This past week, two huge previous Polaris nominees stormed through the West End Cultural Centre–The Besnard Lakes who, as you can tell from above, played with their purple haze of their smoke machine and bright lights and Malajube who played with their mystique Français and proggy catchy numbers. After the jump are some photos of those bands and The Soft Province (who, in case you’re as confused as I was, features Jace from Besnard Lakes as well) as taken by Andrew Vineberg and stay tuned for a review. Continue reading “Besnard Lakes // 09-30-11 // WECC”
Braids // 09-27-11 // Lo Pub

Photo by Mike Chiasson for Stylus Magazine.
Among the fury of touring band activity this Fall, Braids were one of the first groups to quickly change venues due to the Albert’s ongoing issues. Luckily the Lo Pub picked up this washed out Montréal based band before they went the way of Japandroids (I’m in that video right thurr!) who had to cancel their much-anticipated show. Continue reading “Braids // 09-27-11 // Lo Pub”
First Class Riot; Nuit Blanche 2011

Photo by Jordan Janisse // Jellyfish Installation
Since I had felt quite underdressed the night previous at The Drugs’ Festival Psychedelique at Negative Space, for Nuit Blanche I dolled myself up with eyeliner, some pearls of Elise’s, and a blazer of mine that I pretty much never wear. Indeed, I felt like putting myself out there for a night I hoped to be a little more out-there than Winnipeg’s first stab at Nuit Blanche the previous year.
First up was the drawing competition happening at the Edge Gallery hosted by the Places for Peanuts drawing club. Having been friends with some of the Peanuts—who are mostly Art City employees/volunteers—but never having attended their drawing club, I was keen to get drawing, and started making scribbling after scribbling of shit and drawings of people shitting as soon as Janessa handed out the paper pads and pens. (A pad which I later passed on to Kelly Ruth that night.) Soon enough, Chesterfieldians Elise, Scott, Ryan, and I got to playing a game of visual Telephone to warm ourselves up for Drawball(?) taking the name of Team Ottoman[sp?]. Drawball, which is pretty much Pictionary on speed, felt like some sort of “bring it bring it” b-boy/b-girl battle, with the practiced Peanuts definitely strutting their stuff ’n’ scribbles, and taking home their Cracker Jack prizes. But fuck, how can someone draw “Deal with it”?! Continue reading “First Class Riot; Nuit Blanche 2011”
Hillbilly Highway – Fred rides 6 Volts hard
I’ve been listening to Fred Eaglesmith’s latest, 6 Volts, since it dropped into my mailbox a couple weeks back. The songs on 6 Volts are classic Fred, tunes of murder, love lost, guns and the Road. Recorded with one mic straight to tape, the disc has the mono immediacy of old Sun records, a sound even John Mellencamp has toying with of late.
Fred’s a road dog, traveling thousands of klicks a year, playing hundreds of shows in an endless cycle that takes him into every backwater, big town and metropolis in North America, and beyond. Three tunes in particular, maybe four, off 6 Volts really hone in on the reality of an aging troubadour who can’t quit grinding it out.
“Betty Oshawa” tells the tale of a musical partnership that fell apart, eponymous Betty making it big while the narrator bags groceries in his hometown. “Johnny Cash” takes issue with Johnny-come-lately-Johnny-fans, taking the fickle listener to task for not supporting an artist while they’re alive. “Trucker Speed” ain’t necessarily about a traveling singer, but it very well could be.
“Stars” hits home hardest. Fred talks straight up about gigging non-stop, playing small towns like you’re the biggest star. Long after the lights have gone down, the protagonist sings “My hands hurt from playing my guitar / All those nights in all those bars / We played like we were stars.” Fred mentions long time bandmate Willie P. Bennett, and laments how easy it is to think the good times will never end. Playing in a band, it’s easy to feel this way.
I’ve seen Fred play a couple times now, and I’ve missed him even more by bad timing and my own traveling. I met him once, out behind the Park Theatre a couple years back. Me and my buddy Woodtick were slamming the last of our beers before heading in to catch the opening act, the Ginn Sisters. As we were rounding the corner, there’s a van with Ontario plates sitting there with the door wide open on the side. Out rolls Fred, putting his socks on.
We stopped, and I made straight for Fred, extending my hand. We chatted him up, gave him one of our CDs to “listen to if you get sick of the radio.”
“You in a band?” he asked us. We nodded. Yessir. We put out our CD ourselves, we humble bragged. “That’s the only way to do it, boys,” he said. He looked at the CD briefly, set it aside, and finished pulling his socks on. Then he looked up at us.
“Never quit, boys,” he told us, looking us both in the eye. “Never quit.”
In the songs on 6 Volts, you know Fred really means it. He ain’t quitting anytime soon. Thank something for that.
– Sheldon Birnie
nine meditations on the new space)doxa season

By Philia
In this artycle, Philia leads us through nine ponderings on space)doxa, a concert series that has seen many seasons in the Graffiti Gallery, and is about to begin anew. If you’d like more information on the out-there series as we collectively hurtle through time, simply search for the space)doxa Facebook group. Tomorrow night is Midori Records‘ showcase as a part of the series, featuring Stylus & Weird Canada favourite Fletcher Pratt.
Meditation One
Season nine of space)doxa started on Sunday, August 14, 2011 with a tour stop by Twin and their Assiniboine River Music Armada, followed on September 24, 2011 with a Midori Records showcase featuring Philia, Fletcher Pratt, Dusth and more! August 2003 was the debut performance of the series. Steve Wilson, Graffiti Art Programming Inc. executive director, was looking for a performance art series, and recruited me (Greg Hanec – Philia), Dave Dalgliesh, Nicole Shimonek, and Victoria Prince to each do one event per year. Dalgliesh utilized techno and dazzling video feedback, filling the walls with moving images. Hanec filled in with film loops galore. Shinonek’s event saw her trying to smash a coconut on the floor, but as my friend Michael said… “Her girl’s throw almost took off the head of the guy in the front row!”
Meditation Two
Rob Menard of the Absent Sound puts on three amazing events called 20 Guitar Circular Wall Of Angelic Sound. Twenty plus guitarists on the floor and catwalks surrounding the audience in the middle. Graffiti Art Programming’s Steve Wilson would never be the same.
Meditation Three
Fantastic heavenly reverb in in the main space necessitates an event called eclectACOUSTIC.
This of course is a totally unplugged evening and has seen the likes of Timber Timbre, Doug and Jess (bluegrass), Ghost Bees, Dan Frechette, Twin, Nikki Komaksiutiksak (throat singer), Philia, Jeff Presslaff, Natalia Zielinski (solo classical violin), Suture (experimental freeform), the Flaming Trolley Marching Band (all 15 of them!), and more perform. Six annuals so far.
Meditation Four
NOISE. Lea Cummings (UK). NOISE. Ahna (BC). NOISE. RDC and Bomber (Calgary). NOISE. White Dog (Wpg). NOISE. Sigmund (Wpg). NOISE. This Camera is Red (Wpg). NOISE. NOISE. NOISE. NOISE. NOISE.
Meditation Five
This Camera is Red does a fifty minute noise set that I thought would shred the PA due to incredible volume levels. I had earlier asked him “Why Noise bands need so much volume?”
He said he’d… “probably just play ten minutes…”
Meditation Six
The audience sits mostly on the many couches strewn around the space. It feels like the world’s largest rec room. By far, the most attentive audiences in the city. Beautiful.
Meditation Seven
“A Pit: Epiphenomena”… “Paper”… “Amphiboly”… “Intervals”… Andrew Milne, Freya Olafson, DJ Brace, Sarah Otsuji, Philia, 6, Doreen Girard, Scott Ellenberger. Large scale performance art pieces, featuring the blending of many arts all at once, or in sequence.
Meditation Eight
Wide-eyed. Jaw-dropped. Dazed. Exulted.Silently sitting and slowly shaking their heads. This is the reaction of 90% of the musicians that play their first shows at the space.Touring bands will tell me it was the best show of the tour. This is neat. We only have ten people in the audience who paid admission, and the members of the other acts. Sixty people in the audience seems immense. Everyone sets up all at once, so no change-overs. Just play.
Meditation Nine
Originally called the Ideas and Methods Series… Next called the artIfactSERIES… Now called space)doxa… To discuss opinions on audio/visual/bodily art, using audio/visual/bodily art AND conversation = doxa. The lone parenthesis leaning toward the “space” means this is the “place” to do it in. This is neat.
Hillbilly Highway – Back on the Nowhere Road
There is a road that stretches back in time, back beyond the interweb, beyond compact discs, cassette tapes, vinyl records and gramophones. It winds between hills and hollers, follows riverbanks and lakeshores deep into the woods and across tall grass prairie. It picks up from quays and travels back across seas, crossing itself time and again in backwater voids, where wind whips dead branches against nothing and scavenger birds craw out in vain.
This is the same road Steve Earle and Dwight Yoakam sang about in the 80s, same road the Boss, and Dylan before him. Before them all, Hank Williams sang about this Lost Highway. The sands of time have largely obscured the names of those who sang about it before ol’ Hank, but their numbers are legion and their ghosts walk the road still.
This is the Lost Highway, the Thunder Road, Highway 51, Route 23. The Hillbilly Highway, the Nowhere Road. The low road. Maybe you’re walking it now, following your dreams up and down Pembina Highway or Portage Avenue, Highway One or 17.
I been on many of these roads, myself. I just cruised down a gooder: west on provincial Highway 2, with a south turn at Holland onto 34. 34 hits a stop at 3, then heads west again to 3A. Now you’re in country country.
The tiny village of Clearwater, MB has hosted the perennial Harvest Moon Festival for the past ten years. Formed as “a celebration of the harvest season, local food production, the area’s rich cultural heritage, and the bond between rural and urban folks,” the festival is like no other in Manitoba. A strong community dedicated to surviving against the economic and political forces that are draining people and money from the prairies, Clearwater is itself a beacon of potential for any community struggling to remain viable in the 21st century.
And the music is fucking good too. Highlights, for me, this year were the Deep Dark Woods, CKUW favourite Greg MacPherson and Ridley Bent’s Good Looking Country Band. Each delivered to-notch performances in weather bordering on frigid. Many other acts performed throughout the days, including Bog River and the Reverend Rambler, names to look for on the hillbilly highway in the months and years to come.
Keep your eyes on the road. It has a way of winding somewhere strange.
– Sheldon Birnie
Cinematters: The Perverts of Astron-6

By David Nowacki
Astron-6 are deviants. Astron-6 are pagan goat-worshippers. Astron-6 sacrifice small mammals for no reason but for their own fetishistic delights. Astron-6 are rotted barnacles on the hull of Hollywood. Astron-6 are sadomasochistic pain farmers. Astron-6 would cause the Marquis de Sade to dry heave. Astron-6 is like Chernobyl, if Chernobyl made films. Since 2007, Astron-6 has been spreading their vile trash through the Internet (a common home for most garbage). Ostensibly from Winnipeg, but more likely churned out from a vomitous carcass pit, Astron-6 consists of five filmmakers (Matthew Kennedy, Adam Brooks, Conor Sweeney, Jeremy Gillespie and Steven Kostanski) who revel in the filth, surrealism and violence of ’80s genre flicks. They recently were noticed by the industry’s premier purveyor of pulp, Troma Entertainment, who opted to produce their first feature-length film, Father’s Day. I managed to lure Conor Sweeney, the pervert, into my interview dungeon, and here’s what he had to say for himself:
Stylus: What is it about this genre of film that attracts you?
Conor Sweeney: They’re basically the movies you were MOST restricted from seeing as a kid. Sex comedies and Reagan Era action movies were as well, but exploitation movies had everything from all genres that were off-limits. And they had the coolest covers. That’s what drew us to them as kids. As filmmakers, it’s basically a genre that you can do anything in and get away with. You can be visually and thematically very surreal and still have a movie that people take seriously.
Stylus: What are your hopes for Astron-6, what is the group’s plan for the future?
CS: Chronologically: Father’s Day gets released, it gets rave reviews, after opening overseas peace is realized in the Middle East, followup film offers roll in, Roger Ebert teaches himself how to speak without a lower jaw in order to rave about us, we’re able to support ourselves with our art, suicide pact comes to fruition, little boy in the future makes an Astron-6 tribute on Virtual-YouTube that gets a few hundred hits.
Stylus: Why the renewed attention and interest in grindhouse/exploitation pictures (i.e. Hobo With A Shotgun, Grindhouse, Machete, etc.)?
CS: I think it’s really a nostalgia thing. It reminds a huge group of people of being young and thrilled by the taboo of the horror section at the VHS rental store, or sleazy grindhouse theatres that used to line 42nd street in Manhattan. Exploitation is like the middle sibling of the genre family, it’s the weirdo, and that’s exciting. Not to say middle children are exciting, they’re the worst, but I’m just trying to make the point that it’s a genre that excites people, and the fun aspect of it was abandoned for a long time. These movies bring that back. They don’t take themselves seriously, but they still have balls and that’s what pulls people in.
Stylus: Does Winnipeg have a movie scene that’s receptive to this genre?
CS: Not at all, unfortunately. We’ve hit nothing but brick walls and animosity when we’ve tried to get any funding from within the city. We made movies here for years, and tried to get funding for years and were continually rejected. It’s fine if Winnipeg is trying to present itself a certain way, but the Canadian film industry is so at risk of becoming completely irrelevant for that reason: very few people give edgy or truly ambitious movies a chance. For all those reasons, we had to take our idea to the states, so Father’s Day is an American release. We tried very hard to get funding to make a Canadian feature over the years to no avail. Having said that, there are great people in Winnipeg that have helped us more than we can say. Guy Maddin was nothing but helpful to us completely out of goodwill. John Kozak was the same way. If it wasn’t for guys like that we wouldn’t have been able to make the movie at all.
Stylus: Does everybody get a chance to be responsible for different aspects of the film-making, or do you have set jobs?
CS: Jer does the music and titles and some after-effects, Steve does miniature work and some After Effects, Matt and I write, direct and act, and Adam has had his hand in basically every pot for Father’s Day. When it comes to onset stuff we’re all doing the same thing together. The Communist Manifesto influenced us a lot. Steve is partial to Mein Kampf.
Stylus: Will Father’s Day be playing in any theatres in Winnipeg at any point?
CS: Yes, but I can’t say where until Troma books the theatre. But I promise that there will be a premiere here. If it doesn’t happen I give you permission to personally take it up with them.
Stylus: How important has the Internet been to Astron-6?
CS: It’s where we started, and we wouldn’t have half of the recognition we have now (which isn’t really anything) without it.
Stylus: For fans of your films, any recommended films/places to find similar films?
CS: They Call Her One Eye, Evil Dead, Suspiria, Wet Hot American Summer, My Left Foot, Sophie’s Choice, Fast Five. Movie Village in Osborne is great for obscure and foreign movies with a pretty good variety of pornography.
Perverts.
Fear of Music: The Price of Art
By Devin King

It’s said that someone suggested to Winston Churchill that he should cut funding to the arts in order to pay for the war effort. Churchill then replied, “Then what would we be fighting for?” Even though there’s not much proof that conversation ever happened, it’s still a good sentiment. This quotation illustrates that one of the hallmarks of a great society – indeed, maybe even humankind – is respect and appreciation for the arts. We are lucky then, to have the Polaris Music Prize as a means to recognize talented Canadian artists. This recognition is problematic though, on a few levels.
The first problem revolves around the criteria for winning the Polaris Prize. The criteria listed quite obtuse, with nominations going to acts who are “creative” and “diverse” as well as those which feature the “highest artistic integrity.”
Imagine taking all of your CDs and ranking them in order of creativity. It might be easy to separate the extremes—say, Len’s You Can’t Stop the Bum Rush on one end and Broken Social Scene’s You Forgot it in People on the other. But even then, it’s problematic because there is no set universal criteria for great music. One of the problems of “great” music is that the definition of great is largely created by the critics who are not necessarily the audience. (Elijiah Wald discusses this in his book How the Beatles Destroyed Rock ’n’ Roll.) So while Len might not have the artistic integrity required to be a Polaris Prize winner, a lot of people once seemed to think their music was pretty good.
The Junos or Grammys are often heavily influenced by sales success, so awards given have a certain mathematical definition to them, even if people don’t agree with the outcome. But in the case of Polaris, the parameters are more are less “artisticness.” Maybe separating Len and Broken Social Scene is easy, but how do we decide if The Weeknd is more artistic than Neil Young?
The second problem involves receiving a financial prize. As a teacher, I believe that if someone does something wrong, then the consequence should match the mistake. So if you are caught spray painting a car, it would make more sense for you to hold a free car wash as a consequence than be made to write lines. I think the same might be true of positive actions as well.
This year, the big prize is $30,000, which is $10,000 more than last year. Additionally, every artist or band nominated for the short list will receive $2,000. It’s a lot of money that can provide lots of opportunities for bands. You can record a charity single like 2009 winners Fucked Up, support other bands financially like 2006 winner Owen Pallett or fade into utter obscurity like Patrick Watson in 2007.
$30,000 is a lot of free money to give away. Granted, winners have shown how they can use that money to support their communities, both in the musical and non-musical realms, but I don’t see the connection that means that great music deserves increased wealth. It certainly would allow for the further creation of great art, but offering up the cheque seems like a philosophical disconnect between why we make art and how we reward art.
It seems like a prize more in line with the parameters of a great artist outlined by Polaris would simply be recognition. And sure, recognition will probably lend itself to money. Perhaps there is another prize more reflective of artistic integrity. Maybe the prize should just be the title itself.
Regardless, when the arts are supported, it’s a good thing for society. But how, why and who we reward it are also important factors to consider in order to truly understand how our society perceives art.
The War On Drugs – Buzz Band Gone Wrong

By Kyra Leib
The War on Drugs, formed in 2005, was a project created by Kurt Vile of Kurt Vile and the Violators and Adam Granduciel. Now The War on Drugs has bloomed into something special. Their commendable ability to seamlessly blend American with euphoric instrumental elements reminiscent of Phil Spector’s wall of sound delivers something like the joy of experiencing your first Springsteen record.
Granduciel, who describes his Philadelphia neighbourhood as “semi-depressed,” tells me how his environment influences him. He muses that his neighborhood – where some people have been living for eight to 20 years – has a “backwoods city vibe”, but hasn’t yet been gentrified. “Some neighbourhoods are getting knocked down for new, beautiful houses and my section is still run-down,” he muses.
I imagine their music is a testament to city life. The energy inherent in The War on Drugs’ music is the same energy you’d encounter biking or walking in urban areas. That is why this band’s music is so universal. The timeless facet of their music is comparable to the neighborhood that Granduciel tells me about, this “backwoods city.” The physical and social environment that inspired the golden age of American songwriters is still present. The War on Drugs have been affected by these environments just like Bob Dylan was inspired by the American landscape or Springsteen was influenced by American politics and his Jersey roots.
The War on Drugs are often compared to Springsteen, Bob Dylan, Tom Petty and the like. This band plays punchy, adrenaline-filled highway rock ’n’ roll and does it well. Yet they never lose sight of their own identity. Granduciel explained to me that singing like Dylan is not something he ever strained for. That’s just the way his voice has always been. It is for this reason that the group is able to blend genres so well. They aren’t straining to emulate anything, it’s all them. Continue reading “The War On Drugs – Buzz Band Gone Wrong”
Twin – In All Truth

By Taylor Burgess
“Their life was so rooted and so land-based,” said David Fort about some Hutterite farmers who they had come across during last year’s Assiniboine River Music Armada. This is the second year that Twin will be embarking on the tour, departing down the Assiniboine from Brandon, canoeing with their instruments and playing everyone along the river, regardless of who’s living or staying there.
“Remember that one gal,” Fort said. “After we asked they had said, ‘Oh, we have so much food.’”
Leslie Brown, Fort’s partner and fiddle player, chimed in, “We were talking about how we had taken some corn from the field, and she said, ‘Oh, did you see our garden? We wouldn’t have even noticed if you took it.’”
David Enns, who also plays guitar in Twin, said, “She just started listing all the things that were in season that would have been good to take.”
And on cue, singer and percussionist Ally Leenhouts erupted into her jubilant laugh which regularly echoed in the plant room of the Oikos Co-Op while I spent time with the full band and, from the sounds of it, is a regular occurrence with her roommates and bandmates, members of the latest band to uphold the lineage of reputable bands that have come from the so-called “Mansion.”
These four individuals make up the newest and most solidified line-up of Twin, which began as the solo acoustic project for David Fort, who’s better known as a writing force behind Absent Sound. He has played under his acoustic pseudonym for five years, but the line-up only solidified last year. “Really, I had an acoustic guitar long before an electric one. You could say it’s about time.”
Together they recorded a number of tracks of Sharing Secrets with Strangers, an EP which strikes at the core of human experiences and eschews timely references to string together proverbial tunes about life, death and love. Outwardly, the EP is a departure from Absent Sound’s recordings with its traditional folk instrumentations, yet it’s still totally enlightened by untraditional chord voicings and progressions. “In terms of the guitar-work goes, I’ll spend a lot of time on the mood,” says Fort. “I like to create a visual landscape— I’m getting pretty obsessed with things that don’t need to be there.” Lyrically, he says that his inspiration comes from internalizing characters, and take bits and pieces from his life and rearrange them. “To create a dreamscape that is a lot closer to reality than the dream realm, if that makes any sense.”
Before Dave Fort and Rob Menard played together in the Absent Sound, they kept crossing paths in Flin Flon and Saskatchewan. In Flin Flon, Fort says that he grabbed inspiration from whatever music was around, like music videos and TV documentaries about musicians, as well as taking trips to Winnipeg and Saskatchewan and blowing 200 bucks at record stores.
“Flin Flon was interesting enough that we would all appear at shows in community centres, little outdoor festivals, you know, shows at your high school. Flin Flon is a funny town. It wasn’t overly restrictive, not like when I hear about other some other small towns.”
Dave Fort had been canoeing since he was a kid, “fortunate to go to a camp with canoe trips.” But Fort probably wouldn’t have guessed that canoeing (alongside his music) would lead him to the L.A. River, and land him in a heap of trouble. But despite giving me the basic details of what happened to Twin on the L.A. River, Fort wanted to steer away from that in our interviews—there was much written about the event in California already and, as he pointed out, some reports had reduced the event so much that Twin wasn’t mentioned as a musical group so much as they were bulleted as a group of Canadian rabble-rousers.
What did happen was that Twin, with an L.A. filmmaker and his band, embarked on the recently declared “navigable” L.A. River, much in the same fashion as the Assiniboine River Music Armada, playing shows as they canoed down the river. “I was overwhelmed how beautiful the river was,” says Fort. “You would see these high cliffs that are falling into the river, or a tree growing with its roots sticking out. Then you’d turn a corner and run into 50 cows in the water. It was a really lazy river.”
The filmmaker, Danny Louangxay, had creative control to capture the trip as he saw fit, and Fort plans to soon screen the documentary here in Winnipeg. “He got great super 8 of the L.A. River, I’d say of about eight different micro-climates.” Without hesitation, Fort invited Louangxay to bring his band, Tiny Little, and they too joined Twin on the Armada. However, the documentary isn’t all nature-and-harmony, as their trip was stopped short by officials.
The group had canoed 15 of the river’s 51 miles and then were singled out by a police helicopter, which told the bands to get out of the river. They were given citations for loitering on the riverbed, which were written by two seemingly reluctant police officers, according to the band. All of this came despite the reason that Fort wanted to canoe on the L.A. River in the first place—that it was recently declared navigable by the Environmental Protection Agency, allowing people to swim and fish in the river once again.
“The initial inspiration for the canoe concept was finding the unifying factor for humans, which are life and clean water. You can’t argue with that. The essence of the idea being, having people around clean water, and how much more do you need?”
The band is set to appear in court again, but in the meantime, they’re focusing on the positive and going to be embarking on the Assiniboine. They’re inviting anyone who’s interested to join in on the trip, promising unforgettable sights and nothing but hospitality from wonderful Manitobans.
The departure happens on Friday, August 5 in Trees Blood Farm at Brandon, with stops in Spruce Woods Provincial Park, Fairholme Colony, Long Plains First Nation, and Portage La Prairie’s Island Park before landing in Winnipeg on Sunday August 14 at the Winnipeg Graffiti Gallery for 8 p.m. For more information, contact Twin at [email protected] or find updates at Twin’s Facebook page.
Twin has plans to write new material and record in the near future.
Some of this story takes notes from Long Beach Post’s “One Band, Two Canoes and Citations for Navigating the ‘Navigable’ L.A. River” by Greggory Moore, published February 28, 2011.




