Category: Music

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Music Quickspins

QUICKSPINS: Justin Timberlake—Everything I Thought It Was

Album cover of 'Everything I Thought It Was' by Justin Timberlake. Courtesy of Apple Music.

Justin Timberlake releases a new album for the first time since 2018.

Justin Timberlake is an American singer/songwriter who rose to fame in the 90s with pop hits. In his solo career, he has moved towards R&B. His newest album features collaborations with artists Fireboy DML, Tobe Nwigwe, and *NSYNC. With 18 songs, the album is about 1h20min long.

“Memphis” is the first song on the album. It is a moody, reflective piece in honour of his hometown. He discusses his ambivalent feelings towards fame. The looping, dreamy beat is abruptly followed by “F**kin’ Up The Disco,” a much more cheerful song. The album mostly contains these more upbeat numbers, as well as a few love ballads.

In recent years he has collaborated with his former bandmates of NSYNC on songs, including on his most recent album. Everything I Thought It Was explores Timberlake’s feelings about fame, from the past to the present. He calls back directly to his past in some songs, and more vaguely in others.

There is a religious theme in a few of the songs. “No Angels,” “Sanctified” featuring Tobe Nwigwe, and, arguably, “Paradise” featuring *NSYNC. This serves as an interesting connector throughout the album and also ties back to his past. His father was a church choir director, which has had a clear impact in his sound and the religious themes he chooses to explore. The religious throughline may also be a reference to his hometown once again, as Memphis is the home of a Baptist megachurch. 

In the song “Play,” he references his very early career, when he was on Star Search, singing: “I’ve been makin’ first impressions since I was barely eleven.” This ties into the larger theme of him looking at his past, and perhaps wishing to reinvent himself. From “Memphis,” we can see that he feels pressured in his current role. With new music, artists are constantly reinventing themselves. This album embraces that.

His distinctive use of harmonies is evident throughout the album. Timberlake mixes his unique voice and harmonies with R&B and pop beats. Each song fits within his pop persona whilst exploring very personal themes. 

Nowhere is this more evident than in his collaboration piece with *NSYNC. “Paradise” is the emotional core of this album. In this collaboration with his former bandmates, Timberlake reminisces about his past and about everything that brought him to this moment. It is a very sweet song about believing in yourself and appreciating your past. Even if he may want to reimagine himself, he is still grateful for his experiences.

This album is a fun listening experience. Even if you’re not familiar with Timberlake’s work, I think his approach to music brings out his unique talents and his understanding of what the public wants.

Each song is distinctive but cohesive. The album has a strong identity. Timberlake acknowledges who he used to be whilst continuing to build a new persona for himself. One that is, most likely, more true to who he is.

6/10

Trial Track: Sanctified featuring Tobe Nwigwe

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Music

The curious case of releasing “versions”

Graphic by Keven Vaillancourt @kindaokev // THE CONCORDIAN

The music industry’s latest tactic capitalizes on hit potential—but at what cost?

In the late 2010s, TikTok truly established itself as a pivotal force in the music industry. It helped several songs grow rapidly in popularity, granting the platform its status as a hit factory. There was the runaway success of Lil Nas X’s “Old Town Road” in 2019, which went on to become the longest running #1 in Billboard Hot 100 history, and tracks have since found their way onto the top 10 of the charts starting from TikTok.

The music industry found new ways to adapt, with the concept of “versions” resurfacing as a way of maximizing success on the platform. The practice consists of releasing several variations of the same song or album, with differences in pitch and speed, or even deconstructed versions.

The release of alternate versions is far from a new concept. It has long served as a “fans-first” method for artists and their audience to revisit and reimagine existing projects. Artist-producers like Metro Boomin and Tyler, The Creator have notably released the instrumentals to their albums to highlight their production. A cappella and instrumental versions of songs notably open the door to creative opportunities for musicians. 

Concordia communications student and producer Theo Andreville notes that these versions are longed for by DJs looking to remix songs, producers trying to remake beats and rappers looking to record remixes (which defined hip-hop mixtape culture in the 2010s). 

For local singer Marzmates, they are also a teaching moment in which she gets to notice the intricacies of a beat, the way the vocals are mixed, and the technicalities behind the singing.

Andreville also supports artists releasing a larger output of the same song as it results in a greater financial gain for them: “It makes sense—you’re already being paid pennies on the dollar.”

Sped-up and slowed-down songs are two of the most common styles, and their popularity predates TikTok entirely. Forbes reported that the app’s most popular songs in 2023 were sped-up remixes. Both Andreville and Marzmates agree that these edits can breathe a new and unique life into an existing track because they bring a totally different vibe.

With record labels throwing their hat into the ring, versions are now being mass-released in an attempt to chase hits and make more money off artists, jeopardizing creative control. British singer James Blake recently made headlines for an Instagram post on March 2 addressing the topic. He stressed the problematic nature of the focus shifting from the art towards viral moments. “We have to be great at social media but not really need to be great at music, the ‘working’ of songs now meaning posting infinite videos with the same clip of the same song,” the vocalist stated.

Certain labels and artists are pushing the concept to extremes. Ariana Grande recently reissued her hit single “yes, and?” with a whopping eight versions: the original, radio edit, extended mix, sped up, acapella, slowed, instrumental and extended instrumental versions. The technique is also being applied to entire albums: 21 Savage’s american dream was given a slowed, nightcore and sped up version within two days of the original’s release. 

Communications student Jade Dubreuil also takes TikTok’s fast-paced nature and consumer culture into account. “From a business standpoint, it’s extremely smart—but it creates fads. Artists who take that route take risks.” TikTok creates hits with ease, but shaking the “TikTok song” label is a much stickier situation.

Despite now flooding the market due to corporate greed, versions are widening the window of opportunity for creators and executives alike. “It’s more of a service to everybody, even if it’s redundant,” Andreville concludes.

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Music Quickspins

QUICKSPINS: Tierra Whack — WORLD WIDE WHACK

Album cover of 'WORLD WIDE WHACK' by Tierra Whack. Courtesy of Apple Music.

The American rapper and singer-songwriter released her second full-length music project on March 15, resuming her unique witty touch in the music industry.

Philly-based rapper and singer-songwriter Tierra Whack blessed us with a significant number of singles since 2019 but finally dropped her album WORLD WIDE WHACK on March 15. 

Whack’s previous full-length music release dates back to 2018 with a similar title called Whack World consisting of 15 songs, with each track being exactly one minute long, resulting in a witty and calculated 15-minute project. The artist’s initial breakthrough was through her 2017 track “MUMBO JUMBO,” which brought new occurrences to the term “mumble rap” and was Grammy-nominated for its music video. 

With a runtime of 37 minutes, Whack presents 15 new tracks to the public with a variety of lengths per song, as opposed to her debut project which was more calculated in that regard. At first listen, each song can stand on its own but the album maintains a cohesive blend track after track. The sequencing of the songs provides a smooth and seamless listening experience from slower more pensive tracks to more energetic sounds, which is exactly how the transition from the very first song “MOOD SWINGS” to “MS BEHAVE” plays out.  

One of the first facets of this new era of Whack that I discovered was the “CHANEL PIT” music video. Her sound can easily go from almost childish-sounding instruments and playful hi-hats to harsher more aggressive 808’s and kicks. “CHANEL PIT” perfectly embraces the contrast and sides of her production style while correspondingly emasculating all the directions this album’s production gravitates toward. Its music video is also pure Whack. We see her standing still while going through a car wash and being hit with red cleaning curtains that match her hair, delivering a striking and stimulating visual experience as usual. 

One thing I love about Tierra Whack’s style is the straightforward approach to conveying her lyrics. Sometimes, it seems like Whack is blatantly talking to you but always sustaining a certain harmony in her tone while doing so. In “IMAGINARY FRIENDS” for instance, the artist freely shares “my last best friend said he wished he didn’t know me” and expands on her situation more as if you’re her confident, all over a lush sound with a prominent dreamy guitar. 

I particularly appreciated the random piano chords and key endings at the end of “MOOVIES,” “DIFFICULT” and “INVITATION.” The piano doesn’t necessarily coincide with where the song seems to be heading but offers an odd yet interesting closing to the tracks. The bass in “SHOWER SONG” is also truly addictive and the definition of groovy, especially accompanied by the catchy chorus harmonies where she names popular female artists that she’s singing to in the shower. 

Whack also confirms to herself and everyone else that she is a perpetually changing artist and constantly formulating her craft, stating “Every song I drop, I change the sound” on “INVITATION.” 

WORLD WIDE WHACK is a reflection on how the artist feels at not only this stage of her career but also how she experiences her life as an artist and as a regular human citizen. On “SNAKE EYES,” Whack says that she “treat[s] the fans like homies” and “blood, tear, and sweat I work so hard” giving some insight into how she is navigating fame and her work ethic. 

Whack spilled some of her personal consciousness through lyrics like “the glass full, but I’m empty” and “when the world seems like it’s against you when your friends and family forget you.” Whack isn’t apprehensive in delivering her psyche in a diary style over an almost calming and dreamy beat on the closing track “27 CLUB,” referring to the cultural phenomenon of celebrities—mostly musicians—who die at the age of 27 after some intriguing tragic event. 

A hip-hop polymath, Whack’s refreshing and creative persona is still present, offering all listeners a memorable and playful tone, yet balancing it out with raw lyrics making WORLD WIDE WHACK an infectious project. Whether you’re into witty production and catchy melodies, or pondering some more with vulnerable storytelling, the passionate artist has something in store for you. 

Score: 7.5/10

Trial Track: “SHOWER SONG”

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Music Quickspins

QUICKSPINS: Ariana Grande—”Eternal Sunshine”

Album cover of 'eternal sunshine' by Ariana Grande. Courtesy of Apple Music. 

A new era of blatant honesty has begun with Ariana Grande’s Eternal Sunshine.

Friday, March 8 became a day of rejuvenation for Ariana Grande fans as the anticipated record Eternal Sunshine dropped at midnight. 

Grande, an A-list celebrity whose stardom bred from her youthful Broadway debut, has had no fairytale orbit in the music industry. Eternal Sunshine, a conceptual album intertwining Jim Carrey’s 2004 film, Eternal Sunshine of the Spotless Mind, articulates a brutally honest depiction of cyclical inner turmoil and creates roots in self-awareness.

Whilst her name is no hidden gem amongst the charts and media buzz, it has been nearly four years since she released a mid-pandemic album Positions. Given the back-to-back three-year release of Sweetener, Thank U, Next, and Positions, Grande’s unusually lengthy interlude until 2024 left listeners pining for the singers’ resurgence. 

Her breath of renewal has allowed Grande’s raw and hard-cutting lyrics to flourish in their honesty whilst leaving a newfound space for understanding and compassion. The album’s introductory track, “intro (end of the world),” immediately asks listeners: “How can I tell if I’m in the right relationship?” Clearly, Grande no longer beats around the bush. 

Her self-confidence persists within Eternal Sunshine, spearheaded by “bye,” a nostalgic ‘80s disco anthem. Despite being played in nightclubs, the lyrics of “bye” juxtapose its upbeat bounce entirely and speaks to an unfilled craving for a “happily ever after.” Following suit, this desire for love carries out within “don’t wanna break up again” in a calmer illustration of dread. The theme of being a burden dates back to Sweetener’s “everytime” and serves as a reminder of Grande’s turbulent history with lost love, grief, and tragedy.  

The songwriter’s depth in lyricism lies true with the title of the album: while the expression “eternal sunshine” idealizes the desire to maintain a happy and positive stride, Grande’s record marks an end of optimism and instead introduces an acceptance of reality. 

The title track “eternal sunshine” deepens the album’s ties to its concept film. Erasing monumental memories follows the plotline of Carrey’s 2004 film and emphasizes the record’s underlying theme of blissful ignorance.

Playing on Grande’s sarcastic humor, the Destiny’s Child-inspired “the boy is mine” creates space for playful risk and femininity, seen similarly in the records’ chart-leading single “yes, and?” Contrastingly, “true story” divulges the media’s hostile narrative. 

In the recent post-pandemic years, what has become increasingly evident surrounding society’s dictation of artists in the limelight is the shift of where universal attention is focused. The engrossment in an individual’s art has been abolished by the sudden ever-strengthening interest in the lives of these creators. 

The character that has been birthed in association to the name “Ariana Grande” has become all encompassed to the singer’s fame: she is a pop-princess, a poised diva, the home-wrecker, the donut-licker, the controversy. Eternal Sunshine’s “true story” persists with no hesitation in blatantly illuminating the derogatory narrative society paints on Grande’s life outside of music. 

As the record dances around the singer’s recent divorce, a true relationship that radiated through its production is that between Grande and producer Max Martin. The protection to Martin’s foundational practices and fundamental trap beats brush against moments of pure catharsis, and experimentation with muted instruments and tones. 

Another track, “we can’t be friends (wait for your love),” leaves listeners on the outskirts of Grande’s painful breaths, muting external noise in a moment of pause. The final 30 seconds of orchestration driven by trumpets and cinematic strings mark the inauguration of a new beginning in strength for Grande. This is by far the most raw track of the record and showcases a vulnerability listeners have only been privy to with Thank U, Next’s “ghostin.”


Fueled by a new wave of ‘90s pop synths entangled in Grande’s darkened lyricism, Eternal Sunshine feels like a matured big sibling to Sweetener and Thank U, Next. Grande’s seventh studio album elegantly lets go of resentment and instead makes room for “loving and leaving.”

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Interview Music

Behind the Lens: Photographers and Live Music

Left: Prepping for the show - Shrewd performs at Houndstooth November 3, 2023. Photo by Sydney Gastaldo. Right: Post Malone performing at Budweiser Stage in Toronto on July 20, 2023. Photo by Jordan Markle.

A glimpse into two university students and photographers’ experience shooting live performances and participating in music culture.

To delve deeper into the relationship between photography and live music events, Concordia alum Sydney Gastaldo and third-year student in professional music at Toronto Metropolitan University, alongside third-year photography student Jordan Markle at Dawson College, proudly share their respective journey taking professional photos of live concerts. 

Being in charge of capturing a moment in time, especially in an atmosphere as lively and busy as a live music event—both visually and sonically—is no easy task. When asked about photographers’ aim in capturing the energy and emotion of a performance in any venue, Markle said that he really tries to focus on capturing the emotion and energy of live music in Montreal, no matter its scale: “Each picture is carefully constructed in a way that channels the energy and atmosphere of the event, giving viewers a sneak peek into what it was like to actually be there.” 

As for Sydney Gastaldo, she personally always tends to come back to the concept of movement and DIY approach in photography since she doesn’t like photos that look staged. “Some of this happens in post/editing but some of this experiment can happen in the moment through experimenting with aperture, angles, exposure etc,” Gastaldo shared. She also noted how some of the best photos she’s taken have come from in-between moments like while the show is being set up, the singer is talking to the crowd between songs, or when the stage is being set up for the next track or right at the end of the act. “It can be a great way to capture authenticity from an artist as they tend to be less “on” during those moments,” she said. 

There can also be a process of preparation that happens before the action of a show which can impact how the approach of photographing will unpack. “I start preparing by taking a deep dive into the artist’s discography meaning I’m listening to them all day before the show,” Jordan Markle stated. By doing this, he can understand the emotion and feeling of what the artist is trying to portray to their audience on a deeper level and then capture that energy authentically. 

Logistic preparation is also crucial. In regards to this, Gastaldo always ensures she has enough storage on her camera or enough film, as well as charged batteries and a prepared kit. Moreover, she makes sure to back up anything from past shoots and to develop all her older films beforehand. Checking out the weather if it’s an outdoor show is also part of her routine. 

Challenges can be encountered when documenting the ephemeral nature of live performances. Markle shared how a venue might only allow photographers access to the photo pit for the first three songs. If this is the case, Markle avoids taking the same type of photos for all three songs to offer more variety in the shorter amount of time that is offered to him. To essentially counter this problem, he experiments with different techniques and employs varied shooting methods, sometimes using long exposures or action freeze frames. 

As for Concordia Alum Sydney Gastaldo’s biggest challenge, the lighting for underground or DIY/indie shows can be quite unpredictable. “It can be really hard to capture the in-person feel of a show when it’s happening in low lighting or with flashing light / over-saturated set design,” she said. Matching the pace of any movements on stage is also something to navigate, but these challenges, Gastado said, are just “trial and error.”

A visual artist, in this case, a photographer, retains a certain role in preserving and celebrating music culture since it acts as the bridge between the performing artist and fans, the internet, tabloids, etc. When asking Sydney Gastaldo and Jordan Markle how they see their work contributing to this broader cultural narrative, they provided similar opinions. 

Markle seeks that his work tell someone’s story and preserve memorable moments for years to come. “I see it as a means of capturing the intersection of music, art, and human experience […] whether it’s through documenting live performances, capturing intimate moments backstage, I want my photos to tell stories,” he said.

Gastaldo shared how for her, photography in the realm of live music cements these seemingly small moments that can often feel big for those attending. Moreover, her work focuses on underground and more obscure kinds of music or smaller bands/artists existing in the local scene. “A lot of them split apart and/or don’t end up making a living out of their craft and all that is left of their work is people’s memories and photographs/videos. But regardless of how successful they may be in a broader sense, the impact that their music had on their fans and the community and the beauty of their live performances still means something and I think capturing that and cementing it in history can be beautiful,“ Gastaldo proudly answered. 


From utilizing a small-budget camera or owning professional high-grade equipment, from capturing a small local stage to a large national music festival, live music photographers, like Sydney Gastaldo and Jordan Markle, make sure to remain intentional with their craft. They deliver the most authentic representation of the evening through passionate intentions for the art and story behind each frame. 

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Music

R&B 200’s success story

Courtesy photos by David Santiago (@dvvidsantiago) & @mr20age. Polaroids by @lbkyledm. Collage of R&B200 made by Stefano Rebuli // THE CONCORDIAN

Apt. 200’s R&B nights are drawing hundreds of people to the club—on a Wednesday.

There is an element of unpredictability that comes with getting people to go out on a Wednesday night. With its latest series of R&B nights titled “R&B 200,” Apt. 200 Montreal has accomplished exactly that, offering a unique setting that draws hundreds to the club in the middle of the week. 

Lou Celestino, a local artist and bartender at the club, first came up with the idea as a solution to existing problems: “Wednesdays were very inconsistent, without branding. People were simply trying to mosh and we’d get noise complaints.” He noted the overall lack of a strict R&B focus in other clubs on St. Laurent Boulevard, which made way for R&B 200’s differentiation. Starting from simply hosting and bartending, he now manages the event.

The format has essentially turned Apt. 200’s usual hip-hop banger formula on its head. It opts instead for a relaxed, lounge-like environment that focuses on mellow, emotional cuts and classic 2000’s R&B. With a DJ roster composed of Miggy, Nino, Arsy, and Spinelli, clubbers are treated to a seamless mix of modern R&B, vintage classics, and incorporations of adjacent styles like late ‘90s-2000s pop and hip-hop.

The event is powered by Diff Minds, a local content-creation trio. Diff Minds includes two Concordia alumni, Kyle “Dolla” Martel and Karim “Dream” Fall. Celestino called upon them personally, given his genuine friendship with Dream and positive experiences with having the duo host at Apt. 200. Through their video recaps, Diff Minds showcase a different side to clubbing, one that is atypical to the scene’s usual portrayal. Their visual style is simultaneously professional, stunning, and intimate, between Dolla’s warm, vivid photography and Dream’s crystal-clear videography. The inclusion of retro technology (polaroids and camcorder) gives their clips a homey feel, one that perfectly suits R&B 200’s throwback essence.

Above all, the intent behind R&B 200 is to bring people together, be it the team or the crowd. “We want to bring a vibe to the club that allows people to have fun, enjoy themselves, and be safe while doing it. We encourage creatives, entrepreneurs, artists, and more to come together and network while vibing to some good, nostalgic music,” Dolla explained.  

“It allows people to have a conversation. Most importantly, the vibes are immaculate; barely any fights or trouble, that’s what separates us from other places,” Celestino added.

This is exactly what you get from a Wednesday at Apt. 200: the bar fully lined up with people talking, a crowded dance floor before midnight, dance circles, attendees singing along to ballads in unison while waving their flashlights; be it a social gathering or a collective celebration of music, the heartwarming feeling of community truly fills the room and defines each Wednesday night. DJ Spinelli notes that it has become a sanctum for creative expression. “We’ve transformed R&B Wednesdays into a space where everybody can express themselves fully, through outlets like fashion & dance. Everyone is there to support each other and have a ball! It gives you the confidence to fully lean into your passion,” she explains.

Celestino prides himself on gathering a team built upon diversity. “When you look at the lineup of hosts and DJs it’s multicultural; I am absolutely proud of representation,” he said. “One thing that motivates me is opening doors for the next wave of talent. With every name on the flyer, I see the qualities that are important for hospitality and that make people feel welcomed. I’m proud that I got a group of hosts to become friends.”

R&B 200 continues to see increasing popularity and a steady turnout, both of which are impressive given the unlikely circumstances. Fall is glad to bear witness to this success and remains surprised by it. “I’m a very observant guy. I catch myself looking around the club and being like, ‘Wow, why are so many people showing up on a Wednesday?’ It’s a hard sell. Overall, I see the same familiar faces coming through and making the appointment to come every Wednesday.”

The success of R&B 200 is now driven by the name it has made for itself. “People know that Wednesdays are for R&B nights at Apartment,” Dolla said. “It’s something you have to see for yourself.”

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Music Quickspins

QUICKSPINS: Faye Webster—Underdressed at the Symphony

Album cover of "Underdressed at the Symphony" by Faye Webster. Courtesy of Apple Music.

The American singer-songwriter put out her fifth album with waves of love from listeners since its release on March 1st.

The month of March started on a more-than-pleasant note after the Atlanta-born singer, songwriter, and musician Faye Webster dropped her fifth studio record Underdressed at the Symphony. Composed of 10 tracks with a runtime of about 37 minutes, Webster continues the sonic sound she has built and refined over the years. 

If you are not already familiar with her work, you might have heard a snippet of one of her most famous songs “Kingston” being used a lot as a TikTok audio; or you may have caught videos online of the artist performing covers of the soundtrack of the popular video game Animal Crossing at past concerts. Her witty but refined alternative sound is sustained with this new record and old and new fans can equally experience what Faye Webster is all about without any filter.    

As stated in a biography section under her label’s Secretly Canadian website, “The title of Faye Webster’s new album is inspired by her occasional compulsion to lose herself amongst concertgoers at the Atlanta Symphony Orchestra.” Indeed, the singer would find herself spontaneously going to symphonies to escape and find herself in an environment where she didn’t necessarily feel like she belonged. 

Right at the beginning of the album, we are in the midst of a dreamy ‘70s pop and mellow country sound with R&B ties. The bass, guitar and drums slowly come in to create this canvas for Faye Webster to remind us how lovely her vocal range is. The opening track “Thinking About You” is sweet and straightforward, in which Webster thinks aimlessly about a certain someone.  The seamless mix of genres at the very start perfectly introduces the consistent sound that will follow. It is also essentially coming from her roots back in Atlanta and the influence of its city’s music scene. 

One of my favourite moments in the album is in the next track titled “But Not Kiss.” Webster softly starts singing “I want to sleep in your arms,…” with a delicate guitar playing in the background, right before a playful and powerful piano and drums abruptly come in while she adds “but not kiss” to the line. The contrast in both the lyrics is brilliantly transferred musically and takes the listener by surprise more than once throughout the song. 

Another special moment is the fourth track “Lego Ring” which features multi-hyphenate artist Lil Yachty as the only guest on the album. The two were actually close friends in middle school as Atlanta teenagers, as Webster shared in a 2017 W profile. I especially love the rough but calculated guitar that starts the song off along with Webster’s higher-pitched vocals that contrast with Lil Yachty’s autotuned lower tone.  

One of the finest songs of the entire album for me is definitely “Feeling Good Today.” The catchy melody Wesbter sustains over its lyrics tells of a mundane-sounding day. All the lines in the song are so simple yet so telling as if coming straight out of her personal day. However, what makes it extra special is the line that sets the scenery of the song when she sings “I’m feeling good today, I ate before noon, I think that’s pretty good for me.” That really struck a chord in me and made me realize that sometimes the most basic-sounding phrases hold the most weight. 

The track that stayed the most in my head after my numerous listens ended up being the eighth track, “eBay Purchase History.” The fact that this is the title of the song intrigued me, but what made it memorable is how the phrase was used throughout the lyrics. Webster is essentially expressing how, if someone were to snoop in her eBay purchase history, it would tell a lot about her. There are so many ways one could share how to understand them better, and the artist conveys this playfully on top of this mellow melody and delightful production. 

Underdressed at the Symphony is simply a great add-on to Webster’s discography and enriches it to the maximum. From smooth and catchy vocals to raw and vulnerable lyrics along with the uniformity of warm-sounding instruments, this project is proof that Faye Webster never disappoints. 

Score: 9/10

Trial Track: “eBay Purchase History”

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Music Quickspins

QUICKSPINS: ScHoolboy Q—BLUE LIPS

Album cover of "BLUE LIPS" by ScHoolboy Q. Courtesy of Apple Music.

The LA rapper’s latest album is versatile, vulnerable, and strikingly down-to-earth.

BLUE LIPS finds ScHoolboy Q in his most clear and focused state thus far in his career. It is the American rapper’s most personal record, and finds him exploring topics like past drug use, newfound sobriety, family life, fatherhood, and his mental well-being. He is perfectly self-aware of who he is and who he used to be: he truly comes across as down-to-earth through his songwriting. 

“Blueslides” is an especially vulnerable song where Q gets candid about his mental health. He sings, “But lately, I ain’t really been myself, ain’t strong as I seemed” and “I done made problems my problems, now I barely can breathe.” 

“Cooties” is another introspective highlight. In this song, Q shares his gratitude for his daughters and their stable, healthy life, while also expressing his worries about their safety. Lines like “Why God blessed me? I never deserved it,” are perfect examples of the poignant, personal lyricism on this record. 

“Germany 86” is an ode to his mother and formative years, a track in which he juxtaposes his present-day level-headedness with the everyday struggles and pain of his upbringing. The rapper celebrates the current version of himself throughout the album, but he is inherently tied to the man he once was.

Q approaches BLUE LIPS as charismatically as always. His delivery is filled with conviction and intonation, as he shouts his ad-libs and navigates through tracks with rapid, razor-sharp flows.

The production on the album is volatile and versatile, continuously cranking the dial between understated jazzy cuts, rattling brash tracks, and hybrids of both. Elegant jazz samples set the backdrop for tracks like “Blueslides” and “Lost Times.” 

Contrarily, “Pop” features rattling grunginess and rock guitars, sonic characteristics reminiscent of Q’s 2016 album Blank Face LP. Trap production takes center stage on several occasions to maintain the high energy: “Yeern 101” is an adrenaline-filled cut where Q relentlessly raps over heavy 808’s and a multitude of fast-paced claps and percussive sounds. 

There are all sorts of beat switches throughout the record, creating an exciting and unpredictable listening experience. The majority of tracks begin and end entirely differently, constantly keeping the listener on their toes. Some of the beats are more ambitious and experimental: “Foux” features percussions clattering in every direction; “Love Birds” and “Time killers” are based upon rhythmic, off-kilter grooves, yet Q finds his way over them perfectly with unique flows.

The featured artists are fitting additions to the album experience. Rapper and singer Rico Nasty perfectly matches ScHoolboy Q’s energy with her brash and brazen performance on “Pop,” aggressively screaming the track’s title. Producer and rapper Devin Malik’s double appearances are perfectly complementary to Q, given how similar his vocal delivery is. Rapper Ab-Soul’s appearance is another standout, thanks to his alarmed delivery which matches the eerie, hypnotic vocal sample looming beneath him.

Overall, BLUE LIPS is a culmination of the best traits of ScHoolboy Q’s music—it’san LP that is unpredictable and impressive all-around. Q is as expressive as ever and showcases a new level of humility and self-awareness. He truly comes across as grounded, which heightens the significance of the personal growth he conveys throughout the record.

Score: 8/10

Trial Track: Blueslides

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Music

Honourable Music Mentions from Early 2024

Album covers courtesy of Apple Music.

The Music Editors of The Concordian share their favourite releases of the year so far.

Tabéa’s Picks:

Little Simz – Drop 7

British MC Little Simz is back with a seven-track EP where she encapsulates catchy and invigorating beats and melodies. Drop 7’s electrifying sounds seamlessly blend from song to song to give all listeners a memorable experience. The artist even incorporates Portuguese in the second track “Fever” which propels its energy to a whole other level of passion and power. If you are seeking to discover a project full of a high level of energy and fun, definitely add Drop 7 to your music library!

Trial Track: “Fever”

Brittany Howard – What Now

Singer, guitarist, and songwriter Brittany Howard from the American band Alabama Shakes dropped her second solo album in early February. What Now is a collection of 12 tracks with a runtime of just under 40 minutes that mixes R&B, alternative and rock elements to create an alluring and warm project. Its second track titled “I Don’t” is such a lovely song that any music lover would immediately connect with it. Its timeless but also beautifully calculated melodies and production incorporate touches of neo-soul that create an aura of peace and mellowness.   

Trial Track: “I Don’t”

Papooz – RESONATE

Back in January, French band Papooz released their fourth album RESONATE composed of 11 tracks. Based in Paris, members Ulysse Cottin and Armand Penicaut continue their classic indie-pop sound and catchy tunes with a cohesive album that evokes a sunny and bubbly day. The witty harmonies and songs feature groovy bass and synths along with bright guitar chords. I notably love the vocals on the third track “IT HURTS ME” which merges into the warm-sounding production, especially moments right before the chorus where they are beautifully layered and the melody smoothly transitions into the snappy chorus. 

Trial Track: “IT HURTS ME”

Stefano’s Picks:

Nicholas Craven & Boldy James – Penalty of Leadership

Nicholas Craven returns with Boldy James for Penalty of Leadership, their second joint mixtape. The Québécois producer provides Boldy James with a new assortment of soul sample-based instrumentals, this time with a heavier tone. The mixtape marks James’ first release following a near-fatal car crash, and its lyrical content revolves around life and experiences. It chronicles the cold realities of gang life in Detroit, all over an orchestral backdrop. James is a vivid yet blunt descriptor, which leaves his compelling lyricism style unparalleled.

Trial Track: “Formal Invite”

Yeat – 2093

Yeat’s latest record 2093 is a full-fledged dive into worldbuilding. He blends his unique brand of hip-hop with electronic influences to craft a dark, dystopian, industrial soundscape with a Cyberpunk feel. The production is layered, cinematic, and versatile. There are explosive, moshpit-ready ragers (“ILUV”), danceable electronic cuts (“Breathe,” “Team ceo”), and everything in between. 2093 is Yeat’s latest creative leap, pushing boundaries that have yet to be explored by most mainstream hip-hop. 

Trial Track: “Team ceo”

Bad Gyal – La Joia

Released at the end of January, Bad Gyal’s debut album La Joia is an upbeat project with loads of mainstream appeal and a variety of influences. The Catalan singer offers a handful of bright reggaeton bangers while incorporating different genres into the tracklist. Afrobeats, dancehall, house, and dance music are all present, with some of them being intertwined with reggaeton. Her distinctly bold voice is unique and, when combined with autotune, results in a unique tone that sets her apart from her contemporaries. At just 40 minutes in runtime, La Joia is a fun and easy listen that you should have in your rotation, especially when summertime rolls around.

Trial Track: “Perdió Este Culo”

Categories
Music Quickspins

QUICKSPIN: Néhémie — World of Roses

EP cover courtesy of Néhémie.

The rising Montréal singer wears her heart on her sleeve in her debut EP. 

“I can love me better.” This lyric, which opens Montreal-born R&B singer Néhémie’s latest EP, World of Roses on the first song “Me (Freestyle),” perfectly encapsulates the ethos of her latest project. 

Though we can hear traces of SZA’s brutal honesty, Jhene Aiko’s honeyed vibrato, and Sabrina Claudio’s trance-like rhythms in Néhémie’s music, her World of Roses radiates the unmistakable self-confidence of an artist ready to create on her own terms. 

She is surrounded by the infrastructure to make it happen, too. Both of her parents are music lovers, “always playing jazz and gospel around the house,” she says. Her brother Gabriel is also an artist, and her sister is her manager. Music was so ubiquitous to her upbringing that she says: “It took me a while to feel like I was talented at it because everyone around me was into music so it didn’t feel like something special that I should pursue.” 

It wasn’t until high school that she began writing music seriously. “Before that, I was trying, but I didn’t really have much to say,” she says. “In high school, it really became this outlet for me, this way of expressing and understanding my emotions.” 

Néhémie was candid about the difficulties experienced by many during their teenage years. “Puberty is a whole thing, and you feel everything so strongly, and you have all these emotions… you don’t understand it because it’s so different from when you were a kid.” The central question, she says, was: “Who am I now?”

World of Roses begins with “Me (Freestyle)” a self-love anthem in which the artist revels in her own sensuality, proudly proclaiming: “I know I’m the one… When it comes to me, I don’t play.” Lush harmonies buoy the pure, serene seduction of her delivery, a quality possessed by most of the tracks on the EP. 

The next track “Ode to Love,” begins with swirling instrumentals before the listener is submerged within its dark, breathless world. Georgia rapper and producer Zahmir comes through on the back half of the track and provides welcome grounding with a flow that is both animated and spacious, à la Bryson Tiller. 

“Run” featuring Montreal rapper SLM has all the bombast of “Bust Your Windows” by Jazmine Sullivan, one of Néhémie’s cited influences. It seduces you with its harmonies before the singer playfully threatens: “Boy, you better run.”

While Néhémie is an artist who consumes music broadly, she says that flexibility is the key to maintaining a consistent stream of creative fodder. “My only rule is to stay open to where the inspiration may come from,” she says, even if that means waking up in the middle of the night to jot down an idea. 

Her song “Typing,” was a product of this very process, exemplary of an artist’s need to strike while the proverbial iron is hot. Néhémie explains that since she had already turned in the EP, the song wasn’t originally planned to be on the project. She felt “super inspired” after hearing the beat, however, and decided to freestyle through what became the first version of the song. In the end, she decided “I just had to do it, and I don’t regret it. I think it just makes sense.” 

“Typing” is interesting for another reason—adding to the richness of the track’s vocals is the voice of Néhémie’s brother Gabriel, who put out an EP of his own in 2023 titled Summer Thoughts Fall Feelings under the name JBRL.

Keep an eye out for the Néhémie this year. She says to expect more shows in 2024, the result of her desire to “bring the project to life with performances and just connect with people more.” And, she says, there will definitely be more music.

Categories
Concert Reviews Music

Lil Tecca shines at MTELUS

Lil Tecca performing at MTELUS on Feb. 27. Photo by Stefano Rebuli // THE CONCORDIAN

The New York rapper thrilled his Montreal audience, with help from SoFaygo and Tana.

New York rapper Lil Tecca made his return to Montreal on Feb. 27 as part of his HVN on Earth tour. The show marks his first in Montreal in two years and fourth in Quebec overall, following a tour stop in Montreal, and performances at Metro Metro and Festival d’été de Québec in 2022. 

His latest concert brought along Cactus Jack Records signee SoFaygo, as well as Tana, Tecca’s protégé who also accompanied him throughout 2022. Chow Lee, the remaining opener, was unable to perform due to issues at the Canadian border.

At only 17 years old, Tana entertains fans with his high energy. His synth-driven “rage music” brand of hip-hop is already embedded with adrenaline, and his performances are equally thrilling. The young rapper brought variances in energy, crooning melodically and chanting along to the ad-libs in his songs aggressively. He was constantly running and jumping across the stage, keeping the crowd engaged throughout his set. The audience resonated heavily with his biggest tracks, most notably his rattling breakout hit “Antisocial.” Tana’s set impressed and was a perfect tone-setter for the remainder of the show. 

SoFaygo followed suit with a similar musical style to Tana—distorted bass, stuttery hi-hats, spacey synth sounds—checking all the boxes of hip-hop’s rage subgenre. His set kept the crowd active, although not much was different from the one before his. His biggest hits did provoke a strong response from the audience: SoFaygo’s performance of “Hell Yeah” saw him at his most animated, and the crowd belted out every word to his breakout hit “Knock Knock,” which went viral on TikTok in 2021 (and was produced by Tecca).

Three hours had passed since the opening of the doors, yet the anticipation was at its peak. Cheers rang out from the very moment the “We Love You Tecca” sound bite was played, and he popped out moments later to his track “Yves.” The volume was louder during Tecca’s set, yet he sounded crystal clear. His vocal delivery was melodic and perfectly audible, with him sounding more animated than on record. 

The majority of his performance was done without a backing track (only the beat), making his vocal performance skills even more commendable. His set kicked off with the introductory six-track run on his latest album TEC, which brought the crowd to a peak with his latest smash hit “500lbs.” 

Tecca’s fans have a dedicated relationship with the artist, which was exemplified by the deep cuts he played. Fans were equally invested and excited to hear fan favourite tracks from albums like We Love You Tecca 2. Despite only being around for half a decade, the MC has classics within his fanbase thanks to his first mixtape. “Love Me,” “Did It Again,” and “Ransom” were met with bar-for-bar chants from the crowd and vibrant mosh pits. 

Tecca’s team showcased a great “fans-first” approach throughout the evening. Tana and their tour manager both took appropriate stops to ensure the crowd was being hydrated, and Tecca’s label A&R and camera crew were seen outside the venue interacting with fans and filming interviews before the show.

For any Tecca fan, a live show of his is definitely worth catching.

Categories
Music

Lyrics vs. production: what do you gravitate towards? 

Graphic by Muriel Smith

A bilingual student shares how much value the lyrics hold in their music listening experience.

Have you ever wondered what kind of attention you devote to lyrics or production in a song? Why do people listen to music in a language they don’t even understand? 

Teaching at the University of the Philippines Diliman, ethnomusicologist Lisa Decenteceo explained in a Vice article that “there’s something about the appeal of words as sounds, beyond their meaning in a language.” Indeed, “sound symbolism” is part of the picture when passively or actively listening to music, which is the relationship between utterances and their meaning.

Regarding listening to music in a language that isn’t so familiar to us, music teacher and music therapy master’s student Thea Tolentino also features in Vice how “most of the time, when listening to music in a foreign language, we enjoy the lyrics as sounds and not words.” Tolentino also adds that a process called entrainment retains the link between the response of sound and the brain which “synchronizes our breathing, our movement, even neural activities [with the sounds we hear].”

First-year communications student Zixuan Li is fluent in English, Mandarin, Cantonese and some French. “My main focus has always been the melody of a song because I just inherently never find myself gravitating towards lyrics for some reason,” she says. 

No matter the language, lyrics are never something she pays natural attention to unless she actively chooses to. Recently, Li has been incorporating more of an intentional concentration on the meaning of a track alongside the sonic elements. 

She says that when she sings along to a song, even when it is one she has listened to countless times, she still doesn’t know what is coming out of her mouth. “It’s like muscle memory and sounds to me, instead of being literal words that I process,” she adds. 

When it comes to the contrast between music featuring different languages she knows, Li admits she mostly listens to music in English despite her mother tongue being Cantonese. “I think in theory it tends to be easier to pay more attention to the lyrics in my first language since it comes easy,” Li shares. As for English and French, she says it takes more work and energy. 

Moreover, Li finds that a song’s structure will sound completely different in a certain language. Even if the songs are both in the same genre and hold similar melodies, their respective languages will make it so that lyrics in French, for example, will make a song sound drastically dissimilar to Li as opposed to how a Cantonese lyrics’ tone merges into a song. This all influences her direct notice of the lyrics’ meaning and space that a song’s storytelling holds for her. 

In general, Li is more in tune with a track’s melodies and harmonies, while lyrics are still a second thought. “The way I receive information is more natural in Chinese so it’s less hard work to engage with lyrics firsthand,” Li adds. The music production for the student is so much more significant than the lyrics.  

In my case, French is my first language and I am now almost as comfortable communicating in English as in French. I see the lines blurring more and more. However, I tend to concentrate equally on a song’s lyrics and instruments when it is in French, whereas I will take a while to look beyond the music itself in a track in English. 

From engaging in music in Cantonese in her younger years to branching out to music from other corners of the world, Li reveals that what fundamentally matters to her is how good the music sounds and thus intuitively lets the lyrics blend within the production.

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