by Chris Bryson
Votov’s music is grounded in the roots of death metal — borne of its vortex of brutality and darkness. The Winnipeg trio’s self-titled debut is a hardened take on death metal’s more rugged and foundational aspects. it’s music made for crumbling worlds and thrashing bodies in circling pits. Continue reading “Album Review :: Votov :: Votov”
by Kaelan Bell
There’s a tricky line to walk when recording an album that flirts with ambience or shapelessness. A rhythm typically needs to establish itself, either through repetition of motifs and sounds or a total and comprehensive understanding of sequencing. There needs to be a thread that can pull the listener through the collection — a conviction of vision and purpose. Continue reading “pisces// :: he-does-not-wake-you”
by Chris Bryson
Over four years after the release of their Every Kind of Light EP, Vampires return with Nature Laughs, a refined development of their sound that furthers the duo’s fuzzed-out emotive thrust. Continue reading “Vampires :: Nature Laughs”
By Chris Bryson
Music has always been an expression of the self and a space for reflections of the world around us. Wilt’s third album Ruin is defined as an intended concept album, one that their Bandcamp page describes as encompassing “the frailty of man and explores the feelings death, forgiveness, shame and guilt. Inspired by Cormac McCarthy’s The Road.” Wilt’s Ruin, follows a similar path. Continue reading “Wilt :: Ruin”
By Chris Bryson
Roman Clarke is on to something. With the release of his debut EP, Looking For Mine, he’s fashioned a markedly signature sound. As one third of The Middle Coast, Clarke is no newcomer to the local scene. Looking For Mine feels fully formed, ready for the world to hear. Continue reading “Roman Clarke :: Looking For Mine”
By Matt Harrison
Soft violin gently starts this album with the soothing hum of singer Raine Hamilton over top of it. Before you can fall into the melody, the violin turns to a jagged sort of snap and the story of Night Sky begins to unfurl. As the same song, “Starlight”, carries on, the acoustic folk sound offers vibes akin to wandering through a forest, the intervention of light a hopeless wish. Continue reading “Raine Hamilton :: Night Sky”
By Ryan Haughey
Rural Manitoba’s The Young Pixels’ new record is musical, intimate, and so wholesome. With a pop rock style, the married duo drives their songs forward with melodic vocals and meaningful lyrics. Continue reading “The Young Pixels :: Fever of Becoming “
Photo by Eric Roberts
Words by Ryan Haughey
The cold wind subsided and soothed the air in Winnipeg on the evening of February 17, but the weather wasn’t the only thing warming up. Brady Allard’s new project, Warming, played their first set on that Saturday evening. The lineup at the Handsome Daughter included two other groups: SOUP and Dana Lee. Each group brought fresh new music to the audience, which left us excited to see what was next to come. Continue reading “Live show review : Warming, Soup, Dana Lee”
by Chris Bryson
Inverted Serenity’s third album, As Spectres Wither, shows the band forward thinking, pushing their sound to larger and finer, more sinister and dynamic forms. Although the new album isn’t a huge departure from the band’s previous releases, it showcases their skill in composing songs that mesh technical flair and ferocity with finesse and melody, knowing the importance of contrasts and nuances when it comes to more extreme forms of music. Continue reading “Inverted Serenity :: As Spectres Wither”
By Alex Roberecki
Local musician Marshall Birch got together with some buddies and created an album full of fun. Dog Daddy Yeah is full of inside jokes, outside jokes, and many references to man’s best friend. Their upbeat indie folk sound is conveyed through twelve tracks that will have the listener dancing and longing for the summer. Continue reading “Marshall and Some Buddies :: Dog Daddy Yeah :: Review”
