Winnipeg music & culture since 1989
by Jakob Sheppard
Nickybaby’s self titled album was a very intriguing listen. It has elements of folk and indie rock that combine to form one of my favourite indie releases of the year so far. It has almost deceptively good production, meaning that it sounds very rough, but that lack of fidelity only aids in conveying the theme of the record.
Continue reading “Album Review :: Nickybaby :: Nickybaby”
by Mykhailo Vil’yamson
In the song “Pennyroyal Tea,” Kurt Cobain once sang, “Give me a Leonard Cohen afterworld, so I can sigh eternally.” Not every artist possesses the ability to impel listeners to breathe deeply, but this is definitely the case with Tinge’s debut EP Big Deep Sigh. The project hearkens back to when Indie was more Punk than pretentious and when Emo was less of a post-goth fashion statement than an angst-ridden, authentic, and worthy successor to Grunge-era music.
Continue reading “EP Review :: Tinge :: Big Deep Sigh”
by Paul Newsom
The Park Theatre is not quite packed as Love You to Death’s first film begins, yet the venue feels no less alive for that fact.
Continue reading “Review :: Love You to Death”
by Paul Newsom
Winnipeg singer-songwriter Noah Derksen makes strikingly earnest music. It’s probably thanks to this fact that seeing his most recent album come up marked “Explicit” on streaming services feels momentarily surreal – if only for the presence of several pointed and beautiful breakup songs on the record.
Continue reading “EP Review :: Noah Derksen :: Sanctity of Silence”
by Keeley Braunstein-Black
Stylus caught up with Softswitch at No Fun Club. Their self-deprecating sense of humour might only bleakly shine through in print compared to the way it does in person.
This interview has been edited for clarity and conciseness.
Continue reading “Interview :: Softswitch”
by Jakob Sheppard
Winnipeg’s own Yes We Mystic’s third and final album, Trust Fall, was released on October 21st, 2022. The group describes it as (in addition to being heavily inspired by Kate Bush) “the songs were most proud of, and that we fought the hardest to bring into the world.”
Continue reading “Album Review :: Yes We Mystic :: Trust Fall”
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.
Continue reading “Album Review :: Lizzards :: Lizzards II”
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””