As I was getting ready to go meet Roman Clarke, I received a short e-mail telling me to “meet him in the shed”. It was an ominous start to a surprisingly pleasant interview, and the shed, as it turns out, is where most of Clarke’s creative works originate.
Winnipeg raised singer/songwriter Taylor Janzen has come a long way in the course of two years. Having released two ground-breaking EPs (Interpersonal and Shouting Matches) that quickly received praises from The New York Times and Billboard, as well as recently signing with Glassnote (same record label to sign bands like Mumford and Sons and Phoenix). While she was preparing for her North American tour with Half Moon Run, Stylus had the chance to speak to her about the liberating power of music to express ones feelings, the urge to create genre-defying work, and what she has learned being on the road.
The mystical and enigmatic Winnipeg band Boats released their last album in 2013 and played their final show in 2016. A few years back the wild music of these prairie legends resurfaced with a new moniker: Hut Hut. They’ve exposed the public to several madness fueled performances over the past two years complete with their signature sound clip which gets everyone chanting along, “Down, Set, HUT HUT HUT HUT HUT—!”
With When I Say to You Black Lightning, Common Holly proves that minimalistic does not have to mean small. Massively orchestrated with endless creative ways to make a sound, the record takes ‘doing a lot with a little’ to a whole new level.
You know those soft indie pop tracks that make you feel relaxed but at the same time extremely reflective about life and your surroundings? Well, Virgo Rising, a local trio formed in late 2018, will definitely bring you to this state of mind with their lo-fi indie folk sound. Stylus Magazine was able to sit down with Emily Sinclair (lead vocalist and guitar player) and sisters Jenna (guitar, violin and trumpet) and Lauren (percussion, key and harmonies) Wittmann to talk about the early stages of the band, their connection during the song writing and production process, and their next goals as a group.
On October 11th, Winnipeg received a massive, surprise snow storm. The skies were overtaken with white flurries. The ground was increasingly disappearing underneath a fluffy blanket of snow. To celebrate, as well as mourn, this new fresh snowfall, people across the city made the pilgrimage to the Good Will to see Minneapolis-based Brent Penny (Pennington), to play his own version of lofi, sad boy pop.
Robojom’s first full-length release Hollow Body creates some interesting difficulties when attempting to write a coherent review. First, and perhaps the most vexing, is its resistance to being defined by normal concepts of genre and the decided lack of easy comparisons to similar sounds popularized by other bands.
by Mark Teague The term “post-punk” tends to be thrown around as indiscriminately as it’s “post”-prefix cousin post-modern. Unfortunately, these terms tend to be used most often to describe the amorphous and, in the case of the latter, the unsettling nature of music that has inspiration in 80’s punk, but struggles to conform to our current notions of genre.