by Rish Hanco
Carlo Capobianco, one of Winnipeg’s newest quickly rising stars, sat down with Stylus to talk about the upcoming album Pray To You. Carlo shares the story of the album, of an underlying sense of God present in his art and life, and of the toxic, one-sided love that inspired each song.
Continue reading “POP AND SPIRIT :: An Interview with Carlo Capobianco”
by Mykhailo Vil’yamson
Anyone who is familiar with the Winnipeg music scene has surely happened upon Joel Klaverkamp’s music over the years. But one could be forgiven for perhaps not knowing his name since his projects since 1989 have been multitudinous. From the teenage hair metal band Breakneck Inferno to the indie-forward cyberpunk project Robojom, to the latest broody dance-rock outfit Cookie Delicious, Klaverkamp is perpetually involved in the process of reinvention. Is he now the armour-clad Reynard first seen on the cover of his 2022 single Forget It? And how long before the next iconoclasm? That remains to be seen. In the meantime, Fox in Golden Armour provides listeners with nearly 36 minutes of what has been self-described as “hypnotic creamsicle,” which aptly describes the swirl of tasty beats, sweet hooks, and biting lyrics.
Continue reading “Album Review :: Cookie Delicious :: Fox in Golden Armour”
by Myles Tiessen
The Lizzards have slithered back for their sophomore release, Lizzards II. Arriving via the local staple Eat Em Up Records, Lizzards II takes everything they brought to their S/T debut and brings a heightened ferocity. The vocals are snarlier, the guitars have quicker licks, the bass lines are boomier than ever, and the kit kicks with untethered tenacity.
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by Noah Cain
“Enough as it Was,” the title track off Amos the Kid’s forthcoming album, moves with the energy of the Bloodvein River in spring. Like an outburst of rage, it is short, cutting, and inevitable.
Continue reading “Single Review :: Amos the Kid :: “Enough as it Was””
by Gabriel Fars
Tin-Eared typically means someone who is insensitive to or lacks the ability to appreciate or make good judgments about music. But I can tell you that Tin-Ear is anything except that.
Continue reading “Album Review :: Tin-Ear :: Cadastral Maps”
by Noah Cain
As was the case with their first performance this March, opening for Tinge at the Handsome Daughter, there is a confidence to Bush Lotus’s writing and sound that feels at odds with their experience.
Lyrically, “Open” is spare, but far from simple. When written out, it functions almost seamlessly as a series of linked Haiku. True to that form, songwriter Arielle Beaupre injects meaning and poignancy into a sliver of time. In this case, a moment of intense presence while stretching in a parking lot, presumably after hours in a car moving along tree-lined highways:
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by Jakob Sheppard
Winnipeg art-pop duo, Bicycle Face, describes their sound as “the most whimsical side of Metric, or Joanna Newsom with effects pedals.” Their new album, Bicycle Space, is centred around the theme of space and constellations to paint a picture of life, loss, and going through changes.
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by Jaclyn Weseen
Toot Toot is the latest album from Hamilton-based electronic musician Graham Kartna. Known by indietronica fans for his collage-like style of incorporating various sound bytes, voice recordings, and the occasional robot voice within his music, Kartna is a unique talent and a prolific artist, having released over 20 albums since 2011.
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by Gabriel Fars
In most parts of his music, he doesn’t need lyrics; the melodies say it all. The small comforts of this album make it feel incredibly warm and welcoming. It has almost a nostalgic haze type of vibe to it. I think the best part about it is that this isn’t some pretentious ass shit. It’s complex and beautiful, but it still doesn’t feel as though it’s trying to aim too hard for that target audience of ‘snobby hipsters who listen to folk music and probably think that they’re both better than you AND too smart for you.’
Continue reading “Album Review :: Dil Brito :: Fences Glimpses Glances”by Daniel Kussy
5. Leia Destruye
S/T
I did not have Baritone/Bass Spanish post rock on my musical bingo card for the year of 2022. A collection of serenading bass riffs along with tense percussion drawn from post rock pillars like Archers of Loaf and Hüsker Dü, Leia Rodríguez’s emphasis on Low-end makes for a refreshing rock listen.
