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Why Innes Wilson Rules by Adam Sturgeon

Innes Wilson

Taking a quick minute to write about a very good friend. The prolific and often reclusive Innes Wilson.

Innes Wilson is a singer-songwriter and farmer from Guelph, ON. He cut his teeth in the mid-2000’s Cancon alt-country boom and was one of the key members of Out of Sound Records in our earliest incarnation as a DIY label. I was also lucky enough to write songs with him in his fuzz-folk band Innes Wilson & His Opposition. It was an early and perhaps disheartening stab at survival in beat up tour wagons and long icy drives across the country. It is now a great joy for me to know that Innes is hopping back in the car and hitting the old dusty once again.

A songwriter to his core, Innes’ baroque stylings mix with pop sensibilities to remain his benchmark sound. A solemn and early riser, taking time to tend his farm, Innes is sure to be found pondering the morning landscape. Just him and his birds and the faintest inspirations; shadows overwhelmed by light, lifting fog, frost and dripping ice. And such is his particular and natural way of life. Simple and to the point.

I’ve always related to Innes in that way that you can’t quite state and perhaps that is the mode of his relative obscurity. It takes time to respect the individual, happening upon each other one mosquito infested night, on a side road out of town many years ago… I didn’t quite know what to make of this fella. What I have learned, however (and I’ve learned a lot from Innes), is that hundreds of songs down the line, his connection and commitment to his work requires no comparison, no need for celebration, just the pure and simple release of his own singular realizations recorded over and over in tiny rooms in his hometown.

Adam Sturgeon is an Anishinabek artist, musician, avid screen printer, grassroots community builder and an advocate for Indigenous rights and social change. Currently based in London, Ontario, Adam fronts Whoop-SZO , founded Out of Sound Records and is a core organizer behind the Grickle Grass Festival. Whoop-SZO will be performing a special acoustic set at Kazoo! Fest 2018 on Saturday April 14th at Dublin Street United Church (68 Suffolk St. W.)

Innes Wilson plays Kazoo! Fest 2018 on Saturday April 14th with Dorothea Paas at Red Brick Cafe (8 Douglas St.)


Why I love Platitudes (or Why Platitudes Rules) by Catherine Debard


It’s quite funny to say Platitudes is one of the most unique and exciting bands in the Montreal DIY music scene these days, as the word ‘platitudes’ means the complete opposite, some dull, boring cliché that lingers. That’s how they trick you, though. Platitudes thinks about platitudes, it explores meticulously its shadowy corners and dull commonplaces, the tacit Banal that quietly shapes our human experience. Hey, let’s talk about finances, about work, about waking up in the morning, let us all contemplate how things are universal, absurd, funny and sad. What to think about when you think about it, if you ever think about it? Or does it make you uncomfortable, maybe?

What I really love about Platitudes, is how they show us music can be both serious and playful, intellectual and sensory, exciting and reflexive; they show us music is an effective communication tool that can also make you feel soooooo good. These qualities are not contradictory, they feed each other! Every performance or project they present is unique; you genuinely have no idea what topic  they will scrutinize for you each time or the methodology they will use to do so. There is a latent logistics to their work, and a strong sense of aesthetics I really dig. I just enjoy letting these two businesslike experimental musicians blow my mind.

Here I go on and on, but I haven’t even started talking about Platitudes’ sound yet! I don’t like attributing genres to music, who am I to translate  their aural magic with trivial words for ya? I love how slowly, subtly, the layers of analog synthesizer guide me into a succession of strange hypnotic landscapes. And I love how the saxophone roams and expresses itself energetically, or in drone-y meditative waves, either processed in the craziest ways (some sounds, you didn’t even think a sax could make!) or dry, raw, vital. You add in the mix their special touch of keen, witty spoken word moments (both literary and accessible), delivered effortlessly by these two radio-friendly artists, and you have it all.

Catherine Debard is a musician and visual artist that, among many great things, performs music as YlangYlang.

Platitudes plays Kazoo! Fest 2018 on Friday April 13th with Joseph Shabason and Nicole Rampersaud & Germaine Liu at Heritage Hall (83 Essex St.)


Why LUKA Rules by Beverly Glenn-Copeland

Photo by Colin Medley


One Friday night, I manage to stay up way past my bedtime and was treated to a stunning set by The LUKA Band. LUKA offered poetically rich imagery in sensitive, strong, sometimes driving, emotionally charged songs that pulled me irresistibly into his world. His band members provided solid, no nonsense back-up, interwoven with a brilliance and creativity to match his own. I sat mesmerized wanting more with the happy smile of one transported to a rich landscape of emotions beautifully rendered into sound.

I am a new fan!

Beverley Glenn-Copeland is a musical creative force that continues to move and inspire. Beverley Glenn-Copeland will be performing at Kazoo! Fest 2018 on Saturday, April 14th at Dublin Street United Church (68 Suffolk St. W.)
Tickets for this performance are ava
ilable HERE.

LUKA plays Kazoo! Fest 2018 on Thursday April 12th with Jom Comyn and Bird City at 10 C (42 Carden St. S.)


Why EDDYEVVY Rules by Mary King


“Reverence” is a word that comes to mind while listening to EDDYEVVY, a four-piece shoegaze group from Waterloo. From the vintage 70s soundboard that bassist Jae Holdsworth uses as an amp head, to the way the band paces their pieces, it is obvious that this band has reverence: for the affective quality of old sounds. For the value of things old and rare.  

To the uninitiated in the genre of shoegaze, the idea can be intimidating: layers upon layers of effects, with sometimes indeterminate, but always melodic voice-sounds coming through – and loud. One critic of My Bloody Valentine’s iconic early 90s album, Loveless, commented that “they had never heard anything like it,” that it sounded like “a mermaid falling into a black hole” – an apt description. A funny thing happens when a new genre hits the scene, particularly in alternative music. It gets picked up, or it explodes (like grunge) and then moved on from, as if the creation is time-locked. And re-imaginings of it become just that: a mere re-imagining, a throwback – instead of being able to be a legitimate contribution to that genre. This has at least something to do, I think, with the quality of the work and the musicians, and their ability to experiment or be novel within the confines of the genre.

EDDYEVVY manages to do exactly this. And they do it well.

Michaela Loreto’s voice is pure, and mournful. It’s the center component around which the band is built; though one shouldn’t take that to mean that she can always clearly be heard. Shoegaze deliberately plays with sound; to pick out one element is to miss the effect of the whole. The components work together. Michaela’s guitar playing sounds like what swaying in place feels like. Drummer Eric Repke and bassist Jae Holdsworth rhythmically hold the band stable, proving a forward momentum. Mitchell Hartung provides complimentary guitar that toes the subtle line of adding, supporting, and taking over the melody – creating that characteristic “wall of sound” that bands like My Bloody Valentine, Slowdive, or the Drop Nineteens, used to command. And EDDYEVVY definitely commands. The effect is dreamy, nostalgic, sad – and completely arresting.

For a band to be both loud and arresting, while being intimate and moody, that band needs to know what particular elements are going to achieve their desired effect. EDDYEVVY has this in sight: it’s a wall of sound, but every hook, every drum fill, every pedal effect, is well placed, well timed, and intentionally thought out. And while certainly EDDYEVVY’s melodies and hooks are “catchy,” a more appropriate word would be that they’re hypnotic.

Shoegaze, like grunge, like punk, like jazz, is a genre that defined again what can be sonically appealing – the atonal, the indeterminate, the unsettling, the collaborative.

EDDYEVVY is an ode, yes, and a heartfelt homage – but more importantly, they’re new, different, and probably one of the best shoegaze bands to be coming out of Canada today. Really, I mean that. Go listen to them.

Mary King is an aspiring writer, musician and is currently completing her Master’s degree in Philosophy. She also plays and teaches piano and is the front woman/guitarist for Guelph-based band, Ten Boy SummerTen Boy Summer will be performing at Kazoo! Fest 2018 on Friday, April 13th at The ANAF House (32 Gordon St.)

EDDYEVVY plays Kazoo! Fest 2018 on Friday April 13th with Kurt Inder at the Take Time Vintage (18 Wilson St.)


Why Bonnie Trash Rules by Devere Agard

Photo by Carly Hunt

Bonnie Trash

Long before Bonnie Trash, I first met Emma and Sara Bortolon Vettor in their first musical inception, Red Rosary. A smokin’ four piece outfit also featuring Dana Bellamy and Emma Tarbush. Red Rosary were performing one summer afternoon in downtown Guelph and I was drawn to their sound and I became friends with them ever since.

Bonnie Trash excite me because they remind me of my youth when I didn’t care if my musical tastes were de rigueur or not. Their sound is dark, edgy, unsettling and comfortable at the same time. Like a dark, cinematic horror movie containing forbidden themes. Bonnie Trash rules because Ezzelini’s Dead takes their influences and vision through osmosis and makes it uniquely them. Bonnie Trash also rule because they are not only cool musicians they are great people. With Girls Rock Camp, they give back to the community and empower young budding talent.

Now with Chris Worden on bass in the fold I’m awaiting the next musical phase of the band. So do your self a favour check out Bonnie Trash at Kazoo! Fest or wherever. Why? Because they are a happening band with a sweet, dark unfettered sound.

Devere Agard aka the funkybluesdoctor has made Canada is home since moving here as a six year old from London, England. He is the host and DJ of Planet Groove airing every Friday 10 am on CFRU 93.3 FM. Also a big fan of Jeff Beck.

Bonnie Trash plays Kazoo! Fest 2018 on Saturday April 14th with Luge and Pucumber Sasssquash Family Band at the ANAF (32 Gordon St.)