Stylus Magazine // Winnipeg's New Music Magazine and Blog

Archive for October, 2011

INCITE, Journal of Experimental Media

With a week left to go in INCITE’s Kickstarter campaign, we emailed Brett Kashmere, editor of the Pittsburgh film zine which has strong ties to our own reputable Winnipeg film scene. The image above, if you haven’t recognized it, is from Jaimz Asmundson’s The Magus which is discussed in the upcoming issue which is going to be printed. There’s still plenty of time to become a backer for the mag, like I have, and have an opportunity to get physical copies of the zine that straddles the line between a serious journal and an art zine, as well as receive plenty of other rare incentives, which are also discussed below.

Stylus: The theme of the new issue is New Ages. What parallels have you drawn between today’s use of New Age symbolism and its origins?
INCITE: The theme, “New Ages” is meant to provoke a range of interpretations and readings. Most obvious is the reference to the “New Age” spiritual movement that developed in the second half of the 20th century, and which gained mainstream awareness during the height of self-absorbed Reaganomics and the rise of corporate power. While it’s easy to ridicule New Age-ism for being a wishy-washy brand of quasi-religious mysticism, it is also rooted in the concepts of self-improvement, physical and mental health, and environmental responsibility. This duality—of alternative spirituality based in holistic health, environmentalism, meditation, and simple living, and its pop commercialization (i.e. whale music CDs sold in strip malls)—produced a values-based sociopolitical phenomenon that was hard to take seriously.

Over the past decade, there has been a clear renewal of interest in New Age symbolism. How do we account for the current fascination with New Age ideas and aesthetics among many of media artists, many of whom grew up in “New Age” households? As ironic appropriation? As a desire to reconnect with some of the original core principles of the movement, such as non-Western medicine, environmental causes, organic farming, etc? As ’80s-era nostalgia? This is one of the questions that permeate through the issue. The Web 2.0, via services such as YouTube, has made it possible to instantly re-experience the media memories of our recent past or stoke a younger generation’s enchantment with a past not their own. In an era marked by both religious and political fervor and cynicism, it’s hard not to see the positive in reclaiming an inclusive, optimistic, if naive, spiritual movement. Continue Reading »

Zombie Walk // 10-14-11 // Pampanga Banquet Hall

By DJ Stone
Mmmmm brains, brains nom nom nom nom!!
On October 14, thousands of bloody, rotting zombies were seen limping and crawling towards the Pampanga Banquet Hall (old skool rave location) after the Winnipeg Zombie Walk. There were zombie cheerleaders, business zombies, rabbit zombies, and some lady in a blood soaked wedding dress holding her aborted fetus still attached with the umbilical cord :-/
The location of this nine p.m. ’til six a.m. rave was TBA (oooo, secretive) until tickets went on sale, brought to you buy DV8 Audio Visual Productions and Jsquared Entertainmynt. It was a 16+ event; however, they did have a licensed area upstairs for the rest of us who wanted to get our drink on.
This was a two-room event, with the legend himself Dieselboy, as well as ill.Gates, Johnny Narcotic and a slew of local “zombie” DJs as well. Well, it was what everyone came to see, a lot of loud, heavy, bass-blasting, dubstep with a touch of drum-n-bass. I was kinda hoping Dieselboy would have played some of his older drum-n-bass stuff, but I guess dubstep is what the kids want to hear these days.
Who knew the dead could dance so well?! It was pretty packed on the dance floor, rotting bodies flailing around, an overall good party. I give it eight out 10 zombies.

EYAM: The Plague Fire Can’t Cure

by Kent Davies

Named after England’s infamous plague village, Eyam is brutal black metal played to perfection. Since 2007 the local metal act has emerged as one of the front-runners in Winnipeg’s vibrant metal scene. Already, the band has been featured in many media publications and has even appeared on French CBC television in an effort to share their debut self-titled EP, an album that some thought wouldn’t ever come out. Their dedication to their craft and their band despite facing life threatening set-backs, and juggling between other bands is a reflection of their enduring respect for the genre. The foursome headed by local metal veteran Chuck Labossière (Psychotic Gardening) features Mike Janssen and AJ Schmid on guitar, Tomi Stangl on drums and Kevin Focht on bass. In recent interviews with Stylus and CKUW 95.9 FM Labossière and Focht spoke about the trials and tribulations of Eyam.

Stylus: It was a long process to get your EP off the ground. What happened?
Kevin Focht: Bascially in January our guitarist AJ Schmid had just moved into a new apartment with his girlfriend. Long story short we were holding all the band’s money and our merchandise there and three nights after moving in, the apartment went up in flames. They lost everything and all the band money burned along with the merch. So we had a pretty big loss and our EP release show became a benefit show to recover some of the money.

Stylus: So the initial Eyam EP didn’t end up getting pressed?
KF: We basically had to scrape up as much money as we could after the fire to do a small pressing and work our way back again. It was tough but we did it.

Stylus: Did you think it may never come out?
KF: No, but we were committed. It wasn’t the best of circumstances but we knew we could do it.

Stylus: What was the recording process like?
KF: It was really, really, really black singing. It set the tone. Len Milne was the producer and he’s a really great guy to work with. He’s very laid back. The whole process in creating the album was pretty fun. The whole process getting it out was not so great.

Stylus: Was it worth it when you got the first copy and listened to it the first time?
KF: Totally. It was.

Stylus: Have you regained some financial stability since the EP release show?
KF: It was a very successful show. We made enough money to cover the costs of a new shirt design, catch up on jam spot rent, and drive out to Regina to play with Into Eternity and Digital Doomzday. Since then we’ve upgraded some of our equipment and have been sending our EP out everywhere, which has basically eaten up the rest of our funds.

Stylus: Are you planning on recording any new material?
KF: We are always writing new material. Sometimes too much. We have about an hour of music yet to be recorded, and we just keep on writing. It’s nice to have a few in the bag, but now the time has come to decide what material will be recorded, whether we are doing a full length or EP, which producer/studio to use and what medium we wish to release it on. Aside from recording our next release, we are currently making plans for a music video. So far we are leaning towards a video for The Architects of Starvation, although nothing is set in stone yet. Andrew Wiens (Psychotic Gardening) will be heavily involved in the production of this video.

Stylus: Can you take us back to how Eyam got started?
KF: Originally, the idea started as a side project. We all had been playing in other bands except for our guitarist AJ. We basically all wanted to form a more technical death metal band. We got together and started playing some riffs and basically formed the band. We asked Chuck (Psychotic Gardening) to sing for us. We didn’t even think he would because he’s such a veteran in the scene and busy with his own band but he was stoked and over time it has become a main project instead of a side project.

Chuck Labossière: I was aware that they were doing stuff and I was listening to their Myspace links and the songs were all instrumental at the time. I listened to it and noticed there was a posting on another website that said they were looking for a singer. I heard a few people were trying out and I heard the music and I was like this stuff is really good so they better get a good singer because it wouldn’t be justified if they didn’t. I wasn’t about to ask them because I’m already committed to Psychotic Gardening and doing other stuff but in the back of my head I was thinking if they ask me, I’m in. So they finally asked me. I was instantly “Yep! For sure.” It’s good too because I don’t have to play guitar. I can just sing and focus on that.

Stylus: How do you balance the two bands?
CL: I can make it work. Both bands have been on tour together. We play the same show often. So I play two sets back to back. Mike and I would play two sets in a row. We were wondering if we could do it, especially on tour. Would it be possible psychically to do two sets a night for a long period of time? But as long as I don’t drink too much and just control myself I’m good.

Stylus: I know a lot goes into the mythology of any metal band let alone death metal. What is the story behind the name Eyam?
KF: We decided when we formed the band to do something a little different. There are a lot of satanic metal bands out there with tons of different themes. You’ve got the zombie metal bands, cannibal metal bands. We wanted to go with something that’s not completely original but in our music we like to address the bad side of the world the politics of devastation, plagues, pestilence and disease. Eyam itself is a town in the United Kingdom, it had one of the worst cases of the black plague in history. They had situations of self quarantine and I think the town was wiped out. We related our music to the theme of disease and explore how mankind are their own worst plague.

Stylus: Chuck, did you do the artwork for Eyam as well?
CL: I’m always doing artwork. I did the album cover for Digital Doomsday, they’re kind of a hardcore-rap-metal hybrid. The new art for the Psychotic Gardening full-length and of course I did it for Eyam too.

Stylus: I’ve been checking out Chuck’s series of comedic videos on YouTube. One of the videos has Chuck asking the public for boots. Does Chuck still need boots?
KF: Yeah, Chuck does collect boots. He can never have enough boots. He is currently looking for a pair of Glen Benton spiked shin boots. So if you come see us, bring Chuck some boots.

EYAM is planning on infecting metal heads with death metal destruction at an up coming Halloween show. For more info check out myspace.com/eyammetal.

Coupla Qs: The Ripperz

Winnipeg’s The Ripperz (Chris Sawatzsky, Mark Wiebe, and Travis Warkentin) can largely attribute their amazing live act to their die hard fans. Their new album You Are the Moon comes out tomorrow when they play the West End Cultural Centre, doors opening at 7 p.m. Here’s a recent interview they did on Peg City Groove.

Kent Davies: You’ve been playing for ten years but it’s really been in the last few years that you’ve managed to put out a couple albums and get a huge following. What happened?
Mark Wiebe: Basically the lack of absence. Chris went to Vancouver for a couple years so we couldn’t do much with out him.
Chris Sawatzsky: Then I moved home and had a band to come home to. It energized us to take the band to another level.
KD: Basically your show has become one big rock-sing-a-long. Do you keep that in mind when you’re writing music?
CS: Yes I do. When I’m writing I always think this parts going to be awesome when the crowd sings it.
Darryl Reilly: Do you have a Ripperz Hymn book that you hand out before the show starts?
CS: We were joking about choir robes last show but there’s no lyric sheets. I don’t know if we’ve ever wrote up our lyrics. I’ve seen some people type them up and they’re quite wrong.
KD: Have you changed lyrics because people keep getting them wrong?
CS: No but we encourage our fans to just sing what you think is there.
MW: Whatever feels right for them.

Tonstartssbandht Starts Shit

TONSTARTSSBANDHT- Hotel For Gods – (SIDE B) from Spencer Gilley on Vimeo.

Tired of life’s daily drags, its brumal breath on the back of your neck? Doing fine and want to be doing even finer still? TONSTARTSSBANDHT! Become enraptured in the music of these Floridian born brothers gone Montreal. The bros, Andy and Edwin White, also play in High Rise II and Superbud. With MC5 vigour Tonstartssbandht are kickin’ out extensive BJM style jams – psychedelic noise pop if you want to try to pin them – they’re one of those duos who “don’t give a fuck about genres or movements.”

This video for “Hotel for Gods” came out not long ago and was shot the same day as their interview on CKUT. Relish in your perceptions for a while. All filmed in the lowest quality: so colourful and homey mmm.

Scratch that! Just follow this link to side A, “Sinkhole Storm and Sandwich” and imbibe in the whole record! Recorded live on a four-track, each in one take. Available on Arbutus. Play ‘em and get lost, lost, lost.

Hillbilly Highway – Drive-By Truckers passing on your left

by Sheldon Birnie

The Drive-By Truckers are a band from the Muscle Shoals, Alabama / Athens, Georgia areas. They play southern inspired rock and roll, with literate as hell lyrics and a touch of country and a dash of R&B. They’ve put about a dozen records, give or take a couple, since 1998, most of which I own on LP, CD, or both, and the rest of which I have on MP3. They’ve played thousands upon thousands of shows up and down and all over the Hillbilly Highway, and are hitting Minneapolis right aways.

Kram Ran – The Idiot Prince

(Disclaimer) by KRAM RAN

Mark Wohlgemuth has been releasing albums under the Kram Ran name for many years now, long before this whole Alpha Couple thing came about. And now, signed to Steak Au Zoo Records, with his album The Idiot Prince, it seems like Kram Ran’s balance between noise and fine art is finally coming to a head. Opener “Prepare to Qualify” (the title being a reference to a Clint Enns video/installation of the same name that is about the self-conscious nature of making art and being validated) starts with a simple enough acoustic guitar strum and delayed static, but quickly launches into some straight-up HNW shit, and pulls back into a mélange of sound clips. Or there’s the beat of “(Disclaimer),” which is driven by a drum machine and what seems like white noise sequenced on and off, to an almost R & B vibe. No doubt that Wohlgemuth has packed this release full of references that could be pulled apart and identified for years, but even on the surface, he’s made something noisy yet enjoyable. (Xiu Xiu is the first and easiest comparison that comes to mind). But The Idiot Prince is in it for the long haul. (Kram Ran for the Polaris!) Check him out this fall, on an album release tour, when he’ll definitely be returning to Winnipeg, his home town. (Steak Au Zoo, steakauzoorecords.com) Taylor Burgess

Angels in America / Weyes Blood – Split Cassette

Angels in America – The Corpse by Northern-Spy Records

Angels in America are Baltimore based duo Moppy and Merv, who make sex crush music that is too smart, and too aggressive, to be called spaced out and too real life to be associated with the words witch or house. Past Angels releases (including 2009’s EP on Ecstatic Peace) have been moody, terribly recorded, barely decipherable noise hymns flirting with melody in a very special lo-fi heroin daze. In comparison, these three tracks, though equally knee weakening, make up a sludgier, more mature gothic masterpiece. It’s exciting to see where this band is at now. The gems found on Split Cassette are all the more precious in that they’re cut short so soon – the release’s climax, the final minute of “The Corpse,” is also the final 60 seconds of the Angels side. Taking a song that clocks in at almost seven minutes and keeping things loose and droney for over five before erupting into some kind of bass heavy, weird synth-infused murder anthem (accented by Angel’s long time signature ambient whistling and the rare treat of Merv’s snarled vocals) is definition tweenoise. I’m addicted.
Weyes Blood begins the reverse side with two tracks that, ignoring whatever underground neo-folk mystique Natalie Mering might have achieved, read as lost-on-purpose Joan Baez b-sides, after which the third and final song apexes with vocals played backwards over some synths and random noise, which as a whole isn’t very interesting. Side B is a lot like what I’ve seen of Mering’s live show – sometimes hypnotic and atmospheric, sometimes tedious. I don’t get making psych music in 2011 that could pass for forgettable music from 50 years ago – the effort seems pointless and even regressive. I’m not giving up on Weyes, but for now I’ll stick to Angels.
Speaking of, check out Merv of AiA’s PLEASURE Editions and newsletter The Gorgon, a small press project, which just reached its Kickstarter start-up goal. (Northern Spy, northern-spy.com) Kristel Jax

Bon Iver – Bon Iver

He has collaborated with Kanye West and made an ambitious EP that dabbled into new territory by experimenting with an auto tune effect on his voice. It appeared as though Bon Iver’s next album could go in any direction. Although his new self titled release is very different from his debut, For Emma, Forever Ago, Justin Vernon manages to evolve his sound while still staying firmly in the territory that got him his fan base. The album has interesting effects all over it, such an example of this can be found in “Minnesota, WI” with a distorted bass effect in the back end of the song, as well as in opener “Perth” that teeters on rock when the drums come into full swing. Each song comes off as a sort of living, breathing piece of art. Each track changes pace and builds on itself by constantly adding and removing elements, making each track more exciting as you listen. As an album, this is immaculate, the unique construction of the songs leads the album to not only flow well but also prevents any sort of redundancy from setting in. The strange “Hinnom, TX” and “Beth/Rest” are both very interesting, the latter sounding extremely cheesy upon first listen but somehow still catchy and a nice way to finish the album. (Jagjaguwar, jagjaguwar.com) Scott Wolfe

In Tents! // 10-22-11 // The Warehouse

Photo of SoHoly HeadCase by Taylor Burgess.

More or less, as typed into Taylor Benjamin Burgess‘ CrackBerry throughout the night:

In tents! Some people have brought tents to sleep over for this night, the last show of Absent Sound, as Rob Menard is relocating to Montreal. It seems to be a pretty low-key artsy thing, with film loops being projected on the bands. The ten dollar cover definitely is going to weed some people out—but the motley lineup and the legacy of Absent Sound is sure to make an interesting night, if nothing else. Continue Reading »