New York’s Battles are a unique band. Their debut album, Mirrored, was full of ingenuity and things we hadn’t heard before from any of its component parts; even the last Don Cab album that featured guitarist Ian Williams, American Don, which had all the precursors and shades of Battles to come, wasn’t as varied and as multifaceted as the new group. Chalk that up to (now former) band member Tyondai Braxton, whose level of influence over the album’s sound may have been nebulous to first-time listeners, as Williams’ fits of fancy could take him any direction without seeming out of place. Upon hearing Gloss Drop, it is apparent how strong a voice- literally his voice- Braxton had in the band. Maybe not a consciously steering hand, but rather a catalyst for the rest of the band to be more audacious and a little more adventurous than they might have been. Now, without his presence, Battles have sunk into a routine, building a steady albeit unconventional rhythm, intertwining guitar and keyboard riffs, each component player riffing a bit on what’s been previously built, and then tapering out near the end. The riffs and rhythms are interesting, but often overstay their welcome, and as a whole start to blend into each other. The real highlights of the album come when they have a vocalist to play off of, Braxton’s hole being filled with four vocalists in this case: Matias Aguayo, synth-pop pioneer Gary Numan, Kazu Makino of shoegaze veterans Blonde Redhead, and Yamantaka Eye of Japanese noise weirdos The Boredoms. Each of these tracks stands as a more unique, more interesting piece of work than any of the non-vocal tracks on the album, and really illustrate how much a voice can add, or how much the lack of one can detract. (Warp, www.warp.net) David Nowacki
This Hisses – Super Sibilant
By Scott Wolfe
One of Winnipeg’s most thrilling live acts is releasing their first full-length in July on local family label Transistor 66. I sat down at the Legion in the Exchange District with band members Julia Ryckman, J.P. Perron, and, later on, Patrick Short for some cheap beverages and to exchange a few words with this local trio regarding their highly-anticipated debut.
Stylus: To begin, out of curiosity I have got to know, why This Hisses and not The Hisses?
J.P. Perron: It’s kind of a weird iteration I guess, but not really. There is actually a funny quote addressing that on the new album. [Reads] When attempting to enunciate the group’s moniker, most tend to slur over the words carelessly, gurgling some incoherent mumble. However, such a cavalier introduction to This Hisses is calamitous at best.
Stylus: Brilliant and accurate, as I clearly demonstrated when this interview began.
JPP: Yeah I do that as well just the other day I called us The Hisses. People tend to like it though, however I can imagine that radio announcer would not.
Julia Ryckman: Also, ‘this’ is a word that hisses, which adds to our name.
Stylus: Each of you have been submerged in the Winnipeg music scene before with other acts such as The Gorgon [Julia], Mahogany Frog [J.P.] and Under Pressure and Electric Candles [Patrick Short]. But how did This Hisses come to be?
JR: When The Gorgon broke up, I had some songs I wanted to try and I thought of Pat because we had talked and jammed before. I also wanted to work with J.P. because he had always been my favourite drummer in Winnipeg and I knew he was available because he had just moved back from Montreal. I asked him at a party if he wanted to jam, but he was very guarded. Continue reading “This Hisses – Super Sibilant”
Azari & III grilled by Resident Advisor
Azari & III are definitely becoming one of the most globally-recognized Canadian electronic artists with their throwbacks to house music served with some solid deep dish diva. The Toronto quartet is on Resident Advisor’s Playing Favourites today, where they’re discussing some of their favourite tracks (which, like most classic house tracks, are pretty easy to find on YouTube) and bit about the members’ history.
If you haven’t heard anything from this fabtastic group, here’s the new, not-NSFW video for their “Hungry for the Power,” which was just rereleased with a handful of remixes on Turbo recordings.
Galactic – The Other Side of Midnight: Live in New Orleans
Galactic’s new album, The Other Side Of Midnight left my CD player smoking, with fumes reminiscent of gumbo and sweat. This band is one who is constantly expanding their repertoire from the initial “jam-funk band of choice for the Uptown collegiate stoner set” status to the iconic jazz-soul staple they’ve become. Recorded at Tipitina’s Club in New Orleans, TOSOM features the musical talents of Cyril Neville, Trombone Shorty, Soul Rebels Brass Band and Big Frieda and all adds up to one hot, loud and rowdy New Orleans hoe-down. I’ve never seen Galactic live, but listening to this album makes me feel like I have, and gives a pretty solid idea that it’s more than just a concert, with the obvious intent to party alongside some really rad music. You’ll find an array of fine talents on this album, from sharp guitar and keyboards on “Wild Man” to the mad skillz (so slick he got a ‘z’) of Trombone Shorty on “Cineramascope.” “Garbage Truck” is in dire need of a ska cover, yet as is makes me think of a crazy, perspiring group of Bohemian gypsies, wiggling and romping around an ancient caravan. This album is worthy of consideration for a hot prairie summer. (ANTI-, http://anti.com) Victoria King
TWIN – Sharing Secrets with Strangers EP
TWIN is focused around Dave Fort (Absent Sound) and he’s really prepared to give you the best and worst news as if you’ve never heard it before. He’s spouting off hard truths like on the back half of “Prairie Loon”—like, “Well some friends are gonna die / Some are gonna take their own life / There’ll be no reasons why / And, boy, you’re gonna cry.” The first two songs and the last song, strongly focused on death, are fleshed out with strings and back-up vocals and it makes for a pretty emotional listen—although they’re words of comfort rather than naysaying. Meanwhile, on the other end of the life spectrum, “Fine Clothing” is definitely the album’s cheeriest, urging you to “Sing all of those old songs / Those one your granddaddy used to love.” Given Fort’s electric background, these songs aren’t ripping off traditional folk ballads but instead are thoughtful, spacey progressions backed by all the usual folk instruments which are played by musicians from the community (David Dobbs of Vampires and Ingrid Gatin to name a couple) and other friends who have since become the rest of TWIN. For the moment, the five-song EP stands alone in Winnipeg—Sharing Secrets with Strangers is much more sinister than any other folk being made, and it’s much more heartfelt than any indie rock. (Independent, www.myspace.com/twintwa) Taylor Burgess
Austra – Feel It Break
It’s hard not to draw comparisons between Austra’s debut and Hercules and the Love Affair. And it’s not that they even sound alike. Austra’s not even remotely disco. But Feel It Break picks up on what were H&LA’s strongest aspects: the Antony-helmed tracks that positioned flawless, operatic vocals against strong electronic beats, too rhythmic to really be sorrowful, too emotionally resonant to be pigeonholed as just a dancefloor staple. It’s not a bad place to be, at all. Katie Stelmanis’s vocals are stunning, weaving effortlessly from aching vibrato to choir-like highs to echoed and breathy, and looped to the point where she’s often harmonizing with different manifestations of her own voice, which she’s damn good at. The synthetic beats are gentle rather than forceful, cradling Stelmanis’s voice for a seamless effect. “Lose It” is Feel It Break’s most powerful track, and features one of the loveliest, most angelic all-vowel bridges I’ve heard in a long time — and let’s be honest, those really are everywhere. It’s heartful, pleading and upbeat all at once. Synths and mixers let up at the end of the piano-driven “The Beast,” a distinctly visual number that could function as a soundtrack to a fairytale in and of itself. “Beat and the Pule” — the lyrics of which the album title is derived from — is dark and atmospheric, and more than lives up to its name. “Hate Crime” and “The Choke” are hauntingly intimate, blending sorrowful vocals with twinkling synths. If this doesn’t end up on my end of year “Best Of,” you’re welcome to slap me. (Paper Bag Records, www.paperbagrecords.com) Brietta O’Leary
Miracle Fortress – A Little Less Green
By Victoria King
Miracle Fortress is the solo project of Montreal’s own Graham Van Pelt. In 2007, Van Pelt released Five Roses, which garnered him honorable mentions from the Polaris prize and wide-sweeping acclaim. Now 2011 sees the release of Was I the Wave? which was long-listed for this year’s Polaris since this interview. Miracle Fortress corresponded via e-mail to talk about the new album.
Stylus: There’s a definite shift in both overall vibe and sound from Five Roses to Was I the Wave? What do you attribute this to?
Graham Van Pelt: I spent quite a bit of time between the two, putting a new palette of sounds together with which to write a record. I had little desire to make a similar record to Five Roses, which I enjoyed, and hoped instead to move on to ideas that would be new to me. Lots of time had passed before I really got into the new record, and my tastes have had a chance to evolve quite a lot.
Stylus: Since the release of Five Roses, what has changed for you as an artist and as a person?
GVP: I think any young person accumulates quite a bit of experience over a term like that. There wasn’t much chance of my staying in the same state of mind and wanting to work on a similar project over again. I do feel a little less green and a bit more comfortable making mistakes and taking risks.
Stylus: What are the creative advantages and/or disadvantages to working solo?
GVP: Avoiding compromise is the main benefit. Compromise can unlock new avenues between artists, but I also value the chance to follow my own ideas as far as they’ll go. I enjoy puzzling out a song over an extended period when necessary, which can be trying if collaborators are waiting to contribute. This is something I’ve had to learn about my process through experience, and it’s valuable to know.
Stylus: In recognizing the electronic influence that is strong on this album, does it change the way you approach writing?
GVP: Though this record is more traditionally “electronic” sounding than Five Roses, they were composed pretty much the same way. I used most of the same techniques, such as self-sampling, looping, my personal sound treatments, and drum programming. My approach in this project has tended towards feeling pretty unlimited in the studio.
Stylus: As we’ve seen with multiple artists with 2010/2011 releases (Sufjan Stevens’ Age of Adz and Iron & Wine’s Kiss Each Other Clean), there’s been a shift to experimenting with synthetic sounds. Does this reflect modern culture or is it merely a musical coincidence?
GVP: I’m unfamiliar with those records, but I would assume that the accessibility of digital instruments encourages artists interested in using new sounds. This has been true for at least a decade or two, though.
Stylus: When considering projects between Miracle Fortress and Think About Life, how does each outlet satisfy a musical/creative need?
GVP: I enjoyed Think About Life because I’m more of a supporting player. I felt less personal pressure and let go of expectations a little more easily. It’s fun to play on stage when your band has more energy than anyone else’s. I like the personal pressure of Miracle Fortress though, it satisfies like a solitary accomplishment does.
Stylus: What’s the best environment for listening to Was I the Wave?
GVP: I like it on walks at night, but that’s true of most music for me. There isn’t an answer to this.
Stylus: What is one thing you hope people can take from this album? What did you take from this experience?
GVP: I hope they feel free to take whatever they like from any music they hear. Pop music is best enjoyed independently. As for my own experience, I enjoyed finishing the thing, improving my talents, learning what there was to learn, feeling proud, listening occasionally, and moving on.
Colin Stetson – Breathing History
By Riel Lynch
Colin Stetson is a saxophone player from Montreal who plays like no other. He released his Polaris-nominated sophomore album New History Warfare Vol. 2: Judges in Feburary 2011 and it’s still making waves—because of his unusual techniques, which allow him to play notes continuously for several minutes. Besides playing solo shows, he plays in Belle Orchestre, has opened for Arcade Fire, collaborated with Bon Iver, and has played in festivals around the world. He took enough time to breathlessly answer the phone and talk to Stylus.
Stylus: How do you breathe in an entirely different fashion for extended periods of time and not pass out?
Colin Stetson: Well, you aren’t getting any less air then you are breathing regularly. It’s just a different way, like you said. Sometimes you actually get a little more oxygen than normal. You breathe through your nose while air is coming through your mouth, so there is no lack of air. After awhile, your muscles in your face start to break down, not so much in your lungs.
Stylus: Where was this technique learned?
CS: From my high school teacher, I was around 15. This was something he had just learned, and he found it difficult to do, because it was better to learn early on. The hardest part is tricking your body to allow air to come in down through your nose. I don’t think it took me anymore than a week to figure out how to do it. I don’t even remember not being able to do it. It definitely takes awhile to adjust and to find your equilibrium and not give so much air that you pass out.
Stylus: Contrasting between your first album New History Warfare Vol. 1 and Vol. 2, I found that in your first, you are telling this story… you can hear it. But in your second, you’re still telling a story, but it’s much more advanced in its details. How was this transition made? Continue reading “Colin Stetson – Breathing History”
Polaris Prize 2011 Nominees Announced
Hooray! It’s finally time for the music awards that we identify with—the Polaris Music Prize, awarding the Canadian and the creative.
About an hour ago at the Drake Hotel, the long list nominees were announced, and Twitter is already aflutter with who should have made the cut, and doling out congratulations to those who did make it. Of the nominees, Imaginary Cities is the only Winnipeg band to have made the cut, (No Alpha Couple? What a travesty!) and ex-Winnipeggers Neil Young and Luke Doucet are also on the list.
This excitement will last a good 20 days before the short list is announced on July 6, and then we’ll hold onto and bicker over those ten titles until the Polaris Gala on September 19.
Of the nominees, Stylus readers should recognize Miracle Fortress and Colin Stetson from this month’s issue, and Arcade Fire, PS I Love You, Diamond Rings, the Rural Alberta Advantage, Braids, and Women from previous print issues. There’s also a number of weirdo records that the Stylus crew has been talking about this year that are on the list, like Destroyer, Dirty Beaches, Tim Hecker, Little Scream, The Luyas, Timber Timbre, and Young Galaxy. Not to mention there’s been the inclusion of the indie-ubiquitous Buck 65, Black Mountain, Stars, and Sloan.
The rest of these albums should make a bit of a splash over the next couple weeks, but they’re from somewhere in Canada, and someone nominated them—so do check them out!
In all consideration, my money’s already on Braids’ Native Speaker, if the award isn’t preemptively surrendered to Arcade Fire (who have already had world-charting success and a number of awards) in the next couple days.
List is after the jump. Continue reading “Polaris Prize 2011 Nominees Announced”
LOST: Under Pressure – Come Clean
Under Pressure were a significant Winnipeg hardcore group, and this album was their master offering. By the time Come Clean was released, the group’s members had been making music for years together, and this album perfectly represents a height for them as a group. Hardcore is an extremely formulaic genre that can be easily replicated. People take cues from bands such as Poison Idea and Black Flag, as Under Pressure initially did, and replicate them in their own way. This makes way for a lot of very mediocre representations. Over time, the music that these players loved was internalized and practiced in perfection, usually causing other bands to pale in comparison. Their devotion to form eventually turned into mastery and this album represents that moment in time. Come Clean is not just a hollow repetition of forms from the past. Rather, it is those forms mastered through dedication over time and presented for others to take cue from. A step away from their earlier, faster and more youthful hardcore sound, Come Clean lies in a darker, more serious territory on its own. Taking more of a rock direction, the listener is grabbed and assaulted aurally from the first riff of the album. Lyrically, the harshness of existence is presented in a notable step above average, further separating this album from the masses of thoughtless clones. Come Clean will leave an impact on those who hear it for years to come. As time progressed and line-up changes occurred, the quality of the band never diminished—Under Pressure’s conclusion in 2009 denied the band the time needed to surpass Come Clean, leaving it as their masterpiece to which heads will nod to in the future. (2006, Primitive Air-Raid, www.primitiveairraid.com) Kevin Strang