Author: Stefano Rebuli

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Music Quickspins

QUICKSPIN: Lyrical Lemonade—ALL IS YELLOW

Album cover courtesy of Apple Music.

Video director Cole Bennett rounds up his famous friends for the debut Lyrical Lemonade album.

Cole Bennett made a name for himself and his media company Lyrical Lemonade in the late 2010s by directing rap music videos. With his unique editing style involving bright colours, and quirky effects, he rapidly established himself as a go-to director and boosted many rappers’ careers during the SoundCloud era (2016-2019). Fast forward to 2024, he has gathered many of these names into one curated, collective album, released under his own company’s banner.

All Is Yellow shines best due to its array of voices. Bennett taps several legends from his hometown of Chicago such as drill rappers Lil Durk, Chief Keef, and G Herbo, and late superstar Juice WRLD. Alongside on the roster are Lyrical Lemonade alumni, first-time collaborators, and underground hip-hop veterans. 

Some of the less likely match-ups make for surprisingly effective crossovers on the album. Melody and melancholy intersect effectively as Latto, Aminé, and Swae Lee join forces on “Special.” Detroit and Chicago link up on “Equilibrium,” as BabyTron and G Herbo sound perfectly collected and laser-focused over an airy trap beat.

For the most part, the record is a standard, trap-influenced hip-hop album. There are moments where simplicity strives; take “Guitar In My Room” for example, whose guitar melody lays the groundwork for a stellar, heartfelt Lil Durk performance. 

There’s also “This My Life”—a simple, piano-based track featuring Lil Tecca, The Kid LAROI, and Lil Skies. The trio delivers solid melodic performances that call back to the music they were making back when they first claimed fame with the help of Lyrical Lemonade. The track is a time capsule that perfectly captures the ethos of the prime Lyrical Lemonade era.

However, on cuts like “Say Ya Grace” and “Stop Giving Me Advice,” the lack of instrumental progression makes it easy for the beats to get stale quickly and drag on for up to four minutes at a time. 

Some of the more interesting production moments consist of other rap styles, as well as deviations from hip-hop altogether. Juice WRLD and Cordae team up on “Doomsday,” a freestyle recorded over a classic Eminem beat in 2019. The track is a clear highlight given their undeniable chemistry, charisma, and knack for wordplay.

The triad of Gus Dapperton, Lil Yachty, and Joey Bada$$ results in a warm, lush piece of groove-heavy indie pop on “Fallout,” complete with a tempo switch halfway through. This same mellow tone defines other tracks as well: It helps the sentiment of sincerity shine on “Hello There,” and lends “Hummingbird” a tranquil feel.

Many of the performances are up to par, though the instances of guests falling flat stick out more than those who give outstanding performances. Ski Mask the Slump God paints by the numbers on “Fly Away,” giving a predictable verse that sounds trapped in 2018 (his signature ad-libs also sound out of place, given their cartoonish nature over a cinematic instrumental). His performance pales even harder in comparison when JID swoops with his masterful display of flow and multisyllabic rhymes. 

Some of Eminem’s disses to Benzino on “Doomsday Pt. 2” come off as cringe, along with the unnecessary stray at the latter’s daughter, rapper Coi Leray. Cochise’s contribution to “First Night” strips him of his best qualities, forcing him into a rather standard performance over an instrumental that is better met by the rest of the track’s features.

Overall, All Is Yellow is a decent showcase of Lyrical Lemonade’s star-studded list of alumni. Although it does not reinvent the wheel, it gathers a large crop of artists and births unique results from otherwise unlikely pairings.

6.5/10

Trial track: “Guitar In My Room”

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Music

Porqueria Party takes on Montreal

2024 poster of Planet Porq. Courtesy of Samia Liamani.

Ready to party? Planet Porq is invading this week.

Samia Liamani is a multifaceted creative (DJ, casting agent, art director, photographer, and more) based in Mexico who was raised in Montreal. She throws events under the banner “Porqueria Party,” hosting parties all over the world with curated DJ lineups. These events are all united by the overarching theme of “global sounds.” “From South African Amapiano to Brazilian funk to Reggaeton to Angolan Kuduro, French Caribbean Shatta, the common thread is the undeniably infectious way you will want to move your body to the beat,” Liamani explained in a press release.

Following Korea and Mexico, Canada is the latest country to be treated to its own Porqueria Party, with a curated calendar in February titled “Planet Porq.” Across seven days of events, Montreal’s local talent, cultural abundance, and variety of musical styles will be showcased in different venues through different DJs.

Kicking things off is French DJ-producer Lazy Flow, who is set to make his first Canadian appearance at Théâtre Fairmount on Feb. 2. His eclectic style is described in Porqueria’s press release as “celebrations and a mastery of rhythms inherited from the pioneers of House, the icons of Ballroom, the jerking of Baile Funk, UK Bass, Bouyon, Shatta and beyond.” Flow is headlining for DISCOÑO, a local queer Latinx dance party collective. Joining him on the lineup are local DJs mCherry, Jerico, and La Niña Kiwi.

Porqueria is set to take over Nouvel Établissement on Feb. 3, with a star-studded lineup of DJs who have played across Montreal’s most popular clubs (Apartment 200, Soubois, Francesco’s, etc.). The lineup consists of Samia, Chloe Lallouz, A$h Banks, Teo2k, Jashim, Gurafiku, and Manalou. A blend of Afrobeats, house music, Amapiano, hip-hop, Brazilian baile funk, Arabic music, and queer club music is to be expected, along with other genres. The night is also a dress-up party with a “future rodeo” theme—everyone is encouraged to revive their silver-studded outfits from Beyoncé’s Renaissance Tour.

Gurafiku expressed gratitude for being invited back after playing for Porqueria in Korea. The “global sounds” theme allows her to diversify her sound in a personal way: “I can play things from my Caribbean background, so I’m happy and honoured.”

On Feb. 7, Samia will team up with Vancouver DJ-producer RICHTANNER® and fellow Mexican producer Bastian Bell to put an international spin on R&B200, the increasingly popular R&B-focused nights at Apartment 200. The trio will also be gathering the following night at Vino Disco for a showcase of Up Records (the collective to which RICHTANNER® and Bell belong) and their latest edit pack (remixes of existing songs).

Finally, Porqueria is teaming up with local Latin music collective Frikiton on Feb. 9. The collective is already set to play at IglooFest, with Samia and mCherry subsequently playing the official “après-ski” after party at Velvet, a speak-easy. Liamani teases “reggaeton, guaracha, cumbia, moombahton and more.” 

If you’re looking to party, Porqueria has you absolutely covered with its DJ calendar packed from end-to-end with talent and culture. Regardless of which DJ or music style you land on, you are guaranteed to end up dancing.

“Rather than highlight one specific kind of music, we are more focused on promoting a sense of community. Coming together can be a nice example that more can be achieved through collaboration in creative spaces,” said Liamani.

See the full calendar of Planet Porq in Montreal below.

Feb. 2 – Discoño at Fairmount Theatre – Tickets

Feb. 3 – Porqueria at Nouvel Établissment – Tickets

Feb. 7 – R&B200 at Apt 200 (Guestlist)

Feb. 8 – Futureporq at Vino Disco – Free

Feb. 9 – Frikiton at Igloofest + Après-Ski at Velvet – Tickets

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Concert Reviews Music

Armand Hammer sells out Bar Le Ritz PDB

Armand Hammer at Bar Le Ritz PDB on Jan. 20. Photo by Stefano Rebuli // The Concordian

One of underground hip-hop’s finest duos returns to Montreal.

On Jan. 20, billy woods and ELUCID made their return to Montreal. Known together as Armand Hammer, the New York rappers kicked off the second leg of their tour in support of their latest album We Buy Diabetic Test Strips at Bar Le Ritz PDB on Jean-Talon Ouest Street. 

The rappers played a sold-out show for a packed crowd that easily hit the bar’s 300-person capacity. At the start of the show, they announced that it was their first show of the year, prompting an enthusiastic crowd reaction. The room was dimly lit by a few red spotlights, setting a true underground feel. 

The show officially kicked off with songs from We Buy Diabetic Test Strips. Hearing these tracks gave weight to woods’ claim about the sound system: from the looming low-end on “The Unreliable Flexibility of Space and Time” to the brash, abrasive cymbal crashes throughout “Trauma Mic,” the sound quality was pristine. woods had previously played at the venue twice in 2022, including once as Armand Hammer. “I know that the subwoofer in this venue is crazy,” woods shared with the crowd. 

Armand Hammer’s albums are skillful displays of lyricism, and their live shows are no different. Both MCs rapped every word without missing a beat, and their lyrical performances were enhanced by their compelling deliveries. ELUCID swayed along to the beat while perfectly delivering his signature, unorthodox flow, which is scattered yet perfectly linear. Meanwhile, woods’ delivery was bold and compelling, occasionally bordering on yelling. 

Every bar was razor-sharp, and the sheer power of his voice commanded full attention. The onstage chemistry between them was undeniable, like any other show: they ad-libbed in synchrony, and their back-and-forth repetition during the end of tracks made their choruses feel like mantras.

From the psychedelic haziness of “Landlines” and “Woke Up and Asked Siri How I’m Gonna Die,” to the underground rumble of “Blocked Call” and “The Key is Under The Mat,” the tracks perfectly showcased the sonic versatility that made Hammer’s latest album so unique and enticing. 

Fans were also treated to songs from all across woods’ and ELUCID’s joint and solo catalogues. ELUCID performed “Spellling” and “Mangosteen” from his 2022 album I Told Bessie, both of which had guitar-esque twangs ringing out beautifully over the speakers. woods dove into Hiding Places (with Kenny Segal), a classic among underground rap fans for its harrowing nature. Its tracks made for some of the night’s best performances: “Checkpoints” was ridden with strong emotion, and the hook on “Spongebob”—his most popular song—made for the strongest call-and-response from the crowd. 

The pair also threw in two of their most widely known songs with Earl Sweatshirt, “Falling out the Sky” and “Tabula Rasa.” They wrapped things up with “Stonefruit” from Haram (2021), just like their 2022 show at Bar Le Ritz PDB.

Throughout the show, the MCs showed a strong connection with fans. They raised the volume twice to the crowd’s liking and stuck around after the show to sell merch and sign records. The artists who truly love their art are the same ones willing to lug around stacks of vinyl in their suitcases and take Ubers to shows. Between captivating, unparalleled music, compelling live performances, and one-on-one conversation opportunities, Armand Hammer are truly for the fans.

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Music

Nicholas Craven brings Fair Exchange No Robbery to life in Montreal

Hoodie on display at the Fair Exchange No Robbery pop-up event on Jan. 13. Photo by Stefano Rebuli // The Concordian

The local producer hosted a pop-up event on January 13 for his 2022 joint project with Boldy James.

Montreal-based producer Nicholas Craven has been building an empire in the underground hip-hop realm for years now, both in and outside of Canada. His work with Griselda signee Boldy James, a Detroit rapper, led him to one of his biggest breaks yet. 

After initially linking up during a tour stop in Montreal, Craven later made several trips to Detroit to record a collaborative mixtape with Boldy James. Released in 2022, Fair Exchange No Robbery became a staple for underground hip-hop fans thanks to its combination of blissful soul sample loops with Boldy James’ clever lyrics and icy, deadpan delivery. 

To commemorate the album’s success, Craven threw a pop-up event on Jan. 13. It was held at Léviter Mtl, a local streetwear shop on St-Denis St. The official merchandise hoodies for the project were being sold in-person for the first time, and the event doubled as an autograph signing. Dozens of fans dropped by throughout the night to meet Craven, buy merchandise, and have him sign their hoodies and vinyl records. 

Additionally, it has gained prominent cultural significance in Craven’s hometown: the mixtape’s cover is a flip of the iconic design on Quebec’s maple syrup cans.  He spoke highly about the artwork: “I’m so proud of that cover. There’s so much nostalgia within that design, and I found something that could be enjoyed by so many people. To be the first to rock it on a cover that way is hype.” Stack Moolah, the artist who created the cover, elaborated on how it has given a new life to an existing design: “For fans outside of Montreal, they may easily associate it with a hip-hop album rather than a can of syrup.” 

Craven was visibly enthused by one fan who brought a can of syrup for him to autograph. Both artists credit Boldy James as the inspiration behind the cover, thanks to a lyric on “Power Nap” where he raps, “Dozed off in a coupe off a four of maple.” A drug called “lean” is commonly referred to as syrup, and can be seen on the artwork flowing into the sap buckets.

There were also DJ sets throughout the event from Craven, Stack Moolah and RobyStudios (Roberto Viglione). Stack Moolah, the man behind the cover art, mixed classic and underground hip-hop. Craven followed suit, also playing his new collaborative mixtape with Boldy titled Penalty of Leadership in full (which was released a day prior, on Jan. 12). He simultaneously debuted a slew of unreleased Boldy James tracks, leftovers made during the sessions for that project. Roby, the producer-engineer who mixed and mastered Fair Exchange No Robbery, brought on some infectious, danceable energy by mixing amapiano music, a go-to genre for his recent DJ sets.

The night served as an accessible rendezvous point for fans of the project and aficionados of underground hip-hop in general. Local rappers Rowjay and Mike Shabb even stopped by later in the evening, giving fans the chance to meet and speak with them. Craven was in good spirits: “The turnout was amazing—way more people than I thought and so many hoodies got sold. Everything was perfect, way above my expectations.” 

Reflecting on the album’s legacy, the producer stated: “It’s ill that one of my favourite designs from my culture is now associated with me through hip-hop. It’s the best thing that could have happened.”


Fair Exchange No Robbery and Penalty of Leadership are available on all streaming platforms.

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Music Quickspins

QUICKSPINS: Kali Uchis — ORQUÍDEAS

Cover art courtesy of Apple Music.

The Colombian-American singer pulls from an array of dance styles on her second Spanish-language album, to stunning results.

Before releasing her latest album Red Moon in Venus in March 2023, Kali Uchis already announced that her next album—a Spanish effort—was on the way. ORQUÍDEAS arrived on Jan. 12, less than a year later. It is the Colombian-American singer’s fourth studio album and second Spanish-language effort following Sin Miedo (del Amor y Otros Demonios) in 2020.

ORQUÍDEAS is her most versatile album to date, with a sonic palette that pulls from a large range of dance music styles. From upbeat to mellow and ambient, the album contains numerous moods and textures. The opening track “¿Cómo Así?” features an upbeat rhythm driven by punchy kicks, clearly influenced by house music. This is equally the case for “Me Pongo Loca” and “Diosa,” both of which are just as bouncy, but more lowkey and slow-tempo. “Igual Que Un Angél” is a glimmering piece of dance-pop characterized by all sorts of twinkling synthesizers and a heavy bassline. The song is a duet with Mexican artist Peso Pluma, whose lower vocal range perfectly contrasts Uchis’ higher pitch. His performance is similarly smooth and pleasant, making for a perfectly complementary addition. Elsewhere on the record, she steps into familiar territory with bedroom pop and R&B tracks like “Pensamientos Intrusivos” and “Young Rich & In Love,” which recall the sounds of her usual work.

Latin dance styles are also crucial to the album’s soundscape. “Te Mata” is tried and true to the Cuban bolero subgenre with its traditional instrumentation and lyrics about love. Uchis is falsely labeled as the villain in a toxic relationship, but embraces it, showing that she is the bigger person. This track is one of many on ORQUÍDEAS that highlights her fantastic vocal ability and range. Here, her opera-like voice goes from a lower register to a higher one with full power. She soars to even greater vocal heights on other tracks, notably pulling out whistle notes on the track with Pluma. Her vocal layering and harmonization are stunning, especially on “Heladito” where her background harmonies are even more entrancing than the song’s heavenly chimes and strong groove. Her embrace of bilingualism across the record is noteworthy as well. Similarly to “Hasta Cuando” and “Como te Quiero Yo” from Red Moon in Venus, the singer effortlessly switches between English and Spanish, from single lines to entire verses at a time.

The last leg of the record is essentially dominated by reggaeton, bringing a burst of energy to the record with back-to-back upbeat songs. “Muñekita” is a fun reggaeton banger that continuously speeds up and slows down, offering up dynamic tempo changes. She is joined by Dominican rapper El Alfa and American rapper JT (of City Girls), both of whom deliver verses full of personality. “Labios Mordidos” reads as a song of sirens where she teams up with Colombian singer Karol G. The two offer a sultry track, flirtatiously exchanging and complimenting each other over a dynamic piece of reggaeton production with different rhythms and melodic layers. Uchis brings in Puerto Rican hitmaker Rauw Alejandro for “No Hay Ley Parte 2” to put a fresh spin on a single she first released in 2022. The revamped version swaps out the original club beat for reggaeton. The two-part “Dame Beso // Muévete” closes the album on an irresistibly infectious note, with Uchis offering a merengue track. It comes ready with a tempo switch in the second half which brings the song to a speed that is guaranteed to get any and everyone moving on the dancefloor. That would explain why it is already receiving heavy praise from fans on TikTok.

ORQUÍDEAS is undoubtedly one of Uchis’ best offerings to date. The record is danceable, groovy, atmospheric and ambient, but also researched and versatile. She draws from numerous types of Latin music and dance genres, combining them into a record that constantly takes on new directions and executes them beautifully.

8.5/10

Trial Track: Dame Beso // Muévete

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Concert Reviews Music

Travis Scott takes Montreal by storm

Travis Scott performing at the Bell Centre on Jan. 9, 2024. Photo by Stefano Rebuli // The Concordian

The Houston rapper put on an explosive spectacle at the Bell Centre for his Circus Maximus Tour.

On Jan. 9, Travis Scott made his grand return to Montreal with his Circus Maximus Tour, in support of his latest album UTOPIA. His last visit to the city was in March 2019 for the Astroworld Tour, almost five years ago. From the stage design to the setlist, Scott designed an exhilarating, explosive and energetic experience filled with tons of surprises and eye candy.

Following a brief DJ set from Chase B, fans eagerly started to open mosh pits as the intro to “HYAENA” began playing. Scott suddenly popped out from beneath the stage, accompanied by fireworks and flames. He jumped and dashed around to every area of the stage, sending the crowd into a frenzy. He continued with UTOPIA tracks “THANK GOD” and “MODERN JAM,” the latter of which was complemented by a stunning sequence of neon lights, both onstage and onscreen. This high energy was maintained throughout the night as the rapper performed a variety of bangers spanning his entire catalogue. 

He took fans back to the Rodeo days with fan favourites “3500,” “Nightcrawler,” and “Maria I’m Drunk,” as well as earlier hits “Upper Echelon” and “Mamacita.” Songs like “Aye!” by Lil Uzi Vert proved to be absolute starters, igniting the entire crowd into jumping in sync, from general admission to the seats. Scott also brought a more mellow tone to the show with slower, sung tracks like “90210” and “MY EYES.” His melodic auto-crooning sounded just as good as it does on record, and felt complete with the crowd’s cheers backing him. The Houston MC also let his vocal chops shine throughout the night, singing acapella on several occasions. He most notably kept The Weeknd’s “CIRCUS MAXIMUS” refrain going for an additional minute, launching into an extended vocal solo.

After a brief interlude, the intensity picked up as Scott pulled out more hits. The crowd belted ASTROWORLD favourites like “BUTTERFLY EFFECT” and “CAN’T SAY” word-for-word, showcasing just as much excitement for recent hits like “MELTDOWN” and “TOPIA TWINS.” These tracks were met with no shortage of smoke, fire, and fireworks either. “I KNOW?” made for a standout moment, with the crowd anthemically roaring the chorus after being asked to sing it.

The show’s pinnacle arrived near the end with Scott’s massive mosh pit anthem “FE!N.” Fans received no shortage of the hotly-anticipated song: it was played 11 times. Between each take he gestured to a section of the crowd, proclaiming that they were “feening for more” and upping the ante in the process. The mosh pits kept on coming, and the tension kept on rising. There was even a moment where Scott paused to call security (for unclear reasons) to no avail, prompting him to go through the crowd himself to handle it. Yet, even after stopping a fan from being ejected by security and returning a good three minutes later, he got right back into playing “FE!N.” He closed out the show by rapidly running through his classics “SICKO MODE,” “Antidote,” and “goosebumps,” before walking out to the ambient fan favourite “TELEKINESIS.”

The show’s biggest takeaway was its stage design. Spread across the floor, Scott’s stage resembles a mountain and is complete with different sections, altitudes, and platforms. He sang his slower tracks atop of a rising platform, bringing him closer together with the seated crowd. The entire thing was characterized by a realistic, rocky texture, as well as carvings and statues of archaic heads. The most notable of them was a floating, moving platform called the “parasail” (referring to the UTOPIA track of the same name). 

Scott selected a handful of fans to embark on the platform throughout the night, all of whom jumped and danced ecstatically while soaring above the crowd. One lucky fan was even joined by Scott himself during “I KNOW?.” Fans in the pit got the best view of the stage, but those in the nosebleeds were given an equally compelling view thanks to the videoboard looming above. This jumbotron wrapped around the entire arena, granting everyone a view and projecting bright colours, effects, and overlays over footage of Scott and the crowd.

Whereas the video experience varied based on one’s placement in the arena, the sound quality made for a seemingly unanimous experience. With subwoofers lined alongside the outskirts of the floor, the bass was extremely powerful, borderline overwhelming. Many of the lyrics were inaudible to those in general admission. Fans recall feeling their entire body rumbling, while others on the floor could be seen occasionally covering their ears.

Noise aside, the experience was clearly unforgettable for all. From the pits to the nosebleeds, practically every fan could be seen giving it their all. Marwa Lakehal, a communications student, got a first-hand experience of this: “Everyone was screaming the lyrics as loud as they could while dancing and jumping. It felt like I was a part of one big community.” Scott gave a speech only three songs in about how he loved Montreal for its energy, and what followed throughout the night was more than enough proof. Montreal truly gave Scott the rage that he fiends for when putting on his live shows.

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Concert Reviews Music

1HUNNDWME and Occupy The Hood are redefining musical showcases

Sankya performing with Gurafiku (DJ) at 1HUNNDWME x Occupy The Hood on Dec. 23, 2023. Photo by Stefano Rebuli // The Concordian

The Montreal and Toronto organizations teamed up to highlight burgeoning musical talent in both Canadian cities with a new format.

1HUNNDWME was founded by KufisWorld (Omari Jabari) in Toronto. Wanting to redefine the standard of mainly being able to perform music in a concert setting, he envisioned an intimate format akin to a social gathering. Mansa, a Montreal DJ and co-founder of local movement Occupy The Hood, teamed up with him to bring the event format to Montreal, curating a lineup of local singers, rappers, DJs and creatives from both cities. The event was held on Dec. 23, 2023 at Le Belmont, a bar and venue on St-Laurent Blvd. in the Plateau Mont-Royal neighbourhood.

The night essentially consisted of a back-and-forth between DJ sets and brief artist performances. R&B singer Sankya kicked things off with her song “Liquor.” Many of her friends were present and gave her a warm response, filling a small room with a roar of energy. Toronto rapper Lowk3y followed up with a charismatic, solid offering of Toronto trap. SLM doubled down on the rap energy, offering a combination of styles ranging from drill to house. Joined by two backup dancers, she even poured out shots for friends and crowd members, further adding to the lighthearted, carefree tone that the event set out for. Santanafive followed with some mellow, hazy, drumless hip-hop, setting the tone for Nicholas Craven’s subsequent set. Each set was only limited to one or two songs, which allowed the event to have a unique, quick flow. This granted both the attendees and performers plenty of time to grab drinks, socialize and dance.

In the interim of these performances were DJ sets from Gurafiku, KidCrayola, Jdrdoo, Noel, AkaRashad, and Mansa. Together, they created a melting pot of styles which gathered hip-hop, Afrobeats (especially Amapiano), and Brazilian funk (baile). This mix of sounds allowed for the performers’ different genres to come together seamlessly, a versatility that Mansa wanted to showcase with the event. “Sometimes it is difficult for artists to imagine their music blending in with the variety of sounds they listen to everyday,” she explained.

Headlining the event was Nicholas Craven, who premiered his Boldy James collaboration “Jack Frost.” The track was released on Jan. 12 alongside their latest joint album Penalty of Leadership. He gave The Concordian an early look at the artwork which depicts Boldy James being wheeled into an ambulance, referencing his near-fatal car accident last January. The pair notably recorded the album in the immediate weeks and months following James’ release from the hospital. “Fair Exchange No Robbery was art. This album is about pain and experience,” he said.

The event was ultimately a successful, intimate gathering of music-based creatives. From DJs to producers to photographers, there was someone to meet at every turn. Through their creative union, 1HUNNDWME and Occupy The Hood effectively showcased their city’s respective music scene with an event predicated on sociability and enjoyment.

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Music

Designed by Hip-Hop

Graphic by Stefano Rebuli

How hip-hop culture is informing the artistic works of Concordia students Mariam Sy and Jaden Warren.

This year marks the 50th anniversary of hip-hop. Since its inception, the genre has ushered in several crops of new artists who have allowed for multiple generations to carry hip-hop through five decades. 

With the rise of several rappers also came their entrepreneurial ventures: big names such as Jay-Z, Pharrell Williams and Kanye West have made business moves in every domain from fashion and film to artwork and beverages. In permeating various spheres and artistic fields within the mainstream, hip-hop has created a trickle-down effect that continues to inspire today’s youth.

Mariam Sy is a communications student and filmmaker heavily inspired by Tyler, The Creator. She became enamoured with his music upon discovering it in her early teens and further gravitated toward him because of his other career ventures. 

The California rapper is a filmmaker, fashion designer and entrepreneur who directs his own music videos, owns the streetwear brand Golf Wang, and hosts an annual music festival in California called the Camp Flog Gnaw Carnival (est. 2012). This essentially opened Sy’s eyes to the idea of branching out: “You don’t have to be labelled as one act—you can be a multidisciplinary one.” This is what inspired her idea for a collective titled “LES ENFANTS.”

Sy has released numerous short films to her Vimeo account, many of which are directly inspired by the music and visuals of artists like Kendrick Lamar and Jay-Z (see “HURT”). She sees the throughline between hip-hop and cinema as natural. “They both draw from human experiences and emotions,” she said. “They weave a cultural fabric that mirrors and influences the stories of our current society and those to come.” She believes hip-hop’s wide crossover appeal is the result of it not strictly being a musical genre, but rather a culture gathering a multitude of themes and ideas that can apply to masses of people. 

Design student Jaden Warren also sees hip-hop as boundless, bigger than music. For him, it is a convergence of various subcultures and niches including youth culture, skateboarding, streetwear, high fashion, and more. His personal style and projects are directly inspired by rappers who welded fashion and hip-hop together like A$AP Rocky, Playboi Carti and Kanye West. Warren proclaims that “all hip-hop musicians wanna look fly,” and prides himself on helping artists bring a specific vision or style to life. This is evident in his work with local rappers: he designed a custom “4EVERYOUTH” jacket for KeBenjii! and curated the visual aesthetic for Justin Tatone’s BANE & BLESSING album, inspired by vintage fashion and Balenciaga’s creative director Demna. 

Warren believes that hip-hop crosses over easily into other domains because it is a form of artistic expression. He also cites designer Virgil Abloh as a primary influence, given Abloh’s extensive work within the hip-hop sphere and ascension in the fashion realm, most notably becoming the creative director at Louis Vuitton before his tragic passing in 2021.

Abloh’s success story as a Ghanaian-American man in fashion has inspired Warren’s mission statement: “I want to show Black kids that it’s cool to be creative.” Above all, the Concordia student is motivated by his youthful approach to creating, which is centred around simply having fun and feeling like a kid. 
The young designer’s most prolific work to date has been his clothing project “I can’t buy love so I buy clothes.” However, like hip-hop, he refuses to be bound to one field or title. As he puts it, he just likes to create stuff. The brand’s latest iteration is set to be revealed in his upcoming drop, set for release on Dec. 1 via @assassinsvizualz on Instagram.

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Music

Taste test: behind the hype about Spotify Wrapped 

Graphic by Keven Vaillancourt @kindaokev

Why is Spotify’s annual retrospective such a big deal?

With December on the horizon, music consumers have already begun preparing for one of the year’s biggest holiday traditions. Were you thinking of Christmas? You would be wrong—Spotify Wrapped comes first. The streaming giant has already begun teasing the yearly recap campaign on its social media accounts, which will likely be revealed at the top of December.

Spotify Wrapped presents you with an objective portrait of your music taste throughout the year: here are your stats, up to you to deal with them now. It has created a phenomenon where you are reduced to your top five songs and artists, causing a string of silent judgments and reactions between users. Some fans even adopt an elitist stance based on their list being more “underground and niche” than others.

Wrapped can accurately indicate the music that one connects to most profoundly. Communications student Marwa Lakehal got to see all of her top five artists of 2022 in concert over the past year. Yet, anyone’s list can be defined by the surprise factor of having an unexpected contender crack your top five. Lakehal jokes about how a sad song wound up as her most streamed track last year. “I listened to it 52 times in one day, I must’ve been going through it,” she laughed.

Listeners have found loopholes to fine-tune their end-of-year results in advance. Websites like Stats for Spotify provide you with rankings for your top songs and artists over the last 4 weeks, last 6 months, and all-time, allowing you to check in whenever to see how things are looking. Some people will even use the “private session” feature to block certain music from interfering with the data tracking for Wrapped (I’m looking at you, Drake). 

Mathias François, also in communications, has acted upon this bias upon noticing that his streaming statistics differ from his personal ranking: “I’ll be like ‘why am I listening to more of this artist than another?’ and start listening to the other one instead.”

These quirks and surprises have turned Wrapped into a cultural phenomenon that dominates social media every year, even creating lore on TikTok. Enter, the girl whose top song was mouse-repellent noise, or better yet, the joke about Drake infiltrating nearly everyone’s top five list.

Apple notably birthed Apple Replay in 2019, its own recap feature for Apple Music. Replay differs from Wrapped with select features like year-round access to data, album-specific statistics, and milestones upon clearing a number of plays or minutes listened. As an Apple Music user, François appreciates the ability to check on his numbers but prefers Spotify’s surprise method. “You already know your results. It’s not the same hype,” he explains.

Local R&B singer Marzmates tips her hat to Spotify for getting listeners and artists to spend more time on their app by giving them incentives. “It has become a challenge to listen for more minutes than the previous year,” she said. “For artists, you get to look back and track your growth.”

No matter which app tries copying Spotify (Instagram’s Standouts being the latest cheap imitation), none of them can generate the excitement behind Wrapped. All that is left is to wait for the fateful day when everyone’s Wrapped posts overtake our feeds before we go back to worrying over which songs will and will not make it.

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Music

City on fire: Boiler Room returns to Montreal

DJ Lia Plutonic playing at Boiler Room Montreal on Nov. 10. Photo by Stefano Rebuli // The Concordian

The hottest club culture event took place in the city for the first time in over a decade.

On Nov. 10-11, Montreal hosted a Boiler Room event for the first time in over a decade. Succeeding the last edition from 2013, which included KAYTRANADA’s now-legendary DJ set, this year’s edition brought forward six local collectives across two nights to highlight three of the city’s key music scenes: Afrobeats, queer club music and techno/house.

The event was held at Hall Ste-Catherine, which used to be Montreal’s Circus Afterhours nightclub. The venue contains three rooms, each of which was designated to a different group each night. They were connected by hallways which facilitated navigation between them. There was easy access to bars and benches in every room, which allowed attendees to grab either a drink or a seat whenever they pleased.

Mansa kicked off Afrotonik’s party in one room, raising the energy bar to a high that was maintained for the hours that followed. This medium-sized room was complete with several screens behind the DJ setup and a bar in the center. Her set was a blend of traditional Afrobeats songs and amapiano (a South African afro-house subgenre) with hints of contemporary music. A DJ of Malian origins, she also highlighted the most prominent Black women in music (such as Beyoncé and Rihanna) by fusing their modern hits with African music styles. Her song selection garnered excited reactions from the crowd, especially with her fast-paced mix of Sexyy Red’s “SkeeYee,” which ended her set. Her performance also emphasized the venue’s immaculate sound quality, as the trademark stabs of bass in amapiano music sounded perfectly full and heavy. 

Later in the lineup, DJ Karaba would bring a house flavour, energizing the crowd with afro-house spins on popular tracks like Modjo’s “Lady (Hear Me Tonight)” and Nelly Furtado’s “Say It Right.” Fusing Afrobeats with hit songs proved to be an effective formula throughout the night. 

Mootanda followed up with a rap spin, providing combinations of hip-hop and afro-house. I found myself going lyric for lyric and dancing with others as renditions of various hit songs like “Dior” (Pop Smoke), “fukumean” (Gunna) and “The Box” (Roddy Ricch) rang out through the speakers. Afrotonik entertained a crowd that sang, danced and grew increasingly throughout the night, arguably becoming the most crowded room by the end of the event.

Homegrown Harvest was simultaneously playing in the biggest room which featured a trademark Boiler Room setup: the DJ decks in the middle, with the crowd surrounding it. A stage also elevated the crowd behind the booth, accentuating the audience’s presence and role in the event. One of its DJs was Lia Plutonic, whose set was full of infectious house tracks with bouncy drum patterns and even some Jersey Club music sprinkled in. These songs featured different buildups, pauses and even jazz breaks that triggered crescendos in the crowd’s excitement, allowing the excitement to relax, rise, release and then rebuild. Lis Dalton followed up with an even more addictive set which blended house and UK garage drums with swirling, hypnotic loops. It’s the type of trance any clubgoer would want to fall into during a Boiler Room set.

The inclusion of traditional elements into the different sets was noteworthy, with analog practices serving as extensions of the musical experience. Afrotonik had a live drum player on the first night who was mic’d up in a way that allowed the drums to be perfectly audible and seamlessly included in the mix. Meanwhile, Lia Plutonic bridged traditional and modern DJ practices together by mixing with vinyl records in addition to the digital, Pioneer CDJ player and mixer setup.

Boiler Room lived up to the hype. It gave attendees the chance to cut loose and engage in the music individually, as well as to connect with friends and strangers alike. The musical showcase resonated with the crowd and effectively highlighted the mix of cultures and musical styles that define Montreal. Hopefully, we won’t have to wait ten years for the next one.

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Music

Boiler Room: a canon and community event

People dancing at BOILER ROOM featuring its logo, during Night 1 at Hall Saint-Catherine. Photo by Tabéa Benlakehal / The Concordian.

As the international club night makes its grand return to Montreal, Concordia students share what it means to them.

Boiler Room has undeniably become a staple in club culture. It is based upon the concept of placing the camera directly in front of a DJ and live streaming their set, a vision that has since taken off to international heights and found its fanbase here in Montreal. 

Founded in London in 2010, the broadcaster/promoter now hosts numerous events in several cities across the globe every year, partnering with massive festivals like Primavera Sound Barcelona and big-name artists such as Fred again.., KAYTRANADA, and James Blake.

A  new Boiler Room event in Montreal has been a long time coming. The broadcaster has held a number of events in Montreal over the last few years in tandem with popular local festivals like Osheaga, Igloofest, and Piknic Électronik. However, the city has not received a primarily Boiler Room-branded event in over a decade since Boiler Room 002 in September 2013.

The September 2013 Boiler Room was headlined by local DJ-producer KAYTRANADA, whose set would go viral online and allow his career to skyrocket even further. With over 20 million views, he has the fourth most viewed set in Boiler Room history—attaching Montreal to one of the event’s most iconic moments. This video introduced several Concordia students to Boiler Room, including communications student Vanessa Lapointe. KAYTRANADA’s set was the catalyst for an expansion of Lapointe’s musical palette: “That’s what truly got me into dance music.”

Boiler Room has become a staple due to its focus on niche underground markets, while it maintains a broad scope across many genres. Initially focusing on dance music, its brand has expanded to include everything from house and techno to grime, hip-hop, and UK garage. The Montreal edition specifically aims to shine a light on two burgeoning scenes: Afrobeats and queer club music. Between Nov. 10 and 11, Boiler Room highlighted nearly 40 Montreal DJs, as well as six club nights and event curators: Afrotonik, Hauterageous, Homegrown Harvest, Moonshine, Octov, and Unikorn. 

Tabéa Benlakehal, The Concordian’s music editor, sees it as the perfect opportunity to further discover the local scene. “I’m looking forward to checking out DJs that I’ve heard of and supporting new ones,” she said. Lapointe believes that the dance-oriented styles featured in a Boiler Room set help create its lively, collective energy. As she put it: “It’s feel-good music that makes you happy right away, whether you are alone or with friends.” 

This communal aspect is key to this generation’s connection to Boiler Room. Yasmine Abouali, a first-year student in communications, sees Boiler Room as a judge-free zone. She describes it as an opportunity for everyone to express themselves, dance, and share an experience of feeling music. She also commends the company for placing the spotlight on artists of colour and minority groups. “It’s a small act that makes a large impact; a big visual representation we need more of,” Abouali said.

Benlakehal is curious to see how the Montreal event will be formatted. She has already attended Boiler Room sets in France and Spain over the past two years, but this one is set to be the first one she attends in an indoor setting. Given the extensive lineups, she is excited to see if there will be multiple stages and rooms, or just one.

As to why students are drawn to Boiler Room, Abouali describes it best: “We all want to celebrate the same thing—amazing music produced by local or international artists.”
Boiler Room Montreal took place on Nov. 10 and 11. Catch the soon-to-be-released broadcasts via boilerroom.tv.

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Music Quickspins

QUICKSPINS: The Alchemist – Flying High, Part 2

The Alchemist's "Flying High, Part 2" album cover. Courtesy of Apple Music.

The producer reaches new heights by rapping all over his latest EP.

Fans of hip-hop are no strangers to The Alchemist. With an extensive catalogue that spans back to the late ‘90s, the American music artist has continued to dominate in recent years by releasing collaborative projects with contemporary figures like Action Bronson, Curren$y, Freddie Gibbs, and Larry June, among many others. Alongside these artists, he also began releasing small sets of EPs: first, the This Thing of Ours series in 2021, and now, Flying High.

In the past, The Alchemist has laid down guest rap verses on tracks with Action Bronson (“Arnold and Danny”), Larry June (“60 Days”), and most recently on “Midnight Oil” from the original Flying High. Flying High, Part 2 marks a new milestone—for the first time in his career, the producer is tackling a full project as an MC. The rapping throughout the EP is solid: he flows in and out of different pockets, switching speed between lines as he uses more and fewer syllables, similarly to how Action Bronson does it. This delivery makes each and every one of Alchemist’s lines stand out, illuminating his knack for wordplay.

The EP kicks off with “Turkish Link,” a lavish jazz-based cut. The song’s beat is backed by horns which evoke a triumphant entrance. Alc’s bars are a mix of introspectiveness with some boasts about his achievements. He notably recalls having “slept on couches and stayed inside of basements / Put in major pain to get minor placements.”

“Phil Drummond” follows, backed by a sinister instrumental. It features a siren-like sound that looms faintly in the background, helping maintain the song’s menacing tone. Conway the Machine is a great addition to the track, given his bold delivery and statements like “Every sentence in my lecture is intricate architecture.” The track rounds out nicely with a mellow horn section which effectively segues into a skit as the next track begins.

“Vertigo” is one of the most entertaining tracks on the record. It begins with an oscillating sonar-like sound that leads into a funky, warbly instrumental. Alchemist provides a colourful, lighthearted backdrop over which he drops witty lines. Given such an animated beat, who better to join in than Action Bronson? Bronson’s verse is just as fun and is packed with his usual references to food and vivid imagery—most notably, bringing his own food to a restaurant in a Tupperware and wrestling with a leprechaun.

“Royal Hand” marks the reunion of The Alchemist and Oh No as the duo Gangrene, for the first time since 2019. The track features an ominous, stuttery melody paired with slow-tempo, punchy drums. The Alchemist adopts an impressively quick flow and rides the beat perfectly. Oh No handles the second verse with the same momentum with fewer breaks, making his performance even more relentless. The track is grim and hypnotic, and the fast-paced rapping performances make it even more mesmerizing.

The closing track “Paint Different” is another jazzy number. Its soothing instrumental also features horns, though they are much more relaxing in fashion. The soundscape sounds like fine dining by the sunset on a European coast, a setting that The Alchemist’s lavish verse perfectly captures as he raps about visiting Europe, drinking wine, and daydreaming. Curren$y feels right at home on this track that is sonically reminiscent of his and Alc’s 2022 collaborative project Continuance.

Flying High, Part 2 is an unprecedented extensive showcase of The Alchemist’s talent as a rapper, one that also features amazing production per usual. The motif of horns ties the soundscape together nicely whether the beats are bold and baleful or soothing and slow tempo. The Alchemist brings his usual suspects along for the ride whilst proving that he can hold his own beside them as an MC.

Score: 8/10

Trial Track: Royal Hand

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