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Music

Music is now mediocre, according to Todd Rundgren. Is he right?

Do you think that finding a genuine musician is hard? Is the music industry pumping out mediocre music?

In a recent interview with The Guardian, rock artist Todd Rundgren (most famous for his single “I Saw the Light,” stated “It’s hard to find sincere musical artists nowadays. The music is just mediocre.” Rundgren has a fifty-something-year music career under his belt, so his opinion must hold value, right?   

Let’s keep it simple: there’s more music out now that you have to sift through to get the good stuff. That’s just because the industry is over-saturated. There is more accessibility in the sense that you have access to multiple streaming platforms (such as Spotify, Apple Music, etc.), other than just the traditional listening methods (i.e. CDs, records, cassettes). Based on that, I can say that Rundgren does have a point because currently any Zach Fox can make and sing or rap over a beat for the fun of it, as a joke, and just because they can.

It’s 2022: you’re going to find a lot more artists that are insincere. Available at your local music store or even Amazon, you have instruments called groove-boxes that enable you to input the key and scale of the song you want to create and boom: it gives you all the notes that sound well together. It basically kid-proofs your chances of making a song that sounds melodically awful. While that sounds great, you can lose your ability to think outside the box as a musician and eventually use that piece of hardware as a crutch.

Back in Todd Rundgren’s heyday, only the rare few privileged musicians would be able to record in the studios and take the time to get good recordings for their full-length albums. In contrast, we are now in what I can call the “singles and EPs era” where artists record and release more bite-sized content, from the comfort of their bedrooms or on their laptops. 

Will radio stations and record labels push to broadcast and distribute unpolished songs that haven’t been mixed and mastered properly? Definitely not, so don’t fret, Rundgren: you won’t have to worry about opening your newsreader and finding “20 artists whose names sound like they’re internet passwords and you’ve never heard their music” like you say there are. Honestly if anything, he’s probably making a reference to 21 Savage or Blink 182. To him, they would probably be the same.

That being said, Todd Rundgren is an awesome songwriter and musician. He does have prestige from being in the music industry for multiple decades and having knowledge on musical production. Can he make quotes dissing present day artists? Yes. Should he? Maybe not. Either way, do check out his hits on streaming platforms. He also has a new album out called “Space Force.”   

Categories
Interview Music

A conversation with Sirintip about her latest album, Carbon

The New York-based artist sat down with The Concordian to talk about her new LP 

Oct. 14 saw the release of the long-awaited Carbon LP from Sirintip (AKA Sirintip Phasuk), and honestly, I am here for it. The New York-based artist took the time and effort to make this album into what it is: a means of communicating the “narrative of science” and implementing data from pollution to turn into musical sequences. She has used her Thai and Swedish influences and poured them into a melting pot with jazz, turning the project into a wonderful concept album.   

The Concordian sat down with the artist to talk about Carbon:

Tell me about your musical upbringing. What is the origin of Sirintip?

So I grew up in Bangkok, Thailand. I was always singing. I started playing Thai instruments in school but then I took private lessons for piano and violin but I was always singing. The music school I went to [in Sweden] had 1,000 kids and everyone could sing, and this happened at the same time that the Harry Potter movies came out so I felt very much like the other kids. We had seven hours of choir singing every week which was intense. Then in my teenage years, I was exposed to jazz and then I did my master’s in New York.

Tell me about your songwriting process, what comes first? What comes last?

So for this album, I started with the concept. There are 13 songs in the album and each song is a specific cause or effect of climate change. So what I did was research, among other topics, plastic pollution: what is it? How does it affect us? For the whole record, I decided that I didn’t want to put anything clearly in the lyrics, I wanted to build the message into the songs. So then people can listen and connect to the songs, and be curious enough to learn and research the concept. I don’t believe that forcing anyone to think or do anything is the way to go around this. I think it’s better to try and inspire conversation. So for “Plastic Bird,” I took plastic trash from my kitchen, recorded it with my ZOOM recorder and uploaded it into Ableton as a sample. When you put all the samples on a drum rack you can play the sounds on your keyboard. 

You all stayed at the Manifold Recording Studio in North Carolina for nine days with some of the artists who collaborated with you on this album. What was the day-to-day experience like for you?

It’s the most incredible experience. The studio is solar-powered which is really cool. That was an important piece for me, not just writing about climate change to sustainability but also to find ways to becoming more sustainable in my artistic practice and it’s so systemic that sometimes it’s just impossible like If we need to perform in Europe, we’re not going to be able to afford a ship to get us there but at least we were able to work in the studio for nine whole days. We’d work the whole day at the studio and then walk three minutes to the guest house, sleep, and then restart the procedure the next day. We were completely immersed without distraction. We were in the middle of nowhere and so there would be a lot of wildlife like deer roaming around right outside the studio.  

You said for your debut album Tribus that “The idea behind the album is to bridge the gap between pop and jazz by combining singable melodies with grooves, jazz harmonies and electronics.” Does this still resonate true with Carbon?

I think that is just something that is inherently me, so when it came to Carbon it was more like “How do we turn this air pollution data into music?” When I grew up in Thailand I would play Thai instruments and in Thailand, on mainstream media it’s just pop music. When I moved to Sweden their main musical export is pop, with people like Max Martin writing a lot of the hits of the 2000s [and even now]. So when I moved to the States I started studying jazz, but because it is an Afro-American tradition and being in New York studying it I realized it was better for me to add to the music by bringing in both my Thai and Swedish influences. I feel like the foundation of my writing is jazz: there’s a lot of complex harmonies, a lot of weird time signatures, as well as challenging concepts and improvisations when live. It’s just packaged in a more pop way, because I feel that it’s important for people like my parents who do not listen to jazz to sing along to it.

What is in store for the future of Sirintip? What do you have coming up?

I want to be working with scientists firsthand. Back in July, I went out on a research vessel with 25 scientists in the North Pacific. They were studying plankton so I was learning from them and working with them and writing music based on their research. Knock on wood I might be going in July to Greenland to study icebergs and glaciers, plus I want to do other research trips too. All this is to bring all that knowledge and write an interdisciplinary suite where I’m combining my electronic roots with an acoustic rhythm section and a small chamber orchestra to present this work so that it comes from science and the work that I’ve discovered with scientists, and to help tell the narrative of scientists

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Music

 Remembering Takeoff

 A sad day for the trap community

Takeoff tragically passed away on Nov. 1 after being shot in Houston, Texas. He was 28 years old. He was one of the most influential and unique artists to debut over the last 10 years. 

Takeoff was born Kirshnik Khari Ball on June 18, 1994, in Lawrenceville, Georgia. He was the youngest member of the trap trio Migos. The other members Quavo (his uncle), and Offset (his cousin), had been active since 2008. Their first mixtape, Juug Season, was released in 2011, and they had their big break in 2013 when the single “Versace” came out. Since then, they’ve released 12 full-length albums including the three Cultures, No Label II, and Yung Rich Nation.   

Takeoff also had a career outside of Migos. He made his solo LP The Last Rocket, which was released in Nov. 2018. It reached the top four in both the Billboard 200 and the R&B/hip hop charts. Earlier in October, he and Quavo put out an LP as a duo called Only Built For Infinity Links.           

Rest in peace, Takeoff. You will be missed.

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Music Quickspins

QUICKSPINS – Return of the Dream Canteen by Red Hot Chili Peppers

What did we do to deserve such a lovely comeback album from the funk rock group?

Unlimited Love who? Make way for the Return of the Dream Canteen! This is the second album that features Red Hot Chili Peppers’ staple guitarist John Frusciante. Frusciante, singer Anthony Kiedis, bassist Flea (Michael Peter Balzary), and drummer Chad Smith (totally not Will Ferrell) came out with an extremely trippy album with artwork to match the audible art.   

There were many memorable songs from this LP — honestly, I could name all of them! The debut track “Tippa My Tongue” is a perfect dip into the acid trip that is this album. “Eddie” was an emotional experience, paying homage to the late Eddie Van Halen.  

“La La La La La La La La” was a curveball after the heavy track “Bag of Grins.” It is the softest song in the entire album and that is saying something because, besides the last track of course, it pales in comparison to the heaviness of the rest of the songs. “Fake as Fu@k” reminded me a lot of their “Look Around” phase from their album I’m With You.  

“In the Snow” is the last track of the album. I did mention that the band dove into an electronic phase with this album, featuring synth plugins and drum machines: well, this track has it all. Being the bastard child of the stereotypical Pixies song and a TR-808 drum machine, the cowbell rings clearly while square wave synth pads (a soft wide sound that is used in the background) envelop the entire song. 

Halfway through the song, Kiedis commences a monologue, not unlike what the late Prince would do in his 1999 album. He continues it in a second verse toward the end of the track which ends up sounding like he is talking about nothing and everything at the same time.

Did I like Return of the Dream Canteen? Yes, a heck of a lot more than the previous Unlimited Love LP. There were a lot more memorable songs and they shook off the rustiness of not having Frusciante in the group for more than a decade. No hating on Josh Klinghoffer though, he was a gem on both I’m With You and The Getaway. Definitely check out the new release once you’ve read this!              

Trial track: Eddie

Rating: 8.5/10

Categories
Music

Remembering Coolio

 The hip-hop community mourns the loss of “Gangsta‘s Paradise” rapper Coolio, who passed away at the age of 59 on Sept. 28. 

Coolio passed away in Los Angeles, California on Sept. 28. The cause of his death was determined to be cardiac arrest. Foul play was not suspected, but questions were still raised amongst his friends and family. According to NY Post, it turns out that he suffered from severe asthma, which troubled him for years. 

The rapper, whose real name was Artis Leon Ivey Jr., was born in Monessen, Pennsylvania on Aug. 1, 1963. When he was 11 years old, his parents divorced, meaning he and his mom moved from Monessen to live in Compton, LA

He first got into the rap scene in 1987 when he met with members of the hip hop group WC and the Maad Circle. Networking with them got him on their 1991 debut album Ain’t A Damn Thang Changed

Coolio had released five studio albums and three compilation LPs. His most recent work was a collaboration with Teddi Gold on “The Floor is Lava” single which was released earlier this year. 

In 1995 he released the infamous “Gangsta’s Paradise” which sampled Stevie Wonders’s “Pastime Paradise,” which came out in 1976. Since then it has been on the list of iconic rap songs and is loved by many.

Since his passing, many newcomers and loyal fans alike have been listening to his first album It Takes a Thief, seeing as the debut track “Fantastic Voyage” has over 18 million listens more than the other 15 tracks on Spotify. Celebrities like Ice Cube, MC Hammer, and LL Cool J mourned his passing by posting pictures of the late rapper on social media and sharing their condolences.      

He is succeeded by his six children, his girlfriend Mimi Ivey, and his timeless music that greatly impacted the rap scene. You’ll be greatly missed, Coolio. 

Categories
Music Quickspins

QUICKSPINS: Blink Twice by Arkells

It was to great anticipation that Arkells released their album Blink Twice on Sept. 23. Hailing from Hamilton, Ontario, the Indie band first released their Blink Once LP last year. On their blog, they said that the album was “about resilience. It’s about grieving with loss and fall outs and finding your way back.” 

The last track of Blink Once, “Last Night I Heard ‘Em Sing (Outro)” leads right into Blink Twice’s first track “Reckoning” where the opening lyric goes “Last night, I heard ‘em laughing.” 

Blink Twice uses a lot of synth, coming off as more poppy than indie, though they don’t lose their soul in the mix, which is something that a lot of indie bands lack once they get into a comfortable spot (I’m looking at you Maroon 5 and Coldplay). 

There were a lot of songs on this album that I appreciated on an emotional level. 

The first one has to be “Past Life” because it was a breath of fresh air from the previous track “Reckoning.” Arkells frontman Max Kerman and Cold War Kids frontman Nathan Willett sing this song together.

It feels like an ’80s driving song that mentions Bob Dylan’s son Jakob Dylan from The Wallflowers. My favourite part is when Willett sings “I was born an old soul, / I feel like Bob Dylan’s son, / Always in the shadows.” At first I thought it was a diss to the junior Dylan but in fact Willett has expressed his appreciation for Bob Dylan and his son.

Another track that was on repeat for me was “Miracle” for its grittiness that stood out from the other tracks. Honestly, it felt like the lovechild of Alex Turner (Arctic Monkeys) and Paul McCartney, which was an even bigger incentive for me to keep repeating it. 

My least favorite song is “Dance With You” with Cœur de pirate and Aly & AJ because it sounded way too processed for the band, even if it had an emphasized groovy funk line. Too poppy for my taste, sorry Arkells.

Besides the aforementioned features, there are many other artists in this LP: pop duo Tegan and Sara, Wesley Schultz of The Lumineers, Joel Plaskett, Jake Clemons and Lights.   

Do I like the new Arkells? Yes, with an asterisk. While they kept to their roots, there were some songs that could have been less processed, pop oriented and quantized. Could be better. 

Trial Track: Past Life (Feat. Cold War Kids)

Rating: 6.5/10       

Categories
Concert Reviews Music

Concert Review: The Paper Kites at Théâtre Fairmount

The Australian folk group banded with the Hudson native to create an intimate night for their Montreal fans

Matt Holubowski opened the show with nothing but reverb and delay on his guitar. The Hudson native lulled the crowd with his Rufus Wainwright-esque voice over the flowing hammer-ons and pull-offs that echoed. It was his unique way of playing finger-style. 

After the first two songs “St. Clarity” and “Revelator Eyes”, he chatted with the crowd and engaged in banter with a few folks which is always appreciated by the fans. The last thing anyone wants is a Whitney Houston situation where the artist comes up on stage, sings their set without interacting with the crowd and leaves. 

Holubowski ended his setlist with “Exhale/Inhale,” which involved using the shimmer effect on his guitar which makes the reverb “shimmer.” It was a wonderful way to end the set, and it felt like the audience was underwater. 

The Paper Kites opened after a 20-minute intermission with their song “St Clarity.” Fifteen seconds into the song, a girl near me fainted and they took her to safety. The crowd was waiting with bated breath as they wondered what the next song would be: it was “Revelator Eyes.” Guitarist David Powys really liked using a David Gilmour tone, probably using a big muff pedal to boot. 

After three songs they thanked their fans for coming in to see them and went on to play “Climb On Your Tears” which prompted a lot of couples to slow dance; it was a nice atmosphere indeed. 

The singer Sam Bently recounted a story about playing in a pub called The Roadhouse in a small Australian town where no one knew who they were. They played an unreleased song out of the album that they wrote called “Green Valleys.”

Halfway through the set, the singers Bentley and Cristina Lacy sang a duo of “For All You Give.” My favourite song out of the setlist was “Bloom.” To be fair, it is their most popular song; unfortunately, the singer couldn’t sing it in the original key because it was an old release so they had to change the key. 

For the next song, “By My Side,” they asked the crowd to sing the chorus with them, and sing they did. Voices filled every crevice of the Fairmount Theatre, and probably all the way down to the marché PA downstairs. The eruption of clapping and whooping probably scared the employees. 

They ended their main set with “Electric Indigo” and the crowd immediately started to chant the encore song (Olé Olé). 

Their encore setlist, comprised of “Featherstone,” “A Gathering on 57th,” and finally “Give Me Your Fire, Give Me Your Rain.” The latter was easily the loudest song in the entire setlist with that intro guitar strum. Sure enough, the song also ended in a long-ending finale with a roar from the crowd. This concert made me feel different towards the end, because I’m usually riled up when I get out of a show, but The Paper Kites were too intimate and soft for that. If they are ever in town again I highly recommend you check them out.   

Photo by Saro Hartounian

Categories
Music Quickspins

QUICKSPINS – Patient Number 9 by Ozzy Osbourne

The heavy metal icon is back and better than ever, and this time he brought friends

September 9 saw the release of metal veteran Ozzy Osbourne’s latest album Patient Number 9. It is the thirteenth studio album in Osbourne’s portfolio which is quite an impressive feat, especially considering his recent health issues.

Besides getting diagnosed with COVID-19 in April, he underwent a major neck surgery in June which brought concern to his family and fans, despite his recovery. While his health hasn’t stopped him from performing suitably on Patient Number 9, the whole theme of the LP centers on life and death. Mortality has certainly struck a chord within Osbourne, making him a far cry from the man who used to snort ants and bite heads off of birds for fun

The album boasts a motley of features that are just as big as Ozzy in the music industry. Musicians like Eric Clapton, Pearl Jam’s Mike McCready, Black Label Society’s Zakk Wylde, and last but not least, Ozzy’s former Black Sabbath bandmate from Tony Iommi. 

It was also quite emotional to see that the late Taylor Hawkins had tracked drums for a couple of songs, like “God Only Knows” along with Metallica’s Robert Trujillo on bass.    

There are quite a few memorable songs from this LP: “Parasite” with Zakk Wylde on guitar was quite a funky and upbeat song for Ozzy’s songwriting tastes. The sixteenth-beat tambourine shakes were oddly reminiscent of Fall Out Boy, and even Britpop bands like Oasis and Republica. 

McCready was featured on “Immortal” which happens to be my favourite track. The mixture of grunge guitar chugging along with hard rock bass from Guns ‘n’ Roses Duff McKagan and funk rock drums from Red Hot Chili Peppers’ Chad Smith created a best of both worlds track for my ears.      

For a heavy metal artist, this latest release is heavily produced. The rhythm feels almost as if it is quantized (the process of moving notes in a music software to the exact time signature to make a beat sound perfectly in time) — so certain songs like “Parasite” sounded way too digital and processed for my liking. 

Regardless of the musicality, several songs on the album didn’t feel like they were to Ozzy’s liking. Then again, you could just chalk it up to the evolution of a musician’s songwriting process!     

Trial track: “Immortal” (feat. Mike McCready)

Rating: 8/10

Categories
Music On Repeat

On Repeat: summer edition

Our Music Editors share what they’ve been listening to over the summer.

Guillaume Laberge, Music Editor

Summer 2022 saw the birth of countless projects, some more memorable than others. Regardless, here are the songs I have been obsessed with for the past four months — hopefully you’ll discover something new here.

“Count Me Out” – Kendrick Lamar

Of the many songs I could have chosen from Mr. Morale & The Big Steppers, “Count Me Out” is the one that stuck with me the most. There are so many layers and tempo switches to this track that it makes you sit on the edge of your seat for its entire duration.

“Bad Habit” – Steve Lacy

Whether it was on TikTok or on the radio, this song was inescapable over the summer, and for good reason. With “Bad Habit,” Steve Lacy crafted an indie pop anthem that contains arguably the catchiest chorus of the year.

“Big Ass Bracelet” – Westside Gunn

The Flygod himself dropped perhaps the underground rap song of the year with “Big Ass Bracelet.” The soul sample used in the track is so mesmerising that it took me at least ten listens to realize that he was saying something over this angelic drumless instrumental.

Honourable mentions

“Sugar/Tzu” – black midi

“Me Porto Bonito” – Bad Bunny

“Survivors Guilt” – Joey Bada$$

“Sticky” – Drake

“Chop (Nouvelle École)” – Fresh

Saro Hartounian, Assistant Music Editor

This summer brought about the release of many fantastic albums and singles (the new Kendrick record comes to mind), and I am pleased to showcase my favourite songs that were on repeat during my vacation to Gaspésie and Québec City!

“Auntie Diaries” – Kendrick Lamar

This song moved me to tears. Honestly. Regardless of the heavy topic it explores, I would play this during late summer nights where the pad synths would envelop my room. If you haven’t checked out this song I highly recommend it for the lyrics and the crescendo up until the very end.  

“hydrogen” – Sirintip  

Sirintip did not disappoint with her new single! The acid drum machine over ethereal jazzy vocals. There’s at least three tracks for her voice: two panning left and right and one in the background whispering a response from the former two. I know this is an oxymoron but hear me out… think “upbeat lounge.” 

“Magenta Mountain” – King Gizzard & The Lizard Wizard

This song off King Gizzard’s Omnium Gatherum album was a must-listen through the summer months, especially for long drives. The Minimoog’s bass paired with the oriental melody gives off the feeling of a monastery way up in the mountains. Shangri-La, anyone?

Honorable mentions

“Tippa My Tongue” – Red Hot Chili Peppers

“Welcome To Hell” – black midi 

“Shotgun” – Soccer Mommy 

“Complacency” – Tide Rider

“La Rivière” – Pomme

Categories
Music

Enter Ellen Alaverdyan: young bassist extraordinaire!

Only nine years old, Ellen sheds light on juggling bass, daily life, and friends. 

While scrolling through the music corner of Instagram, you may come across Ellen Alaverdyan: a nine-year-old bass player whose music chops cut through your daily intake of social media. Born in California to Armenian parents, Alaverdyan began playing bass naught but two years ago. She’s since made quite an impression on social media, showing up on many an artist’s radars.     

In that short span of time, she has accomplished so much. Recently she opened for the Golden State Warriors game at the Chase Center, playing bass even during half-time in front of thousands of spectators, and has been a host on Steve Harvey’s show called “STEVE on Watch.” Here she met none other than Bootsy Collins and members of Earth, Wind & Fire. Alaverdyan has also met musicians like guitarist Steve Vai, bassist Richard Bona, and Victor Wooten.     

Is she small? Sure, but she packs quite the punch with her bass playing! 

The Concordian sat down with Alaverdyan to talk about her music and goals.

The Concordian: What’s your day-to-day routine like?

Ellen Alaverdyan: Usually I come back from school, then I’ll eat and watch something and then at 6 or 7 p.m. I’ll practice something if we don’t have anything to record, and then after that, I’ll play some video games if I have time and then go to sleep. 

 TC: Picture this: it’s your first time picking up the bass, how did you feel?

EA: Guess I’m going to have to flashback two years ago. At first, I thought it was a guitar but as I started playing the notes I felt that it wasn’t a low sound but more so a bigger vibration.

TC: What would be the next technique that you are going to learn on bass? 

EA: Slap. I’m learning a couple of things on slap right now. I’m working on Victor Wooten’s lesson right now. He calls it “thumping and plucking.”

TC: Do you have any hobbies when you’re not playing music?  

EA: Oh yeah, my main one is drawing. I used to go to gymnastics but not anymore. I went to gymnastics in Cali and now we moved to Vegas so we’re trying to find a gymnastics place.   

TC: How did the move change you in terms of music-making?

EA: It helped a lot because our old home was really small. Our studio back then was separate and we had to drive to it. Now in our new house, we made the studio in the garage. My dad still has his connections in LA and so we can still go back and record. 

TC: What genre of music influences you?

EA: So right now I like funk. I’ve been getting into and listening to a lot of rock songs recently, but my main genre is funk. We’re talking old-school funk with Bootsy Collins, Kool & The Gang, and P-Funk. 

TC: Speaking of Bootsy Collins. I watched you on Steve Harvey’s show, that was amazing! How did being on that show, on national TV change you?

EA: It made me feel a lot of emotions. I mainly felt surprised. I was actually kind of expecting Bootsy Collins because my parents kept telling me, “What if Bootsy Collins comes on, what are you gonna do?” but I didn’t expect Earth, Wind, & Fire would come on. I didn’t see it coming.

TC: You’ve met and spoken to a number of Influential musician figures. Who impacted you the most and why?

EA: You mean which ones made me most surprised and happy? The first one is Earth, Wind & Fire and the second is Steve Vai. I was imagining him with his long, black, curly hair in the movie Crossroads. He signed a pedal for me too, and we’re gonna keep it safe. 

TC: I saw that you played bass for the Golden State Warriors game two weeks ago. What was your first thought when you were told you were going to play in front of thousands of people? 

EA: When I got on stage my first thought was “How was everyone going to react?” I wasn’t exactly nervous, moreso excited to play the bass. Once I started playing I could see people recording me and it made me feel a lot of things, mainly that they liked what I was playing. I was worried I would play the wrong note but even if I did, it’s not that much of a difference! 

TC: What’s next for Ellen Alaverdyan?

EA: We have a couple of shows. Actually, a drummer from Japan is coming to play with me. For my band rehearsal a couple of students from the School of Rock, the singer and guitarist. We were going to go into a separate studio because my home studio can’t hold all of us. Basically in two months, we’re going to have a show and we’re playing mainly Led Zeppelin songs; “The Ocean,” “The Rover” — and “No One Knows” by Queens of the Stone Age.   

Categories
Music Quickspins

QUICKSPINS – Impera By Ghost

Ghost plays it safe with their new hard rock LP  

RATS! A new album from the infamous Ghost arrived last week. The Swedish rock band released its fifth studio album LP Impera following a four-year break from their previous album Prequelle. It features 12 songs that won’t freak you out, don’t worry. Ghost is not that scary once you listen to their music.  

Going over the album multiple times, it doesn’t sound like there is a conceptual idea for the album itself. However, in an interview with Loudwire’s Graham Hartmann, singer and frontrunner of Ghost Tobias Forge stated that the theme of the LP heavily falls on the rise and inevitable fall of empires. “We have distanced ourselves from the actual circularity of things and the cyclic nature of everything. […] The circularity I’ve been trying to talk about just happens to coincide now with what eventually will fall… the empire [Russia] that will fall because of this, I think, and hope,” said Forge.  

The album starts off with an instrumental track called “Imperium,” which is a fresh start to kick off the rest of the songs. Unfortunately, there were some songs that took heavy inspiration (read: ripped off) from other ones. “Kaisarion” sounds like “We Built This City” by Starship. The “Civilization” theme is also present in said Ghost track, given the lyrics “We’re building our empire from the ashes of an old.” I can see the resemblance with the lyrics, but why take the hook from Starship? The third track “Spillways” is even worse because the beginning literally sounds like the “Pokémon Theme” sung by Jason Paige. “Respite On The Spitalfields” has Def Leppard clean chords cutting through the mix, and “Hunter’s Moon” is screaming “Diary of a Madman” by Ozzy Osbourne. Last but not least, the guitar solo in “Watcher In The Sky” is heavily influenced by Avenged Sevenfold, with their “Hail to the King”-esque licks.           

The seventh track of the album, “Dominion” takes the album divider role. As a divider, the instrumental song showcases the separation between the lighter part of the album which the listener just experienced, and the heavier which is just to come. Following “Dominion,” is the heaviest song on the album: “Twenties.” This song starts off with fanfare which is pursued by a heavy oriental beat, similar to an Armenian style rhythm. Although the lyrical melody has a very bouncy feel to it (explicit as their verses are), the instruments don a Children of Bodom style chug which creates a heavy yet melodic song.  

When it comes to Ghost in general, they have their textbook way of writing lyrics. When it comes to the verses, they tell very grandiose stories which sound epic, like in the song “Watcher In The Sky” where the first verse reads “Evolutionary, the optics for us to get answers as to why, we signal to another dimension, that we stand here ready for reply.” On the other hand, their process of writing their choruses includes taking the title and rehashing it, like “Searchlights, looking for the watcher in the sky, searchlights, looking for the watcher in the sky.” This writing process makes for easy listening to songs rather than straining to understand complex lyrics. While it works in creating catchy tunes, maybe it would benefit if their songs didn’t sound a bit lighthearted, after all, they look like they burn churches.   

 In all sincerity, I feel that this album could have amounted to more than just blatant rip-offs and cheesy ‘80s inspired themes. While I did enjoy the main melodies and the theme of the album, it could have done better with more original and less processed-sounding ideas.     

 

Trial track: “Twenties”

Rating: 6.5/10

 

[spotifyplaybutton play=”https://open.spotify.com/track/53cMnrQfpipSePnw9SZroB?si=ad96b22f2a144730″]

Categories
Music

Concert review: Tame Impala at Place Bell, Laval

Photo by Faustine Chonavel-Weakley

The Australian band’s divine performance even made some people faint

The cold Laval air was filled with the sounds of police sirens and fans chattering about the upcoming Tame Impala show. Standing in line, it was evident that an infectious energy was spreading. 

The opening act went by the name of Junglepussy. She was an oddball choice as an opener by Tame Impala frontman Kevin Parker, since she is a hip/hop artist and Tame Impala is a psychedelic alternative band. Her performance was a bit underwhelming on account of her half-hearted dance moves, but the highlight of her show were the visuals, which elevated the senses for each one of the songs. Her most memorable songs were “Trader Joe” for the hilarious pop culture quips which left the crowd reeling with laughter, and “Nah,” which sounded like a Nas-influenced beat.  

After a 15-minute intermission, Tame Impala started off with a luscious intro involving lunar visuals moving around (among other spherical objects). The setlist was comprised of the band’s greatest hits like “New Person, Same Old Mistakes” and “Borderline.” The third song, “Nangs,’” had the Currents album artwork as visuals, which seemed to almost breathe, contracting and expanding and flowing in a “current.” They then dedicated “Breathe Deeper” to Junglepussy, thanking her for opening for the band, which was kind on Parker’s part. 

After bantering with the crowd, Tame Impala played their song “On Track.” Before playing, Parker said that it was the first time the band had performed it live in front of an audience. I really appreciated that the group took the time to mention this little tidbit, because normally bands will say things like “You guys are the loudest city we’ve been to!” just for the sake of riling up the energy of their fans. However, here Parker showed a genuine excitement towards sharing this previously-unperformed song with the audience, creating a memorable experience.

At one point in between songs, Parker said “That stuff smells nice, Montreal weed is good!” The conversations that he had with the crowd were lively and personal too, especially after a member of the crowd gave him a bouquet of flowers.    

The seizure-inducing light show seemed divine, and for each song the visuals were stunning, putting on a psychedelic show which felt like an LSD trip, at least to those who indulged in said practices. During “Breathe Deeper,” two fans fainted. Clearly, they did not pay attention to the song’s title. Understandably, the light show was so overwhelming with the face-melting visuals that surely a lot of other fans felt like they were going to faint as well.

One of the most memorable songs was of course “Elephant.” The sheer monolithic sound of the guitar and bass overpowered most people’s ears but thankfully it was not too overwhelming! Another song that shared this frequency was “Let It Happen.” In my opinion, “Eventually” happened to be my favourite song from the setlist.  

During “Runway Houses City Clouds,” a fan was injured just as the band started to play. Parker stopped playing the song to make sure they were okay. Once everything was cleared up, they restarted the song and all was well. The real-time generated visuals induced a psychedelic fever dream that gave off Fear and Loathing in Las Vegas vibes. Their encores were “The Less I Know The Better” and “One More Hour,” which was the perfect send-off for the band.

Memorable songs: “Elephant,” “Breathe Deeper,” “On Track,” “Eventually,” “Runway Houses City Clouds”

Total times confetti thrown:

Word of the concert: Divine

Photo by Faustine Chonavel-Weakley

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