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.”
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.
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.
As was the case with their first performance this March, opening for Tinge at the Handsome Daughter, there is a confidence to Bush Lotus’s writing and sound that feels at odds with their experience.
Lyrically, “Open” is spare, but far from simple. When written out, it functions almost seamlessly as a series of linked Haiku. True to that form, songwriter Arielle Beaupre injects meaning and poignancy into a sliver of time. In this case, a moment of intense presence while stretching in a parking lot, presumably after hours in a car moving along tree-lined highways:
Winnipeg art-pop duo, Bicycle Face, describes their sound as “the most whimsical side of Metric, or Joanna Newsom with effects pedals.” Their new album, Bicycle Space, is centred around the theme of space and constellations to paint a picture of life, loss, and going through changes.
Toot Toot is the latest album from Hamilton-based electronic musician Graham Kartna. Known by indietronica fans for his collage-like style of incorporating various sound bytes, voice recordings, and the occasional robot voice within his music, Kartna is a unique talent and a prolific artist, having released over 20 albums since 2011.
In most parts of his music, he doesn’t need lyrics; the melodies say it all. The small comforts of this album make it feel incredibly warm and welcoming. It has almost a nostalgic haze type of vibe to it. I think the best part about it is that this isn’t some pretentious ass shit. It’s complex and beautiful, but it still doesn’t feel as though it’s trying to aim too hard for that target audience of ‘snobby hipsters who listen to folk music and probably think that they’re both better than you AND too smart for you.’
I’ll remember Living Hour’s performance at the Winnipeg Art Gallery at the tail end of last year for two reasons: those spinning chairs the audience was seated in and the sonic expansion within the band’s sound across a collection of new songs that dug into my brain. With the release of Someday is Today, the Winnipeg indie darlings’ third LP is their most diverse release yet. My brain rests easy knowing the songs recorded sound just as good as they did in the Muriel Richardson Auditorium.