Category: Music

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Concert Reviews Music

Concert Review: The retro-futuristic band Automatic comes back to Montreal with their second album Excess

Automatic playing at Les Foufounes Électriques ESTHER MORAND/The Concordian

 Automatic: fighting capitalism through looped synths 

Automatic performed on Oct. 19 at Les Foufounes Éléctriques, and the show was everything their devout fans were expecting. The trio is composed of Izzy Glaudini, lead vocalist and synth player, Halle Saxon for bass and vocals, and Lola Dompé for drums and vocals. 

“We started in Los Angeles, and we’re all big music fans, we weren’t really close friends, but we all thought we were cool. The best way to start a band is to meet cool people, so that’s what we did,” Glaudini told The Concordian. 

Automatic’s genre skims between retro and techno-pop, sometimes touching upon apocalyptic futuristic sounds thanks to the lead’s synth. Their lyrics and music videos satirize our current society, with the irony of standing by while capitalism breaks everything as the climate crisis ravages on. 

Post-punk Montreal band La Sécurité opened for them. La Sécurité offered a similar genre in sound and in style. Both bands had taken care to form a retro aesthetic with neat sunglasses, pastel-coloured clothes, and a general irreproachable sense of icon. 

Automatic seemed very focused with their instruments, looking up rarely, moving their bodies only slowly when it resonated naturally with the rhythm, not forcibly. They seemed almost aloof to the crowd in front of them, focused entirely on the music they were playing. 

Automatic sequentially had an even pace all throughout their performance. They wanted the audience to perceive the style they had meticulously chosen. They captured the room’s attention with their futuristic keyboard, vocals, and synth sounds. The bass carried most of the songs.

“We have a minimal style. We’ve never had any guitars, we wanted to make it sound different to a lot of the bands that are going around.” Glaudini noted the importance of having the audience’s attention lead to the sound of the bassist. 

When the show was done, the crowd echoed in applause. Instead of retreating backstage, the trio decided to instead join the crowd amongst their friends. This was both funny and humbling. On stage, musicians are often retracted from their humanity, seen as idol-like figures. Their stepping down from the stage at the end of the show almost shyly universalized us as all human and capable of commonality. 

La Sécurité and Automatic’s music is available on BandCamp.

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Music Quickspins

QUICKSPINS: Taylor Swift – Midnights

 When it’s noon, it’s always midnight somewhere else

Swift’s tenth studio album Midnights is a pop record through-and-through. Within days of releasing her new album, Swift quickly broke streaming records. On Halloween, she became the first artist ever to occupy all top ten spots on Billboard’s Hot 100 chart.

Combining simple drum beats, a strong vocal performance and a hint of city pop synths, Midnights reminds listeners of the guilty, self-destructive thoughts that have followed the American artist throughout her career.

The first time I listened to Midnights I was in my bedroom at around 12 a.m — the perfect time for impulsively dyeing your hair or texting your ex. Immediately, I felt a huge 80’s aura which now that I think about it, Swift would definitely be able to pull off. Her voice is incredibly versatile and she shows off here. 

The ninetieth time I listened to Midnights, I was on my way to work and it didn’t hit the same spot it did the first time. Midnights is an album that should be specifically played after 9 p.m. It’s like when you eat KFC a few days in a row. The first night it’s delicious; the leftovers are even better. But by day five your head hurts and the only feeling left is of guilt and shame.

When I say Midnights isn’t her strongest lyrical performance, I’m talking about “Anti Hero”. Phrases like “Sometimes I feel like everybody is a sexy baby” don’t correlate with me at all and I feel like she could have done without them. “Sexy baby” sounds like something Ed Shearan would say in one of his cheesy love songs. 

On the other hand, lines such as “It’s me. Hi! I’m the problem, it’s me.” resonate with people who’ve blamed themselves for a regretful experience in their lives. This is a great phrase but it’s also too generalized. It reminds me of reading horoscopes. One might ask if these lyrics were made with the intention of becoming a viral TikTok audio clip. 

Lastly, I by no means think that Taylor Swift makes bad music. I just don’t believe that twenty years from now, when music historians look back on her career, Midnights will be recognized as one of her best works.

Trial Track: Anti Hero

Rating: 7/10

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Music On Repeat

 On Repeat: Fall songs edition

Need something for your fall playlist? The Concordian’s staff share their go-to fall songs.

Guillaume Laberge, Music Editor

“Death with Dignity” – Sufjan Stevens

It’s hard to put words on this song as it is genuinely one of the most beautiful and heartbreaking pieces of music I have ever had the pleasure to listen to. “Death with Dignity” is a folk track that sees Stevens opening up about his late mother in a truly touching manner. The gentle finger-picking guitar playing mixed with Stevens’ whispery delivery only reinforces the song’s theme and makes for a very intimate moment that suits autumn perfectly.

Saro Hartounian, Assistant Music Editor 

“Harvest Moon” – Neil Young

Where do I begin? It is THE fall song: the harmonica, the swish beat of the snare in the background, the sparse yet recognizable guitar riff played by the Winnipeg treasure. The harmonies of both Young and Nicolette Larson tie the song up into this calm accompaniment for your end-of-day fall activities, like sitting on the front porch on a Sunday evening. 

Dalia Nardolillo, Community Editor

“I Ain’t Worried” – OneRepublic

A song that has been on repeat for me this fall is “I Ain’t Worried” by OneRepublic. With the stresses of keeping up with a healthy work-life balance always looming above my head, this song reminds me to not get stuck on life’s little problems and just focus on the bigger picture.

Jeremy Cox, Assistant Arts Editor

“Black Balloons Reprise” feat. Denzel Curry – Flying Lotus

I tend to gravitate towards the creepy and psychedelic during the spooky season. As a fan of hip hop, soul, and R&B, I stumbled across Flying Lotus a couple of years ago, who’s able to fit my autumn needs on many occasions. As his 2019 album Flamagra is my favorite of his works, I’d have to pick “Black Balloons Reprise” featuring Denzel Curry. 

Cris Derfel, Head Copy Editor

“Retrograde” – James Blake

I always turn to James Blake’s music when the leaves begin to fall. His earlier work especially suits the melancholy of the season, and “Retrograde” from his second album Overgrown is on repeat for me throughout most of October. Blake’s voice is haunting and melodic as the synths and bass come together in an explosive crescendo — suddenly you’re hit, and if you’re like me you keep going back for more.

Evleen Kaur, Copy Editor

“Sleep On The Floor” – The Lumineers

Picture this: it’s a cold fall evening and you run into a philosopher on the walk to your apartment. He stops you and asks, “If you go today, will you go in peace?” Your eyes sweep over the dying leaves everywhere and suddenly you’re reminded of the tattoo you still want to get. You remember the hike you never went for because you were too paranoid. Now I’d tell you there’s a better way to picture all that, but then I’d be telling you to listen to this song.


Maria Bouabdo, Sports Editor

“Hurricane” – Bob Dylan

Bob Dylan’s music hits different in the fall, but there’s something about “Hurricane” that makes me turn to this song in particular every year. It’s a beautiful song based on a true and heartbreaking story. I’ve always associated fall with endings and sadness, and to me, that cannot be encapsulated any better than it is in this song: the wrongful end of a man’s freedom.

Cedric Gallant, Podcast Producer

“The Ballad of the Runaway Girl” – Elisapie

This song is perfect when you finish school late, night time is creeping in, and you feel tired yet accomplished with your day. It’s moody yet stylish and relaxing, and it kind of prepares you for the winter to come. The vocals by Elisapie are mysterious yet endearing, the musical performance is detailed and serene. Honestly, I cannot recommend this song and this whole album enough, a true delight to the ears. 

Esther Morand, Arts Editor 

“Never Fight A Man With A Perm” – IDLES

This is the perfect song for midterm season, just before the snow falls. When you don’t know how you’re going to make it through even a single day, this song will carry you through. It’s the perfect song to help you write long essays and occupy your mind so you have energy to finish the semester!

Graphic by James Fay @jamesfaydraws

Categories
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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Concert Reviews Music

Concert Review: Gorillaz at the Bell Centre

Gorillaz at Bell Centre. CHARLIE BROUSSEAU/Contributor

Gorillaz delivered an incredibly colourful performance

One of the world’s most acclaimed virtual bands, Gorillaz, gave an exceptional show at the Bell Centre on Oct. 8 for fans of all ages. With the band having been around for more than 20 years, they had two decades worth of hits to share with Montrealers as a part of their North American 2022 tour.

Fans had to wait a bit before seeing Gorillaz hit the stage after an opening act from the Atlanta hip-hop duo EARTHGANG. Despite EARTHGANG’s music being very different from Gorillaz’s, they still brought the heat and delivered an incredibly fun set. 

They performed tracks from their 2022 album GHETTO GODS, as well as some classics from older releases and songs they have with their record label Dreamville. Sadly, the duo couldn’t perform some of their biggest hits like “Meditated” and “Sacrifices” with Dreamville, and the set fell shorter than the typical 45 minutes expected.

After their set, fans were ecstatic for the main event as people were doing the wave and cheering for a solid five minutes while waiting for Gorillaz to appear.

For a virtual band, Gorillaz sure had a lot of people on stage, with at least 12 musicians, including three drummers and four backup singers, who all came ready to play to a very warmed up crowd. The English band truly gave a spectacular performance, playing most of the songs off their 2005 cult-classic Demon Days to a crowd singing every word back. 

Lead singer Damon Albarn didn’t look like your typical 54-year-old. He was highly energetic and was really enjoying himself, even going into the crowd.  Albarn was really feeding off of the crowd’s cheers and gave an incredible show in exchange, playing multiple instruments during the set.

The band also had stunning visuals, often similar to videoclips of their animated personas that fans have come to know and love throughout the years. Each video had a different story attached to the songs and it was definitely entertaining to witness the animations and the members behind them on stage at the same time.

The band also invited a lot of different guest features to play their part. These included names such as the opening act EARTHGANG, and some lesser known rappers such as Bootie Brown, who most notably has a verse on “Dirty Harry” and their latest single “New Gold.”

Overall, Gorillaz gave a stellar performance to their loyal fans who definitely had an amazing time witnessing one of the most quintessential bands of the 2000s.

Photo by Charlie Brousseau @charliebrphotos

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Concert Reviews Music

 A sold-out Psychedelic Porn Crumpets frenzy at Bar Le Ritz

Psychedelic Porn Crumpets performing at Bar Le Ritz PDB on October 17th, 2022. CATHERINE REYNOLDS/The Concordian

PPC constantly flirted between playing perfectly on-beat and nearly losing control, keeping audience members in a satisfyingly hectic musical limbo

Montrealers were treated to a heavy set of acid-dosed tunes on Oct. 17, courtesy of Perth rock outfit Psychedelic Porn Crumpets (PPC) and supporting alternative rockers Acid Dad. While it’s still not quite clear what a “Psychedelic Porn Crumpet” is, the band name does at least serve as a spot-on description of their music.

PPC are very much a product of Australia’s gold-standard modern psychedelic rock output. While the scene’s bigger names like Tame Impala and King Gizzard & the Lizard Wizard may be filling larger venues, PPC proved that the smaller acts can still set crowds ablaze.

The band’s set exploded with a particularly bumping rendition of their hit single “Tally-Ho,” immediately turning a sold-out Bar Le Ritz into a human wave pool like some kind of magic trick. The song’s jumpiness can be attributed to the riff-heavy nature of the track, as looping fuzzy guitar riffs proved good contrast with frontman Jack McEwan’s signature soothing vocal style. These kinds of guitar-based songs like “Bill’s Mandolin” were the highlights of the night, as crowdsurfers levitated above the packed audience below.

But PPC proved to be about more than just heavy riffs played in front of psychedelic video projections. The five-piece also often broke out into seemingly impromptu jams, stretching and pulling their tracks way beyond what you’d hear on-album. 

As McEwan led the band into these chaotic moments, guitarists Luke Parish and Chris Young noodled over the backing beat created in tandem by drummer Danny Caddy and bassist Wayan Biliondana. PPC kept pushing the musical envelope during these wilder instrumental sections, flirting between playing perfectly on-beat and nearly losing control, keeping audience members in a satisfyingly hectic musical limbo where it seemed like anything could happen.

This ability to “jam” is really the testament of a good psychedelic rock group. Many bands can adopt the flower aesthetic but only few can create that sense of chaotic yet controlled concert experimentation that gets to the root of what psychedelic rock can attain as a genre. While contemporary acts like Tame Impala can feel somewhat stiff at times, PPC’s more fluid chemistry really contributed to the quality of their live show.

Graphics by James Fay @jamesfaydraws

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Concert Reviews Music

Concert Review: Demi Lovato at L’Olympia 

Demi Lovato performing at L’Olympia Theatre October 16th. JESSICA JAKUBOWICZ

Demi Lovato put on a stellar performance at L’Olympia on Sunday, Oct. 16 

The pop-star-turned-rock-star performed in a significantly small venue on Oct. 16, considering her fame and popularity over many years. The last time the singer was in Montreal, she performed at the Bell Centre with a capacity of 21,302 people. L’Olympia, on the other hand, has a capacity of only 1,120. 

While the show started at 8 p.m., fans began lining up outside the doors nine hours prior to the entry time at 6:30 p.m. 

Demi Lovato opened her show with Royal & the Serpent aka Ryan Santiago, an American singer-songwriter. She absolutely killed it with her energy and evident passion for music. The crowd’s energy matched hers, with fans jumping and headbanging to the music. 

Santiago ended with her most famous song “Overwhelmed” that went viral on TikTok, and the crowd got extremely loud and pumped up for Demi’s appearance.  

Demi came on stage with an all-girl band and the crowd went nuts. The singer started with songs from her new rock album HOLY FVCK and then went back to her Disney days with songs like “Don’t Forget” and “Remember December” — but with a rock twist. Having grown up with these songs, the fans knew every single word, including myself.  

She also performed the song “29” which is the most talked-about song on the new album, since it is about the singer’s past relationship with Wilmer Valderrama. The song points out how the then 29-year-old actor dated Lovato when she was only 17. Upon turning 29, the lyrics say that she finally realized how wrong the relationship was. 

Lovato spoke to the crowd before performing the song saying that she’s seen how her fans have been sharing their stories of going through the same thing, and how she’s sorry for them going through it too.

As someone who saw Demi perform at the Bell Centre four years ago when she was still making pop music, had long black hair, and dressed completely differently, I could say that this rock era is by far her best. 

The singer’s powerful raspy voice fits with the rock genre perfectly, her vocals coming through more powerfully than ever. The singer seemed to be at her most confident during the Sunday night performance, and her voice has truly never sounded better. 

The energy was palpable throughout the show, with a loud crowd screaming all the lyrics back to the singer.There’s been talk that this is Lovato’s last tour, and if it is, I’m very happy that I was there to see it.

Photo by Jessica Jakubowicz

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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

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Music Quickspins

QUICKSPINS: Slipknot – The End, So Far

With the resurgence of nu-metal on the horizon, there is truly no better time for a Slipknot comeback!

Released Sept. 30, Slipknot’s The End, So Far is a full-bodied, experimental, nostalgic album that has had many fans thrown for a loop. Formed in 1995, Slipknot burst onto the scene hailing from Des Moines, Iowa with their 1999 debut album, Slipknot. Arguably one of the most influential pioneer nu-metal bands on the scene, the nine-man powerhouse always finds a way to innovatively impress their audience (affectionately called ‘maggots’).

In a recent interview for NME, lead singer Corey Taylor stated that the album is “more about relating to people and less about purging again,” referring to the creation of their 2019 album, We Are Not Your Kind, which he described as a “purge.” Taylor cited this change in tone as the reason for the variety found throughout The End, So Far. 

The beauty of their latest album can be found in its impressive balance of new experiments and old influences. Slipknot pushes the boundaries of what “heavy” can imply in music, having clearly prioritized a more melodic approach to most of the tracks (namely the opening track, “Adderall,” “The Dying Song (Time to Sing),” “Hive Mind,” “De Sade,” and “Finale.” 

Despite these melodic elements, Slipknot still manages to maintain their classic, ruthless metal sound, drawing influence from their third studio album, Vol. 3: (The Subliminal Verses).

Slipknot have effectively innovated metal even prior to their debut, and it’s clear they don’t plan on stopping anytime soon. Despite death, despair and disease, the nine have always prevailed as a band. This album most definitely serves as proof. 

Though The End, So Far proves itself to be solid from start to finish, there are still some tracks that are stronger than others. The opening track, “Adderall,” smoothly eases listeners into the album with psychedelic undertones while simultaneously subverting any preconceived notions of what Slipknot are about. Tracks like “The Chapeltown Rag” and “Finale” push the boundaries of metal, setting a new precedent for what metal can explore, both in sound and subject matter. 

Going into this album, I expected to be more drawn to the heavier songs, however I was more enthralled by the ones with slow, entrancing intros and a show of vocal versatility from Taylor (specifically track four, “Yen,” and track 11, “De Sade.”) 

This album grew on me very fast. With every listen I would find hidden gems in tracks that I’d previously dismissed. For a band that has been active for 27 years, I’d say they’re still going strong. There is definitely something for everybody in The End, So Far. 

From psychedelically atmospheric intros and experimental steps to their familiar, vicious metal sequences and intense lyricism, the versatility of The End, So Far is sure to please those who are willing to embrace it. 

Though some fans may find Slipknot’s subversive efforts to be out of character, I think that’s the point. I think fans will soon find it in themselves to embrace these new changes, changes that could arguably be considered advancements. 

The world of Slipknot continues to expand and astonish, an unsurprising feat for a group with such a prominent presence.

There are some tracks that feel a bit unfinished or underproduced, but overall I did really love The End, So Far. With their departure from Roadrunner Records, I hope Slipknot continue to surprise us with their work. 

Trial track: “The Chapeltown Rag” 

Rating: 7/10

Categories
Concert Reviews Music

Concert Review: Cigarettes After Sex at MTELUS

Cigarettes After Sex burned their way into the hearts of Montrealers

Romance was in the air at MTELUS on Tuesday, Oct. 4, as the sold-out theatre swooned with their loved ones awaiting dream pop band Cigarettes After Sex to appear.

The show was opened by The Furniture, an experimental duo from Baltimore, who played a sequence of synthetic (and almost robotic) sounds, awakening the audience’s senses. Although there were no lyrics to their songs, the crowd was in awe.

The duo performed their self-titled debut album which consisted primarily of the synthesiser, the drums and small sprinkles of unconventional instruments (like a necklace to make twinkling background noise.) Even though this was a peculiar production of sound, it made for a unique experience and a good way to begin the show.

After a quick intermission, two of the Cigarettes After Sex members teased the audience with an instrumental intro. Moments later, lead singer Greg Gonzalez made his way on stage and kicked the show off with the crowd pleaser “Crush.”

With the band having only released the albums I. in 2012, Cigarettes After Sex in 2017 and Cry in 2019 the setlist, although short, was packed with fan favourites.

The group was complimented by a very minimalistic background consisting of a black and white flame in order to have the audience truly focused on the music.

Contrary to the music, the crowd was deafening. The audience shouted the lyrics to every song which made it hard to hear people calling for help when two girls were injured.

Luckily for them, Gonzales stopped in the middle of performing to make sure everyone was alright and went so far as to restart the song from the beginning.

They ended their setlist with “Sunsetz,” one of their most beloved songs from their 2017 album. The audience illuminated the stage with flashlights and lighters, creating a romantic ambiance.

After the band made their exit, the crowd wept and cheered. Running back on stage, they stated that they don’t usually perform encores but that we had made for such a great audience they simply couldn’t resist. The group began with “Apocalypse,” which made the crowd fall in love with the band all over again. The first row held out their hands as they sobbed for Greg. 

Finally, they ended the show with a haunting rendition of “Dreaming of You.”  A disco ball dropped from the ceiling, beaming through the smoke above the audience.

If the crowd’s reaction and the sold-out show is any indication, their next concert will definitely take place at a larger venue and I highly suggest you check them out!

Graphic by James Fay

Categories
Music

The importance of cover art: how it can make or break a record

Cover art is the first look you get at a body of work — might as well make it count with something eye-grabbing.

Choosing cover art to associate with a piece of music will always be a big decision for artists, as the art introduces the music. Before listening to a single second, your experience with a body of work starts with the art that accompanies it. Since it is the listener’s first contact with the music, the cover has to be intriguing enough for the listener to decide to dive into the record.

In some instances, cover art can be so eye-catching that it transcends a record’s popularity and gets even more appreciated than the album itself, becoming its own thing. Album covers such as Pink Floyd’s The Dark Side of the Moon, with the famous triangle prism and the beam of light passing through, or The Beatles’ Abbey Road which sees the band members wearing suits and crossing the street, are prime examples of this.

Don’t get me wrong — these albums are considered some of the best of all time, but having such iconic covers definitely helped them gain the status and universal praise they still get to this day. These covers became so popular over time that you can now see them on clothes, posters, mugs, and tapestries, to a point where they’re almost symbolic.

With the streaming era, where everything is compiled on your phone, album art might not feel as important as 30 years ago when people would go to their nearest record store to skim through different album covers and buy whichever one caught their attention. Regardless of the period we are in, album covers still abide by the same set of rules as before for picking good cover art.

The most important rule is that the cover art has to be representative of the music. The genre that does it best is metal music, where the violence showcased on the album art is an excellent indicator of how brutal the music is going to sound. Death metal outfit Cannibal Corpse have some of the most gruesome album covers out there in metal, often picturing truly disgusting and unimaginable things done to people (look it up at your own risk) — and their very gross and murderous sound matches the vibe they portray on their front cover. 

R&B also does it well, as it’s a more sexy and intimate genre, where artists don’t shy away from sensually posing on their album arts. You can take Doja Cat’s 2019 single “Juicy” as an example, a song talking about “juicy booties,” where Doja Cat herself is showcasing her butt on the cover art.

The importance of cover art should never be neglected — while at its core, music is a form of sound art, an album or song also needs visual art to represent it. Who knows, maybe that split second of looking at and judging a cool album cover might make you discover your next favourite artist.

Some of my favourite album covers includes:

Killers – Iron Maiden

In the Aeroplane Over the Sea – Neutral Milk Hotel

The House Is Burning – Isaiah Rashad

Kids See Ghosts – Kids See Ghosts

Twin Fantasy – Car Seat Headrest

Midnight Marauders – A Tribe Called Quest

Stranger in the Alps – Phoebe Bridgers

And Justice For All – Metallica

Cosmogramma – Flying Lotus

Songs In The Key Of Life – Stevie Wonder

Graphic by James Fay

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. 

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