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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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Music Quickspins

QUICKSPINS: PinkPantheress — Heaven knows

Album cover of "Heaven Knows" by PinkPantheress. Courtesy of Apple Music.

The Londoner breakout star releases her debut album on Nov. 10.

Victoria Beverly Walker, who uses PinkPantheress as her stage name, is probably the prime example of TikTok propelling up-and-coming artists to fame. With a runtime of 34 minutes and counting 13 tracks, the 22-year-old singer shows the world she isn’t strictly the source of viral TikTok sounds anymore. 

Indeed, PinkPantheress initially crafted songs in her bedroom and posted them online. After one of her videos got half a million likes on TikTok, she decided to release a snippet of her song “Just A Waste.” This action resulted in a quick spread of the audio track all over the app in 2020. Months later, her songs “Pain” and “Break It Off” also became viral, only enhancing her presence and clear grasp of the younger generation on TikTok. 

Since her first time on stage in late 2021 for a short and sweet London venue visit, PinkPantheress has now accumulated a series of live gigs ranging from festivals to a couple of solo shows. However, fans of the artist had expressed disappointment towards her songs being too short to be performed live and her setlist not being extensive at all. 

With Heaven knows, her catalogue broadened. Joined with song features from Rema, Central Cee, Kelela and Ice Spice, the artist also collaborated with producers like Mura Masa, Oscar Scheller (Charli XCX, Rina Sawayama) and Greg Kurstin (Gorillaz, Adele, Foo Fighters). 

Two previously released tracks include the tracks “Mosquito,” and “Boy’s a liar Pt. 2” feat. Ice Spice gained huge popularity and got her first entry on the Billboard Hot 100 charts. These previews from the album and the rest of the tracklist stay in this very PinkPantheress sound that has grown and developed while keeping her original musical DNA alive. 

Her unique sonic aroma is rooted in the genres of Pop, Jungle, Jersey Club and UK garage in a bubbly Y2K tone mixed with ‘00s R&B. PinkPantheress’s soft voice adds a sweet flair as the cherry on top. 

Notably, the music video for “Nice to meet you” feat. Central Cee is straight out of a 2006 video clip with its bubbly graphics and choreographies. PinkPantheress’ confidence when it comes to her concrete style is consistent all throughout, from the songs’ productions and visuals associated with Heaven knows.

The British singer communicates storylines of love, heartbreak and infatuation throughout this anticipated debut album. Some of my highlights from the album are the witty hook from Rema on the opening track “Another life,” the catchy and warm production of “Mosquito,” as well as Kelela and PinkPantheress singing the lyrics “I almost fell in love, but I couldn’t tell you” subsequently after the other on “Bury me.” 

Heaven knows is a solid and tender collection of what people know and love about PinkPantheress. It also throws away the preconceived notion that PinkPantheress is only a viral TikTok sound maker. As her audience, we get to experience, both sonically and visually, how she is blossoming. The success she built in appropriating her sound that made her popular on social media is now fully owned wholeheartedly in a cohesive manner. 

Score: 7.5/10

Trial Track: Mosquito

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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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Music Quickspins

QUICKSPINS: Sampha — Lahai

Courtesy of Apple Music.

The South London artist Sampha is back after six years, with his stunning new album Lahai.

Released on Oct. 20, Lahai is not only Sampha Lahai Sisay’s newest album but also his grandfather’s name, his own middle name and his next musical chapter. Following his debut album Process which won the 2017 Mercury Prize, this new album communicates themes rooted in his life in adulthood. When sharing the news about Lahai with the world through an Instagram post, the musician displayed various keywords from the album’s message as hints: “Fever Dreams. Continuums. Dancing. Generations. Syncopation. Bridges. Grief. Motherlands. Love. Spirit. Fear. Flesh. Flight.” Indeed, the 41-minute runtime covers each of these feelings, thoughts and life positions with intention. 

Lahai follows Sampha’s glimpses of self-awareness, snapshots of memories and realizations he’s been experiencing being a father, brother, friend and son. Throughout the 14 featured tracks, the singer reestablishes himself and beautifully expresses his personal stance in the world. A strong sense of communication and connection leads this album, whether a song tackles the past, present, future, or all of the above. 

The very first track, “Stereo Colour Cloud (Shaman’s Dream),” introduces piano on its own, almost like trickling water in a playful way. The creatively produced track programmed acoustic instruments via MIDI (Musical Instrument Digital Interface) and notably contains lyrics about missing someone while time flies. “Spirit 2.0” is up next, influenced by West African folk music called Wassoulou. Sampha repeats how waves, light, love, spirit, faith, friends and time will “catch you,” chanting a reminder we are never truly alone. The third song, “Dancing Circles,” explores conversing with someone he hadn’t seen in a long time and is layered over this addicting metronomic style piano and experimental rhythm. “Suspended” comes up next with gratefulness at its core, especially with the earnest line “I’ve been lifted by her love.” 

With “Satellite Business”, Sampha looks back on all of “the love and the care and the words [he] was given” and thinks to himself that there are “maybe no beginnings, maybe no bridges” when going through life events. This short introspective track is followed by “Jonathan L. Seagull,” lyrics about the dynamic between the people he’s met along the way and dealing “with loss and grief in separate ways.” This recognition is notably expressed with a passage of the song that repeats how seasons come, cry, grow and die. 

This cycle of maturation smoothly transitions into the narrative of “Inclination Compass (Tenderness).” The minimalistic piano, whistles, synths and background vocals accompany Sampha singing about the importance of implementing empathy, tenderness and fondness in times of hardship. “Only” is a more energetic follow-up with a message recognizing that you can be the one to help yourself, not necessarily other people. The previous short but sweet interlude “Time Piece” goes into “Can’t Go Back,” all about using time efficiently. It’s also one of my favourite moments of the album because of its gorgeous piano ending. 

“Evidence” and “What if You Hypnotise Me?” are the last moments of the album. They sonically compliment each other with charming and vulnerable lyrics, especially with the delightful string transition “Wave Therapy” between them. The album ends on “Rose Tint,” rounding up Sampha’s need for grounding by indicating “I needed nature, I needed scope.” 

Sampha’s tone conveys such softness and warmth while playing with different rhythms within his voice calibre. The production merges different sounds that are consistently crisp and minimalistic, which I really appreciate. Piano is definitely a prominent element throughout Lahai, also engaging with R&B, funk, jungle, grime and minimal classical music. They all seamlessly blend together and let Sampha’s lyrics breathe for our focus simultaneously. Lahai’s collection full of growth and distance is beyond refreshing to the ear and the heart. Sampha reminds us to look within ourselves and take the time to reminisce in a constructive way this fall. 

Score: 9.5/10

Trial Track: Jonathan L. Seagull

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Music Quickspins

QUICKSPINS: Bad Bunny – nadie sabe lo que va a pasar mañana

Courtesy of Apple Music

Nobody knew the Latin sensation would release this unexpected album.

On October’s mysterious Friday the 13th, Bad Bunny released his fifth solo studio album nadie sabe lo que va a pasar mañana, which translates to “Nobody Knows What Will Happen Tomorrow,” once again defying the laws of the reggeaton sound. 

Fans only got a few days’ notice of the album’s upcoming release, insinuating that nobody really knew what was going on. But the Latin sensation is back with a new album—Bad Bunny caught fans off-guard. 

Steering away from the traditional reggaeton sound, Bad Bunny brings classical harmonies in the intro track “NADIE SABE” (nobody knows) and in “MONACO.” “NADIE SABE” is solely composed of violin and cello while Bad Bunny sings about living in the present moment and taking control of your own life. 

“MONACO” pays a heartwarming tribute to the late French singer, Charles Aznavour, with the classic violin intro to “Hier Encore” starting the song, only to switch gears to hard rap. The song’s interlude is a passage from Aznavour’s classic, referring to how he “caressed time and played with life like we played with love and lived the night.” 

“MONACO,” “NADIE SABE,” and “TELEPHONO NUEVO” are the more mysterious tracks as they start with softer tempos before and then they catch you off guard with a rougher tone. He uses a lot of dialogue and sound effects to transition from both beats, namely a Formula One car engine playing on top of the interlude and a phone dial saying “the number you have dialed has been changed.”

“TELEPHONO NUEVO” starts off with a softer beat until he announces “[he’s] gonna change his number, we’ll call later” before Luar La L’s new number dials in with hard rap. “VOU 787” starts off with Madonna’s “Vogue” intro, accompanied by claps before the beat drops and Bad Bunny attributes how “now [he’s] a model, a photo for Vogue.” “SEDA” (silk) is slow and sexy with a pop flare, holding a “hiding in the sheets” energy. All three tracks add an expensive connotation to the album: silk as the “fancy” material, fashion dominatrix magazine Vogue, and a brand new phone. Bad Bunny gives riches a new sound. 

This album is quite different from the previous four, steering away from the tranquille summer vibes and reggaeton beats, to the eccentric pop, hard rap and classical. Bad Bunny makes several references to pop culture and powerful, strong figures such as Rocky Balboa, Lionel Messi and Diego Maradonna, who are mentioned several times throughout the album. 

nadie sabe lo que va a pasar mañana is a mystery album where each song is different, yet their unique style represents who Bad Bunny is as an artist. It’s an experiment of different genres, styles, and themes, questioning what it means to live life. It’s an anthem about what the album is truly about—a giant question mark that all you want to do is find the answer to. No one knows how or if they can put their finger on it, but that’s the beauty of album number five. 

Trial track: MONACO

Score: 9/10

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QUICKSPINS: Westside Gunn – And Then You Pray For Me

Courtesy by Apple Music.

The Buffalo MC balances tradition with a new direction in the sequel to Pray for Paris.

In 2020, Westside Gunn’s third studio album Pray for Paris was released, quickly becoming a favourite among fans. Famed designer Virgil Abloh was the catalyst behind this album: he not only created the artwork but also invited the Griselda Records founder on a life-changing trip to Paris Fashion Week, which inspired the album’s creation. Nearly two years after Virgil’s passing in 2021, Gunn spent most of 2023 travelling around Europe, also stopping in Egypt and Dubai. This prompted the recording of his latest album And Then You Pray For Me. Released on Oct. 13, it is the sequel to Pray for Paris.

Many tracks on And Then You Pray For Me recall the plush and expansive soundscape on Pray for Paris. Songs “FLYGOD 2x” and “Babylon Bis” combine melancholic xylophone and piano loops with dusty boom-bap drums, resulting in the same gritty yet elegant soundscape that graced Pray for Paris. “House of GLORY” features a sunny and shiny classical music melody that adds a degree of fun to both Gunn’s and featured artist Stove God Cooks’ unorthodox singing. Gunn’s entrance is especially entertaining as he abruptly begins singing “baby” in a high-pitched voice. The orchestral loop on “KITCHEN LIGHTS” is stunning and provides the same duo with a luxurious backdrop. The instrumental’s beauty radiates the Parisian opulence that Gunn aimed to emulate on Pray for Paris: the resulting song sounds like a masterpiece. Elsewhere, several tracks follow the usual Griselda formula and the outcome is as solid as usual. “Mama’s Primetime” is an ominous boom-bap cut that would fit perfectly on WWCD, the 2019 album released by Griselda (as a trio composed of Gunn, Benny the Butcher, and Conway the Machine). “Suicide in Selfridges” is the latest of many fun, upbeat tracks where Gunn raps over quirky beats from his frequent collaborator, producer Conductor Williams.

The rest of the album sounds drastically different, as And Then You Pray For Me sees Westside Gunn extensively venturing into trap music—a style he has seldom dabbled with on his existing solo material. Although it is not inherently bad, Gunn’s delivery over trap beats is notably slow-paced and tends to veer off-beat. It quickly becomes redundant as he approaches many of these tracks in the same way. The production itself is also a make-or-break factor: Tay Keith’s production on “Kostas” feels like a grand event, yet the Miguel The Plug beats on “LL BOOL GUN” and “Ultra GriZelda” are painfully basic. Gunn’s inclusion of veteran trap artists (Jeezy, Rick Ross) and DJs (Drama, Holiday, Swamp Izzo) is an intentional homage to trap music’s early prime in the late 2000s. The album’s trap component is built upon a strong foundation, although its execution is occasionally shoddy.

Like other Gunn projects, there are many features, many of which bring their A-game. JID is a show-stopper on “Mama’s PrimeTime” and all the Griselda Records mainstays fulfill their usual duties effectively. Trap veterans Jeezy and Rick Ross feel right at home on their respective tracks, and Denzel Curry brings a load of energy to “Ultra GriZelda.” The Westside Gunn sex song “Chloe” returns on an ostentatious, wildly graphic duet with Ty Dolla $ign. The title track is an amazing closer courtesy of KayCyy. He sings and raps softly over a soothing, ambient soundscape backed by hints of church bells. The whole thing evokes a closing sermon and wraps up the album on a perfect note.

Overall, And Then You Pray For Me is half the sequel that it sets out to be. The album starts off strong with the traditional Griselda sound, recapturing the greatness of Gunn’s existing catalogue and the high-class sound of Pray For Paris. The trap cuts essentially bog down the album’s midsection and most of the latter half. Gunn’s new direction showcases potential but often borders on being a cheap execution of a certain sound. Thankfully, the closing track catches up to round out the album nicely. The takeaway is that Gunn’s stylistic change is by no means bad: it just requires refinement.

Score: 6.5/10

Trial Track: KITCHEN LIGHTS (feat. Stove God Cooks)

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Music Quickspins

QUICKSPINS: Drake – For All The Dogs

Courtesy of Apple Music

The Canadian rapper’s eighth studio album is occasionally great, yet bloated and mediocre like his other recent releases.

When the Toronto native began teasing For All The Dogs, he proclaimed, “They say they miss the old Drake, girl don’t tempt me.” Released on Oct. 6, 2023, his eight studio album contains glimpses of the quality of his older acclaimed material, yet suffers from the same major drawbacks that have plagued his recent releases.

The album starts off on a decent note, with Drake attacking a series of rap tracks with good performances. “Fear Of Heights” and “Daylight” notably feature high-energy trap beats and Playboi Carti-esque adlibs.  The artist’s rapping is adequate overall, though his usual ridiculous puns do appear throughout the album; some of the most ridiculous examples being “I wanna slide in your box like a vote” (“What Would Pluto Do”) and “Feel like I’m bi ’cause you’re one of the guys, girl” (“Members Only”).

Drake’s good performances are met with even greater guest appearances: J. Cole helps elevate their anthemic trade-off on “First Person Shooter” with a bold demeanor and clever bars, whereas Teezo Touchdown’s sermon-like singing on “Amen” is soothing and plays off Drake’s usual relationship-based humour. 

The album’s midsection is where Drake truly shines. The run from “Slime You Out” to “Members Only” features a handful of low-key and laid-back R&B tracks where Drake gives smooth and soft singing performances over slow, wavy instrumentals. “Members Only” is an atmospheric, nocturnal and wavy R&B track that would feel right at home on Drake’s 2015 mixtape If You’re Reading This It’s Too Late, complete with a feature from OVO signee PARTYNEXTDOOR.

Unfortunately, there are many gripes to be had with For All The Dogs. With 23 tracks and over 80 minutes of runtime, the project essentially sets out to be bloated with filler tracks. Drake is absolutely asleep at the wheel on “7969 Santa,” wasting an airy, atmospheric beat on a mind-numbingly boring flow where he even begins to drone off-beat. Many features are notably downplayed or misplaced altogether. 

The sample of Chief Keef’s “I Don’t Like” on “7969 Santa” is a head-scratcher, as is the scantness of Keef’s contribution to “All The Parties.” The Chicago rapper delivers a greatly sung bit, yet Drake ends up changing the song’s key and singing Keef’s bit himself later on, making the feature feel unnecessary.

“IDGAF” is another curious case. The track begins with a minute-long ambient intro that proves to be virtually useless when it abruptly cuts to Yeat rapping. Drake’s sudden introduction on the track feels out of place and his appearance lasts only 40 seconds out of four minutes—making it nonessential. Drake simply tacked himself on a track by Yeat, who gives a far more enthralling performance.

“Calling For You” is also a huge waste of potential. The track starts off as one of the most fun moments on the record with Drake hopping on a lighthearted, R&B-infused drill beat from Cash Cobain. Unfortunately, 21 Savage is put over a separate, generic beat, which prompts an average and predictable performance. To make matters worse, both sections are bridged by an obnoxious, two-minute rant from a Mississauga Instagram model who complains about flying economy and likens eating oxtail and jerk chicken everyday on vacation to being in jail—talk about first world problems.

“Gently” featuring Bad Bunny is easily the worst offender. Drake’s performance is a stereotypically basic mish-mash of Spanish words so ridiculously cliché that it feels like a parody. Bad Bunny absolutely does his thing in the second half, proving that the song would be an easy hit if released on his own album a week later without Drake’s verse.

For All The Dogs is decent overall. There are some great tracks—as proven by the R&B material—although they are sandwiched between questionable feature placements, random beat switches, a mix of inconsistent sounds, and several mediocre tracks. Sure, the old Drake is still capable of coming back, but he only appears for one out of every 25 tracks that he releases.

Score: 6/10

Trial Track: “Members Only (feat. PARTYNEXTDOOR)”

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Quickspin: Elisapie – Inuktitut

Apple Music

Inuk musician Elisapie Isaac explores the music of her childhood reimagined in her native language. 

On Sept. 15, Inuk singer-songwriter and filmmaker Elisapie Isaac released her latest album: Inuktitut, with 10 songs from her childhood covered in her language of Inuktitut. Each one of the songs on the album has the memory of a time in her life attached to it.

Growing up in Salluit, the second northernmost Inuit community in Quebec, Isaac’s uncle—a lead singer in the Canadian rock band —had a heavy influence on the music of her childhood. This album is filled with her uncle’s classic rock influences like Led Zeppelin, Pink Floyd and Metallica.

The album has the undertones and the melodies of the original classics, but in Inuktitut, they bring out a completely different emotion. And, for a non-Inuktitut speaker, this album is a perfect introduction to Inuktitut music.

It can be hard to branch out to music in languages that we do not understand but with this album—even if you do not speak Inuktitut—you are moved by Isaac’s powerful use of emotion. Having the undertones of the originals, the songs feel even more potent. Mixing lyrics and throat singing in the background of the “Isumagijunnaitaungituq (The Unforgiven),” the song takes an even more somber tone than the already morose original. 

Her mother had said this when she first heard The Unforgiven cover: “I think if your stepdad was alive, he would have thought that you wrote the song for him.” That comment meant a lot to Elisapie since her 72-year-old Inuk mother was now able to truly connect to an already poignant song in her community—all thanks to the translated lyrics. In an interview with Rolling Stone, she said, “The band’s music allowed us to delve into the darkness of our broken souls and feel good in there. It felt like we were being told it’s okay to be sad.”

Although this is not her first time producing powerful works. She had the chance to interview Metallica at 15 for her local radio station, and from there wanted to pursue a career in journalism. Moving from Salluit in 1999 to take communications at John Abbott College in Sainte-Anne-de-Bellevue. She then went on to make a short documentary, “If the Weather Permits,”, in 2003 on the life of the nomadic Inuit in Nunavik dealing with the confines of settled life. Her film won the Rigoberta Menchu Prize at the Montreal First People’s Festival in 2003. Recently in 2023, she received an honorary degree from Concordia University.

Isaac will be touring Quebec, the US, France and the rest of Canada till the end of 2024 so there will be many occasions to see her perform live. Although all her shows in and around Montreal are sold out, you can still grab tickets for her concert in Quebec City at the Grand Théâtre de Quebec on Dec. 20, 2023.

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Quickspins: Olivia Rodrigo — GUTS

Courtesy of Apple Music

On her sophomore album, the pop princess rocks out and reflects.

Olivia Rodrigo’s debut album SOUR was accompanied by one of the speediest, meteoric rises to pop superstardom in recent memory. Her breakup ballad “drivers license” blew up on arrival, debuting and remaining at #1 on the Hot 100 for eight consecutive weeks. She earned a second chart-topper with the pop-punk hit “good 4 u,” and would go on to win three Grammy awards for the album. 

Her sophomore record GUTS takes cues from the winning formula on SOUR, bringing its style and writing to new heights. With an increased rock flair and equally captivating songs, GUTS is poised for as much success as its predecessor, if not more. The writing on GUTS shines as it successfully explores its overarching theme of relationships and breakups from different avenues, while also differing in tone from one track to another. 

“bad idea right?” and “get him back!” are tongue-in-cheek tracks where the popstar contemplates getting back with her ex. On the latter, she playfully sings about wanting “to meet his mom, and tell her her son sucks,” playing off the song’s double meaning of revenge and reconciliation. “pretty isn’t pretty” is a standout that describes the incessant insecurity that results from chasing unrealistic beauty standards and the sinking feeling of realizing that they cannot be reached. “lacy” reads like a love-hate letter from the singer to a figurative woman where she blurs the line between complimenting and envying Lacy’s character. 

Other tracks include select lyrics that perfectly capture their song’s essence. “It takes strength to forgive, but I don’t feel strong” is a poignant lyric on “the grudge” that perfectly embodies the exhaustion that results from manipulation in a relationship. 

GUTS leans into the pop-rock and pop-punk sound far more than SOUR, and its tracks are all filled with driving, groovy basslines, and roaring electric guitars. The pop-punk groove, drums, and guitar licks on “bad idea right?” are addictive, and “ballad of a homeschooled girl” and “get him back!” are high-energy pop-rock jams. 

On the other hand, less is more for some of the album’s ballads. Softer tracks like “lacy” and “logical” feature minimalist production consisting almost solely of soft guitars or somber pianos. The album also has great pacing, with songs like “all-american bitch” and “vampire” starting off slow and building towards explosive rock passages, including both styles within the same song—the latter even being a continuous crescendo across its nearly four-minute runtime.

Rodrigo’s vocal performances are commendable on the album. Her rock performances are shouted, energetic, and in-your-face, whereas her balladry is soft-spoken and passionate. “get him back!” features a standout, anthemic hook that is reminiscent of Joan Jett. The outro “teenage dream” also excels at both: Rodrigo’s falsetto repetitions of “it gets better” feel like a warm hug of reassurance, before the track collapses into a rock release as she cathartically ponders “what if it don’t?”  She also often layers soft, angel-like vocal lines and “ahhh’s” behind her lyrics, harmonies that add lots of colour to the verses they lie beneath (as best done on “bad idea right?” and “vampire”). 

This combination of varied writing, vocal performances and styles, and production is what makes GUTS such an enjoyable record. No matter how brazen or blissful the songs are, Rodrigo’s writing is raw and relatable, her performances are passionate, and the production is the perfect palette to soundtrack it all. GUTS is filled with energetic hits and captivating ballads, and many of its tracks showcase the potential to reach the same chart-topping heights that “vampire” already has.

Trial track: vampire 

Score: 8/10

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Music Quickspins

Burna Boy – I Told Them…

Burna Boy - I Told Them...

The Nigerian singer’s latest effort is tried and true to his Afro-fusion style and the success it has brought him.

Burna Boy is a force to be reckoned with. Whether it be for a few hundred people at Montreal’s 212 nightclub or 60,000 fans at London Stadium, his hits “Last Last” and “Location” can gather every voice in the room, ringing out in unison like a celebratory chant. His latest album I Told Them… supports this reality: it is both an Afrobeats record full of charming melodies and a testament to the success he has achieved.

Lyrically, I Told Them… is exultant, backed by a sentiment of pride and fulfillment. In the opener and title track, Burna Boy reflects on the ambitions and aspirations he spoke about in the past, hopes which he has since fulfilled: “For some reason they didn’t believe it, so here we are,” he sings in the chorus of “I told them.” 

“Big 7,” another song on the album, is a description of the singer’s now lavish lifestyle. On the closing track “Thanks,” he prides himself on bringing forward Afro-fusion music and making his people proud. However, the track also reads as a backhanded compliment. Despite priding himself on his fans, he implies that they do not do good by him by criticizing him (especially in regards to controversy), asking: “Is this the [expletive] thanks I get?”

Burna Boy continues to prove himself as a master of hooks on this album. They are repetitive and memorable, thanks to his simple yet catchy flows. His vocal performances are smooth and syrupy, but he also excels at layering his own vocals and harmonizing, which gives his choruses a larger, anthemic feel.

Afro-fusion is evident on this album, with Burna Boy borrowing production elements from vintage hip-hop, 2000’s R&B, pop, traditional Afrobeats, and acoustic music. The opening and closing tracks both utilize congas and other percussion to create minimalist, soothing, rhythmic backdrops. 

“Normal” feels like a traditional Afrobeats instrumental revamped with hip-hop drums, and “Sittin’ On Top Of The World” is a vintage hip-hop beat backed by a sick groove and a Brandy sample. “City Boys” is another R&B sample flip which borrows its melody from Jeremih’s hit single “Birthday Sex.” “If I’m Lying” stands out due to its foundational guitar melody, one so soft and entrancing it brings The Weeknd’s 2011 track “Rolling Stone” to mind.

With the exception of fellow Nigerian singer Seyi Vibez, Burna Boy exclusively enlists rappers for the guest slots on the album. He reconnects with the UK rapper Dave on “Cheat on Me,” for the first time since “Location” in 2019. In this collaboration, however, Dave’s verse lacks the tight flow and lyrical substance of his own Afrobeats tracks (check out “System” featuring WizKid). 

Elsewhere, 21 Savage is a simple yet effective addition to “Sittin’ On Top Of The World,” and J. Cole’s speedy verse on “Thanks” includes clever one-liners and multisyllabic rhymes. Wu-Tang Clan members GZA and RZA also appear in some lyrical segments.

Overall, I Told Them… is further proof of Burna Boy’s merit. Between his fusion of genres, he can create hits from existing ones (as seen in “City Boys”) and seamlessly bridge Afrobeats and hip-hop together via production and guest appearances. The inclusion of “Talibans II” as a bonus track makes perfect sense: by adding his signature melodiousness to an already hypnotic track “Talibans” by Byron Messia, he gave the latter his first Hot 100 hit— which further proves Burna Boy as an Afrobeats heavyweight.

Trial Track: Normal

Score: 7/10

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Music Quickspins

QUICKSPINS: Travis Scott – UTOPIA

The ASTROWORLD follow-up is filled with psychedelic hip-hop that is ambitious, eclectic, and exciting.

UTOPIA’s opener “HYAENA” begins with a robotic vocal sample that is both inviting and confusing. What follows is Travis Scott dominating over a knocking drum break and an addictive harpsichord loop, making for a song that is frantic yet exciting. The track is unlike most of Scott’s existing catalogue, and even sticks out from what follows on the album.

UTOPIA stands out due to its unique instrumental palette, one that spans different subgenres, sounds, and moods. You can find standard hip-hop/trap production on cuts like “MELTDOWN,” “I KNOW ?,” and “TOPIA TWINS.” “SIRENS” contains triumphant drums reminiscent of Brazilian funk, while “DELRESTO (ECHOES),” “LOOOVE,” and “K-POP” are danceable tracks influenced by house music, dancehall, and Afrobeats. 

The production on the album also features synth passages (courtesy of Mike Dean), beat switches, and melodic intricacies that elevate the tracks and allow them to evolve as they progress. Key examples are the beat switch-up on “THANK GOD” and the glimmering synths after the hook on “FE!N.” 

Kanye West’s influence is another instrumental force behind the album’s sound. Scott’s flows on “MODERN JAM” are reminiscent of Yeezus cuts “On Sight” and “I Am a God,” whereas the instrumental and delivery on “CIRCUS MAXIMUS” are similar to “Black Skinhead.” Meanwhile, “THANK GOD,” “GOD’S COUNTRY,” and “TELEKINESIS” are finished versions of demos recorded during the 2020-21 sessions for Ye’s Donda album. 

UTOPIA also features noteworthy tracks characterized by an ambient and mellow sound like “TELEKINESIS” and “MY EYES.”. The latter is a standout that begins with a slow, lullaby-like tune before accelerating into a starry trap beat so ethereal it could be the Rainbow Road theme. The track also showcases Scott’s ability to give captivating performances, as he croons softly in the first half and raps with a nonstop, speedy delivery for over a minute once the beat switches. 

For most of his rapping on the album, Scott finds pockets within the instrumentals that complement the beats and sticks to them, resulting in verses and hooks that are engaging and easy to follow. “I KNOW ?” and “TOPIA TWINS” are a back-to-back offering of catchy, earworm choruses—some of the record’s best.

Much like its predecessors, UTOPIA has a hefty list of features. Standouts include Playboi Carti debuting a new deep voice on “FE!N,” Teezo Touchdown’s bold and eccentric belting on “MODERN JAM,” and SZA’s angelic entrance onto the already heavenly “TELEKINESIS.” 

Travis Scott has brought on everyone from A-listers to newcomers and underground legends, including the likes of Drake, Beyoncé, The Weeknd, 21 Savage, Bad Bunny, Future, Westside Gunn, Rob49, Yung Lean, and more into one lineup. With all the features hidden before release, the first listen comes as a pleasant surprise. 

With UTOPIA, Travis Scott defies the expectations of what this ideal reality can be, delivering an album filled with dark, varied production, stylistic switch-ups, and high-profile surprise guests hiding around every corner. It is fitting that the outro “TILL FURTHER NOTICE” is a perfect marriage of these elements: verses from Travis Scott and 21 Savage, a dark Metro Boomin beat, and a haunting James Blake feature creating a beautifully eerie, atmospheric, and star-studded track.

Trial Track: “MY EYES”

Score: 8/10

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Music Quickspins

 QUICKSPINS: Plastic Eternity – Mudhoney

 One of Seattle’s greats proves they’ve still got it.

Mudhoney, one of Seattle’s last alternative strongholds from the late ’80s/’90s, just released a concept album entitled Plastic Eternity on what they most like to talk about in their album: issues like pollution and fascist ideologies, and the political commentary that comes with it.

Plastic Eternity marks their 15th studio LP, which is no mean feat, especially for bands from that era. Clearly, vocalist Mark Arm still has serious topics to tackle in their songs. He starts off the album by yelling “Everyone tells me it’s nice to have me back,” which is completely true for those who love the ’90s. 

Staying true to the name, the album starts off with “Souvenir of My Trip,” which sounds like quite the trip. If you got Curtis Mayfield bongo funk and Dry Cell nu metal together in a studio, that’s what the instrumental sounds like on the second track. Then add Mark Arm’s psychonaut, spacey vocals and you have “Almost Everything” it takes to make a psychedelic song that even Hunter S. Thompson would appreciate. In fact, I think he would play this entire album on repeat. 

The instrumental in “Cascades of Crap” puts you in the middle of a desert. A Mad Max-esque desert, to be precise. The lyrics, however, depict the social satire that Gen Z wants. They are their own political commentators in this concept album. 

One of my favorite songs from this album was “Plasticity.” I mainly enjoyed the intro with the vocoder, that was followed by guitars and synths galore. The whole song consists of the singer naming plastic objects, not unlike Kanye in “All of the Lights.” Another song that I appreciated a lot was “Flush the Fascists,” because it’s another song whose title and lyrics feed into the political commentary that Arm sets as a solid precedent. The song depicts the band’s desire to rid society of fascists, or rather “flush ‘em down.” This is very much solidified when Arm describes them as “teeth that are rotten to the core,” needing to be pulled out.   

The song “Severed Dreams in the Sleeper Cell,” especially the chorus, sounds like a satirical answer to Rage Against The Machine’s “Wake Up,” which was coincidently used in the movie “The Matrix.” Where Zack de la Rocha (RATM vocalist) belts “WAKE UP,” Arm sings “We don’t wanna wake up now,” attempting to convey the message that people don’t want to get out of their day-to-day rat race.

Also, move over Justin Timberlake, Mudhoney is here. Where “Cry Me a River” is a tale depicting Timberlake’s unsuccessful relationship with Britney Spears, the Mudhoney track “Cry Me An Atmospheric River” boasts a manic Arm taking the persona of the weather on Earth who cares not “what happens to humans.” 

While the album isn’t bad, I feel like there is a quantity-over-quality issue here. Songs like “Human Stock Capital” and “Tom Herman’s Hermits” could’ve been killed off the tracklist and put in a vault for B-side releases. 

The other songs, such as “Flush the Fascists” and “Move Under,” give a hint of what the band feels towards our society. Yes, it is true that you can’t go into too much detail when singing about a pressing topic. However, the runtime of Mudhoney’s songs on this record are shorter in comparison to other alternative bands, and even compared to their own older hits like “Touch Me I’m Sick” and “Suck You Dry.” Overall, listen to your discretion if you want to hear old ’90s Seattle drug-infested-port-city mavericks rage against our society.   

Trial Track: “Almost Everything”

Score: 6.5/10

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