Year: 2011

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Balanced Records: Complex yet Simple

Photo by Jerry Grajewski

By Victoria King
2011 marks the ten-year anniversary for Balanced Records, the Winnipeg-based mega-project. Starting off as an informal collective of local DJs as an outlet for just getting their stuff out there, Balanced now ranges from electronic to world, dubstep to R ’n’ B. Stylus enjoyed a great vegan lunch at Mondragon with manager Adam Hannibal and president Spencer Kuziw to talk about the past, the present and downloading.

Stylus: Right off the bat, the ten-year is now. What was the goal when you started off?
Adam Hannibal: Well, the ten-year mark is something we’re very proud of. Originally, we just wanted to put out music and we didn’t have any specific direction, just to release Winnipeg artists, promote parties and our own music. No one really had a background in the business side of music. Initially, the goal was just to get our music out there and see how it went. That was the first couple years. We only released local music. In the last five years we’ve broadened to reach a lot of artists from all over the world and from different genres. Now, we’re actively trying to get our music distributed and land as many deals as we can for our artists.
Stylus: As far as competition in opposing markets, how do you guys see yourselves measuring up to major labels in Canada and internationally?
AH: We’ve found a lot of partnerships with other labels that haven’t been so much competitive as much as ‘win-win’ situations. In electronic music there is a big remix culture, meaning that artists are getting together and collaborating to remix their music or vice versa. They might release some of our music and we’ll release some of theirs. It’s a healthy cooperative direction. Part of it might be that we are in Winnipeg and not necessarily in their ‘territory.’ Or, they might recognize that we are unique and so are they, so we may as well collaborate.
Spencer Kuziw: Agreed. We’re still releasing physical media and a lot of people come to us because they want to be released that way. Five years ago, for example, there were a lot of labels that Adam and I worked with where we might think, “Wow, that’s a crazy label. I can’t believe we’re dealing with them.” Yet now, I think releasing vinyl has definitely elevated our stature for sure – for example, our 7” vinyl Juno record. Those are still near the top of vinyl just because that’s something we’re doing that a lot of people haven’t done. It has certainly elevated our stature. Continue reading “Balanced Records: Complex yet Simple”

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Autumn Defense – Once Around


They better have a defense for the other three seasons. The Autumn Defense’s is the fourth album from Wilco members John Stirratt and Pat Sansone, which makes them a side project of the famous indie band. All I have to say is, why not stick with playing in Wilco and leave side projects for musicians who actually have something interesting to contribute to the music community? At times, Once Around sounds like it’s trying to emulate sixties pop/rock. The result is stale, ignorable, commercial pop music that one mocks when it frequently appears as background music in the latest formulaic romantic comedy. I will say that this is NOT the worst music I’ve ever heard. The title track starts out with Wilco’s signature picking on acoustic guitar and the drums focused on tom, bass and hi-hat. However, the song’s uninspired lyrics: (“You are my only one / When it’s said and done / My heart beats one by one”) and bland pop vocal styling are the ultimate downfall of this album. (Yep Roc, www.yeproc.com) Kyra Leib

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Lia Ices – Grown Unknown


Brooklyn’s Lia Ices is moving up in the world. Since she released her first album Necima in 2008 on relatively unknown label Rare Book Room, she’s been signed to Jagjaguwar and even coaxed indie’s hottest sensitive cabin-dweller, Justin Vernon, onto her album. So what’s all this, then? Who is Lia Ices and why should I care? Well, the short of the who is easy enough. She’s that sorta-weird singer-songwriter lady. You know the one, Kate Bush birthed her in the late eighties and she’s floated around since under various forms and aliases. Lia Ices is a pseudonym, and I suspect this might be that offspring’s latest incarnation. Mz. Ices certainly can’t be faulted for lack of trying – Grown Unknown is intricately crafted, and quite pleasant to listen to. She incorporates all sorts of instruments and styles, often in the same song, while always remaining in the comfortable singer-songwriter suit. The album plods along, and you might occasionally nod your head, or find yourself impressed at the unexpected stylistic flourishes, but it’s rarely enough to compel you into investing yourself in the album. In fact, it wasn’t until the eponymous fifth track that I was truly drawn in. It seems like she found some extra creative spark halfway through the album, and she fortunately runs with it. The creativity peaks with “Grown Unknown” and continues for the rest of the album, but tapers with each passing track. When she can muster enough of this energy to sustain an entire album, it might be a classic, but for now, all she’s mustered is an occasionally intriguing but generally sort of boring effort. (Jagjaguwar, www.liaices.com) David Nowacki

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Flying Fox and the Hunter Gatherers: Flugelhorn and Folktales


By Adrienne Yeung
This may be their first full-length album, but Flying Fox and the Hunter Gatherers are no newcomers to music in any sense. The classically trained sextet combines elements of jazz, pop, and gypsy folk to create an old-world influenced, complex, and orchestral sound that’s incredibly rich and gorgeous. They released their self-titled EP in August 2008, and performed hit show The Wild Things at the Fringe Festival last summer. Stylus joined lead vocalist Jesse Krause and keyboardist Darren Grunau for breakfast at the Ellice Café to chat about their new album Hans My Lion, which was released March 15.

Stylus: How would you guys describe your sound?
Darren Grunau: Big band burlesque?
Jesse Krause: BOLD big-band burlesque.
DG: Yeah, get some more ‘b’s in there!
Stylus: Hans My Lion, the character, was born from a human mother, and is very isolated and angry at the world. How did you think him up?
JK: Hans My Lion is based on Hans My Hedgehog, a German folk tale that was collected by the Brothers Grimm. Yeah, it’s a very similar story but with a hedgehog instead of a lion. He’s not ostracized for anything that he’s actually done, but Hans My Lion does something bad in the middle of the album that forces him to leave.
DG: Hans My Hedgehog rode a giant rooster! You know, just a point of interest. Which Jesse neglected to include in the album!! Continue reading “Flying Fox and the Hunter Gatherers: Flugelhorn and Folktales”

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Flying Fox and the Hunter Gatherers – Hans My Lion


Don’t get me wrong: There is a distinct lack of hose and medieval gallivanting on this album, but nevertheless, what Flying Fox and the Hunter Gatherers’ first full-length album immediately brings to mind is a dark and obscure folk tale with origins somewhere in the 10th century. What does this sound like? Dark and jazzy, salacious and circusy, ravenously passionate pop. The classically trained sextet behind this sound commands instruments such as glockenspiel, guitar, accordion, keyboard, cymbals, violin, trumpet, and saxophone that burst into musical richness inside your brain. Lead vocalist Jesse Krause’s elastic voice growls low and rough at times, but in the next second swoops quivering up the scales. The poetic lyrics are a joy to read. “Nurse” is lewd, dark, and juicy, and contains one of the best moments on the record – a rare moment free of instruments that’s like suddenly being alone in a room with Jekyll who transforms into grinning Hyde. Here, Krause sounds lasciviously desperate and menacingly violent before breaking into full-blown mania. This album is busy – a massive understatement – and it’s sometimes hard to tell where songs begin and end. Listening to this will make you want to run out of your apartment to dance in a fire with woodland animals, caring only about the moment.That’s the spirit of Hans my Lion, and he lives whenever you do. (Head in the Sand, www.headinthesand.ca) Adrienne Yeung

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Yuck – Yuck


Yuck is the self-titled second release of the British indie rock band. When I first started listening to this album I silently compared what I heard to the indie rock legend Pavement. Very high praise indeed. The album has some quality of pace or vocal style that I couldn’t quite lay my finger on. Not to say that I think this band has achieved the same level of genius as Pavement, yet they approach it on the last couple tracks. At times Yuck employs a wall of sound, and rough sounding guitars. On tracks like “Sunday” the guitar comes out more clear and melodically focused. Not surprisingly I found myself much preferring “Stutter” or “Holing Out,” the songs that showcase the grungy sounding electric guitar and tinny-far-away vocals. Still, Yuck maintains a very accessible rock sensibility throughout most of the album. My favourite track by far is “Rubber,” which is a full on shoegazing trip, with downplayed melodic vocals and the electric guitar a mess of noisy trebly awesomeness. This track is a slower pace but it feels like a solid insurmountable rock anthem, with the drums picking up at the end crashing symbols and snare. (Fat Possum, www.fatpossum.com) Kyra Leib

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Pac Div – Mania


In Mania, the California trio come together once again to produce another summertime soundtrack. Opening strong with “The Mirror,” the three emcees trade introspective verses, “I like to get high but its great to be sober / Yesterday was hard but it made me a soldier,” over a joyful string section sample before jumping into a plethora of songs with their distinctive blend of braggadocio and playful misogyny. Like, Big Mibbs, and Be Young switch up the mood for a bit with “Nobody’s Perfect,” reminding us to keep our head up over an irresistible piano-laced backdrop and soothing female chorus. After that, its back to regular business for a while as the trio rips apart Lords of the Underground’s “Chief Rocka” instrumental before going in on the minimalist “Your Fucking Song.” “Saved” brings the mood back to uplifting with its bouncy piano and a chorus that hearkens back to their Church League Champions days, “Man I just got paid / Put your hands in the sky like you just got saved.” Mania mixes the playful sound Pacific Division is known for with a few tracks with a distinctive West Coast Bay Area bounce that adds a welcome freshness to their repertoire. Their album, Grown Kid Syndrome, may not have a release date just yet, but Mania should hold you down for the summer. (2 Dope Boys, www.2dopeboyz.com) RB Beniza

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Jonnies Sticky Buns: Tunes for your Sweet Tooth


By Taylor Burgess
Jonnies Sticky Buns is the hippest new eatery in Winnipeg, with a rotation of funky original cinnamon buns ranging from the classic, to the carrot ginger, to the limited edition specials (like a Guinness bun for St. Patrick’s Day).  And when you enter the little storefront on the north side of Portage, between Lipton and Ruby, you know there’s some creative juices flowing around there, with collaged-over benches, the Rachel Schappert mural on the wall, and old windows used as a chalkboard and a bulletin board. So it’s probably of little surprise that the two people behind the store (and behind the counter) are established Manitoban musicians.
The two in question are Rheanna Melnick of Feed the Birds and Jon McPhail of Jon McPhail and his Family Band. They met a couple years back at open mic nights at Charlie O’s Lounge. Continue reading “Jonnies Sticky Buns: Tunes for your Sweet Tooth”

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Who Are The Suburbs and Why Have they Stolen Slim’s Grammy?

Photo reinterpreted by Elise d'Awson

By David Nowacki
When Barbra Streisand stutteringly and with contorted effort announced Arcade Fire to be the recipients of the Album of the Year award at the Grammys, her seeming ignorance of who the evening’s winners were, let alone how to pronounce their name, seemed demurely aged but reasonable for a near-septuagenarian who seemingly spends most of her time waxing nostalgic and eyebrows rather than paying attention to what the kids are listening to.
Her reaction, however, was facsimiled across the faces of the general viewership, who inevitably took to that bastion of unrequited fury that is the Internet. Social networks, most visibly Twitter, were instantly peppered with CAPS LOCK’d and profanity-laden tirades of unimaginable fury directed at the quiet Canucks who had obviously stolen a coveted Grammy from right under a formidable group of Billboard-dominating heavyweights comprised of Eminem, Lady Gaga, Lady Antebellum (who had already won five of the six awards they had been nominated for that night), and Katy Perry. There was such an outpouring of abject and violent rage that an amused looker-on was quick to open a Tumblr account as a forum for the previously uncollected outbursts, which read like an irate fifth-grader’s account of how his best buddy was horribly jilted at the most recent school talent show.
Continue reading “Who Are The Suburbs and Why Have they Stolen Slim’s Grammy?”

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Mother Mother – Eureka


I’ve travelled to B.C. a couple of times, and it’s always been a pleasant experience, but I must’ve been missing something. It seems to be home to some of the happiest bands on the planet. Birthplace of power-happy power-poppers the New Pornographers, and now ultra-smilers Mother Mother. And it’s a very specific brand of happy. If you’ve heard the New Pornographers before, you have a pretty good idea of what Mother Mother sounds like. Synth-tinged power-pop jams that pretty much necessitate moving your hips or torso in a silly fashion. One of the catchier tunes on the album, “My Baby Don’t Dance,” is a bit of a paradox, because any Baby not dancing would simply need to listen their eponymous song. It’s like a logic loop. Don’t think too hard about it. Mother Mother seem to thrive on dance-worthy beats, because when it’s time to make serious-face serious music, such as “Simply Simple,” they seem to falter a little bit. The slower jams seem to stretch, but are mercifully few and far between. They’re not terrible, but after the first half of the album, their cliched melancholy is a bit of a bringdown, and not in the way they were intending. It’s just plain old boring music bringdown. So don’t let the New Pornographers references lull you into thinking this is a successor to Mass Romantic. Mother Mother still has some practice to get in at balance and consistency. Still, despite the old second-half blues, this new Mother Mother joint is a hand-clappin’, knee-slappin’, toe-tappin’, happy-happenin’ good time. Just turn it off after “Born in a Flash.” (Last Gang Records, http://mothermothersite.com/) David Nowacki