Author: Sandra Hercegova

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Music

Discovering artists in the live music capital of the world

Recommendations of up-and-coming artists seen at the SXSW festival in Austin

VALLEY HUSH

Across from the Hotel Vegas music venue was an outdoor performance by Valley Hush (pictured above) on March 13. I was intrigued by their experimental pop sounds, so I decided to walk over and check out their show. Valley Hush came all the way from their hometown of Detroit, MI to perform for the first time at SXSW. The band’s lineup consists of singer-songwriter Lianna Vanicelli, guitarist Alex Kaye, bass player Mat Hofman and drummer Dave Dionise. Vanicelli has been playing music for the past 10 years, and became the vocalist of Valley Hush when the band formed in 2014. “Our music is a lot of everything,” she said. “We like textured sounds so we use a lot of organic samples. It’s experimental pop, but it can vary—it’s the type of pop music that has a lot of meaning behind it.” According to the band members, music is easier for them and the audience to get into when it has a deeper meaning. “I like to write about what I am struggling with in life, and I think everyone struggles. I struggle with money and jobs, love and relationships,” Vanicelli said. “The meaning of life is a big theme in our last album.”Back in Detroit, Valley Hush has their go-to performance venue: “L Club!” they all said enthusiastically. “L Club is our favourite! Shout out to L Club!” Kaye said. Yet the band is very eager to be playing outside of Detroit. “Detroit is a small scene, and I think we have been playing for almost three years now so we are definitely ready to play more in other cities with more industry,” Kaye said.That’s why Valley Hush will soon be moving to L.A to pursue their music. “We just got funding for touring purposes so we are ready to fucking… sorry. Fuck, whatever! We are ready to fucking do this!,” Hofman said excitedly. “We will be closer to Texas,” he said. “But further from Montreal,” Vanicelli added. The band is glad to have been in Austin for SXSW. “It’s a great festival—the opportunities here are really cool, and just to have five or six shows is a blessing. It’s cool to have one week where you’re playing a shit-load of shows,” Kaye said. “And in the same city—it’s kind of crazy,” Vanicelli added.

JOSH CASHMAN

Australian musician Josh Cashman performing at the Hyatt Regency for his SXSW showcase. Photo by Sandra Hercegova

Australian singer-songwriter Josh Cashman performed a soothing, romantic alternative-folk show on March 14 at the Hyatt Regency venue for SXSW. Cashman came all the way from Melbourne for his SXSW showcase. “This is such a worldwide-renown showcase and festival for up-and-coming artists, so [our team] applied for it, not thinking that we would even get it,” Cashman said. Cashman has been taking advantage of the opportunity by scheduling shows in cities across the U.S. “We toured around America for three weeks before SXSW. It’s been a hectic month and a half,” he said.The singer-songwriter has also been playing guitar since his early childhood. “I grew up in a house where we listened to music rather than watching television. That’s why I do music and that’s why music is a part of me,” he said. Cashman described his sound as soft, alternative folk with electronic textures. “Musicians usually describe that [their] genre is a mix of everything that you listen to over your lifetime, the things that you really like, and you pick and choose,” he said. According to Cashman, it’s all about taking elements from artists and genres he likes and creating his own kind of sound. “My music is always changing. I’m releasing an EP later this year, and I’ve got no doubt that the next EP that I will release after that will probably sound a little different—every artist evolves,” Cashman said. The new EP, he said, will focus on personal lyrics about love, relationships and heartbreak.

KEVLAR

Rock-metal band Kevlar performed a killer show at the Dirty Dog bar. Photo by Sandra Hercegova.

Rocking the stage at the legendary Dirty Dog bar on Sixth Street on March 14 was the hard rock-metal band Kevlar. Coming all the way from the small town of Erie, Pa., this was the band’s first time performing at SXSW. Kevlar consists of Kelci Margaret on vocals, Anthony Sanzo on bass, Nick Sanzo on drums and Jake Flaugh on guitar. Brothers Anthony and Nick started the band back in 2010. Flaugh joined the band five years ago, and singer-songwriter Margaret came on board two years ago. “They were looking for a new singer, and I have been a part of the band ever since and it’s been amazing,” Margaret said. Kevlar often plays gigs in Pittsburgh, Cleveland and Buffalo. Their dynamic on-stage energy makes them great performers and a blast to watch. “We always try to put energy into our stage performance as well as in our records,” Margaret said. Kevlar recently put out a single called “Alibis.” “We worked with an amazing producer on it, and we put our whole heart and soul into that—we’re really in love with it,” Margaret said. The band members said they were thrilled to be at the festival. “It’s a celebration of music,” Margaret said. “We’ve never actually played at a festival like this—just to be in a town where people are all here for music and arts is incredible.”

SHADOWPLAY

Alternative rock band Shadowplay drove all the way from New Jersey to perform at SXSW. Photo by Reji Berrouet

An alternative rock band all the way from New Jersey, Shadowplay consists of Andrew Corkery on vocals, Dan Holden on guitar and backup vocals, John Sellers on bass, piano and guitar, Jamile Wiggins on drums and Edward Flynn on bass. Flynn, unfortunately, could not make it to Austin, so Michael Brandt covered bass for the SXSW showcase. The band got to play at the Dirty Dog bar venue on March 14. Shadowplay has a classic alternative rock sound, with lyrics about self-reflection. “Our music is about our life experiences with a twist of surrealism,” Corkery said. “It’s about accepting loss in your personal life, accepting it and seeing the beauty of it and moving on.” According to the band, their music is a cathartic. Although the band hails from New Jersey, they also consider themselves a Philly band, as they play a lot of gigs in Philadelphia. Corkery has also visited Montreal before. “I’ve been to that venue, it was pronounced like, ‘Orange Couch’?,” he said, referring to Divan Orange. “One of our favorite bands is the Montreal band Godspeed You! Black Emperor.”

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Music

A youthful gathering of music enthusiasts

Forty-eight bands of all sorts of genres and styles played at The Blackheart bar over four days

I was strolling down the Rainey Street Historic District, a street known for great music venues and parties during Austin’s SXSW festival. I noticed many young people with festival badges and music equipment gathering in front of The Blackheart patio—I was intrigued. As I entered the venue, I was soon greeted by Christopher Moon, the general manager of NoiseTrade, a PledgeMusic company. NoiseTrade is a website that shares albums of up-and-coming artists for free. Moon is also the music curator for the Clif Bar Bash, an event which took place at The Blackheart bar from March 14 to 17. Moon and his team were in the middle of preparing to showcase their much anticipated lineup.

McNally Smith College of Music students helping with the stage set-up for the first performance by Charly Bliss. Photo by Sandra Hercegova

This was Moon’s 18th year at SXSW and his third year curating music for the Clif Bar Bash music showcases. Moon is responsible for booking bands for this event alongside his team. “It’s a big team, but a resourceful team. We started organizing this event last fall in September,” Moon said. Being a music curator involves a long process of music selection. “I must have listened to 400 to 500 different artists—I want to listen to their music and I want to know that it fits with the ethos of what we do at NoiseTrade, PledgeMusic and also our sponsors for Clif,” he said. “You want to make sure it’s high-energy, interesting, fun and that it’s going to be a good experience for everyone who comes out,” he said. According to Moon, curating music is the best gig. “I get to choose 48 of my favourite bands to come and play at a venue over the next four days, and at least at some point during each set, I can soak in a song or two from everyone—that’s pretty perfect,” he said. Twelve different bands played each day at The Blackheart bar. Each band had their own distinct sound from either grungy pop-rock to alternative folk ballads. Some of the bands included Charly Bliss, Swimming with Bears, Communist Daughter and Temples, who all performed on March 14.

The Blackheart’s backyard

Hanging out at The Blackheart’s backyard, I met up with McNally Smith College of Music students who came to SXSW as part of a music business class. Each student helped to set up the outdoor stage area. Millie Gibson is a vocalist and performer with a vocal major and a minor in business. “I came out here to venture opportunities and meet people and network,” she said. “I have never been to Austin or SXSW, so I thought it would be a really cool opportunity to go with my class and fellow peers and see what was out here.” According to Gibson, the attending SXSW is part of their class mandate. “When we come back from the trip, we are going to talk about our experience, what we learned, who we met and which shows we saw,” Gibson said.

Millie Gibson and Alex Sandberg, students from the McNally Smith College of Music, experiencing SXSW for the first time. Photo by Sandra Hercegova

Alyssia Kangas, is majoring in music business and, like most of her peers, this was her first time at SXSW. Kangas has been classically trained in music for the past nine years, she also enjoys jazz music. “I’m really excited to see Communist Daughter perform, I work at First Avenue bar in Minneapolis and I’ve seen them play there and they’re really good—I’m also excited to see Agnes Sobel, Delta Rae and Lincoln Durham which is an americana style band,” said Kangas. Alex Sandberg is an aspiring music promoter and photographer who is also majoring in music business. “I came here for networking. Communication is key—you’ve got to meet these people face to face and make a name for yourself,” said Sandberg.

The Concordian music editor Sandra Hercegova and singer-songwriter Mary Elizabeth Wachs hanging out at The Blackheart music bar.

I also spent some time with Mary Elizabeth Wachs, a passionate singer-songwriter. “I have a big heart, I have big dreams. Part of what drives me as a musician is that I want to be able to share my personal life story with as many people that I can,” Wachs said. Another student from the SXSW class was music business major and emcee, Alex Hall. He has been making hip-hop music for nine years. “Me and my old rap crew, we didn’t have a good business sense,” he said. “I decided that that’s the one thing that we were missing, so I’m going to learn more about it so that we can do music full-time,” Hall said. Each student had their own inspiring story, and they each expressed their delight at being at SXSW and how willing they are to make their musical goals come to life.

 

Charly Bliss at The Blackheart

First to perform on The Blackheart outdoor stage was pop-rock band Charly Bliss. They were hanging out by the stage before the show, so I passed by for a quick chat. The band had driven all the way from New York City to perform for the first time at SXSW. This four-piece pop punk-rockish band consists of lead singer and guitarist Eva Hendricks, Spencer Fox on guitar, Sam Hendricks on drums and Dan Shure on bass. “I think our music is very fun, it’s very poppy—we are influenced by pop and indie rock music,” Eva said.

From left to right, members of Charly Bliss: Eva Hendricks, Spencer Fox, Sam Hendricks and Dan Shure. Photo by Sandra Hercegova.

The band agreed that performing in Austin for SXSW is a right of passage. “You’ve got to do it once,” Fox said. The band will also be releasing their new album, Guppy, on April 21. All the band members pointed out that the album name was Fox’s idea. As they did, Fox put his hands on his cheeks, feigning innocence and gazing off into the distance “There’s an underdog-y feel to our band and our trajectory, and I feel like the title sums it up really nicely,” Eva said. Charly Bliss has been touring a lot lately—in fact, they played at Montreal’s Bar Le Ritz PDB back in January. “We are coming back in a couple of weeks,” Eva said. “We are playing with Operators in Montreal on April 1.” Charly Bliss then took centre stage and performed their first SXSW show with enthusiasm and high-energy. Few venues truly stand out and capture the vibrancy and energy of Austin during SXSW—The Blackheart is one of them.

Charly Bliss rocking out on stage as the opening act at The Blackheart bar. Photo by Sandra Hercegova
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Music

Nile Rodgers speaks to the souls of a million strangers

Legendary music composer Nile Rodgers playing guitar riffs from his hit single with Daft Punk, “Get Lucky.” Photo by Sandra Hercegova

SXSW hosted a keynote panel with composer Nile Rodgers at the Austin Convention Center

“When I was younger, my jazz guitar teacher, who is the single greatest influence on me—other than Bernard Edwards—asked me one day why I was studying with him. ‘Well,’ I said, ‘I’m studying with you because I want to play at concerts, I want to make records, I want to compose, do big orchestral works and films.’ He said, ‘Really? Is that the only reason why?’ I said, ‘Yeah.’ He said, ‘Oh that’s no problem, you could easily do that.’ I said, ‘Wow, really? How? And he said, ‘Play better,’” said Nile Rodgers.

Nile Rodgers is a legendary Grammy award-winning composer, producer, arranger and guitarist. He has released numerous hit records over the last four decades. He has greatly influenced popular music—he has over 200 production credits to his name. Rodgers has produced hit records for David Bowie, Madonna, Mariah Carey, Maroon 5, Britney Spears, Sam Smith, Pharrell Williams, Daft Punk, Michael Jackson and many others. He is also the co-founder of CHIC, one of disco’s greatest bands. On March 15, Nile Rodgers held a keynote panel at the Austin Convention Center as part of the SXSW festival.

Singer-songwriter Mobley opened Nile Rodgers keynote panel with an energetic performance. Photo by Sandra Hercegova

The panel began with a performance from experimental pop singer-songwriter Mobley. Originally from Austin, Texas, Mobley opened with an energetic performance. He jumped high up on the stage and as he landed slammed on his drums. His high energy on stage, along with his talent, made for an unforgettable performance. Mobley will no doubt be a big star in the near future.

As Rodgers took to the stage, the press swarmed to the front row to get close-up shots of him. Rodgers began his speech by telling us anecdotes on how he discovered success in the music industry. “They told me that they wanted me to talk to you about discovery. ‘Really,’ I said. Discovery? My whole life has been about discovery,” Rodgers said.The musical legend began performing as a classical musician. “I played in the symphony orchestra at the various schools that I went to,” he said. Rodgers never touched a guitar until he was 15. “But I could read music pretty well,” he said. “This gave me a huge advantage—when I started playing guitar, I was a really good music reader from the jump. That helped in my career because guitar players are notoriously known as bad music readers, even though they are amazing players.”

In the 1970s, Rodgers’ got his first job working for the children’s television show, Sesame Street. “I auditioned—they wanted a kid who could read the music for ‘People in Your Neighborhood,’ and ’Rubber Duck,’” he said. Rodgers read the music charts during the audition and got the gig, which set him off on an immense journey of musical and personal discovery. “The great thing about music is that it’s probably just like the universe. We’re just like planetoids, asteroids, just out there spinning around and we’re bumping into stuff. And as we bump into stuff, our trajectory changes and that’s what happened to me,” Rodgers said.

It was in the early 70s, during his gig on Sesame Street that Rodgers met Bernard Edwards, who was a record producer, bass player, singer-songwriter and a fellow member of CHIC. “Bernard Edwards was amazing. He was such an incredible musician,” Rodgers said. “He had such a fine ear, and I decided that I wanted to go on the journey with him.” Rodgers then formed a band with Bernard Edwards called The Big Apple Band. Both Edwards and Rodgers also worked as back-up musicians for a vocal group called New York City. “We had one hit record called ‘I’m Doin’ Fine Now.’ It did well,” Rodgers said. Eventually, the band became The Jackson Five’s opening act, which solidified Rodgers’ lifelong friendship with Michael Jackson. “We became friends forever,” Rodgers said. “I kept bumping into all these wonderful people, and my life just kept expanding. I found that I wasn’t intimidated by stars. I was comfortable with them, and I had some kind of innate talent for being able to communicate with them,” he said.

Whether Rodgers is in the recording studio, conducting a symphony orchestra or producing music for multiple artists, all he wants to do is help as much as he can. “There’s a certain love that I have for that musician, for that situation, because I think that music is the voice that I speak with,” Rodgers said. “And when I am working for you, I try to help amplify your own voice. I try to help you become better than you were because that’s what my teacher used to always do to me.”

A great musical influence for Rodgers was his jazz tutor who tutored him when he was around 15 years old. “I just idealized this dude. He was incredible, such a great musician. His knowledge of harmony was just amazing—he taught me how to play that way. That’s the essence of my style,” he said.

During the panel, Rodgers told an anecdote about the day he complained to his jazz tutor about having to perform top 40 records during a show. “I’ve got to play these bullshit songs like, ‘sugar, sugar, ohhh honey honey’—it’s all lame stuff,” Rodgers said, recounting what he’d told his tutor. Rodgers said his jazz tutor answered that any song that sells and gets to the top 40, top 20 or top 10 is a great composition. Rodgers then asked him, “how can you call, “Sugar, Sugar” a great composition?” “And he said something that changed my life. He said, ‘Because it speaks to the souls of a million strangers.’” Rodgers said this quote was so profound to him. “I wanted to learn how to speak to the souls of a million strangers—it woke me up to the power of what we call pop music,” he said.

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Music Quickspins

Peter Silberman – Impermanence

Peter Silberman – Impermanence  (Anti- Records, 2017)

Peter Silberman is the frontman of alternative-rock band The Antlers, and Impermanence is his first solo record. The album opens with “Karuna,” where Silberman sings straight from his heart and soul: “disassembling, piece by piece, deteriorating, decayed, decreased.” He sings about hope and wanting to heal. The track has subtle guitar sounds and intriguing pauses of silence, along with Silberman’s delicate voice. In “New York,” Silberman’s voice is beautifully soft-spoken and sad. His vocals and the song style on this album are reminiscent of singer-songwriter Jeff Buckley. “Maya” is a light love song, one that could be sung perfectly under the moon and stars. In “Ahimsa,” you get a sense of peace through the instrumentation, as birds chirp in the background while Silberman sings, “no violence today.” Impermanence is an odyssey that will put you in touch with your emotions. It is sad, genuine, yet comforting to listen to. A great playlist to let your mind wander.

Trial Track: “Karuna”

Rating: 9/10

 

 

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Music

Murs – Captain California (Strange Music, 2017)

Murs – Captain California (Strange Music, 2017)

Los Angeles underground rapper Murs, opens his album up with the track “Lemon Juice.” Just when you thought all rappers today were starting to sound the same, this track swoops in to dismiss that generalization. As refreshing as its name, “Lemon Juice” is a clever and humorous rap dialogue between Murs and featured rapper Curtiss King. In the track, both spit rhymes to see who can win over a woman they both find attractive. In “Shakespeare on the Low,” his flow is quick and sharp as he tells a story of being so madly in love that it ends up killing him. The song fuses beautiful verses with an original hook, one that stands out throughout this album. In GBKW (God Bless Kanye West), he raps about different scenarios and struggles that black men face, such as police brutality. “He’s running for his life, this happens every other night. Walking out the door, he just wants to make it home. A young black male trying to make it on his own.” If you’re searching for underground raw hip-hop, Murs has got you covered with this record.

Trial Track: “Shakespeare on the Low”

Rating: 8/10

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Music

Blanck Mass – World Eater

Blanck Mass – World Eater (Sacred Bones Records, 2017)

Blanck Mass is a solo electronic/experiential music project by Benjamin John Power. Power’s recent album,  World Eater  is at level 100 when it comes to sound experiments. The opening track, “John Doe’s Carnival of Error,” is a short lullabye with a nostalgic sound one might have heard at an amusement park or carnival as a child. It has a spooky, alluring essence as the same hook is repeated continuously, making it a hypnotic electronic tune. “Rhesus Negative” is a storm of electronic sounds coming at you from all directions. If your happy place is being surrounded by constant loud noises, this track will thrill you. “Please” tones it down a bit with slow vibrant sounds, making it a peaceful electro dance song that is easy to follow compared to the other songs on the album. From industrial noises of all sorts to hardcore electronic bass lines, the album might sound like a cacophony to some, and a masterpiece of originality to others.

Trial Track: “Rhesus Negative”

Rating: 5/10

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Music

The Great Novel’s road to rock

Montreal folk-rock band explores American literature through their lyrics

“You’ve got to shed your skin on the road of existence,” is The Great Novel’s mantra of their new album, Skins. The Montreal folk-rock band released the record on March 3 at La Sala Rossa. The lineup consists of Endrick Tremblay on lead vocals, guitar and harmonica, Marc Olivier Tremblay Drapeau on double bass and vocals, and Gabrièle Côté on vocals and percussion. The album explores new tones and narrative styles in the songs, breaking free from country/folk tracks and entering the realm of rock and roll. Skins has a vintage Americana feel to it—it’s the ideal soundtrack for an escapade to California’s Big Sur.

It’s been four years since the band’s inception, and The Great Novel is continuously jamming, performing and touring together. Originally, Tremblay began this band with a solo project in mind. “At first I wanted to write songs on my own,” he said. “The idea was to have a backup band, then it became a collaborative project where everyone gives their ideas.I’ve been a musician for a long time, mostly doing covers, bluesy stuff. At that time, I was obsessed with Robert Plant’s album, Raising Sand. It’s a folk album that has a rock vibe—I love how that sounds together,” Tremblay said.

Then Tremblay met Côté. “She had a good voice, so we tried to make some songs together,” he said. Drapeau eventually joined the picture alongside their former drummer, Tristan Forget. According to Tremblay, initially, there were no drums and their music was much more smooth. “We then decided to add drums. Turned out the drummer was so good that we asked him to join the band,” he said.The band then started to write more music together. “I chose these members because I was looking for that type of instrumentation,” Tremblay said. The band then traded their upright bass and acoustic guitar for the electric bass. “That’s when we became more rock. Our tones are much more classic rock than in our first album,” Tremblay said.

According to Tremblay, their lyrics are influenced by legendary authors in American literature, such as Mark Twain, Charles Bukowski, Jack Kerouac and J.D Salinger. “I was at a point of my life where I discovered a passion for books, especially American literature,” he said. As a French-Canadian, he said he didn’t get a chance to read the classics, such as How to Kill a Mockingbird, in elementary or high school. He read them later on in life and was fascinated. “These books have a particular quality about them. Since they are American, the writing has a street style. It has more action and rhythm,” Tremblay said. With his passion for American books and the band searching for an original name, the expression “The great American novel” came to mind. “So why not call us The Great Novel,” said Tremblay.

However, The Great Novel has also been inspired by a Canadian book, The Apprenticeship of Duddy Kravitz by Mordecai Richler. It takes place in Montreal in the 1930s.“It’s about a Jewish man who wanted to get rich and would do anything for it,” Tremblay said. “I live a bohemian lifestyle and my life goals aren’t money-oriented. I thought it would be interesting to write in the skin of a character who has different values than myself.” Overall, Skins explores a variety of characters through storytelling. Its lyrics touch subjects of youth, eroticism, hard work and poverty.

Their new record took the band over a year to prepare. “We just wanted to do something unique, to experiment with sound texture and tonality,” Tremblay said. The album was recorded in just 10 days. “Those days were intense emotionally. It was 10 days of us just being together. It was a moment in time that we will never forget,” Tremblay said.

The Great Novel’s music video for their single “Get Me Some Land” explores retro-American cinematography. It feels as if you are watching a short thriller film, and the song just blends in seamlessly with the narrative. “As I described our lyrics to Pablo, our video producer, our song made him think of the American film Barfly, written by Charles Bukowski,” Tremblay said.The main actors of the music video are The Great Novel band members themselves. “I wanted to have that experience of being an actor for fun,” Tremblay said. “It turned out to be an intense and hard experience. They had to change my style. They gave me a moustache.” In the video, Côté plays the bartender and Drapeau plays the man who beats up Tremblay. “My brother played the motorcycle club guy, someone from our hometown passed us his truck—we had a small budget and had to do the whole thing in two nights,” Tremblay said.

The band has been on the road recently touring across Ontario and through the Maritimes. “People love to enjoy and party to our music, especially in the countryside. We were once booked for a one-hour show and ended up playing for four hours,” Tremblay said. The band is curious to see how people will react to their new rock album. They are headed to France in the spring for a European tour.

According to Tremblay, The Great Novel is a band that has family spirit. “We have been through so many things together, personal issues, so many hours on the road, but we are always there for each other. They are going to be part of my life for as long as I live,” Tremblay said.

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Music

Swedish pop band visits Montreal

The Radio Dept. to perform at Théâtre Fairmount for their North American tour

Travelling all the way from Stockholm to Montreal are Johan Duncanson and Martin Carlberg, the duo known as The Radio Dept. Théâtre Fairmount will be welcoming the Swedish pop duo on Monday, March 6. They will bring the party to their audience while performing their latest album, Running Out of Love. It’s a politically-charged album that is perfect for grooving to, with its fusion of pop and European electronic dance ballads.

The band has been around for 16 years—Duncanson and Carlberg began making music together back in 2001. “Martin and I, we like pop music and we want it to have a light, experimental touch,” Duncanson said. “We have the same taste when it comes to chords in melodies and arrangements.”The Radio Dept.’s sound has evolved throughout the years. “At first, it was always acoustic guitar, bass and vocals. Now, for the past 10 years, we’ve added drop beats and bass line,” Duncanson said. The band name, The Radio Dept., was originally the name of Duncanson’s previous band. He ended up re-using the name for his current band. “When Martin and I started our band, we did not have any imagination so we stole that band name,” he said.

The Swedish pop duo fuses melancholic dance music with vocals and bass. “We listen to a lot of dance music. Although we are inspired by a lot of instrumentals, we want to focus on making pop music,” Duncanson said. Duncanson writes most of the songs, and Martin plays the guitar and bass. “We live in different cities, [so] I do a lot on my own. I write most songs and then play them for Martin,” Duncanson said. “Martin is better at playing guitar and bass.”

The Radio Dept. explores melancholic lyrics with vibrant pop music. Photo courtesy of Radio Dept.

Running Out of Love opens with their track “Sloboda Narodu,” which means “death to fascism, freedom to the people” in Serbo-Croatian. Duncanson heard about this expression in a Swedish documentary, which is what sparked his inspiration for the song. “The documentary was about a journalist travelling around old Yugoslavia, trying to find people who knew old partisan songs. The journalist came across a girl who sang the sloboda narodu slogan,” he said. “I didn’t know of this slogan before, and wanted to use it.” There have been political issues in Sweden concerning their gun trade for the past seven years, according to Duncanson. The duo wanted to use their musical talents to bring awareness to these issues. Duncanson said their track “Swedish Guns” has been misunderstood by many. “It’s been misinterpreted in the States as being a song about carrying a gun. That is not what it’s about. It’s about the arms industry,” he said.

Radio Dept.’s latest album, Running Out of Love.

According to Business Insider, Sweden exports arms and weapons to different countries around the world. “We have done it for a long time. I don’t know if people know this outside of Sweden, but this is something we are quite ashamed of,” Duncanson said. This issue is reflected in the lyrics of “Swedish Guns,” as Duncan sings, “Cause who can be to blame for Swedish guns? A clue, it’s in the name, a diabolic shame.” The song has a pop-dance rhythm, all while sharing a powerful political message. “We would like to make our money in some other way. It’s not a good feeling to sell weapons to other countries,” Duncanson said.

Running Out of Love has succeeded in fusing upbeat dance music with political lyrics. “We wanted to make our music slightly darker than before, but not too dark because we are optimists and hopeful people,” Duncanson said.The Swedish duo, currently on their North American tour, will be performing in Montreal at Théâtre Fairmount on March 6. Doors open at 7:30 p.m, and the show begins at 8:30 p.m. Tickets are $18 online or $20 at the door.

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Music

Valérie Poulin to perform at Divan Orange

Montréal en Lumière Festival invites local musician to perform her first EP, 1992-2016

Every spring, the Montréal en Lumière Festival brings a multitude of shows to the city, highlighting local up-and-coming artists. This year, the festival invited singer-songwriter Valérie Poulin to perform at Divan Orange on March 1. She will be performing her first EP, 1992-2016, along with new songs she recently composed. The EP has an old-school rock and roll, vintage and bluesy feel to it. Her lyrics, filled with passion and emotion, along with her raspy voice, give most people chills. Joining her on stage is her backing band which includes, bassist Étienne Duprès and drummer Thomas Sauvé.

Poulin moved to Montreal from Saguenay three years ago to pursue her musical career. “Back home, I was studying to be an art teacher, and in the depths of my mind, I knew I was not doing the right thing. I really wanted to compose my music,” said Poulin. Leaving her hometown for the big city was not an easy thing to do, as Poulin did not know many people here in Montreal. However, she was pleased by the support the city has for young artists. “The music scene in Montreal is fantastic. There are so many artists in this city who are around my age—we relate together and we do shows together. We book shows and help each other out. It’s like a little community,” Poulin said.

According to Poulin, 1992-2016 is a compilation of the best songs she has composed in the last three years. “Creating the album has helped me progress spiritually. It helped me find a way to express what was in the back of my mind and let my subconscious speak,” Poulin said. The title of the EP represents the end of an era for Poulin, who was born in 1992. “I was going through a phase, but I’m done now,” she said. “I am moving forward, I am making new songs, and they are very different from the songs on my EP.”

Poulin’s lyrics are filled with relatable heartfelt stories, such as those of romance and heartbreak. She writes her songs based on her emotions. “When I find something that really speaks to me and I feel emotions that start moving inside of me, I just let it go. I start writing and singing without thinking,” said Poulin. According to Poulin, most of her songs are written through automatic writing — she writes what’s on her mind without second thoughts. She also composes songs with her bandmates, Duprès and Sauvé. “Sometimes, it takes a long time to compose a song because I really want it to have feeling in it. You can see it through the performances in my shows that the music is very passionate,”Poulin said. For her, songs must have a meaning. “My music is very intuitive. If I have nothing to say, I won’t force it,” she said.

In 1992-2016, Poulin sings and plays electric guitar alongside Duprès and Sauvé. “We always play as a trio. When I come to our jam, 80 per cent of the songs are ready, and they make their own arrangements. We have one or two songs we made together which is amazing because these guys are brilliant musicians,” Poulin said. While recording, the band brings in David Marchand, who plays the lap steel guitar. Poulin and her musicians have been playing at venues in Montreal for the last two years. They have already played at Divan Orange a few times. “It’s a lot of fun because we got much better in a short period of time. My musicians are also very active—they’re always going to practice at the studio and play with different bands. Our chemistry on stage can easily be seen when you see us perform,” Poulin said.

One thing Poulin made very clear is that she loves being on stage. She said it’s a place where she thrives and expresses herself completely through her music. “The audience can feel it too. We’ve had shows where people went hysterical, which surprised me,” she said. Poulin’s most recent songs are very rock and roll and groovy compared to her EP, which is full of soft rock ballads. “The audience isn’t expecting these type of songs to be played at the show after listening to the EP,” Poulin said. Her new songs can be heard exclusively at her live shows, a surprise for fans. “I want to start recording them in the studio. My focus now is to raise money to record our new songs because they are really good,” she said.

1992-2016 is local singer-songwriter Valérie Poulin’s first album. Photo courtesy of Valérie Poulin

Recording 1992-2016 was Poulin’s first experience recording in a studio. “Working in a studio improved the songs. When you get to hear what you are doing, it’s then you realize, ‘oh, this is not working, but this works,’” she said. According to Poulin, being in the studio helped her improve her guitar and vocal skills. For Poulin, inspiration comes from a multitude of places. “The things that inspire me are not even music most of the time. It’s more like the human itself, confidence that people give me, poetry, acting, places, arts,” she said.

Her song “En Rester Là” was inspired and written based on Poulin’s love life. She had already composed the guitar riffs and instrumentals before the chorus. “As for the lyrics, I fell in love with someone and the person was in love too. There was a barrier for her and she couldn’t go through it. But there was love—it was platonic love,” Poulin said. According to her, the song can be understood by imagining yourself walking with someone, holding their hand, thinking you are going somewhere together, when suddenly the person is not there anymore. “You ask yourself, ‘where am I?’ In the chorus, I say: ‘C’est ou ici?,’” Poulin said. “You can hear it from the chorus that something sad is happening, but it’s mainly about that feeling of knowing that there is potential but that nothing is going to happen,” she said.

According to Poulin, spending a few years as a musician has made composing music and performing onstage an essential part of her life. “I just found out that I need it. I am filled with energy. When I perform, the energy circulates in a way that brings me release. I realized that I needed it, it is vital for me and, if I don’t have that, I go nuts,” Poulin said. Poulin plans on working with her bandmates to record their latest songs, and to keep on performing as much as she can. “I would also like to be able to listen to my EP and not criticize myself—to listen to it with content and to be satisfied,” she said. “I want my musical path to be filled with love, good relationships and to share my passion for music. I do not want to lose my heart in the process.”

Valérie Poulin will be performing at Divan Orange on March 1 at 9:30 p.m. Tickets are available at the door.

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Music Quickspins

The Orwells – Terrible Human Beings

The Orwells – Terrible Human Beings (Canvasback Music, 2017)

The Orwells might be Terrible Human Beings, but they have compiled an eclectic, grungy, rock and roll album. If you are a fan of grunge 60s rock, chances are you will be delighted with this playlist. The American band from Chicago sounds just like typical young guys in a garage band expressing their teenage angst. Their opening track, “They Put a Body in the Bayou,” has an interesting set of lyrics that might raise a few eyebrows: “Told me act your age, that’s why she’s underage, said her papa hates the Federales and when he drinks too much he smacks her face.” Song after song, each have a distinct 60s grunge aesthetic that leaves all tracks sounding similar. Each might be great on their own, yet, as an album, their ballads tend to sound repetitive. Overall, a great grunge rock album filled with vintage melodies and grungy guitar riffs.

Trial Track: “They Put a Body in The Bayou”

6/10

 

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Music Quickspins

Psychocide – Alcohol + Bad Decisions

Psychocide – Alcohol + Bad Decisions (Psychocide, 2017)

Psychocide is the rock and roll band that will take you back to the early days of the Red Hot Chili Peppers and Incubus. Their rock-on attitude in Alcohol + Bad Decisions will leave you wanting to jam out all night. “Crazy Janet” opens the album with high-energy guitar riffs reminiscent of old-school rock. Their tracks will remind you of songs from RHCP’s earlier albums, such as, Blood Sugar Sex Magik. In “Mary,” you’ll hear a classic high-energy rock tune with electrifying guitar solos. This track is sure to make you nostalgic as you think about your favorite 80s and 90s rock bands. Originally from NYC, Psychocide has now made Montreal their home. We can hear Montreal’s influence in their track “Mr. Suit,” with its mixture of French and English lyrics: “C’est quoi ça, chocolat!” Overall, the album captures the essence of classic rock—an excellent decision for a party playlist.

Trial Track: “Mary”

7.5/10

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King Gizzard & the Lizard Wizard – Flying Microtonal Banana

King Gizzard & the Lizard Wizard – Flying Microtonal Banana  (Flightless/ATO, 2017)

Australian psych-rock band King Gizzard & the Lizard Wizard brings forth an unusual psychedelic 60s rock inspired album. This record will take you on a hypnotizing trip to a place where world music fuses with psychedelic sounds. If you play this record at a social gathering, people will instantly ask where this music comes from. Their track “Billabong Valley” features the sitar guitar, a traditional musical instrument from India. The song blends psychedelic rock with traditional Indian music rather smoothly. “Open Water” also features the sitar guitar, but it’s complemented by 60s garage guitar riffs. Their track “Anoxia” also combines rock and world music that can put the best of us in a haze. In “Doom City,” you’ll hear a heavy bassline and various electronic and guitar sounds. It’s a confusing ballad that sounds bizarre and yet astonishing. Flying Microtonal Banana is a world of its own for us to discover.

Trial Track: “Billabong Valley”

6.5/10

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