Taking Medication – Prescribed Nonsense

if the rheostatics, primus, the residents, ween, grateful dead, frank zappa, new model army, mahogany frog, pink floyd (early era), king crimson, servotron, devo and wall of voodoo all got together and had a bastard son. then if that bastard son started a band. taking medication is that band. this album has something in it that fans of all those would find something to enjoy here. it is all over the map musically. from acoustic numbers to slightly extended drones. odd vocals, mentions of time machines, robots, archaeology; this is a quirky record for quirky people. (Oak Apple Records, oakapplerecords.com) c.frsn

Smurfs and 8 Tracks: Microdot.

By: Kyra Leib

Microdot is easily the most jovial and fun band that I’ve ever interviewed. I sat down with the whole band: Bill Northcott, Rob Nay, Jen Alexander and Janus Field. During our conversation we digressed on the silliest tangents (see the bit about shrunken heads and tiny instruments) but also discussed the Winnipeg music scene and band dynamic. This is how it all went down… Continue reading “Smurfs and 8 Tracks: Microdot.”

Hillbilly Highway – Cruising the Interstates to First Avenue

by Sheldon Birnie

The Hillbilly Highway crosses many borders. Provincial, state, international: it doesn’t give a fuck. I cruised myself down the Pembina Highway to America last week in order to check out two of my favourite bands — the Drive-By Truckers and Those Darlins — play at First Avenue in Minneapolis. The trip was short, but sweet as fucking sin. Continue reading “Hillbilly Highway – Cruising the Interstates to First Avenue”

CC Trubiak – They Say I’m Different

cc trubiak’s album they say i’m different is not what i expected. upon blindly picking it up at the stylus meeting and believing it to be some sort of rhymesayers or break bread style of hip-hop, imagine my surprise at it being an acoustic singer-songwriter affair. names like montreal’s patrick watson and groups like beirut come to mind in terms of contemporary artists. trubiak has a subtle voice that really carries these tracks about love (lost and found). this record is highly advised, not only for fans of the aforementioned patrick watson and beirut but for fans of james taylor as well. (Independent, myspace.com/cctrubiak) c.frsn

Say Hi – Um, Uh Oh

It was initially difficult to phrase how I feel about Say Hi’s seventh album. This was surprising, because my immediate reaction to the first track was “Oh, this song! Where have I heard this before?” Perhaps it’s just that: Eric Elbogen (formerly Say Hi To You Mom)’s low-key guitar-driven indie rock’s strongest point is its familiarity. This is easy to listen to and easy to like; there aren’t any big risks here, but the tracks are no less friendly and you’ll be no less ready to get down. Lyrics are where the songs are given that little bit of extra polish. “We’ve played our only record back to front infinity / When it’s dark, all I can see is the whites / Of her green eyes,” sings Elbogen on “Dots on Maps,” a song about waning passion. Things take a finger-snappin’ turn on “Devils” where there’s a great sarcastic chorus: “Woe is me indeed!” Although moody at times, this never fails to feel warm and approachable: “Trees Are A-Swayin’” is so good-natured that I can practically see a crowd strolling and singing through a sunlit city pg-13 rom-com style. Hints of minimalist blues, sunny pop, and soulful indie-rock reflection keep things interesting. The finished product feels very full, thoughtful, and unaffected – and there’s nothing wrong with that. (Barsuk Records, www.barsuk.com) Adrienne Yeung

THE BRIAN JONESTOWN MASSACRE – The Singles Collection 1992-2011

Now here’s a release that I’ve been waiting YEARS for! As a fan of the BJM, buying up every album and EP I could find was a fairly easy (albeit expensive) undertaking. The 7” and 12” singles, however, were another story. Copies of their early releases (with alternate versions, of course) reach up into the hundreds on eBay, etc. Recently, Anton Newcombe has acquired the rights to these early releases and has been reissuing them on his ‘a’ recordings label (previous rare reissues include the This Is Why You Love Me and Love 12”s on CD). This 2 CD set essentially fills in the rest of the gaps. The early singles from ’92-’95 show the band in baby form, finding a sound while paying respect to garage bands of the ’60s and guitar bands like Ride and Swervedriver of the ’90s. Also included is the band’s most recent single, the 12” Illuminomi b/w There’s A War Going On, released just this year but sounding less like their last two albums (which left fans who wanted another …And This Is Our Music asking themselves if Anton’s really just mental) and more like the modern psychedelia they’ve been heralded for. As a bonus, two songs by Acid (a BJM pseudonym from 1993) see their first CD release here, along with 12 others that have been wax-only releases. A real treat for the fans, even more for completists. Just awesome, really. (a recordings, cargorecords.co.uk) Patrick Michalishyn

Interview :: Mark Kozelek

by Ronjan Roy

For the last 20 years or so, Mark Kozelek has been producing albums under different monikers (Red House Painters and current band Sun Kil Moon) which have kept his career going in a trajectory that most artists would wish for. Signed to 4ad in the early 90’s through Mark Eitzel from The American Music Club, Kozelek bounced from a few record labels before starting his own, Caldo Verde in the early 2000s. And with the ability to control his output, he has made a legacy of sad and beautiful moments that give his listeners a space that transcends the usual sense of place.

From the sparseness of the first ep sized release of Down Colorful Hill, to the most recently released Admiral Fell Promises, he has stayed prolific, relevant, and influential. Along the way, he has took a couple of turns in film (most notably in Cameron Crowe’s Almost Famous), released a book of his lyrics, and put his songwriting style on covers from artists as diverse as AD/DC, Modest Mouse and John Denver.

Recently, Kozelek has released a tour documentary shot in black and white, revealing how lonely and tedious the time spent between the live shows can be. Made with filmmaker Joshua Stoddard, it follows him through airports and hotel rooms, in soundchecks and occasionally on stage. With arty shots and a self penned score aside from the track list, the journal of his trek reveals selected moments of an artist who has been notoriously private in the past. Also lately, he has co-production credits, along with lending his trademark vocals to the new album by Desertshore, released on his label. The instrumental band consists of Phil Carney (ex Red House Painters) and classically trained pianist, Chris Connelly.

For the past few years, Kozelek has taken on playing his solo live shows with a nylon stringed acoustic guitar, showing his love of classical records and elegant fingerpicking style.

Here are some excerpts from the interview I conducted with him (via email): Continue reading “Interview :: Mark Kozelek”

EYAM: The Plague Fire Can’t Cure

by Kent Davies

Named after England’s infamous plague village, Eyam is brutal black metal played to perfection. Since 2007 the local metal act has emerged as one of the front-runners in Winnipeg’s vibrant metal scene. Already, the band has been featured in many media publications and has even appeared on French CBC television in an effort to share their debut self-titled EP, an album that some thought wouldn’t ever come out. Their dedication to their craft and their band despite facing life threatening set-backs, and juggling between other bands is a reflection of their enduring respect for the genre. The foursome headed by local metal veteran Chuck Labossière (Psychotic Gardening) features Mike Janssen and AJ Schmid on guitar, Tomi Stangl on drums and Kevin Focht on bass. In recent interviews with Stylus and CKUW 95.9 FM Labossière and Focht spoke about the trials and tribulations of Eyam.

Stylus: It was a long process to get your EP off the ground. What happened?
Kevin Focht:
Bascially in January our guitarist AJ Schmid had just moved into a new apartment with his girlfriend. Long story short we were holding all the band’s money and our merchandise there and three nights after moving in, the apartment went up in flames. They lost everything and all the band money burned along with the merch. So we had a pretty big loss and our EP release show became a benefit show to recover some of the money.

Stylus: So the initial Eyam EP didn’t end up getting pressed?
KF:
We basically had to scrape up as much money as we could after the fire to do a small pressing and work our way back again. It was tough but we did it.
Stylus: Did you think it may never come out?
KF:
No, but we were committed. It wasn’t the best of circumstances but we knew we could do it.
Stylus: What was the recording process like?
KF:
It was really, really, really black singing. It set the tone. Len Milne was the producer and he’s a really great guy to work with. He’s very laid back. The whole process in creating the album was pretty fun. The whole process getting it out was not so great.
Stylus: Was it worth it when you got the first copy and listened to it the first time?
KF:
Totally. It was.
Stylus: Have you regained some financial stability since the EP release show?
KF:
It was a very successful show. We made enough money to cover the costs of a new shirt design, catch up on jam spot rent, and drive out to Regina to play with Into Eternity and Digital Doomzday. Since then we’ve upgraded some of our equipment and have been sending our EP out everywhere, which has basically eaten up the rest of our funds.
Stylus: Are you planning on recording any new material?
KF:
We are always writing new material. Sometimes too much. We have about an hour of music yet to be recorded, and we just keep on writing. It’s nice to have a few in the bag, but now the time has come to decide what material will be recorded, whether we are doing a full length or EP, which producer/studio to use and what medium we wish to release it on. Aside from recording our next release, we are currently making plans for a music video. So far we are leaning towards a video for The Architects of Starvation, although nothing is set in stone yet. Andrew Wiens (Psychotic Gardening) will be heavily involved in the production of this video.
Stylus: Can you take us back to how Eyam got started?
KF:
Originally, the idea started as a side project. We all had been playing in other bands except for our guitarist AJ. We basically all wanted to form a more technical death metal band. We got together and started playing some riffs and basically formed the band. We asked Chuck (Psychotic Gardening) to sing for us. We didn’t even think he would because he’s such a veteran in the scene and busy with his own band but he was stoked and over time it has become a main project instead of a side project.
Chuck Labossière: I was aware that they were doing stuff and I was listening to their Myspace links and the songs were all instrumental at the time. I listened to it and noticed there was a posting on another website that said they were looking for a singer. I heard a few people were trying out and I heard the music and I was like this stuff is really good so they better get a good singer because it wouldn’t be justified if they didn’t. I wasn’t about to ask them because I’m already committed to Psychotic Gardening and doing other stuff but in the back of my head I was thinking if they ask me, I’m in. So they finally asked me. I was instantly “Yep! For sure.” It’s good too because I don’t have to play guitar. I can just sing and focus on that.
Stylus: How do you balance the two bands?
CL:
I can make it work. Both bands have been on tour together. We play the same show often. So I play two sets back to back. Mike and I would play two sets in a row. We were wondering if we could do it, especially on tour. Would it be possible psychically to do two sets a night for a long period of time? But as long as I don’t drink too much and just control myself I’m good.
Stylus: I know a lot goes into the mythology of any metal band let alone death metal. What is the story behind the name Eyam?
KF
: We decided when we formed the band to do something a little different. There are a lot of satanic metal bands out there with tons of different themes. You’ve got the zombie metal bands, cannibal metal bands. We wanted to go with something that’s not completely original but in our music we like to address the bad side of the world the politics of devastation, plagues, pestilence and disease. Eyam itself is a town in the United Kingdom, it had one of the worst cases of the black plague in history. They had situations of self quarantine and I think the town was wiped out. We related our music to the theme of disease and explore how mankind are their own worst plague.
Stylus: Chuck, did you do the artwork for Eyam as well?
CL:
I’m always doing artwork. I did the album cover for Digital Doomsday, they’re kind of a hardcore-rap-metal hybrid. The new art for the Psychotic Gardening full-length and of course I did it for Eyam too.
Stylus: I’ve been checking out Chuck’s series of comedic videos on YouTube. One of the videos has Chuck asking the public for boots. Does Chuck still need boots?
KF:
Yeah, Chuck does collect boots. He can never have enough boots. He is currently looking for a pair of Glen Benton spiked shin boots. So if you come see us, bring Chuck some boots.

EYAM is planning on infecting metal heads with death metal destruction at an up coming Halloween show. For more info check out
myspace.com/eyammetal.

Hillbilly Highway – Drive-By Truckers passing on your left

by Sheldon Birnie

The Drive-By Truckers are a band from the Muscle Shoals, Alabama / Athens, Georgia areas. They play southern inspired rock and roll, with literate as hell lyrics and a touch of country and a dash of R&B. They’ve put about a dozen records, give or take a couple, since 1998, most of which I own on LP, CD, or both, and the rest of which I have on MP3. They’ve played thousands upon thousands of shows up and down and all over the Hillbilly Highway, and are hitting Minneapolis right aways.

Continue reading “Hillbilly Highway – Drive-By Truckers passing on your left”

Frank Turner + the Andrew Jackson Jihad + Into It, Over It // WECC, 10.21.11

by Sheldon Birnie

Once in a while, a rock n roll show is just perfect. It takes you for a ride, lifting you out of the struggles and strife inherent to living as a human being on Earth. It reaffirms your belief in the power of rock, reaffirms why you’ve spent hundreds of thousands of hours listening to records over and over again, shilling out thousands of dollars over the years to buy those records or attend rock shows, buy t-shirts and beer koozies and other useless shit from your favourite bands. Leaves you feeling pumped up and ready to take on the world when the lights lift and the band goes home. Makes you feel alive. Continue reading “Frank Turner + the Andrew Jackson Jihad + Into It, Over It // WECC, 10.21.11”