Warming is a music project formed in Winnipeg, Manitoba. It is led by multi-instrumentalist and synthpop artist Brady Allard.
Warming began in 2014 with the release of Allard’s self-titled EP Days Leave. After a drastic life change causing Allard to leave his job and house, he wrote and recorded the first full-length album under the moniker Warming. A lush, driving mix of pop, twisted synth noises and haunting arrangements. Described as “...songs that are immediate and catchy, fresh and revealing, distinct in sound and tone.” By Stylus Magazine and “One of the best new bands in Canada right now” by Gigwise Magazine.
Following the release in 2019 Warming has toured Canada, The UK/Europe and Asia in support of the debut album.
Callie Lugosi (they/them) is a self-taught disabled, queer + trans multidisciplinary artist and writer living in Winnipeg. In their recent work, Lugosi studies the intersection of intergenerational trauma, family ghosts and queer identity. This work is a pursuit of magnetic nostalgia; The Implacable Feeling, an episode of déjà vu, or just barely remembering a moment or object and deeply caring for it, while it dances outside of your memory’s bounds.
For the last decade, Lugosi has been involved in the Winnipeg arts community in various capacities: as a documentarian, a journalist, a musician and visual artist. Since 2016, they’ve worked with The Uniter newspaper as a writer and photographer, concentrating on historical journalism centred around 2SLGBTQIA+ experiences across the prairies. This work has earned them several awards, including the Mouseland Press Award for Storytelling in 2018. Currently, they are the outreach coordinator at PLATFORM centre for photographic + digital arts.
Polymnia is an improvisational collective made up of two members seeking to explore new facets of musical expression through improvisation and composition, both bringing their personal spirituality, intellectual ideas and emotions to bring an overarching musical framework into play.
Both studying at Brandon University, Dylan Peters and Dylan Pilcher are currently working towards their Bachelor of Music Performance in Jazz Studies. Meeting originally through ensembles and shared musical interests, both members quickly became connected, each seeking new musical ideas through their own individuality and sharing these ideas within their music.
Dylan Pilcher is a first-year jazz trumpet major at Brandon University, being heavily influenced by the likes of Kenny Dorham, Woody Shaw, Terumasa Hino, and Eric Dolphy. This led him to study consonance and dissonance as the building blocks of modern music alongside the exploration of conversational music.
Dylan Peters is a fourth-year jazz guitar major at Brandon University. His musical background consists of Mennonite church hymns, jazz, and rock, with influences including musicians such as Kurt Rosenwinkel, Plini, Joshua Redman, and McCoy Tyner. Peters has a deep love for harmony and is constantly searching for new concepts to broaden his musical expressivity."
Derek Bassey is a 20 year old, self-taught artist. His artistic journey began shortly after he graduated high-school in Nigeria, where he was born and raised. With little to no knowledge about art, armed with only pure admiration, Derek has been discovering the world, and discovering himself, through his artwork.
Eric Roberts is a musician and producer currently living in the forest on Treaty 2 territory, just outside of Riding Mountain National Park. He believes life and the creative process are synonymous expressions of consciousness, and consciousness is a fundamental source of our universe.
Winnipeg based artist and arts administrator, Eric Plamondon is focussed on the relationship between art and audience. He is a valued arts administrator, having headed up an artist run centre, La Maison des artistes visuels francophones, and now at the helm of the cultural hub Artspace. Eric maintains his own art practice by being engaged in various art projects or by creating them himself. His multi-disciplinary practice includes; cinema/films, theatre, improv, visual arts, and literary arts. It is a capacity in each of these disciplines that elevates his art, as he is driven to participate in new art experiences and see how cross contamination can elevate and define Manitoba's artistic offerings. He often taps into his bilingualism (French and English) and the prism of homosexuality to deliver narratives from under-represented and under-valued minorities. Eric shares and embraces his Métis heritage.
Using spectral analysis, various forms of synthesis, computer assisted composition techniques, and a penchant for chaos, Mutable Body constructs hyper-real soundscapes. These otherworldly planes exist as bridges between the realms of acousmatic perception, simulation, and parallel realities.
Mark is a contemporary dance artist based in winnipeg, canada - his passion for dance is a continual oscillation between performance and movement exploration, indulging in the restlessness of discovery.
Maribeth "Kilusan" Tabanera (she/her/siya) is a Filipinx educator, multidisciplinary dance artist, and DJ born and based in Treaty One Territory (Winnipeg). Kilusan is a Tagalog word that means movement of an individual and/or group. A life-long learner, she has focused her energy in diving deeply into her passions of dance, music, education, social justice and community building. By day, Maribeth is the Internship Coordinator at Seven Oaks Met and Maples Met Schools. By night, Kilusan works with a variety of local non-profit groups and on her freelance artistic practice.
Kilusan has over 25 years of dance experience, focusing mostly on street style dance including hip hop, breaking, house, vogue, and dancehall. Maribeth continues to be part of the community as a competitor, judge and organizer. Deejaying since 2017, Kilusan has performed with Queer People of Colour Winnipeg, Synonym Art Consultation, Bastid’s BBQ with Skratch Bastid and DJ Maseo (De La Soul), and with Naughty By Nature at the Big Picture Learning Big Summer Fest 2020.
Kilusan strives to create an inclusive and inviting atmosphere wherever she is. Her life mission is to leave a better world for future generations through her work as an educator, artist, and activist.
Studio visit with Christine Fellows // Excerpt - Aquarium, jardin des plantes // song + stop-motion animation // 2020 work-in-progress
Christine Fellows finds music in sounds we tend to take for granted: the voices of the people we love, the sounds of the spaces we move through as part of our daily lives. Although she identifies primarily as a songwriter, performer, and producer, her practice includes poetry, spoken word, paper collage, stop-motion video, sound design, and composition. Fellows is based in Winnipeg, Treaty One Territory, where she collaborates with artists from all disciplines to create and produce performance works and recordings. In November 2018, she released her seventh solo album Roses on the Vine (Vivat Virtute).
CHRISTINE FELLOWS – music and photography
LESANDRA DODSON – choreography and photography
MARC BOIVIN – dancer
ELISE VANDERBORGHT – dancer
JASON TAIT – drums
Christina Hajjar is a queer femme first-generation Lebanese-Canadian artist, writer, and organizer. She is passionate about collaboration and cultural production as tools of community-building and resistance. Her artistic and curatorial interests deal with diaspora, defiance, body archives, cultural artifacts, food, translation, labour, and space/place. Hajjar is a 2020-2021 recipient of the Foundation Mentorship Program at Mentoring Artists for Women’s Art as well as a 2020 PLATFORM Photography Award winner. She is co-founder of Carnation Zine and recently published a solo zine, Diaspora Daughter, Diaspora Dyke.
Patterns collective is comprised of Chukwudubem Ukaigwe, Shaneela Boodoo and Mahlet Cuff. The collective was formed as both a response to the colonial frameworks present at typical art galleries and the social restrictions imposed due to COVID-19. Centered on the idea of curating performances via virtual platforms, our goal is to bring communities together by connecting artists across colonially-imposed provincial and national borders. In addition to our founding goal, we are working towards creating Winnipeg’s first Portable Gallery. Patterns does not have a single venue as an operating space, but intends on executing shows in various cities by renting spaces or collaborating with other community connectors. Our ability to travel and execute programming in site-specific locations, while dependent on pandemic restrictions, broadens the scope of our potential. Through consultation and the strengthening of our collective infrastructure, our portable gallery will help inform what it means to move across the country in a creative, connective, and anti-colonial way.
REACH OUT AND TOUCH SOUNDS
in memoriam PO
Sometimes, the best thing we can do for ourselves (and each other) is resign to the notion we’re just collaborative passengers on a crazy universal trip, connect to the rotation of the planet, breathe with the tide, and resonate (together).
In a social/sonic experiment/experience, this project invites you to share your resonance – to reach out and touch sounds – with me and each other.
Its intention is to facilitate comprehensive connection (to self, one another, and the laws of physics) in a shared simultaneous immersion in and collaboration with a tangibly sensual onslaught of organically human(-sourced), tidally momentous sound (especially when blasted comfortably loud in sterereo).
This project is about harnessing our primal sound making impulse in multi-sensory awareness and weaving together those unique vibrations in unified breath cycles to create a vibrant and variegated sonic tapestry.
The seed sounds will premiere Sunday, March 7, 2021 at sarahjokirsch.com. I invite you to either just listen, or to follow the accompanying instructions/score in order to fully engage with your own sound.
You willing listeners/phonators out there can contribute an audio file of your resonant response (according to the instructions/score) to be included in the collaborative final track that will be premiered at Cluster 2021’s June reprise.
Record it on whatever you have available – a voice memo on your phone will do. It doesn’t have to be fancy or high quality, but it should be in a standard format (.wav/.mp3/.mp4).
Also, make sure that you wear headphones when you’re recording so you’re only recording your voice (though unexpected ambient sounds are totally welcome).
Once you’re all done, submit your audio file via wetransfer to email@example.com with your name (and a little message about yourself and your independent collaborative experience if you can muster one).
Get your sounds in before May 7, 2021 to ensure their inclusion!
I can’t wait to touch sounds with you.
Sarah Jo Kirsch (she/they) creates autocollaborative electroacoustic landscapes rooted in behavioural and biological attachments to non-verbal lyrical vocalization and the physical effects/affects of harmonic and timbral consonance/dissonance. Projecting a hyper-versatile vocal spectrum through the lens of digitally-assisted tactile impulse, they explore the relational nature of sound and the ability of the body to listen.
Sarah appeared regularly with Winnipeg's classical ensembles, series and festivals, and has performed across Canada, in Europe and West Asia. They have premiered dozens of new works for voice, largely by Canadian composers, and they continue to bring contemporary relevance to old (and new) art song through curating and presenting sociopolitically-focused recital experiences. Sarah is also half of Winnipeg-based a/v duo the gritty.
Jordan Unger is a grade 12 student at River East Collegiate who makes electro-acoustic ambient music in his free time. His music combines digital and acoustic instrumentation, samples, and field recordings to create sonic landscapes. Jordan takes inspiration from electronic artists such as Nicolas Jaar and Oneohtrix Point Never, and his experience in piano and trumpet also influences my work.
Collaborators Quintin Bart, Tatiana Friesen, and Raine Hamilton, wanted to find a way to make music together within the constraints of the pandemic. Musical connection is one of the trickiest things to synthesize during this disconnected time, especially in the winter. Many of the tools leaned upon for social connection, such as outdoor gathering (when allowed), and Zoom conferencing, are not a fit for music. The outdoor winter air is unkind to our instruments, and the time lag in Zoom (and in all video conferencing apps), make playing in real time impossible.
But what if we leaned in to this impossibility? If playing in time is not possible, what if we played out of time on purpose? What if we designed a work that made sense out of time, that layers and cooperates outside of that constraint? The trio set about composing a piece to be performed live on Zoom from our own respective homes, time lag and all.