TWIN – Sharing Secrets with Strangers EP


TWIN is focused around Dave Fort (Absent Sound) and he’s really prepared to give you the best and worst news as if you’ve never heard it before. He’s spouting off hard truths like on the back half of “Prairie Loon”—like, “Well some friends are gonna die / Some are gonna take their own life / There’ll be no reasons why / And, boy, you’re gonna cry.” The first two songs and the last song, strongly focused on death, are fleshed out with strings and back-up vocals and it makes for a pretty emotional listen—although they’re words of comfort rather than naysaying. Meanwhile, on the other end of the life spectrum, “Fine Clothing” is definitely the album’s cheeriest, urging you to “Sing all of those old songs / Those one your granddaddy used to love.” Given Fort’s electric background, these songs aren’t ripping off traditional folk ballads but instead are thoughtful, spacey progressions backed by all the usual folk instruments which are played by musicians from the community (David Dobbs of Vampires and Ingrid Gatin to name a couple) and other friends who have since become the rest of TWIN. For the moment, the five-song EP stands alone in Winnipeg—Sharing Secrets with Strangers is much more sinister than any other folk being made, and it’s much more heartfelt than any indie rock. (Independent, www.myspace.com/twintwa) Taylor Burgess

LOST: Under Pressure – Come Clean


Under Pressure were a significant Winnipeg hardcore group, and this album was their master offering. By the time Come Clean was released, the group’s members had been making music for years together, and this album perfectly represents a height for them as a group. Hardcore is an extremely formulaic genre that can be easily replicated. People take cues from bands such as Poison Idea and Black Flag, as Under Pressure initially did, and replicate them in their own way. This makes way for a lot of very mediocre representations. Over time, the music that these players loved was internalized and practiced in perfection, usually causing other bands to pale in comparison. Their devotion to form eventually turned into mastery and this album represents that moment in time. Come Clean is not just a hollow repetition of forms from the past. Rather, it is those forms mastered through dedication over time and presented for others to take cue from. A step away from their earlier, faster and more youthful hardcore sound, Come Clean lies in a darker, more serious territory on its own. Taking more of a rock direction, the listener is grabbed and assaulted aurally from the first riff of the album. Lyrically, the harshness of existence is presented in a notable step above average, further separating this album from the masses of thoughtless clones. Come Clean will leave an impact on those who hear it for years to come. As time progressed and line-up changes occurred, the quality of the band never diminished—Under Pressure’s conclusion in 2009 denied the band the time needed to surpass Come Clean, leaving it as their masterpiece to which heads will nod to in the future. (2006, Primitive Air-Raid, www.primitiveairraid.com) Kevin Strang

Greg Arcade – In…Hawaii


It seems A1 label head Greg Arcade (Noble Thiefs) has traded in the ska for a solo album featuring a variety of ass-shakin’, rockin’ genres. Following in the footsteps of his Beach Bum Singles EP, In…Hawaii features blaring distorted Hives-like garage rock with lead off track “No! You Shut Up!” coupled with the classic surf rock sound in “Filament” and “Hawaii Electric.” It even has a couple rockabilly numbers with “I’m a Lion” and “Shake your Feet.” In…Hawaii may not seem unique because each cut is somewhat based on familiar song structures that we’ve heard before, but it’s in how Greg Arcade builds on them which makes it so perfectly conceived. Each track is a thought-out homage to rock ’n’ roll with great lyrics and attitude to match. Arcade even ends off this perfect party album with the whimsy-laden “After-Glow,” which sounds reminiscent of Skynyrd’s “Tuesday’s Gone.” Well done. (A1, www.gregarcade.com) Kent Davies

Emma Cloney – Something to Say


Emma Cloney’s debut Something to Say has the sound of an old favourite. Like something pulled out of a box of long forgotten albums. Maybe it’s that Gordon Lightfoot influence she nods to. Or her adherence to a classic folk sound tempered by her feminine rumbling voice. A voice that takes you back to the female artists boom of an early Lilith Fair variety (think Jewel, McLachlin, Harris). And by familiar we don’t mean tired but comforting. Perhaps, even a breath of fresh air. Assuming, of course, you appreciate a roots sound that gets at times a little Country. Representing Manitoba in the Canadian music scene, Cloney stays true to her love of a more traditional folk sound embracing the classic instruments of her genre like the fiddle, mandolin, upright bass and banjo. No electric guitar, no skinny jeans, just a girl and her guitar singing about rivers, home and her family. Song not to miss on this one: a hootenanny of a track entitled, “Daddy’s Guild Guitar.” But for a more contemporary listener “Love the Way You Love Me” will suit you fine. (STUDIO 11, www.studio11audio.com, www.emmacloney.com) Cindy Doyle

Jazz for Humanity

By Kaeleigh Ayre

Being a co-executive director of an organization is not something every 20-year-old can put on their resume, but Rayannah Kroeker can. The fourth-year University of Manitoba jazz voice student is an up-and-coming presence in the Winnipeg jazz scene. When she’s not in class or participating in world development conferences, she can often be found performing with the Retro Rhythm Review or Winnipeg Jazz Orchestra. Since 2007 she has been putting her all into presenting Jazz for Humanity—an annual concert with a conscience.

Jazz for Humanity has blossomed into a multi-disciplinary event, but it began with a trip to Rwanda. Kroeker and her classmates were inspired to give back to the community they experienced there. With her friend Katrine Dilay, Kroeker helmed the inaugural Jazz for Humanity concert at Collège St. Boniface in 2007. In the years since, the event has outgrown its location not once, but twice—moving from St. Boniface to Prairie Theatre Exchange, which they sold out in 2009. This year, they’re on the Manitoba Theatre Centre mainstage.

Jazz for Humanity is partnered with Ubuntu Edmonton, a small non-profit organization that helps the widows and orphans of the 1993 Rwandan genocide. All funds raised by the organization through this event go towards helping those that reside within the small community of Kimironko to become self-sufficient. “The benefit of Ubuntu still being so small and mostly unknown is that they require very little overhead costs, and therefore most of the money we raise goes directly into the village,” says Kroeker. This is something that she is very proud of, and something she says doesn’t happen with a lot of the large-scale charities.

The evening is “drastically different than expectations,” Kroeker stresses. “We make a conscious effort to select a wide variety of repertoire. While we focus on world music, we also include elements of R&B as well as rap and hip hop. The audience comes away with a sense that it’s more world music than jazz because they don’t realize jazz sounds like that, that it actually is jazz.”

Unfortunately, she feels there is a stigma that comes with the word “jazz.” “People have an outdated view of the genre,” says Kroeker. “They expect the smooth sound of the ’20s, of dancehalls, Lindy Hop and scatting. They don’t take in to account that there’s been nearly a century of development within the genre, which is why we highly suggest even those that are wary of ‘jazz’ to come out. There is something for everyone to enjoy.”

On top of the fabulous performances to be expected from Kroeker’s sextet comprised of Will Bonness, Curtis Nowosad, Simon Christie, Shannon Kristjanson, Graham Isaak and herself, they are also showcasing several forms of dance. Performing are students from the School of Contemporary Dancers Professional Division, as well as returning guests presenting tango and a dance style from Central Africa. Steve Kirby is among the special guests, as well as other students from the UM music faculty. There will be an art auction and refreshments.

If this line-up alone doesn’t entice music fans, Kroeker hopes the desire to support a cause does. “It’s time to take action and get behind a cause. It’s important to know that all of the money goes straight into Ubuntu. We want to show adults that we care, that we can do things and create change. We’re always watching and evaluating everything around us, including government and business practices. We just ask that people come with an open mind and expecting to have a good time. It’s time to do things differently.”

Jazz for Humanity happens Friday, June 18 at the MTC Mainstage. Visit www.jazzforhumanity.org for ticket info.

Evil Survives – False Metal Slayers

By Kent Davies

Local metal marauders Evil Survives perform old school New Wave of British Heavy Metal (NWOBHM) at its purest commanding form. The band was born out of the uninspired revulsion following a Children of “Boredom” gig at which they sold their souls to save metal and destroy the savage purveyors of false metal evermore. Evoking the authoritative metal supremacy of Priest, Maiden and Mercyful Fate they sought conquer the metal world forever. Combining Adrian Riff and Sean Murray’s double dose of fierce frenzied guitar shredding obliteration, the pulse pounding percussion and rhythmic destruction of Derrick the Butcher and Dr. Wiseman Harrisist and Axe ’n’ Smash Warkentin’s devastating Dickenson-like cries, Evil Survives absolutely annihilates everything else. The band’s recent earth-shattering sophomore album Powerkiller is already a metal classic, featuring six ludicrously loud, larger-than-life-and-death tracks and Ed Repka’s finest cover art in years. The album is guaranteed to blow brains out of any denim ’n’ leather listener. Recently Stylus sought an audience with Evil Survives shredmaster Adrian Riff to discuss Powerkiller, cassette tapes and the new resurgence of NWOBHM.

Stylus: Powerkiller… my god. Powerkiller.
Adrian Riff:
The new album was recorded in a marathon 16-day session in December. I’d like to think it’s the logical second Evil Survives album. We’re not going to alienate any fans. It’s 25 percent less Iron Maiden, 25 percent more Evil Survives. It’s little more of us finding our own sound but mostly pseudo-plagiarising or paying homage to Iron Maiden, Judas Priest and Mercyful Fate.

Continue reading “Evil Survives – False Metal Slayers”

Label Profile: War on Music

By Kent Davies

War on Music isn’t just a label or a store. War on Music is a political movement. Much like Organic Planet Worker Co-Op or Mondragón Bookstore and Coffeehouse, the principles guiding the War on Music organization are that of participatory economics. Through a committee structure there are no bosses, no managerial hierarchy and no purveyors of lame-ass corporate music. All members of War on Music maintain an equal share of equity in the business. The worker co-operative is located, as member Charley Justice says, “halfway to hell”—or the basement of 93 Albert St. here in Winnipeg. As a local metal store, WoM also serves local bands, offering high-quality in-house merch for cheap and sometimes even acts as a venue for shows. Aside from row after row of quality, reasonably priced metal and punk albums, top-notch metal merchandise and vintage arcade machines, the most alluring feature of War on Music is their in-house label. War on Music the label is leading the way in Canadian metal releases on vinyl. With over a dozen releases, including re-issues of classic metal and punk albums, 7” singles of Canadian metal and hard-rock acts and the number-one-sellling metal album in the country, WoM is a force to reckoned with. Stylus talked with label rep and co-op member Charley Justice about the label, the store and the future of vinyl-driven metal. Continue reading “Label Profile: War on Music”

Pip Skid – Fake Blood, Real Beats

By Sarah Petz

With a sound that is raw, honest and provocative, you wouldn’t expect that Pip Skid (a.k.a. Patrick Skene) grew up on the mean streets of the small prairie city of Brandon, Manitoba. Skene said growing up in Brandon was, like all small cities, challenging at times, but thinks that he and his other Brandon-raised friends DJ Hunnicutt and mcenroe ended up developing their music simply because of the lack of things to do.

“We also never had other rap groups to look up to in a close sense,” says Skene, “The only place we could see or hear rap was from rare little moments when it would get played on TV or the radio.” With only punk, jazz and metal bands around them, the group played any show they could get, even if it meant playing a 12-year-old’s birthday party.

“I do believe that coming from a place like Manitoba does effect your art. Our winters change your life which in turn influences the music,” says Skene. His latest album, Skid Row, is the first time he’s worked with DJ Kutdown on an entire project. Also collaborating with Magnum K.I., Skene is proud of the record they’ve produced. Continue reading “Pip Skid – Fake Blood, Real Beats”

Review: The Lonely Vulcans – Night Date

The key influence of the mostly-instrumental band is Santo & Johnny’s “Sleepwalk,” which is, duh, a sleepy number. But that song and this album are far from lullabyes—they’re a real gentle form of rock and roll. But other than tracks which sound like the Lonely Vulcans’ patron saints, there’s much more to get excited about on Night Date than that, like T.J. Blair’s soulful wails on “The Lonely Vulcan” and on “Hymn,” or the group’s London Calling-esque rockabilly on “Western.” Guitarist/ band founder Daniel Pangman has said that he’s more inspired by movies than music, and he’s interested in invoking imagery. In my mind, there’s a handful of songs that evoke images of just laying back under an old Wild West sky sitting by a campfire, moving from one town to the next. All in all, it’s an easygoing disc with some bite. (Transistor 66, www.transistor66.com) Taylor Burgess

Review: Various Artists – Peg City Enterprise Vol. 2

I’ve been hard on rap music in this magazine before. So before I begin this review, I need to make something clear: I do not hate rap music. I appreciate the skill that goes into rap, and the rhymes that many of these artists can come up with are great. I think that one of the reasons I’m hard on rap is because the experiences that rappers have gone through are so far removed from my own that it is hard to relate to. But enough about myself, it is time for me to look at the newest release from Peg Town Entertainment. This CD functions similarly to a mixtape. It contains fifteen tracks from several different artists on the label, including Tha M.I.C, Zkilla, and Ed E Buk. The beats are well-constructed and don’t feel amateurish at all, and the raps are well done too. There are quite a few talented voices in the Winnipeg hip hop scene that haven’t been discovered yet, and this album highlights some of these voices. I would like to hear some solo albums next time from these artists. Definitely give this album a listen. (Peg Town Entertainment, www.pegtownentertainment.com) Charles Lefebvre