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April / May 2021 Stylus Magazine
1
and reviews vaccine lots before they are sold in Canada to ensure consistency and quality.
3 RECOMMENDATIONS
National Advisory Committee on Immunization* (NACI) reviews evidence on the best use of the vaccine:
Once available to Canadians, each vaccine is constantly monitored for safety and quality as long as it is used.
Note:
5VACCINATION Canada.ca/vaccines
TESTING & APPROVAL
Health Canada examines results of clinical trials:
Is the vaccine safe? Interval between doses? Does it work? Side effects? Which age groups? Are the samples of consistent quality? How many doses? Do the manufacturing facilities meet quality control standards?
Who would benefit most from the vaccine? How does it compare to similar vaccines? Are there additional and ongoing safety data available? How are other countries using it? What additional research questions need to be addressed?
Have there been any safety is ues? Has it reduced this disease in Canada? Are there new recommendations or products available? Do we have enough supply to meet the needs of Canadians?
Following Public Health Agency of Canada (PHAC) approval, the recommendations are made available to healthcare providers.
Each province/territory decides on vaccine’s use:
Should it be publicly-funded (free)? If so, for whom? Where will it be available – Schools? Pharmacies? Doctors’ offices? Public Health Clinics?
*
The National Advisory Committee on Immunization (NACI) has been recognized for over 50 years and is comprised of experts in the fields of pediatrics, infectious diseases, immunology, medical microbiology, internal medicine and public health.
TRANSPORT & STORAGE
4 MANUFACTURING,
Provincial, ter itorial and federal officials meet regularly to discuss vaccines and immunization programs:
Manufacturer tests each batch of the vaccine to ensure pre-set quality standards are met.
Health Canada inspects the manufacturing facilities and reviews vaccine lots before they are sold in Canada to ensure consistency and quality.
Packaged and labelled vaccines are carefully stored and transported from manufacturer, to destination site and final administration, under controlled temperature (“cold chain”).
*NACI updatesitsrecommendationstoincorporatenew the patient’s record.
information as it becomes available.
A network of pediatric hospitals International monitoring Local public health units Manufacturers Disease targeted for a vaccine. Research and development takes place. Pre-clinical tests in laboratory: Can it work? Is it safe? Researchers and manufacturer conduct clinical trials:
Health Canada approves the vaccine if it is determined to be safe, protective, and of high quality.
Packaged and labelled vaccines are careful y stored and transported from manufacturer, to destination site and final administration, under control ed temperature (“cold chain”).
REVIEW
DEVELOPMENT
2 A licensed health 1 PHAC and Health Canada review all AEFIs and investigate professional administers the safety concerns. Actions are taken as required. vaccine and records details for the patient’s record.
Provincial, ter itorial and federal VACCINE officials meet regularly to discuss SAFETY IN vaccines andCANADA immunization programs:
Provincial, territorial and federal officials meet regularly to discuss vaccines and immunization programs:
Have there been any safety issues? Has it reduced this disease in Canada? Are there new recommendations or products available? Do we have enough supply to meet the needs of Canadians?
Provincial surveillance systems Networks of vaccine researchers conducting studies International monitoring Manufacturers
6 MONITORING
Ethical review is done on all vaccine research to ensure it meets the highest ethical standards and that the greatest protection is provided to participants who serve as research subjects.
1 Several volunteers: Is it safe? 2 Hundreds of volunteers: Is it safe? What's the ideal dose? 3 Thousands of volunteers: Is it safe? How well does it work?
NACI* updates its recommendations to incorporate new information as it becomes available.
Note: The general public Health professionals A network of pediatric hospitals Local public health units
For as long as a vaccine is used in Canada, it is monitored for adverse events following immunization (AEFI).Have there been any safety issues? AEFIs are reported by: Once available to Canadians, each vaccine is constantly Has it reduced this disease in Canada? VACCINATION monitored for safety and quality as long as it is used. Are there new Are5commendat ns or products available? licensediohealth professional administers the records details for Do we havethevaccine enough supplandy torecord. meet the needs of Canadians? patient’s
PHAC and Health Canada review all AEFIs and investigate safety concerns. Actions are taken as required.
and transported from manufacturer, to destination site and final administration, under control ed temperature (“cold chain”).
NACI* updates its recommendations to incorporate new information as it becomes available.
Note:
Once available to Canadians, each vaccine is constantly monitored for safety and quality as long as it is used.
Canada.ca/vaccines
C ana da. c a/ va c c ine s
2 Stylus Magazine April / May 2021
PHASE
APR/MAY 32 2021 VOL NO. 2
Production Team Editor . . . . . . . . . . . . . . . . . . . . . . . . Gil Carroll editor@stylusmagazine.ca Assistant Editor . . . . . . . . . . . . Jen Doerksen assistanteditor@stylusmagazine.ca Art Director . . . . . . . . . . . . . . Kelly Campbell design@stylusmagazine.ca
On the Cover JEN is a non-binary communications professional with a deep knowledge of videography, photography, online community, and a serious interest in audio engineering. Jen is currently the marketing manager at Birthday Cake Media, a role that includes branding, long-term marketing strategies, digital-focused marketing, and creative development. Jen is a co-founder of BNB Studios, a videography outfit for artists and musicians, which is how they discovered and developed a passion for working directly alongside artists. They play drums in a psych-rock band called w i n d o w t a l k, and they are constantly exploring ways to mix mediums and bring visual and audio art forms together.
Cover Art . . . . . . . . . . . . . . . . . . Jen Doerksen Advertising Contact . . . . . . . . Rob Schmidt manager@ckuw.ca Print by JRS Print Services . . . 204-232-3558
Contributors Nigel Webber Keeley Braunstein-Black Olivier La Roche Daniel Kussy Ryan Haughey
Isabella Soares Mark Teague Brett Parkin Phil Enns Zoe McCrea
Myles Tiessen
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:
Table of Contents Winnipeg State of Mind: Kairo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 03 CKUW Program Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 04 Reviews: Local Spotlight I. Bell, Mahogany Frog . . . . . . . . . . . . . . . . . . . 05 Reviews: Ulteriors Jesse Ryan, Bernice, Wild Pink, and more . . . . . 05-08
Features
Stylus Magazine Bulman Student Centre, University of Winnipeg 515 Portage Avenue, Winnipeg, MB, R3B 2E9 Phone: 204-786-9785, Fax: 204-783-7080 Writing submissions: editor@stylusmagazine.ca Graphics submissions: design@stylusmagazine.ca
Snowdance: At Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kurt Heasley: Lilys and Artistic Freedom . . . . . . . . . . . . . . . . . . . . . . .
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Snowdance: At Home KEELEY BRAUNSTEIN-BLACK Snowdance started back in 2012 when it was unseasonably warm, and there was almost no snow. Due to the lack of snow there was no ski hill to run and there was an abundance of musicians on staff. Thus the impromptu music festival featuring staff gave birth to Snowdance. The 10th anniversary of Snowdance falling in a pandemic year held certain challenges for the people at Falcon Ridge Ski Slopes & Falcon Trails Resort. Emily Christie, artist director of Snowdance, says, “Now here we are in the opposite situation, a year where instead of no snow, there are no live events. So we’ve stepped up to the challenge to revisit and rethink the festival, and have adapted it in the form of a month and a half long series of weekly “Snowdance at home” online video episodes, showcasing the sorts of live music and wintry workshops that you’d find on a normal year at the festival.” “The biggest challenge has been the timeline. When we finally got word that we had received the grant it was already late January, and it came with the stipulation that we would have to pull this off
by March 31. Because our plan had been to release a series of 6 episodes, we would have to pull it off fast,” says Christie. With the help of BNB Studios on video, Lloyd Peterson on sound, and Madeline Roger keeping everyone on track, they managed to complete the project over the course of a few days. Keeping things COVID-safe proved to be quite the challenge, “we had to be very careful to limit the number of people on set at any one time, so the sets were closed, and each band had a scheduled time with no overlap. We had to take other considerations such as mandatory mask wearing at all times, other than when actually performing, space out everyone as much as possible, and lots of sanitizing of the space. Much of the filming of the “extra footage” of activities and behind the scenes ski hill action that is peppered throughout each episode was filmed at home by themselves to cut down on risk,” Christie says. As it turns out Christie’s favourite parts are the extra footage that people ended up recording from home, the instructional skills and workshops that are being released between episodes. “I think
this really rounds us out to catch the vibe of what Snowdance is, as it really is so much more than a music festival, it’s also a festival of winter, and such a huge part of it is where it’s located, at a funny little ski hill hidden in the woods of the Whiteshell,” Christie says. In the spirit of Snowdance, the festival showcases the talent present in the community, “a showcase of the incredible community of talent involved in our funny little ski hill. All the musicians that make up the Snowdance at home have connections to the hill, whether that be as having played at Snowdance before, having been supporters of the festival and the ski hill, or literally currently working at the resort (Sheena and Daniel of Red Moon Road, Joe Madden, Kenzie Jane and Dana Lee are all currently working at the hill!) They were all our first choices and we were delighted that they could be a part of it!” Christie says.
Kurt Heasley: Lilys and Artistic Freedom RYAN HAUGHEY Since 1988, Washington D.C. artist Kurt Heasley has been rocking through genre and style with his band Lilys. Call them shoegaze, dreampop, post-rock, or grunge, the spirit of Lilys is to pursue the purity of art. Over the years, Kurt and Lilys have been compared to My Bloody Valentine, The Monkees, and The Zombies, but there’s no pinning down the sound of Kurt Heasley. Growing up in Washington D.C., Kurt says that he was exposed to the masses. With such a large population packed into D.C. and the surrounding area, he had a wide array of creative influences. There’s no small talk with Kurt – he jumps right into the deep end of philosophy of religion, artistry, and self-care. He says that throughout his career, his weirdness has attracted outcasts and individualists, allowing him to surround himself with a diverse crowd of free thinkers. In the early 2000’s, Kurt collaborated with bands such as Nobody and The Brian Jonestown Massacre, as well as having produced for bands like Ladybug Transistor. Over the past few years, Lilys have reissued a handful of albums, including 1994’s A Brief History of Letdowns on Frontier Records – re released in January 2021. The record begins like an anthemic rock essential. Kurt’s poetic lyrics are like an old oil
02 Stylus Magazine April / May 2021
painting – one you look at and see the story and emotion behind the pigments. Gritty, distorted guitars set the stone canyon for Kurt’s voice to trickle through and croon lyrics of devotion and camaraderie. With a track list of names, Kurt shares stories of people and places with the deep love of experiencing the continual newness of life. About a thousand loud and proud guitars drenched in distortion are a pillar on A Brief History of Letdowns. It’s not nostalgia you hear on most songs – rather, a recognition of the beautiful every day; or something you might feel nostalgic for in the future. Lilys drives a groove like a freight train. During the jam sections of the album, you can hear an assortment of effects and sweeps, guitars stacked up like a mountain of bricks, sonically bursting through your speakers. In the Presence of Nothing is A Brief History of Letdowns’ predecessor, and was reissued in 2017. This was Lilys’ first full-length record, and it’s a bit more experimental. You can hear a few more subtleties in this album with more diverse ideas, but don’t worry – it isn’t missing that staple fuzz wall of guitar distortion and feedback. Lilys’ first reissue was in 2015, with Eccsame the Photon Band, which was originally released the same year
as A Brief History of Letdowns. This release has more atmospheric aspects to it. The track listing is sprinkled with untitled, little diddies – bass lines, feedback effects, synth lines, and some excited hypeman-esque shouting. Lilys have no one sound – maybe it’s because the lineup was consistently changing. This is probably a contributing factor, but Lilys’ ever-evolving style and sound stems from Kurt Heasley’s consistent and passionate pursuit of new ideas. Kurt’s mind must be racing most of the time, because he’s rarely short of new ideas. He encourages those he meets to find their creative passion and explore it without any fear of judgement or failure. Weird is weird, but weird is just fine. A Brief History of Letdowns is out now on Frontier Records.
WINNIPEG STATE OF MIND: KAIRO
NIGEL WEBBER
“The only man I hold weight for” - Ghostface Killah Kairo is a student, but he’s also a teacher. The Winnipeg rapper is constantly learning about hip-hop history, cultural traditions from his homeland in Trinidad, and even lessons from his ancestors in Africa. But Kairo is also using that knowledge in his own music, to connect it to his past and to teach a younger generation that may have yet to discover the importance of figures like Haile Selassie. Kairo’s conscious style but streetsavviness makes him one of the most interesting up and coming rappers in Winnipeg today. Born and bred in Winnipeg’s Maples area, Kairo’s introduction to hip-hop came at an early age through classic cultural touchstones like the original Space Jam movie soundtrack, including the timeless posse cut “Hang ‘Em High.” By high school, Kairo was writing raps and discovering on his own the PHOTO: BRETT PARKIN stories of Malcolm X, the Black Panther Party, and Wu Tang on his rap Marcus Garvey. It was learning about the history career. He notes that his first ever rap show was of the African griot which really brought together seeing Wu Tang’s the GZA at the Pyramid in 2011, the two worlds he found himself deeply invested in. conveniently also a nice introduction to some of Historically in West African cultures, a griot acted Winnipeg’s local rap groups at the time. as a repository of knowledge and oral histories While Kairo had been working on music of their larger family, bringing with them their previously, it was his meeting with producer knowledge and traditions while being captured Hoopaloop in 2018 that really sparked something and enslaved. Kairo believes that as a descendant in both artists. Hoopaloop, who was previously of those peoples, he is a modern day representation profiled in “Winnipeg State of Mind” in 2020, said of a griot, saying, “I feel like it’s important for me of Kairo, “he’s got a lot to say in his music, that’s what to incorporate that into my music so the next I like, an artist who really focuses on the conscious generation has some sort of connection to that side of stuff, with a bigger message.” realm.” Kairo stresses the importance of learning The collaboration of Hoop’s old school boom about and becoming familiar with his Trinidadian bap style beats with Kairo laid back conscious flow culture, noting, “that connection to my heritage brought out the inner Wu Tang in Kairo. Since really keeps me going on a lot of days.” 2018, Kairo and Hoopaloop have put out a long list What keeps Kairo going musically is the Wu of singles, a five song EP, and the video for “Radiate,” Tang Clan. While he cites a cavalcade of classic hipa song that came out of their first session together. hop artists as influences, from KRS One to Mos Kairo makes sure it’s noted that while he and Def, Kairo keeps coming back to the significance of
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Hoop have only been making music together for a few years, much of the content that is now gracing our ears was a long time in the works for both of them, saying that some of the raps were written many years prior to the songs ultimately being released. An oral historian holding on to a story until it has the proper avenue to be told in, a modern day griot at heart Kairo is thoroughly dedicated to getting his message out there, knowing that he has generations of ancestors behind him as support. As Kairo says, “Being a voice to the voiceless is a big inspiration for me and a reason why I write the way I do.” Buoyed by the support of a strong producer in Hoopaloop, Kairo has become one of Winnipeg’s more political rappers. Describing the writing of overtly political songs like “Never Back Down” or “Sound of the Police” as therapy, Kairo is quick to point to music as a way to feel connected to something larger when nothing else makes sense. While quoting a line from 2Pac about planting seeds so the next generation can grow, Kairo also acknowledges the younger generation is an inspiration for him, specifically a younger cousin of his who is involved in organizing the Justice for Black Lives Winnipeg movement. Kairo stakes a claim to his role defiantly, saying that, “there’s always gotta be some protest music,” ultimately bringing up the revolutionary music and life of Fela Kuti as yet another inspiration. Kairo writes music that connects the past, both recent and distant, with the present of modern day Winnipeg in a visceral way that leaves the listener reflecting on their own relationship to that history. Kairo knows that despite all his research and readings, he is a product of Winnipeg, a city in which he sees a lot of promise but also celebrates the working class nature of. Critical of a lack of industry support, Kairo explains that Winnipeg can support the new generation of up and coming rappers but comments with a laugh, “Winnipeg’s just going to be a hustlin’-ass city.”
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04 Stylus Magazine April / May 2021
Local Spotlight of Bell’s intricate sampling starts to bubble, beads of sweat race down his face as the tingle of the sun becomes a sunburn. He starts to think of places to cool off. Shade from tall buildings over vacant lots The soft, chorus heavy melody on “under the leaves” is a relieving departure that gives way to a moment I.BELL of peace for body and mind. Though SUMMER UNDERNEATH Bell’s time within this space can be contained for a minute, the lifted Back in April, Ian Bell found himself weight of the bright sun off the in a pickle. When his background in eyes can bring relief either laying sociology couldn’t guarantee him secure underneath the tree far removed from a employment due to a global pandemic, car-friendly surface, or deep within the paired with any and all plans for attending concrete jungle, behind the temporary live music/art gatherings evaporated protection of brick and mortar as the in front of him for similar reasons, Bell sun moves to cover all angles of the found himself taking up manual labour brick-and-Mordor saviour. in the outdoors. What started as a task to keep him busy manifested into a hobby, Sparkling over still which rekindled his appreciation for the grand space outside his front door. This The simple, easing components of new found appreciation is captured on “Humidex” paint a waterfront; the Summer Underneath. Save for a more underlying hum is the motion of ambient take of the notable Washed the water, whichever direction and Out track “Feel It All Around,” Summer however calm or aggressive. Every Underneath can be imagined as three note tinkering along represents the distinct settings as Bell reflects this past reflective glistening off the sun, oxygen Manitoba summer, using a Roland bubbles surfacing from the critters SP-404 sampler combined with a Vox that inhabit that space. The sampled DelayLab. audio of insects abound brings Bell into the environment he sonically Audio documentation of the intense heat created. As this track builds up, Bell is inching deeper within the water, until The overwhelming bliss of the sun everything is stripped back and left bares its own warning within the title to fade, and Bell submerges himself on “30* in a vacant lot.” As the layers underneath. Daniel Kussy
Ulteriors instrumentalist building musical bridges between traditional jazz idioms and the Afro-Caribbean rhythms of his native Trinidad & Tobago. The improvisational nature of jazz always appealed to Ryan, as it provided, in his own words, “a space for collaboration, cultural exchange, and [a place] where old and new worlds meet.” It is in that spirit that the album’s opening track, “Big Ole Shoes” – in which traditional Trinbagonian Tambrin drums JESSE RYAN introduce, then undergird, a bright, BRIDGES swiftly-moving modern jazz melody and chord structure – demonstrates As its title suggests, the debut well the synergy between these noalbum by Toronto-based saxophonist longer-estranged musical traditions. Jesse Ryan sees the gifted young
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MAHOGANY FROG MAHOGANY FROG IN THE ELECTRIC UNIVERSE It was worth the wait. Empires have risen and crumbled since the last time we were treated to a new Mahogany Frog album, and the eight and a half trips around the sun that have produced Mahogany Frog in the Electric Universe were clearly well spent. Though the four members of Winnipeg’s premier prog rock juggernaut have their hands full with a variety of other artistic projects, the cohesion on display here is that of a band who never let each other out of sight. As with their albums of yesteryear, Mahogany Frog offers a style of prog rock that is not marked by showiness or affectation but rather an unhurried determination to prod, probe, and unwrap a neverending series of sounds. Opener “Theme From P.D.’’ commands your attention by running through the band’s sonic range. Fluid, multilayered keyboards and a relaxed drumbeat smoothly give way to a funkier, clamorous arrangement. By the end of the fourteen-minute song, a brash, tangled wall of sound underlines
Alongside Ryan are a whole host of talented musicians, including Marc Rogers on both upright and electric bass, and Ewen Farncombe on piano and, notably, Fender Rhodes. While some of these names may be new, Winnipeggers familiar with the local jazz scene may recognize at least one of the artists contributing to the album: former University of Manitoba Jazz Studies vocal major Joanna Majoko lends her voice to two of its tracks. One of those two, “Zambian Offertory,” is a gentle zephyr of a tune seemingly representing – in this reviewer’s mind, at least – a hopeful hymn of thanks sung at the dawning
beyond all doubt that Mahogany Frog are BACK. On the following number “Psychic Police Force,” the pace is picked up a little, and the addition of some soaring guitar lines provides a lively video game soundtrack-like kick. What’s more, the classic prog fans will appreciate a jumpy, synth-driven breakdown reminiscent of Yes midway through. With so many sonic elements swarming around these six tracks, another band might get lost in their own ideas. And with songs averaging ten minutes, that same hypothetical band might leave the listener feeling bored. Thankfully, it’s Mahogany Frog delivering the goods here. As alluded to above, at no point on this record are they in a rush. Sudden tempo changes are minimal, with the band opting instead for well-calculated, subtle transitions from one passage to the next. Alternating between the cacophonous and the quiet is not uncommon for them, but those shifts often happen with admirable finesse. With the closing track “(((Sundog)))” we are treated one last time to a captivating rise and fall - variations of ambient and tranquil psychedelia ebb and flow, before a final burst of dizzying prog seals the deal. Mahogany Frog stand alone in their ability to craft an exploratory and untamed musical experience, and even after a long wait, they remain the perfect tour guides for a trip through the electric universe.
of a new day. “Right To Be Wrong,” another standout track, lays down a bed of Trinbagonian percussion, over which Ryan and his sidemen display their mastery of the form with sultry solo spots. In many ways, the Tambrin drums are the star of the show here and, of their three appearances, the album’s closing track, “S.O.T.S. (Sons of the Soil),” is one of its more danceable offerings. Overall, Bridges is, even in its quieter moments, a very lively album, and there are far more surprises in store for the serious listener than can be recounted here. With all tracks composed by Jesse Ryan, and co-produced by respected
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Toronto percussionist Larnell Lewis, As a whole, the record feels just Bridges is a fine debut effort in what, cohesive enough to be taken in as one one hopes, will be a long and illustrious single experience, without becoming monotone or repetitive. Each song career. Phil Enns undertakes a similarly stripped-back approach, often relying on Dann’s light but entrancing vocals. This is not at the detriment of the album, however. The instrumentation throughout acts as support for the main focus on vocals, making it a simultaneously calming and intriguing listen, that leaves you wondering where the sound will go next at every turn. Olivier La Roche
open road, but not a road of possibility – more like an escape route that leads nowhere. Like trying to outrun your thoughts. Tragedy Reel plays through like there are memories playing on projector screens all around you, revealing the people and events that shaped you; to learn from them and hopefully to heal. A major theme over this past year, for a lot of us, seems to be reflection - so I couldn’t think of a better time for this latest Fog Lake album. Zoe McCrea
from his folk roots. At the base of almost every track is an acoustic guitar that is of no urgency to bleed through or disrupt the krautrock that surrounds it. Daniel Kussy For fans of: King Gizzard and the Lizzard Wizard, This Heat, Daniel Romano
BERNICE EAU DE BONJOURNO With only their third full-length project since 2011, Toronto band Bernice offer a rather stunning mix of jazz and ambient that “openly plays with the shape of a pop song,” as lead vocalist Robin Dann shares on the band’s Bandcamp page. Eau de Bonjourno marks the first collaboration between the group and the grand multi-instrumentalist Shahzad Ismaily, who acts as producer. Ismaily’s impressive resume, which features work with the likes of Iggy Pop and Lou Reed, comes as no surprise given the pleasant, pristine production throughout the album. Sitting at just under fifty minutes with ten tracks, Eau de Bonjourno offers a level of immersion and depth only attainable with such a robust track list. No measure is wasted, each track offering pleasant glimpses into altering worlds and musical universes. This couldn’t be more true for the opener “Groove Elation,” a gorgeous song that begins with a sparse, skeletal beat and faint synth melody, both carried by Dann’s gentle, upbeat vocals. Separating these ethereal sections are interjections of saxophone and keyboards, before the song descends into an increasingly groovy breakdown that closes the track. After only the first track, this project has sent the listener floating along and then bobbing their head. The album is characterized by lofty, almost erratic lyrics that jump from subject to subject at lightning speed. The song “Empty Cup” is a perfect example of this quality, with Dann going from describing a beaver chewing on bark, to her friends’ heart pain to her admiration for her parents within seconds. While varied, the lyrics never come off as disjointed, as they align well with the tone of each track. This unpredictability fits in perfectly with the music, which reflects the same quality, creating an important synergy between vocals and instrumentation, between lyrics and chords.
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THE WEATHER STATION IGNORANCE
FOG LAKE TRAGEDY REEL Aaron Powell has become a household name when it comes to bedroom pop. If you’ve ever spent hours scouring Bandcamp looking for your next lo-fi obsession, Powell’s project Fog Lake was probably the exact sound you were craving. From a rural small town on the East Coast, Powell started his project Fog Lake after getting into scoring film with friends – which didn’t come as a surprise to me. The layered soundscapes Powell creates tell the isolating stories of his songs as much as his writing does. Tragedy Reel is the sixth full length album from Fog Lake and it is as tender and reflective as we’ve come to expect, but this time feels less nostalgic and more restless. Right off the bat the opening lines of “Crystalline” start illustrating a complicated relationship with coming home: “Fancy the way you let me down / no one gets even in this town. I’ve been away for so long, stuck inside a whirlwind. Crystalline still sinking in, I masqueraded so long.” It feels returning to a place that you’ve outgrown. “Jitterbug” the first single from the album, is understated yet bubbly and had me wanting to sing along before I knew the words. Muffled vocals and hazy synth ground the song, but it’s a light and hopeful moment on the album. The restless energy is ramped up on “Dakota.” Powell taps into an Americana sound with violin, banjo and keys whirling together softly. “Speeding away south of North Dakota. A rockstar, guitar and a fast car. Cause I wouldn’t wanna stay here with you but I don’t wanna leave here without you.” The song takes you to an
CHAD VANGAALEN WORLD’S MOST STRESSED OUT GARDENER Where some may say that a record is the canvas, where each track makes up the independent yet linear details that tie the painting together, Chad Vangaalen has built an art gallery made up of pieces for each track, and called his collection World’s Most Stressed out Gardener. As each track tells their own story chalked with a sound and environment unique from each other, Vangaalen is drawing from every corner of his gallery for inspiration. “Nightwaves” translates pretty seamlessly into an Andy Warhol painting, but instead of “Shot Marilyns” its Vangaalen wearing Ziggy Stardust make up. In the case of “Starlight,” the King Gizzard-like haziness of the vocals mixed with the microtonal guitars, combine with an elaborate pallet of percussion that harkens back to a “This Heat” sound results in a very desert-heavy backdrop. “Doesn’t make much sense but it makes way.” Such intricate percussion is used often, as is on the lead single “Samurai Sword.” The clanky tin can percussion rings stressfully as an equally stressed out Chad cry’s for his beloved weapon. “Choir Juno Flute,” one of a handful of instrumental tracks, is a multi-layered ballad that plays like a Hans Zimmer piece, a long drawn-out piece with a big crescendo that’s completely stripped at the song’s end. With intention, consistency is the antithesis of World’s Most Stressed Out Gardner. Yet, no matter how far in any certain direction he goes, Chad Vangaalen never lets himself untether
The Weather Station’s newest album, Ignorance, departs significantly from the band’s previous releases and represents the changes that quarantine has made to the recording industry. With a full LP and three videos released during the pandemic, their output is not only impressive, but embraces a common zeitgeist of anxieties that arise in the face of prolonged time in solitude. The album features a wide variety of guest instrumentalists, from a number of well-known acts, who lay the groundwork for Lindeman to become more experimental with her vocals than on her prior recordings. The first single, “Robber” fades-in slowly with snare, strings and piano, before we are introduced to buttery vocals. The song was matched by a haunting video, released in October of 2020, featuring the band in a forest (behind Lindeman’s childhood home) where a woman begins a modern dance which well-reflects the creeping and discomfort that the song induces. Lindeman wears the mirrored suit, also featured on the album cover, while she is surrounded by a diverse cast of characters being interviewed by the media. The lyrics to this single espouse that the singer “never believed in the robber,” but also that the “robber never believed in me.” Who is the robber? What are they taking? Is belief a requisite for the robber to be successful in their endeavour? Maybe I am showing my participation in the album title: Ignorance. The single makes me feel, but I don’t know what, and I am beginning to believe that this very disconnect may be the point. It is exceedingly difficult to pilfer from emptiness itself. The rest of the album features songs that round out the narrative
introduced in “Robber.” Tracks like “Separation” and “Subdivisions” grapple with loneliness and listlessness, matching simplified, but precise, instrumentals with the power and range of Lindeman’s voice. “Heart” and “Loss” focus on the interpersonal and intimate, as well as the abrupt changes that we have recently experienced in both. Ignorance sees The Weather Station slow down, lose the string-heavy aspects of their other albums, and focus more intensely on introspection. The album, although personal, contains themes that can be identified with by a wide portion of the music community. It is apropos to our current fractured state and deserves all of the attention that it has garnered thus far. Mark Teague
mood with a chamber-like sax, bass, and glockenspiel introduction, flowing into a truly dreamy saxophone melody. Following the slightly off-kilter “Rhythm changes” of “Billyish,” comes “Flood, Deluge,” a kind of free-form, nightmarish soundscape which proves this trio would be at home in just about any musical setting. The album, mostly original tunes, is rounded out by two standards: a genuinely surprising reading of Charlie Parker’s “Cheryl,” and album closer “Blue Gardenia,” which, with Cervini on bass clarinet, hearkens back to the gentle swing of days gone by, further displaying, perhaps, their debt to jazz tradition. Much is made of the fact that TuneTown is a chordless jazz trio (i.e. without the harmonic foundation of a piano or guitar), but the music on this, their second, album is so endlessly inventive and surprising that such instruments are, quite frankly, not even missed. Phil Enns
TUNETOWN ENTERING UTOPIA Jazz, like folk and blues, is a form of music in which one is largely indebted to the contributions of one’s musical forebears. Ultimately, the goal is to take the lessons learned from past traditions and inject them with new life while still paying homage. TuneTown is a band composed of three wickedly talented individuals from the Toronto jazz scene – Kelly Jefferson on saxophone, Artie Roth on upright bass, and Ernesto Cervini on drums – who have successfully achieved this goal on their sophomore effort, Entering Utopia. They have each clearly paid their dues, as it were, to this music, and are more than capable of taking traditional song forms to new and unexpected places. What is also abundantly clear throughout is the level of comfort they have with one another. The album’s opening track, “Hello, Today,” is prefaced by a short, Dave King-like, percussive overture which leads to a sassy solo saxophone passage. Only when the bass enters a few bars later do we realize we’ve entered a down-and-dirty blues territory. And what a raunchy, swaggering blues it is! The title track, with bassist Artie Roth providing the harmonic framework, brings the listener into a moodier, more contemplative, frame of mind. “Layla Tov” continues the contemplative
THE NATVRAL TETHERS Kip Berman, formerly singer/ songwriter of The Pains of Being Pure at Heart, an indie pop band from New York City, has recently begun performing under the name The Natvral. A far cry from his previous work on the indie scene, The Natvral is described as “drawing inspiration from lyrical folk rock icons” and “connecting sound and substance to his present life”. On his debut solo album, Tethers, which has nine songs, and opens with the tune “Why Don’t You Come Out Anymore?” Which perhaps can be interpreted as having a double meaning and is truly relatable in these pandemic times. Berman explores a yearning for home and the changes that come with life. Tethers also reflects on transformation, losing touch with friends, wearing a ring, going grey and fatherhood. The inspiration for this album comes from afternoons playing music to his two young children. While practicing and writing music after their bedtime, what emerged in the album Tethers is a raw folk rock sound with a ton of reverb
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- a transformation in sound to match the transformation in his life. Keeley Braunstein-Black
GEORGIA VAN ETTEN DEEP BLACK WATER Some artists are impossible to place inside a certain musical genre, for each of their songs have a life of their own. When you think you know what to expect from the next track, you are continuously surprised by the different nuances they showcase. Georgia Van Etten without a doubt fits this category. Her latest work Deep Black Water displays anything and everything from Florence + The Machine orchestrations to early 90s hits by The Cranberries. It all begins with the mystical harmonies in the “Prelude,”which slowly progress to intense strings and drums. The arrangement easily blends into the title track and do not get me started on this one! The rock’n’roll guitars and Van Etten’s vocal delivery are the most fulfilling combination a concertgoer could find. It is a shame that live events have been delayed, because “Deep Black Water” was made to unite audiences with hums and stomps. Not to mention the powerful message it conveys about living in a money-driven society and trying to keep up with the never-ending demands. The tone shifts completely to banjos and sways when “Emma Lee” begins to play. This acoustic arrangement is simple, but the lyrics are heart wrenching since they dwell on people that pursue validation through unworthy relationships. As mentioned beforehand, this album continues to take bold turns. “Oh Mother” has a beautiful violin intro that briefly reminds you of the Scottish emblematic soundtracks found in period dramas. Yet, the rest of the track proceeds on a different course, reminiscent of soulful jazz. The tempo becomes upbeat again in “I’d Like To Be.” For some reason, this Alicia Keys-inspired arrangement strikes as a B-side in comparison to the rest of the album. Once again, Van Etten steps onto the Soul territory in “Suddenly,” where she surely is triumphant. Her melodious voice
knows how to balance emotions and high notes. Still, nothing sounds better in her work than the bluegrass/rock anthems! “The Other Side’’ featuring our very own Winnipegger Joey Landreth is a true highlight. From the guitar riffs to the striking duet, this one will definitely appeal to the Fleetwood Mac fans! A piano ballad! This was the only thing missing before “Painted People” made its statement. It reflects on those who strive to be perfect looking, but can’t prevent the damage from the inside. Lastly, we arrive at “Postscript-’52 Cadillac,” a raw demo that completes the journey that is Deep Black Water. Altogether, Georgia Van Etten’s debut body of work is a brilliant collection of various references that in any way, shape or form takes away its originality. On the contrary, it is an impactful piece that demonstrates how eclectic the singer-songwriter is and how we can literally expect anything from her. Being able to tackle down different music genres is tough, but it seems like Georgia Van Etten is more than capable of doing so. Isabella Soares
KEEP SHELLY IN ATHENS YOU “You” is the latest single from chillwave outfit Keep Shelly In Athens. It is the Greek duo’s second release of the year, following their instrumental single “Early” which appeared in January. This latest track features a luscious vocal performance from Los Angeles based indie-pop singer Georgia Hurd, who is listed as a feature in the title. Her contribution is certainly worthy of this designation, as her voice drifts effortlessly over the driving drums and determined bass line. This same bass line is the sole component of the introduction of the song, gradually joined by drums, guitar and synths in that order. On just the second listen, this introduction is dripping with anticipation for the first sung line that brings such a captivating energy to “You.” The anticipation doesn’t end there, either. The first verse becomes increasingly
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energetic, Georgia’s voice simultaneously delivering satisfaction and hinting at more with each line. The verse melds seamlessly into the chorus, undoubtedly showcasing the talent of Keep Shelly In Athens and their knack for undeniably fluid, catchy production. After the first chorus comes a short breakdown, followed by the second verse and last chorus, but instead of restarting from scratch, the anticipation seems to continue throughout the rest of the track, leaving you bobbing your head for the full four-and-a-half minutes that really feel like half of that. The gradual building of energy in this song makes it more enjoyable with every listen, because at every moment that seems like a peak, you remember there is still more to come. Olivier La Roche
BLACK COUNTRY, NEW ROAD FOR THE FIRST TIME Black Country, New Road, and their debut album For the first time is the latest and most recent example of boundary-pushing and genre-blending mixed with incredible musical aptitude coming out of the modern post-punk renaissance of western Europe. With a heavy dose of free-form jazz, the band finds many experimental ways to make their way through long and demanding songs. Most of the album tracks are over six minutes and require a very intense listening experience. Anyone who spends the time to mull over the compelling song structures or intricate instrumentation will feel rewarded, not in the sense of relief or the adrenaline that comes from perseverance, but satisfaction and respect for a band pushing the traditional post-punk narrative. As a band establishing themselves, Black Country, New Road will garner a lot of critiques. Some will call them pretentious, and some will say they are ripping off some other band; the problem with Black Country New Road is that, to some degree, both sides are right. They retain a certain level of inaccessibility, but they also do feel like a black midi cover band. However, to leave it there would be a disservice to a band that is so obviously talented and coming into their own
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musically. Unlike their peers and past collaborators, black midi, they never fully dive into the obscure or esoteric. There is still some resemblance of melody, even if lead singer Isaac Wood prefers to talk-sing his way through most songs, sounding like a less lyrical and slightly more depressed John Cooper Clarke. One of the album’s highlights is towards the ending of “Science Fair.” After 5 minutes of off-kilter drumming and gloomy synthesizers, the band explodes into what can only be called wonderful self-indulgence. The listener is blasted with bombastic saxophones whaling like they will never get to play again alongside well-deserved, satisfying chord progressions. “Science Fair” further exemplifies just how huge the production sounds. Diverse layers of horns, guitars, weird drums, and who knows what else seems to justify their impressively large band membership. As the album progresses, the storytelling and lyricism become more personal. “And [I] complain of mediocre theatre in the daytime’ and ice in single malt whiskey at night/ Of rising skirt hems’ lowering IQs/And things just aren’t built like they used to be/ The absolute pinnacle of British engineering,” Wood sings candidly on “Sunglasses,” before proclaiming “I am so ignorant now/ With all that I’ve learned.” Among all the misanthrope and daddy issues present on “Sunglasses,” sincere personal confessions represent universal feelings of inadequacy. Those emotions are pervasive throughout the entire album. Self-doubt and misery, mixed with social commentary, excel the album thematically and further show how Black Country, New Road is one of the finest and most talented post-punk bands to date. Myles Tiessen
cerebrally targets the feeling associated with chasing bliss. The ever-rolling beat of the drum that Wild Pink provides throughout each song drives the album forward. Drums feel feathered, as if they were carefully placed into the instrumentation – surrounded by xylophones and violins that create a gentle, harmonic euphoria. A Billion Little Lights explores the duality of finally being able to award oneself the love they deserve, while simultaneously feeling lost about one’s place in the universe. In the song “Better Than Christmas,” every strum of the guitar rings with reverberation. Simple, pleasing bells chime over the deep, smooth vocals of John Ross. Those gentle drums rise with the climax of the song, tambourines driving forward into the next track, “The Shining But Topical.” From the deep, atmospheric tone of the instrumentation, you may expect nostalgia, but Wild Pink is more interested in discovery and exploration. The majority of the record is backed by circumambient synth pads, with each song seeping into the rest. Maybe this mirrors the continuous experiential nature of navigating life aware of the constant newness of every moment. A deep, echoing breath lingers, stepping with confidence into the spotlight of the resolving “Die Outside.” Understanding and accepting the woeful sorrows of the past, this final song marks a perpetual open heartedness to experiencing each and every moment of life. Ryan Haughey
JANE INC. NUMBER ONE Number One is a dreamy, heavily electronic reconstruction of pop music. Littered with industrial influences and, at times, hyper pop motifs, the debut album of Carlyn Bezic, aka Jane Inc, is one hell of a statement. As one half of the band Ice Cream A BILLION LITTLE LIGHTS and a member of U.S. Girls, Bezic is WILD PINK a veteran on the Canadian music scene Wild Pink invites listeners to a and has the talent and means to create festival of sonic dancing on A Billion an album just the way she wants, and Little Lights. Their unique brand of Number One is the first look at that synth-y folk blends strings with pads creative vision. Sounding sometimes like Psychedelic and everything in between. As one song melts into the next, Wild Pink Furs, other times like Phoenix or slowly constructs a clear ambience that Bowie, Number One takes influence
from everything. Each song utilizes compelling drumming patterns blended together with ridiculously unique synthesizers, all in the service of creating a platform for Bezic’s vocals to float above. “Faceless, Bodiless” might be one of the best tracks. A repetitive instrumental with the aforementioned drumming and synths create a meditative experience, locking you into the song. The melodies overtop of a vocal sample create a certain SCI-FI quality, making it feel like an artificially intelligent DJ produced this song in 2130. Number One starts strong, and the first few tracks are clear standouts. “Gem” has an incredibly groovy bassline that keeps the song clipping along, and the beginning of “Bloom Becomes Me” even sounds like the theme to a Canadian Heritage Minute. Sadly, the song goes downhill from there. It turns repetitive and feels much longer than its four-minute run time. As the album continues, there are standout tracks like “My Oldest Friend,” but the monotony and onetrick nature of the album become dull. The once welcomed meditative experience turns sour, and the tracks begin to blur together and become indistinguishable. Don’t get me wrong, the album has its moments, and the highs can be incredibly high, but damn, are the lows low. With Number One, Bezic isn’t afraid to take risks. The album sounds great and has some genuinely very unique moments. However, It overstays its welcome and loses its compelling aspects. Myles Tiessen
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