James Struthers + Tyler del Pino // 11-25-11 // Winnipeg Free Press News Cafe

by Megan Carlson

Local Winnipeg artist James Struthers (left) played the Winnipeg Free Press Cafe this Friday November 25, 2011 with opening act Tyler Del Pino (right). The packed cafe enjoyed the upbeat pop styles of these singer-song writers and listened attentively as James played a “dead” Ukulele unplugged standing on top of a chair. Both artists can be found playing all over Winnipeg unplugged and rocking out with a band. James next show is at the Park Theater on December 19th for the Third Annual Acoustic Christmas and Tyler will be rocking out with his band next Friday December 2nd at the Kingshead.

THE CROOKED BROTHERS – Lawrence, Where’s Your Knife?

“I’ve got funk, I’ve got country / I’ve got rhythm and booze/ I’ve got this crooked little heart / I’ve got this thing for you.” And what’s that? Following 2009’s Deathbed Pillowtalk, Manitoba’s The Crooked Brothers (Jesse Matas, Darwin Baker and Matt Foster), bring their signature growling and all aforementioned genres to Lawrence, Where’s Your Knife? along with stories of long winters, epidemics, hope, loneliness, and sorrow. “17 Horses” is one of the strongest tracks on here with its super catchy, up-tempo beat and gruff, indulgent vocals. Feline basslines prowl all over this record but spend a sizeable amount of time slinking and stretching around “Kansas” and “Another Sun.” The dobro, mandolin, harmonica, banjo, fiddle, and violin all lend a great bluesy feel to the 10 songs. A favourite is “Good Man”, a calmer piece so warm with harmonicas and swaying guitars that you can practically hear the love the lyrics express: “There ain’t nothing like a good man / to drag you down / I ain’t nothing but a good man / why do you keep me around?” Another must-listen is “Your Love is a Ghost Town” simply because it perfectly captures the eerie stillness of a dusty ghost town: raspy vocals are set off by an excellently creeping, measured bassline. I cringe at twanging and country music’s notoriously trite verses as much as the next person, but what The Crooked Brothers have come out with this time infuses soul and story into sound in one of the most non-cliched ways I’ve yet seen. (Transistor 66,http://www.transistor66.com) Adrienne Yeung

Mogley And The Woodland Creatures

By Dallas Kitchen

Mogley and the Woodland Creatures are a rock/funk/blues/soul band based out of Winnipeg. With a CD set for release this fall, a western Canadian tour at the end of August and loads of gigs coming at them all over town, I had to sit the group down and ask questions. I managed to catch up with them in a house that none of us had ever been in before. Mogley and all the Woodland Creatures are comprised of Aidan Ritchie (frontman), Finley Allison (multi-instrumentalist), Holly Stratton (keyboardist/vocals), Grant Trippel (guitar/synth) and Tyson Eidse (drums). Continue reading “Mogley And The Woodland Creatures”

Cannon Bros. release Firecracker/Cloudglow on emerging label

Local pair make Disintegration’s second
By Michael Elves

While local duo Cannon Bros. ended up releasing their self-titled debut EP last winter out of necessity, the release of their full-length Firecracker/Cloudglow came about because the pair chanced into an opportunity.
“The EP we just kind of recorded with our friend and we weren’t even really planning on releasing it,” notes Alannah Walker. She explains, “We just recorded songs when we first started playing and then we went on tour last summer and we had nothing to sell so we were like, ‘Let’s just put all the songs that we recorded onto a CD and sell it,’ so that’s how the EP came about.” Continue reading “Cannon Bros. release Firecracker/Cloudglow on emerging label”

Smoky Tiger – Greathitz2011

Smoky Tiger handed this disc to me, noting that, Burton bless him, he’s released seven fucking albums this year. If you missed our interview with him, he’s one unique spirit, engaged in celebrating local folklore and unkempt positivity, and this disc captures his self-selected best moments from the first three quarters of the year. Greathitz2011 ranges from the Egyptian groove of “Titania” to the disco funk of “SmokestackLightning” to the lazy-slow folk of “Slopoke” to the weirdo bossa nova of every other track. The Tiger tackles much—chasing a faerie for her love, witnessing someone walk on water, and someone so happy, she hands out rainbows. Every track is so radically different that it prompted a mental “WTF” from me with each new track, followed by a prompt “FTW” and me cranking it up, bobbing my head, shimmying or groaning along, or whatever action appropriate. So, to hell with what you know and what you think is right, the Smoky Tiger’s music is waiting, pretty much a whole universe unto itself. And how better to make the interstellar leap and get acquainted than this disc? (Independent, myspace.com/thesmokytiger) Taylor Burgess

EYAM: The Plague Fire Can’t Cure

by Kent Davies

Named after England’s infamous plague village, Eyam is brutal black metal played to perfection. Since 2007 the local metal act has emerged as one of the front-runners in Winnipeg’s vibrant metal scene. Already, the band has been featured in many media publications and has even appeared on French CBC television in an effort to share their debut self-titled EP, an album that some thought wouldn’t ever come out. Their dedication to their craft and their band despite facing life threatening set-backs, and juggling between other bands is a reflection of their enduring respect for the genre. The foursome headed by local metal veteran Chuck Labossière (Psychotic Gardening) features Mike Janssen and AJ Schmid on guitar, Tomi Stangl on drums and Kevin Focht on bass. In recent interviews with Stylus and CKUW 95.9 FM Labossière and Focht spoke about the trials and tribulations of Eyam.

Stylus: It was a long process to get your EP off the ground. What happened?
Kevin Focht:
Bascially in January our guitarist AJ Schmid had just moved into a new apartment with his girlfriend. Long story short we were holding all the band’s money and our merchandise there and three nights after moving in, the apartment went up in flames. They lost everything and all the band money burned along with the merch. So we had a pretty big loss and our EP release show became a benefit show to recover some of the money.

Stylus: So the initial Eyam EP didn’t end up getting pressed?
KF:
We basically had to scrape up as much money as we could after the fire to do a small pressing and work our way back again. It was tough but we did it.
Stylus: Did you think it may never come out?
KF:
No, but we were committed. It wasn’t the best of circumstances but we knew we could do it.
Stylus: What was the recording process like?
KF:
It was really, really, really black singing. It set the tone. Len Milne was the producer and he’s a really great guy to work with. He’s very laid back. The whole process in creating the album was pretty fun. The whole process getting it out was not so great.
Stylus: Was it worth it when you got the first copy and listened to it the first time?
KF:
Totally. It was.
Stylus: Have you regained some financial stability since the EP release show?
KF:
It was a very successful show. We made enough money to cover the costs of a new shirt design, catch up on jam spot rent, and drive out to Regina to play with Into Eternity and Digital Doomzday. Since then we’ve upgraded some of our equipment and have been sending our EP out everywhere, which has basically eaten up the rest of our funds.
Stylus: Are you planning on recording any new material?
KF:
We are always writing new material. Sometimes too much. We have about an hour of music yet to be recorded, and we just keep on writing. It’s nice to have a few in the bag, but now the time has come to decide what material will be recorded, whether we are doing a full length or EP, which producer/studio to use and what medium we wish to release it on. Aside from recording our next release, we are currently making plans for a music video. So far we are leaning towards a video for The Architects of Starvation, although nothing is set in stone yet. Andrew Wiens (Psychotic Gardening) will be heavily involved in the production of this video.
Stylus: Can you take us back to how Eyam got started?
KF:
Originally, the idea started as a side project. We all had been playing in other bands except for our guitarist AJ. We basically all wanted to form a more technical death metal band. We got together and started playing some riffs and basically formed the band. We asked Chuck (Psychotic Gardening) to sing for us. We didn’t even think he would because he’s such a veteran in the scene and busy with his own band but he was stoked and over time it has become a main project instead of a side project.
Chuck Labossière: I was aware that they were doing stuff and I was listening to their Myspace links and the songs were all instrumental at the time. I listened to it and noticed there was a posting on another website that said they were looking for a singer. I heard a few people were trying out and I heard the music and I was like this stuff is really good so they better get a good singer because it wouldn’t be justified if they didn’t. I wasn’t about to ask them because I’m already committed to Psychotic Gardening and doing other stuff but in the back of my head I was thinking if they ask me, I’m in. So they finally asked me. I was instantly “Yep! For sure.” It’s good too because I don’t have to play guitar. I can just sing and focus on that.
Stylus: How do you balance the two bands?
CL:
I can make it work. Both bands have been on tour together. We play the same show often. So I play two sets back to back. Mike and I would play two sets in a row. We were wondering if we could do it, especially on tour. Would it be possible psychically to do two sets a night for a long period of time? But as long as I don’t drink too much and just control myself I’m good.
Stylus: I know a lot goes into the mythology of any metal band let alone death metal. What is the story behind the name Eyam?
KF
: We decided when we formed the band to do something a little different. There are a lot of satanic metal bands out there with tons of different themes. You’ve got the zombie metal bands, cannibal metal bands. We wanted to go with something that’s not completely original but in our music we like to address the bad side of the world the politics of devastation, plagues, pestilence and disease. Eyam itself is a town in the United Kingdom, it had one of the worst cases of the black plague in history. They had situations of self quarantine and I think the town was wiped out. We related our music to the theme of disease and explore how mankind are their own worst plague.
Stylus: Chuck, did you do the artwork for Eyam as well?
CL:
I’m always doing artwork. I did the album cover for Digital Doomsday, they’re kind of a hardcore-rap-metal hybrid. The new art for the Psychotic Gardening full-length and of course I did it for Eyam too.
Stylus: I’ve been checking out Chuck’s series of comedic videos on YouTube. One of the videos has Chuck asking the public for boots. Does Chuck still need boots?
KF:
Yeah, Chuck does collect boots. He can never have enough boots. He is currently looking for a pair of Glen Benton spiked shin boots. So if you come see us, bring Chuck some boots.

EYAM is planning on infecting metal heads with death metal destruction at an up coming Halloween show. For more info check out
myspace.com/eyammetal.

Coupla Qs: The Ripperz


Winnipeg’s The Ripperz (Chris Sawatzsky, Mark Wiebe, and Travis Warkentin) can largely attribute their amazing live act to their die hard fans. Their new album You Are the Moon comes out tomorrow when they play the West End Cultural Centre, doors opening at 7 p.m. Here’s a recent interview they did on Peg City Groove.

Kent Davies: You’ve been playing for ten years but it’s really been in the last few years that you’ve managed to put out a couple albums and get a huge following. What happened?
Mark Wiebe: Basically the lack of absence. Chris went to Vancouver for a couple years so we couldn’t do much with out him.
Chris Sawatzsky: Then I moved home and had a band to come home to. It energized us to take the band to another level.
KD: Basically your show has become one big rock-sing-a-long. Do you keep that in mind when you’re writing music?
CS: Yes I do. When I’m writing I always think this parts going to be awesome when the crowd sings it.
Darryl Reilly: Do you have a Ripperz Hymn book that you hand out before the show starts?
CS: We were joking about choir robes last show but there’s no lyric sheets. I don’t know if we’ve ever wrote up our lyrics. I’ve seen some people type them up and they’re quite wrong.
KD: Have you changed lyrics because people keep getting them wrong?
CS: No but we encourage our fans to just sing what you think is there.
MW: Whatever feels right for them.

Alpha Couple – WHNZ:27:NJNYC

After their departure from Winnipeg, Alpha Couple conceived this album on the road. Driving/touring/vacationing/living/playing somewhat directionless, Jax and Wohlgemuth eventually ended up in Toronto, where they have both called home together before—when they created their Alpha Couple concept. Coincidentally, I didn’t listen to this album until I was on a road trip myself, entering the California border around witching hour. Gone are Stalingrad’s pop sensibilities, and (through oddly emphatic associations) it seems like there is no destination to these songs either—samples and vocals drift or wave or fly by, anchored around some loop, acoustic guitar, or piano riff. And in the exchange, AC have honed in on the haunting beauty that has been the driving force behind them all along. Most powerful is the behemoth-length album opener “A Walk Through Central Park” at nearly 15 minutes. Consisting of reverbed vocals, only three acoustic chords (if that), and samples from the radio and answering machines, the song is a testament to their self-prescribed label “tweenoise.” Two songs of reconstructed Stalingrad tracks marks Wohlgemuth and Jax (who, for full disclosure, is a Stylus writer) heading headfirst into noise/ambient territory. All in all, this is an eerier, darker release than their full-length—and up for grabs through the Free Music Archive. Worth the download for anyone wanting to get out of their comfort zone and experience some freshly charted areas of music. (We Have No Zen, wehavenozen.blogspot.com) Taylor Burgess

Tim Hoover – Should Have Grabbed More Napkins

photo : Tyler Sneesby
By Adrienne Yeung

I know you’ve heard/seen Dj Co-op around town sometime, somewhere –  perhaps DJing at Grippin’ Grain, or as half of the Co-op/Hunnicut duo. But less ubiquitous is the name of the man behind the turntable. Meet Tim Hoover and his most recent project, which is a huge departure from hip-hop beats you might hear him spinning on any other night. He’s created 60 minutes of richly layered instrumental music, stirring together lost-and-found samples with his own compositions. The day after his album listening party at the Planetarium, we got away from the heat and the traffic at Bar Italia to talk about recording under his own name this time to produce this totally different sounding album, More Napkins.

Stylus: You said the “real” title of the album at the show last night. What’s that?
Tim Hoover:
It’s I Should Have Grabbed More Napkins. It’s just a thing that I’ve been saying for years. It should be on my tombstone. But it seemed a bit clunky for a full album title. I love napkins, but I never have enough of them!

[Stylus hands Tim a napkin. Tim says thanks.]
Continue reading “Tim Hoover – Should Have Grabbed More Napkins”

Bog River – Hands in the Ground

It’s probably your best bet to take your hands out of the ground and get them on this album. Hands in the Ground is the first full-length release from local trio Bog River. Comprised of Carly Dow, Ben Hadaller and Dave Barchyn, the band released Lost in the Woods in 2010, a rough yet valiant five part EP recorded at Hadaller’s cabin in one day. The EP was a glimpse into the promise possesses – a passion that drives the three of them to work intensely together on a fokly sound that is not only unique but tight and arousing. This time around, the band is doing it right, having recorded this album over the course of a couple weekends while still choosing to record back at the cabin. They dabble in a wide variety of genres and instruments, from pure folk, to Dixieland and gospel on this album. James McKee of the F-Holes makes a trumpet and trombone contribution on tracks four and five, with Alex Campbell is at the piano on track five. Vocalist Carly Dow’s vocals on the album are raw, while Dave and Ben offer silkier alternatives. Hands in the Ground is muddy and simple contemporary folk, and delves into deep themes of family, love and roots. If you’re not already familiar with the band, stop by the WECC on October 13 to celebrate their album release party. (Independent, myspace.com/bogriver) Victoria King for Stylus Magazine