time signatures.

The band loses me a little though when they change styles abruptly on the closing track on the album “Mary I Hope You’re Painting Again” which feels a little out of place, though perhaps that was the band’s intention.

They’ve come a long way since their first EP in 2013. Boys Club Lives Forever is definitely worth a listen if you’re a fan of any of the early Polyvinyl or Saddle Creek Records releases.

Can’t wait to hear what this band does next. (Self-released, ripboysclub. bandcamp.com) Ryan Nash Recommended if you like Static on the Prairies on CKUW 95.9

cord Co., transistor66.com/) Olivia Michalczuk Recommended if you like The Tonic, Mondays from 7:30 - 9 p.m. on CKUW 95.9 FM.

M&M MEATS Runners Love I think, ‘what have I gotten myself into, listening to a band called M & M Meats.’ I close my eyes and hope that my speakers don’t explode from some intense heavy metal. When I press play I’m greeted with a kick ass laugh and scream before a sweet surfer punk beat kicks in. It is instantly catchy and has groove to kill. The vocals are not perfect but that’s what makes them so charming and really encompasses the garage band feel to them. This by no means is saying the vocals aren’t strong, because they are - Melody Titus and Mandy Fraser create some beautiful harmonies that are perfection for the extremely catchy tune, “Cryin’ in the Storm.” Prevalent bass opens up the B-52s vibe in “IFLTJ” which is both funny and all together awesome. Throughout the album, Robert Reimer ensures the bass is just where it needs to be, when it needs to be there, which is pretty essential in the surf genre. The raw sound of the album is my favourite part about it. At times there are voice cracks and offnotes from all directions that make the album so attractive. It’s definitely full of dance tracks, especially “Runners Love” and “Serpent in the Sky,” which I imagine would sound exactly the same live. Runners Love is a pretty kick ass album with a notable fusion of pop, punk, and surf influences that just nail it. If you don’t like it, I’ll just turn it up louder. (Transistor 66 Re-

HIGHER LOVE Demo 2015 Excuse me, I need to wipe the sweat off my forehead because I’ve been slam dancing in my living room and stage diving onto my couch all day listening to this self-released foursong demo from one of Winnipeg’s newest hardcore bands, Higher Love.

Don’t let the name fool you - this isn’t a flower-power peace & love style band, though they clearly have a loving relationship with classic era NYHC and late 90s Winnipeg hardcore! You can imagine the dance floor at the Royal Albert Arms exploding at one of the Sunday matinee shows from back in the day to the opening track “Lost,” with it’s quick transition from a circle pit worthy intro into a great breakdown reminiscent of some of the earlier Breakdown stuff, or the more moshable moments of the classic Leeway album Born To Expire.

The vocals sound pissed off, snotty, and angry. For a band like this, this is definitely a good thing since the lyrics tend to deal with subject matter such as feeling alienated from the world and not fitting in. If I could sum it up in one word, it’d be sincere. Would fit in next to Power Trip or Turnstile in your record collection quite nicely.

(Self-released, higherlove204.bandcamp.com) Ryan Nash Recommended if you like Metal Monday, Mondays from 12 - 3 a.m. on CKUW 95.9

Ulteriors SNAKE RIVER Songs From the Adjacent Room Snake River’s concept album Songs From the Adjacent Room is about a couple in the town of Snake River Mountain. The relationship between Reginald McKrusti and his wife, Jeanie McFeven-McKrusti, is explored throughout the entirety of the album. I really dig the concept.

The exploration of any relationship is always fascinating because of all the intricacies, memories, and emotions involved. The one thing I noticed immediately and throughout the album that was bothersome was the inability to hear the lyrics! I experienced a lot of straining and trying to catch what they were saying. By the end of the album, I can honestly say that I can’t describe the story in the slightest.

That aside, the music has some really cool psychedelics going on. There are so many interesting sounds being

produced that foster a trippy cohesive chaos. Snake River has a lot going on and at times can become overwhelming because the songs are quite long and spin out control into some alien space before they land back on Earth.

However, I was never bored listening to the album. Snake River consists of four members but it sounds like an entire psych orchestra with so much exceptional stuff going on. Since the songs have so many different components, tempos and melodies, at times it’s hard to tell when one song ends and another starts. So just sit back, relax and hit play for 40 minutes and enjoy the funky ride. (Prairie Shag, prairieshag.tumblr.com) Olivia Michalczuk OBERHOFER Chronovision Brad Oberhofer is a guy who simultaneously has a silly voice and a lot of passion. His earlier work bridged a

gap between rock and twee pop, but he aims for greater heights on Chronovision (as can be seen by its somewhat overblown orchestral introduction).

Presumably this is because Oberhofer himself went through some pretty serious trauma while writing the album - at least some of the songs out of the 106 demos he recorded for this album were about the death of his roommate. Oberhofer’s had a knack for melody since his first songs came out, and for the most part the songs stand up to the slightly more upscale production. While Chronovision suffers a bit from trying to be a ‘big statement’ album, the individual songs are strong enough that it still makes for a solid album. (Glassnote Records, glassnotemusic.com) Topher Duguay YOUNG GALAXY Falsework Young Galaxy have been around for approximately ten years and have

worked with the same producer for their past three albums. While one would expect them to have settled into a groove by now, Young Galaxy have jettisoned their previous sound in favour of a currently in-vogue (or always in-vogue) set of synthpop tunes. Falsework is a prime slice of the 80s nostalgia that’s underpinned a lot of the pop/indie/indie-pop music from the past 15 years, but with the glossy production commonly seen in electronic-influenced music of the present. “Factory Flaws” is a stand-out track with Italo-Disco basslines and a soaring chorus, but “Lean Into My Love” is a charming slice of sophistipop. If you care about the Canadian indie scene at all you’ll probably like this. (Paper Bag Records, younggalaxy.com) Topher Duguay Recommended if you like Only Cowards Sing at Night on CKUW 95.9

Root Cellar GREY LANDS Right Arm Grey Lands is the side project of Cuff The Duke’s frontman, Wayne Petti. I admit I have never paid any attention to Cuff The Duke and I’m happy to hear Wayne Petti with fresh ears for the first time here. The first three of the eight songs on Right Arm, released on September 11 2015, instantly bring to mind a striking resemblance to bands I can recognize. Maybe that’s just my silly old brain trying to make

sense of this record quickly, but if you like Odanah, the Strokes, and Radiohead (sometimes you have to shake your head at the clear Radiohead impact, especially on “Recluse”) then you will like the sounds that this record makes in your speakers. This is definitely the production result of some old hands in the Canadian indie record-making scene. Each instrument is clear and succinct in the mix. The songs, while blending together between track endings and beginnings,

are eight hook-driven individuals with plenty of angst and manly feeling throughout. Most of the tracks, but especially the halfway point, “Arabian Knights,” play with balancing bright, old school pop, Beach Boys-style sections with dark, distorted, and vaguely metal contrasts, which may not be surprising considering Graham Walsh of Holy Fuck helped produce this record. The vibe throughout is impressively split between bright and chill, and dark and driving. There is

some real fancy sparkling playing on all the instruments on all the tracks, with melodic basslines, tastefully energized drumming, and a guitar playing style that must come from an equal love of blues and metal. Right Arm is definitely Wayne Petti’s labor of love, and clocking in at just 32 minutes, satisfies without over-stuffing.

(Paper bag Records, greylandsmusic. com) Natalie Bohrn Recommended if you like “Made in Canada” on CKUW 95.9

nor hanging onto a fence when Judgement Day strikes. Picnic tables with ‘no future’ carved into them. “Revel; Writhe,” takes a momentary step back. An instrumental guitar piece that proves simplicity can be just as effective and unsettling as any complex aspect of music. It also serves as an intro to “For Naught,” a song that shows off the intricate abilities of this band. The instruments weave and fold seamlessly, and you feel a sense of groove that stands out amongst the

other tracks. Album closer “Crumbling” is another lesson in restraint.

A pulsing, absolutely crushing song, that you could easily picture being the chant a crowd of people listen to before reducing the city to dirt. Laced with long sections of noise, it’s the kind of trip you imagine the Manson family was having in the summer of 1969. Definitely give this album a spin. (yautja.bandcamp.com, Forcefield Records) Andre Cornejo

Iconoclast YAUTJA Songs of Lament This newest offering from Nashville, TN’s Yautja stays true to their “Predator” namesake. This thing is ugly, and you’re not going to walk away intact.

The opening track “Breed Regret” is the anthem I’ve been waiting to hear blasted through a stereo, and mounted to a tank. It starts out with one of the filthiest guitar tones I’ve ever heard, drawing you into the song with a creeping rhythm that after a couple

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of measures, finds itself accompanied by the rest of the band. It’s a droning exercise in patience and methodic brutality. This doesn’t last too long though. The dam bursts open and gives way to a flood of wild intensity that persists throughout the album.

“Thankful; Appalled,” kicks in and in the one minute and seventeen seconds it exists in the air around you, you’re reduced to a puddle of what you used to be. It blasts you to the bone, and all I can see in my head is Sarah Con-

Dec/NJan 2015-16 Stylus Magazine

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Under the Needle

YOUNG RIVAL Interior Light Interior Light sounds pretty much exactly like what its album art looks like – it’s a slick collection of catchy, slightly psychedelic-influenced poprock tunes. The band themselves describe the album as “Sinatra dropping acid with Deerhunter,” and title track “Interior Light” more or less emulates the guitar line from Deerhunter’s “Revival.” Their vocal harmonies are close to the type heard on the Elephant 6 label’s better records and much like those bands, they take most of their inspiration from 60s pop. Young Rival are both slightly rockier and more country than that description would imply, boasting both an appealingly gnarly Rickenbacker-esque bass tone on most of their songs and Everly Brothers-influenced harmonies from frontman Aron D’Alesio. Young Rival are a band that deserve significantly more hype than they get, so make sure to check them out and do just that. (Paper Bag Records, youngrival. com) Topher Duguay Recommended if you like R U Awake?

Thursdays from 6-8 a.m. on CKUW 95.9 FM

THE PAPER KITES twelvefour The Paper Kites have learned to

16 Stylus Magazine Dec/Jan 2015-16

make music that pulls and pushes on an emotional level. These new songs work within sweet, glistening melodies and soothed, hazy refrains to bring about an experience that’s ethereal in a corporeal kind of way, songs that heave as much as they relieve. twelvefour got its name from Sam Bentley’s (singer and songwriter for the band) belief in the creativity that arises during the early morning hours of midnight to 4 a.m., and a celestial nocturnal sway seems to flitter, skip, and permeate itself throughout the album. This is an album that’s unique in the way it combines elements of contemporary pop, indie, and folk rock with that of the 70s and 80s and comes out with a sound

that is distinct and well-ranged. The influence of twelvefour’s producer Phil Ek (who’s produced albums for Built to Spill, Unwound, The Shins, Band of Horses, Fleet Foxes, and others) seems to have left an iridescent and indelible mark on a band whose music is perfect for his sense and style. The spacious and crystalline serenity of finger-plucked ballads “Neon Crimson” and “A Silent Cause” have cathartic melodies, and the latter’s peripheral vocal harmonies give semblance to the simple but elegant beauty and splendor of a Fleet Foxes or Band of Horses tune. “Woke Up From A Dream” moves with a swaggering Americana groove, gleaming guitar pedals, twanging melodic un-

dertones, bellowing bass, heartbreak harmonica, and Bentley’s longing lilt.

Or there’s “Revelator Eyes,” whose tromping percussion, gilded guitar riffs, balmy bass, and airy vocals feels like an end of night summer tune, envision skipping a perfect flat stone over a still lake between 12 and 4 a.m., standing on a moonlit beach watching it go on into the distance, unaware of where it’s going, just enjoying the view, the sounds, the space. twelvefour feels like that. (Self-released/Nettwerk, thepaperkites.com.au) Chris Bryson Recommended if you like Happy Hour from 12 - 4 a.m. on CKUW 95.9

95.9 FM CKUW CAMPUS/COMMUNITY RADIO TOP 30 ALBUMS (Sept 21, 2015 – Nov 23, 2015) !=LOCAL CONTENT * =CANADIAN CONTENT re=RE-ENTRY TO CHART

ARTIST

# Artist 1 ! Cannon Bros.

2 ! The Noble Thiefs 3 ! The Unbelievable Bargains 4 * Lindi Ortega 5 * Ought 6 * Metric 7 ! Human Music 8 ! Chic Gamine 9 Various Artists 10 ! Rastamils 11 * Dilly Dally 12 * D.O.A. 13 * Jerusalem In My Heart 14 ! Hearing Trees 15 * Corb Lund 16 * Le Vent Du Nord 17 ! The Fuse 18 * Waxwing 19 Low 20 Yo La Tengo 21 Vieux Farka Toure & Julia Easterlin 22 ! Bunk Mustangs 23 ! Richard Inman 24 * Lemon Bucket Orchestra 25 Go Betty Go 26 ! M&M Meats 27 Mercury Rev 28 The Very Best 29 1977 30 ! Vince Andrushko

RECORDING

LABEL

Album Label Dream City Disintegration It’s Tough To Be The Bad Guy Pipe & Hat Exuberance Abounds Transistor 66 Faded Gloryville Last Gang Sun Coming Down Constellation Pagans In Vegas Self-Released Sup Sundowning Sounds Light A Match Self-Released Ork Records: New York, New York Numero Group Dream Self-Released Sore Buzz/Partisan Hard Rain Falling Sudden Death If He Dies, If If If If If If Constellation Dear Sahara Self-Released Things That Can’t Be Undone New West Tetu Borealis Brilliant Sun Self-Released A Bowl Of Sixty Taxidermists Songlines Ones And Sixes Sub Pop Stuff Like That There Matador Touristes Six Degrees Bunk Mustangs Eat ‘Em Up 30 Days Self-Released Moorka Fedora Upside Down Reboot Self-Released Runners Love Transistor 66 The Light In You Bella Union Makes A King Moshi Moshi Twister Fontana North Vince Andrushko Self-Released

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