EP Review :: Noah Derksen :: Sanctity of Silence
by Paul Newsom Winnipeg singer-songwriter Noah Derksen makes strikingly earnest music. It’s probably thanks to this fact that seeing his...
Interview :: Softswitch
by Keeley Braunstein-Black Stylus caught up with Softswitch at No Fun Club. Their self-deprecating sense of humour might only bleakly...
Album Review :: Yes We Mystic :: Trust Fall
by Jakob Sheppard Winnipeg’s own Yes We Mystic’s third and final album, Trust Fall, was released on October 21st, 2022....
POP AND SPIRIT :: An Interview with Carlo Capobianco
by Rish Hanco Carlo Capobianco, one of Winnipeg’s newest quickly rising stars, sat down with Stylus to talk about the...
Album Review :: Cookie Delicious :: Fox in Golden Armour
by Mykhailo Vil’yamson Anyone who is familiar with the Winnipeg music scene has surely happened upon Joel Klaverkamp’s music over...
Album Review :: Lizzards :: Lizzards II
by Myles Tiessen The Lizzards have slithered back for their sophomore release, Lizzards II. Arriving via the local staple Eat...
Single Review :: Amos the Kid :: “Enough as it Was”
by Noah Cain “Enough as it Was,” the title track off Amos the Kid’s forthcoming album, moves with the energy...
Album Review :: Tin-Ear :: Cadastral Maps
by Gabriel Fars Tin-Eared typically means someone who is insensitive to or lacks the ability to appreciate or make good...
Single Review :: Bush Lotus :: “Open”
by Noah Cain As was the case with their first performance this March, opening for Tinge at the Handsome Daughter,...
Album Review :: Bicycle Face :: Bicycle Space
by Jakob Sheppard Winnipeg art-pop duo, Bicycle Face, describes their sound as “the most whimsical side of Metric, or Joanna...