Category: Reviews

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EP Review:: Ritchot Textiles :: I

by Daniel Kussy

Built out of ashes of Abbotsford post punk quartet Blessed comes Ritchot Textiles, the latest project from longtime collaborators (since 2005) Drew Riekman, Mitchell Trainor and Reuben Houweling. Their first release as a group, I is born out of love for droning synthesizers and loaded sequencers, all while crafting a minimalist yet rich pairing between industrial electronic and krautrock. It’s not at all surprising to know that it was created entirely using only analogue equipment.

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EP Review :: Long Fall :: Self-Titled

By Mykhailo Vil’yamson

It’s not unprecedented for an artist to put out material that moves from heavy to significantly more sedated – take, for instance, Dallas Green’s mid-to-post-Alexisonfire solo project City and Colour (or alternatively, the conventional yet banal trend of most musicians to progressively mellow over the years). However, it’s refreshing to hear a move in the entirely opposite direction in what is the debut EP by Long Fall, which is the brand-new punk outfit that’s fronted by none other than Nic Dyson.

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EP Review :: Hazel Fog :: Hazel Fog

backlite photo of a child at the edge of water. The sun gleaming off the water, a sideways shadow of another human on the left side.

by maggie astrid clark

Aside from my partner and a handful of friends with impeccable taste, one of my go-to sources for locating new music is Cam Scott’s UMFM program “Radio State.” In March, this was how I first encountered the ambient drone stylings of Hazel Fog. After some digging—which is what I like to call “doing a cursory Google search”—I found that they’d released a self-titled two-song EP on Bandcamp on February 6, 2024, uploaded to the page of local label Makade Star. I’m always on the lookout for things obscure, mysterious, dissonant, and unsettling, so I was hooked immediately.

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Album Review :: Guilty Sleep :: Seeds

blury photos of feet on grass with drawn branch looks like an old b&w photo turned bluish in a scrap book.

by Mykhailo Vil’yamson

When does an explosive become a drug? Scientifically, this happened with nitroglycerin – that highly volatile chemical compound that is used to both produce dynamite and treat heart conditions. But I would also contend that a similar power and instability is found in emogaze, and I’m addicted. The latest release in this subgenre is the three-song EP Seeds by Winnipeg locals Guilty Sleep (a.k.a. Eric, Haise, Nic, Liam, Los), which is their follow-up to last year’s Passenger. And it’s equally heartbreaking and vicariously curative.

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EP Review :: Prairie :: Prairie (demos)

Band members sit in a field of praire grass staring either into the distance or with eyes closed in either early spring or late fall with a smattering of snow on the ground.

By Mykhailo Vil’yamson

It’s not often that one is privileged to hear demo recordings as a band’s first release, as so much of the “music industry” remains built on making public only the most curated versions of an artist’s material. But there’s something alluring about being able to hear the earliest incarnation of a group – before the stratification, calcifying and polishing of fully-produced albums. It’s reminiscent of bygone days when musician friends would share cassettes with each other of the latest songs they wrote, asking: “What do you think of this?” As for  this collection, I’d say: “Sounds bloody brilliant! Can’t wait to hear what’s next.”

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Album Review :: Vivat Virtute :: Hold Music and June First

"June First" stitched into a knit wall hanging

by maggie astrid clark

Unless you’re really dialed into the local music scene (although, given that you are currently reading Stylus Magazine, this might be a fair assumption!), it would have been easy to miss a pair of records released last year by Vivat Virtute. You might not know the name, but you definitely know its members – Winnipeg indie rock mainstays Christine Fellows and J.S. Fellows. 

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Album Review :: Ghost Woman :: Hindsight is 50/50

Ghost Woman Hindsight is 50/50 album cover. Read felt covered with angel and baby jesus porcelain decorations

by Mykhailo Vil’yamson

If it were possible to audio-capture the coldest brooding glare, the album Hindsight is 50/50 is what it would sound like. Thick with weighty bass notes, menacingly minor overtones, and steeped in echoey resonance, this is the third full-length project by Albertan musician Evan Uschenko in less than two years. However, the latest manifestation of Ghost Woman is no longer a solo undertaking, as Belgian drummer Ille van Dessel has joined him. As shared at the end of last year via Dine Alone Records, Uschenko conveyed that this project “finally captures the true nature of the band” – and its tracks. Whereas the past few releases sound like a foray into 1970s reminiscence, Hindsight is 50/50 forges ahead into new sonic territory.

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