by Jaclyn Weseen
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.
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by Gabriel Fars
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.’
Continue reading “Album Review :: Dil Brito :: Fences Glimpses Glances”
by Daniel Kussy
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.
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by Sam Doucet
Jacob Brodovsky has been doing a lot of thinking. At a time when many artists are pumping out material at breakneck pace to keep their names in the conversation, and most of them are already working on their second or third pandemic-driven album, this Winnipeg troubadour has taken his time in releasing his debut full-length, the ever-so-cloyingly titled I Love You and I’m Sorry. It’s the first recordings we’ve heard from him since 2019’s Sixteen Years EP, which introduced many local ears to Brodovsky’s pensive and unhurried brand of indie folk.
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by Ryan Haughey
Montreal’s sweetheart band TOPS builds on their already sparkling discography with their most recent EP, Empty Seats. After their previous full-length record, we’ve come to expect their usual driven, bubbly pop style – and on Empty Seats, the band delivers. But it’s never tired or recycled. All five songs hold something new to discover for TOPS in both storytelling and composition.
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by Paul Newsom
Ghoskeeper’s Multidimensional Culture sounds whimsical, nostalgic, mystical, and weird. Variously inspired by pow wow music, the great pop bands of the 60s, and seemingly more subgenres than could be neatly listed, the record feels as complicated as it does Canadian.
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by Sam Doucet
There is perhaps no cliché more prominent in music reviews than the one of the artist who refuses to be pigeonholed into one genre. Well, dear reader, that cliché is alive and well with Jeremy Haywood-Smith, aka Jaywood’s new album Slingshot, a dreamy and dynamic collection of musings that represent his first full-length release since 2019’s Time. It’s a deeply moving record that is the result of a tumultuous few years for Jeremy, with personal and global events giving him much to reflect on musically.
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by Gabriel Fars
Released just in early June of 2022, Sentimentalist is Emma Worley’s powerful debut album. The album features several different musicians, including Ben Whiteley on bass and cello, Drew Jureka on viola and violin, Karen Ng on clarinet, Jasper Smith on electric guitar, Miles Breithaupt as well as Caitlin Comeau-Jarvis both doing backing vocals, and of course, not to forget, the one and the only Emma Worley, who did lead vocals, acoustic guitar, and vibraphone. These incredibly talented musicians and songwriters give absolute emotional depth to the album.
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by Alexandra Thole
With a soft peel into the bustling Winnipeg music scene, alt-folk project Well Sister has been releasing regularly since 2020 after her EP Sacred Sites came out in 2015. Katabasis is Jaymie Von Riesen’s first full-length album as her music project Well Sister.
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by Olivier La Roche
The niece of well-known Canadian singer-songwriter Sarah Harmer, Georgia Harmer brings a similar brand of mellow indie-folk to her aunt’s style on Stay In Touch. Mixed in with this influence is a strong indie-rock sound that brings a quite entrancing facet to the album, showcasing Georgia’s talents as a vocalist, guitarist, and songwriter all at once.
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