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CKUWHO :: Bikini Drive-In :: Every Sunday 4:30-5:00

by Mark Teague

Olivia Norquay, founder and host of Bikini Drive-in, takes half an hour every week to get to the bottom of what is really happening in our favorite horror and science fiction movies. She uses the framework of intersectional feminism to unpack the details of these films and provide insight into their impact. By deftly applying elements of screen and media studies, art criticism, and women and gender studies, Olivia brings to light the cinematic and theoretical weight of the horror and sci-fi genres. 

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The Kids are (more than) alright :: Amos the Kid :: Mountain View EP

by Margaret Banka

I’ve had an uncanny streak of running into Amos Nadlersmith, namesake of Amos the Kid, in unexpected places, at unexpected times: karaoke at the Sherb (where the median age is fifty); in the Village streets on a late Monday night; during the cold, early morning hours of Harvest Moon, passing around a bag of Old Dutch chips in a tent crammed with five people; emerging from the inevitable cloud of fog after a Smoky Tiger set at Rainbow Trout (okay, that one might have been a hallucination). Wherever it seems to be, Nadlersmith’s familiar presence and easy-going personality ensure that he is never out of place.

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Mobina Galore Documentary :: Behind-the-Scenes Punk

Photo by Dwayne Larson

by Chris Bryson

When Winnipeg punk duo Mobina Galore went into Private Ear Recording to lay down their 2019 release, Don’t Worry, they came out of there with more than an album. Mobina Galore’s Jenna Priestner and Marcia Hanson worked with Marty LaFreniere of Looksmart Video and John Paul Peters of Private Ear Recording to compile 40-50 hours of video, which has since been pared down to turn into band content and a documentary called Sorry, I’m a Mess – The Making of ‘Don’t Worry’. 

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Album Review :: Juniper Bush :: Healing Through A Sonic Figure

Photo by Joey Decastro

by Jacob Letkeman

Healing Through A Sonic Figure opens up with “Hindsight.” This happens to be my (current) favourite track on the album. It comes on all at once, but gently, with plaintive vocal melodies that swoop and dance over top of the guitars, all of it bathed in lush reverb that washes over you, dreamlike and calm, somehow reassuring in it’s mournful feeling.

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Taylor Janzen

photo by Emily Dubin

by Isabella Soares

Winnipeg raised singer/songwriter Taylor Janzen has come a long way in the course of two years. Having released two ground-breaking EPs (Interpersonal and Shouting Matches) that quickly received praises from The New York Times and Billboard, as well as recently signing with Glassnote (same record label to sign bands like Mumford and Sons and Phoenix). While she was preparing for her North American tour with Half Moon Run, Stylus had the chance to speak to her about the liberating power of music to express ones feelings, the urge to create genre-defying work, and what she has learned being on the road. 

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Album Review :: Hut Hut :: Hut Hut Hut

by Ryan Haughey


The mystical and enigmatic Winnipeg band Boats released their last album in 2013 and played their final show in 2016. A few years back the wild music of these prairie legends resurfaced with a new moniker: Hut Hut. They’ve exposed the public to several madness fueled performances over the past two years complete with their signature sound clip which gets everyone chanting along, “Down, Set, HUT HUT HUT HUT HUT—!”

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