Category: Music

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Interview Music

Into the Mind of Bane

Apple Music

Concordia student Justin Tatone talks about his new album “BANE & BLESSING”.

On Sept. 29, Justin Tatone finally released his latest album BANE & BLESSING, a collaborative effort with his friend and frequent collaborator, rapper Benedict Tan. Released after a three-year wait, the project is an ambitious opus that fuses rage-rap with a myriad of other musical genres and styles.

Tatone credits American rapper Playboi Carti’s second album, Whole Lotta Red, as the primary influence for BANE & BLESSING. It paved the way for the rage-rap wave which was popularized by artists like Yeat and Trippie Redd in 2021. The genre’s characteristic sawtooth synths, 8-bit melodies, and heavy bass are all prominent on Tatone’s new album and originally constituted the entire soundtrack. 

BANE does not juxtapose rage rap with other styles and seamlessly fuses them together, resulting in unique, electrified versions of these subgenres. The foundation of Tatone’s creative collective Xion in 2022 granted him new collaborators and ideas that would break the project’s one-dimensionality, venturing into sounds like grunge and synth-wave on “BANE’S THEME,” and dance-pop on “BLEACH ON ME.” “I needed things like that [other styles] to offset the agedness of those harsh rage tones,” Tatone explained. 

Tatone fully embraces the album’s low-budget production and DIY approach, with most of the record having been recorded in his bedroom. He notably boasts on “BREAK THE FABRIC OF TIME” that he is out-rapping his competition, despite using BandLab (a free music production app for mobile devices). “When you’re stripped back in terms of budget and materials you have to wear that on your sleeve,” he said. 

The artist invokes XXXTENTACION and Ski Mask the Slump God as examples of this mentality, given their inclusion of heavy distortion and room tone into their music. Tatone also praises the Baltimore-based rapper JPEGMAFIA, whose overblown mixing helped Tatone embrace the imperfections of his own.

BANE & BLESSING is a persona piece where Tatone and Tan portray two titular characters. “Bane is vain, indulgent in the iconography and gluttony of hip-hop. Blessing is woke and open-minded, he is the voice of reason,” Tatone explained. His character represents the current, bravado-heavy side of hip-hop, whereas Tan embodies the genre’s woke, conscious side. 

Tatone’s lyricism is also filled with ridiculous one-liners like “You’re Boots, I’m Dora” (“MASK ON!”) and “Facebook moms love me like I’m Candy Crush” (“FANS / NEVER GOING BACK”), which fulfill his attempt at taking himself less seriously. “People are going to criticize you anyway, so might as well make it a fun time,” he said. These lyrics are guaranteed laughs from the audience but also help him loosen up. This idea relates to the masks in the album’s artwork, a motif that has been used to promote BANE & BLESSING since early 2022. “It helps to have a mask: I can pick at myself and make silly comments but still feel confident.”

Jaden Warren, a design student at Concordia, served as the creative director for the album, directing the art and designing a colour palette. The final album cover is AI-generated by Tatone and received praise from Warren as it lived up to his envisioned aesthetic. The rapper sees the AI cover as an extension of the album’s technological nature. “Bane only exists in the digital realm,” he claimed. Tatone sees no issue with artistic integrity as he believes he successfully divorced himself from his work on this album, allowing himself to embrace AI as an artistic medium. 

Tatone cites collaboration as key to both his and the album’s artistic evolutions: “As a creative person, you can get stuck in a silo of thinking and have tunnel vision because you’re in love with your work.” The album notably contains guest features from Xion member E.Sko, punk-rapper KPTN, and rage-rap artist KeBenjii, all of whom hail from Montreal. A guest feature from Atlanta-based rapper Zoot was also secured through a mutual friend.

Overall, BANE & BLESSING is a highly ambitious and creative experiment that pushes the raging sound to new extremes while bringing different artists, ideas, and creative approaches into the mix. “It’s heavily derivative but an original interpolation of the culture. That’s what I’m most proud of,” Tatone concluded.

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Music

Honourable music mentions from September

Apple Music

The Music Editors of The Concordian share their top picks from this month’s releases.

Tabéa’s Picks:

Mitski – The Land Is Inhospitable and So Are We

Trial Track: “My Love Mine All Mine”

Released on Sept. 15, Mitski’s seventh studio album features a song that has captured every listener’s heart. This breathtaking track highlights Mitski’s vulnerability and introspection on what she truly possesses in life. Love is the one cohesive element that she feels will always be a part of herself. From self-love to mundane love and the care she has felt thus far, the poignant artist expresses that this love (“mine all mine”) will never be taken from her—as opposed to materialistic items. The lovely and captivating chorus only enhances Mitski’s affirmation of herself and the listener, making the message incredibly emotional. For anyone seeking to feel more grounded and grateful, Mitski’s “My Love Mine All Mine” is the way. 

Cleo Sol – Heaven

Trial Track: “Self”

Smooth like butter, Cleo Sol is back with her third album “Heaven,” released on Sept. 15. From collaborating with rapper Little Simz to being part of the mysterious collective Sault, the British singer has outdone herself with this intimate and warm project perfectly for Fall. While the groovy basslines and piano all across the project are impressive, one must not let it overshadowCleo Sol’s mellow and controlled vocals. The opening track encapsulates self-affirmation—how she’ll never lose herself now and finally show up in the world as her true self without shifting in any ingenuine way. “Self” is gentle and rhythmic with its jazz-based composition making it an ideal listen for any music lover.  

Stefano’s Picks:

Lancey Foux – BACK2DATRAP

Trial Track: “ADHD”

Lancey Foux’s latest project BACK2DATRAP is a unique brand of hip-hop helmed entirely by his frequent collaborator, producer Back2Bally. “ADHD” is the perfect sampler of the mixtape’s sound: powerful bass, catchy melody, and all sorts of percussions rattling in and out while Lancey offers a consistent and charismatic vocal performance. The track is short and sweet, offering a catchy chorus twice plus a verse, all within less than two minutes. Bally’s production and Lancey’s style make for an energetic combo that dominates the entire tracklist without overstaying its welcome (the 12-song project only has a 30-minute runtime). The UK artist continues to prove that he operates in his own lane, with BACK2DATRAP being the latest example.

Doja Cat – Scarlet

Trial Track: “Agora Hills”

Doja Cat’s fourth studio album Scarlet arrived after a controversial rollout where she deliberately attempted to alienate her fanbase, only to notch a number-one hit weeks later. The album is rap-centric, primarily characterized by lyrical boom-bap tracks and melodic rap cuts. However, “Agora Hills”—a dreamy R&B cut—is a clear standout that finds Doja Cat singing softly over a mellow hip-hop beat. Over a twinkly melody and bouncy beat, she serves up a soft, angelic chorus that ranks among the best in her catalogue. It is a smooth, starry track that perfectly serves its narrative of being smitten. The dialogue bits between the verses and chorus are the cherry on top in terms of adding to the song’s pacing and character.

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Concert Reviews Music

Giddy-up for country sensation Morgan Wallen’s electric Montreal performance

Jacqueline Lisbona / The Concordian

Morgan Wallen’s performance in Montreal on Saturday, Sept. 23 opened with Bailey Zimmerman and Ernest giving the fans a show to remember. 

Montreal’s Bell Centre came alive on Saturday night as Morgan Wallen took the stage to perform the 34th show of his 2023 One Night At A Time World Tour. Decked out in cowboy hats, boots, and flannel shirts, the electric crowd was in for a treat with opening acts Bailey Zimmerman and Ernest. Wallen, riding the high of his latest album, One Thing At A Time, made history with all 36 tracks simultaneously charting on Billboard’s Hot 100, surpassing Drake’s record. 

Bailey Zimmerman, the 23-year-old American singer and songwriter from Illinois was energetic and passionate as he bounced around the stage, high-fived fans on the floor, and flipped his hair back and forth. He sang his hit singles “Fall In Love” and “Rock and A Hard Place” and ended his performance referencing bible verse Mark 9:23: “If you can believe, all things are possible to him who believes.” 

“If you take anything away from my show tonight, it’s that there’s gonna be people telling you what you’re doing is crazy, but if I didn’t follow my dreams, I would not be here in Montreal opening for the Morgan Wallen One Night At A Time tour!” he exclaimed enthusiastically.  

Up next was Ernest, American country music singer and songwriter who beamed on stage with his personalized leather guitar strap and his “Gallagher #11” Montreal Canadians jersey. He launched an “olé, olé olé” chant and the crowd went wild. He sang some of his songwriting marvels  “Did It With You,” “Son of a Sinner,” and “Somebody’s Problem”, the latter being a song he wrote for Wallen’s Dangerous: The Double Album in 2021.  

As he strummed the opening chords of his hit song “Flower Shops,” he revealed that this song “validated what [he] thought was true. Country music is still alive and well,” Ernest added.

The audience illuminated the Bell Centre with a sea of cellphone flashlights, swaying in harmony with the music. As the song drew to a close, Montreal Canadiens’ Nick Suzuki and Cole Caufield made a surprise appearance, joining Ernest on stage to toss red roses into the crowd.  

As Ernest concluded his performance at 8:25 p.m., the anticipation in the air heightened. Wallen emerged from his dressing room strutting to his duet with Lil Durk “Broadway Girls” at 9:20 p.m. He sported a white long-sleeved shirt, beige jeans, and a green duck hat that matched his duck necklace. Wallen took centre stage atop a riser to kickstart the night with his crowd-pleaser, “Up Down”. Smoke bombs and fireworks sparked as he shouted, “What’s going on Montreal, how we doing tonight?!”  

He thanked the fans for their dedication and introduced his crew on stage with him—Mark “Taco” Annino on drums, Luke Cowboy Rice on bass and guitar, Tyler Tomlinson on guitar, Chris Gladden on keys, Tony Aichele on guitar and Dominic Frost on guitar and lead vocals.

Following “I Wrote The Book,” “One Thing At A Time,” and “Everything I Love” was “’98 Braves” with a story about his love for baseball. He shared that baseball taught him a lot about life and is the reason why he has persevered in the music industry and has created the Morgan Wallen Foundation. The Foundation’s goal is to support programs for youth in sports and music because Wallen believes that “all children deserve a chance to thrive, play, and create.” For every concert ticket sold, $3 goes to support the foundation’s work.  

His next songs were “You Proof,” “Ain’t That Some,” “Sunrise,” and “Cover Me Up”—one of the first songs he wrote. “This song gave me a lot of faith, hope, and encouragement that maybe I wasn’t crazy about moving away from home and being a country singer. Maybe I was doing exactly what I was supposed to be doing. Thank you for letting me sing about stuff that means a lot to me,” Wallen said during his emotional speech.  

He then segued into “Chasing You” and “Thought You Should Know”, a touching tribute to his mother, accompanied by his guitarist Dominic. Wallen invited Zimmerman back on stage to perform a spirited rendition of “I Deserve A Drink”. The latter wore an Expos baseball jersey and bright red jeans. 

Ernest later re-joined Wallen to perform “Cowgirls” together. After returning from a brief break, Wallen emerged sporting a “#7 Wallen HABS” jersey, eliciting roars of excitement from the crowd. The highlight of the night was “Last Night,” which had become the year’s biggest country song across North America in all genres, marking a significant milestone for Wallen.  

His last song of the night was “Whiskey Glasses” and the concert concluded with fireworks, leaving fans thrilled with the experience. “That was officially one of the best concerts I’ve ever been to,” proclaimed Sam Tanner, a fourth-year JMSB student at Concordia. “I went with my mom, and it was definitely worth the money.” 

After the concert, fans flocked to merchandise stands and sang Wallen’s hit songs all the way to the Lucien-L’Allier metro station, concluding a memorable evening of country music in Montreal. 

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Music

Purchasing Concert Tickets and Your Rights

Eric Wieder / The Concordian

Students share their experiences getting hold of concert tickets and reminders to keep in mind when doing so.

With technology expanding and individuals getting better at it, it isn’t uncommon for people to get scammed when buying a ticket for their favourite artist after the initial sale gets sold out within hours—if not minutes, or even seconds in some cases.

The Consumer Protection Act in Quebec says that in order to legally resell a ticket, a merchant must notify the consumer that it is, indeed, a resale and provide several other pieces of valid information, such as notifying them and revealing the initial price of the ticket. It also states that it is prohibited to sell or use any softwares that lets you circumvent security measures or control systems put in place by the organizers of an event.  

Resellers take advantage of passionate and enthusiastic fans to exaggerate prices. Bots are also notorious for annoying customers in official sales. A communications student at Concordia expressed her frustration regarding the sales on Ticketmaster: “The seats have astronomical prices, especially the platinum sections, and the Ticketmaster queue is really bad when the shows are really popular so I guess tickets get bought by bots even at that stage,” said Adèle. 

A psychology student, Mirra, also shared that there have definitely been times when a show has sold out very quickly before she could even try to get tickets, which resulted in her “getting stuck in the ‘waiting room’ for quite some time,” causing frustrations. Slow progress of even attempting to enter the general sale is an issue most people face. 

One must also be careful when searching for an authorized sale from the artist, producer or venue of the show or event. Resale sites can pay to appear at the top of a web search results list, therefore the first recommended website won’t necessarily be the right one. 

Using a credit card when doing a purchase is also an extra way to be more assured, but be as certain as possible before doing any bank transfers. You are generally liable to a refund from the credit card issuer in the circumstance that the merchant does not have you refunded after purchase cancellation. Moreover, even when buying tickets from an official website, look up your rights and protections in case a show ever gets postponed or cancelled. 

In order to escape potential scams, Adèle shared her tip to look up people selling tickets, going through their profiles to check their legitimacy, and eventually chatting with them. She prefers to only ever buy using PayPal goods. 

Another thing that is worth a try is visiting the in-person box office of a venue before the show, if possible—you may be able to get your hands on some last-minute available tickets! 

Good luck out there and don’t hesitate to be extra meticulous! 

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Music

Fusions of sonic moods in students’ playlists 

Carleen Loney @shloneys / The Concordian

Music sub and cross-genres are more mainstream, but which ones are people fond of?

With more people becoming artists and countless music projects releasing every day, it is only natural for the boundaries of music to become more flexible. As time goes by, a perhaps preconceived mentality that music genres should fit in a box is prone to trickle away. 

Instead, innovative and experimental sounds are getting easier to get accustomed to. Songs blend core instruments of a certain type of music, the atmospheric essence of another, the foundational rhythm of another, etc., more organically. The options for creativity when it comes to music crafting are limitless at this point! Therefore, I asked students around Concordia for some of the music subgenres that flow through their headphones recently and which ones they noticed were popular online. 

#1: Hyperpop

One of the most recurrent auxiliary sounds mentioned was Hyperpop. So many genres can mesh together into a Hyperpop production, ranging from obvious Bubblegum Pop (a mix of rock and pop forming upbeat, catchy and danceable rhythms), Hip-Hop, EDM, and Nightcore (within the electronic realm where a song has a sped up tempo and raised pitch.) This energy-inducing sound typically features drums that are punchy, sharp and even distorted. Imagine a classic pop song, but turning the dial of numerous editing effects all the way up. 

Artists such as Mura Masa, Shygirl, Arca, 100 Gecs, Dorian Electra and notably Charli XCX, with her iconic 2016 hit “Vroom Vroom,” were mentioned by people. Moreover, this subgenre has a prominent space today in the so-called alternative TikTok world, with its “addictive dance tracks.”  

Artist Sophie is a prime example and an adored figure. Her unapologetic craft, from producing for numerous artists like Madonna to releasing stellar projects like Oil of Every Pearl’s Un-Insides from 2018 features her signature high-pitched vocals, generous bass and synthesized chords. Listening to Hyperpop makes me feel like I’ve just had a surge of caffeine levels in my system but in the best way possible. 

#2: Dreamgaze

The second sub-division of music genres that was brought up was Dreamgaze. Under the alternative rock umbrella, it entails a combination of Shoegaze and Dream-pop atmospheres. 

From its initial rise in the early ‘90s, Shoegaze contains distorted and shimmery-sounding guitars, rumbling drums and various effect pedals at its core. Shoegaze also supplies a sense of introspection in terms of its higher focus on lyrics and overall ethereal ambience, which is in full effect in Dreamgaze. My Bloody Valentine, Slowdive and Ride are key bands from the movement and helped Dreamgaze establish a more concrete immersive experience. 

Some of Dreampop’s earliest considered projects and artists also had their start in the early ‘90s. The enticing, rich, sonic textures and lavish amount of reverb were adopted from Dream-pop along with its breathy vocals. Bands like Spiritualized, Wild Nothing, Broadcast and Yo La Tengo have engaged a great presence in the genre. Cocteau Twins and Mazzy Star were specifically mentioned by students as bands that supported the foundation of Dream-pop, thus Dreamgaze.

While both mother genres hold different meanings from audiences about each other’s characteristic boundaries over the past couple of decades, Dreamgaze still offers the best of both worlds. Beach House is notably notorious for incorporating elements of both sister genres, Shoegaze and Dream-pop. The cherished local band Men I Trust also combines the overlapping of ethereal and harmonic vocals from Shoegaze as well as the catchy and jangly melodies from Dream-pop. 

An honourable mention subgenre that came up a few times is Nova MPB, also known as Neo-Samba. The music style essentially groups bossa nova and samba genres from Brazil and falls under the indie realm. All throughout, it contains a lively and colourful tone that marks it as different from the usual sounds from the genre.  

The goal of all these unfolding music branches is to embrace and show love to preexisting sounds in new ways. It is to respect artists’ work by professing creatively their mark on the music industry. By adopting attributes from various original music genres, you too can come up with a sound full of novelty.

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Festival Review Music

POP Montréal International Music Festival is approaching

Graphic by JAMES FAY /The Concordian @jamesfaydraws

What to expect at the 22nd edition of the non-profit festival.

Who said music festivals were only for the summertime? Even if the weather isn’t as warm, the music scene in Montreal remains vibrant year-round. POP Montréal will be taking place from Sept. 27 to Oct. 1—the annual event has been encouraging artistic independence since 2002. 

As indicated on their website, POP MTL came to life from the collective eagerness of friends and colleagues to establish a major cultural event at the core of the city. Its 22nd year is kickstarting this week and represents “more than ever an essential event on the Montreal festival circuit and the international music scene,” as the organizers of the event state on the web. Over the last two decades, the event has amassed more than 400 artists and 60,000 festival attendees.

Since the festival is based in Montreal, putting forward local artists is a no-brainer, but the word “International” is in the title for a reason. The team offers a lineup from both emerging artists and renowned names from around the world. The festival’s initiative and impact on the overall art scene also lies in its extensive program, aiming to include diverse art forms as part of its activities, including art exhibitions, film screenings, a sale from local artisans, events for kids, and “long-lasting parties until the end of the night.” 

POP Symposium will be your time if you are into panel discussions, creative workshops, artist talks and networking events. Better yet, it will be free and open to all. 

The panels will tackle the “big questions around music, communities, and the forces that shape our cultural engagement, encouraging new connections between local and international artists, industry and fans” according to the POP Symposium page. 

Performing artists to check out ~

From its impressive lineup, here are my top picks for you to keep an eye out for. Previously seen at the Jazz Music Festival this summer, Annahstasia is back from California—get ready to get shivers from her powerful and stunning vocals. We can expect the upcoming performance of her folk-rooted album Revival to showcase her renewed love for music, which she shares was found “after a period of uncertainty, and facilitated a potent resurgence of self.” 

Next up is Montreal-born Gayance, who is now based in Amsterdam after spending her time growing up between Bruxelles, São Paulo and Montreal. If you’re into “jazzy-house with Brazilian spices” and you feel like journeying through Black history with flares of Afro-Latin jazz, Caribbean, West-African and electronic music, make sure to not miss this show! 

Interested? You can pick from three kinds of passes. But if you’re looking for a cheaper fare, check out their Student pass, which is available with a valid student ID to encourage student participation. Locals and students wanting to get involved are also welcome to volunteer! In tune with the Montreal music scene, this local event promises a fun and stimulating time.

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Interview Music

Life in Xion

Courtesy photo of XION by Pixel Scout

A look into the collective that’s growing in Concordia’s music studios.

Multidisciplinary artist Justin Tatone first met Benedict Tan in high school back in 2017. The pair began collaborating over the years. “It was just us making stupid songs and I would produce the beats. It was so bad.” The pandemic later inspired them to take their musical alliance seriously and they began working on a collaborative project in 2020. This union marked the inception of Tatone’s art collective Xion, which welcomed four more members in 2022: Yorgo Al Terek, Leo Deslauriers, Giancarlo Laurieri and E.sko (Elias Skotidakis).

The group’s name is based on the word Zion, which is derived from Tatone’s Jamaican heritage. In Rastafarian lore, it signifies a land of promise. He was also inspired by the 1999 sci-fi film The Matrix, in which Zion is referenced as a land where humans can live freely and without restriction. The intention behind the collective was to “share resources, create a space promised for us,” Tatone explains. The replacement of the Z by an X represents a dissociation from perverse connotations and variations of the word, specifically Zionism—the nationalist movement predicated on reclaiming territory in the Middle East.

As an electroacoustics student, Tatone gained access to the sound studios at Concordia. The available equipment provided him with resources that allowed the group to expand and make music they never would’ve been able to afford to make, according to him. 

The group’s dynamic is highly collaborative: the approach to their forthcoming group album Xion Vol. 1 notably had three producers individually working on a sample (as a background melody) simultaneously. Deslauriers would then splice the renditions together into one, full beat, with drums and other elements being added later. Al Terek, who also studies electroacoustics, describes the process as working in “episodes,” and recalls creating shorter beats with the intent for his colleagues to add to them however they want. 

Each artist fills a specific role, but their contributions converge into a larger, distinct product. “Our collective space serves as the crossroads of artistic expression,” as Laurieri puts it. Tatone wants his collective to be bigger than music: “I want to build a community based on sharing resources. The first step to that is allowing people in the space who aren’t necessarily artists.” 

Laurieri, who is currently a second-year political science student, is an example of this. He has no distinct training in music but plays a key role in the group, serving as its marketing and networking specialist, and as creative consultant. He put together the campaign for E.sko’s Love, Wannabe tour this past summer, a makeshift tour born from booking every open mic and venue in town. The experience was a success, bringing the group to several bars throughout Quebec and even Ontario. “Montreal has so much opportunity for small artists,” Tatone says.

BANE & BLESSING, the electrifying rage-rap album from Tan and Tatone, will finally launch on Sept. 29 after three years of creation. The album is set to be supported by live performances, with punk venues being envisioned. Tatone also expresses interest in embarking on another tour in summer 2024, this time as a collective in support of their upcoming group album, the boom-bap influenced Xion, Vol. 1. He also revealed that a documentary for the Love, Wannabe tour is on the way.

Xion may just be gearing up, but their ambition and output support Laurieri’s description of the group. “It’s a journey of creative convergence where the sum is truly greater than its individual parts.”

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Concert Reviews Festival Review Music

KAYTRAMINÉ extends the Summer with a heated Performance at OfF Piknic 

KAYTRAMINÉ performing at OFF Piknik in Montreal on September 7. Photo by Tabéa Benlakehal / The Concordian

The high-energy rapper-producer duo composed of Aminé and KAYTRANADA kicked off their joint tour in Montreal on September 7.

On Sept. 7, famed producer KAYTRANADA and Aminé—known together as KAYTRAMINÉ—kicked off their sold-out joint tour for their album of the same name in KAYTRANADA’s hometown of Montreal. The performance was held in open air at Parc Jean-Drapeau as part of OfF Piknic, a series of concerts that follows the summer-long Piknic Électronik festival. The duo played joint and then individual sets for a crowd of 8,000 people, cycling through the entirety of their collaborative album as well as songs from their respective solo catalogues.

The show included three openers. Montreal hip-hop trio Planet Giza kicked things off with a DJ set consisting mostly of vintage hip-hop, with Aminé’s tour DJ Madison LST following up with a mix of current hip-hop hits such as Ice Spice’s “Deli” and Sexyy Red’s “SkeeYee,” which lit up the crowd. Lou Phelps’ set was the perfect tone-setter for KAYTRAMINÉ: his style is a perfect blend of laid-back, chill hip-hop akin to Aminé and occasional smooth bouncy production courtesy of KAYTRANADA himself—who happens to be Lou Phelps’ blood brother. 

Just off their first track “Who He Iz?,” it became immediately clear that KAYTRAMINÉ is a captivating duo. Aminé’s rapping style is filled with confidence and conviction, and his occasional shouting of his punchlines makes boastful lines like “we make heat shit, y’all make weak shit” resonate even stronger with the crowd. KAYTRANADA matched the Portland rapper’s energy with ease, bouncing along behind the ones and twos and ad-libbing in between Aminé’s lines. 

The duo not only fed off each other, but also the crowd: Aminé’s frequent use of call-and-response had the audience namely chanting the hooks of “letstalkaboutit,” “UGH UGH” and “Master P”  back to him, as well as getting hands to bounce and people to jump throughout the crowd. Chiara Strollo, a second-year TESL student who was in attendance, commends the duo for their lively and inviting stage presence: “I love when an artist makes you feel like their friend and like you’re all there to have a good time together.”

After a brief break, Aminé would re-emerge and start performing other hits from his catalogue. He performed cuts from his 2022 and 2020 projects TWOPOINTFIVE and Limbo like “Charmander” and “Shimmy,” even going as far back as his 2017 debut album to perform “Spice Girl.” The chorus to his 2018 hit “REEL IT IN” spread through the crowd like wildfire after being suddenly dropped and the slow-burning live version of “Caroline”—his biggest solo hit—proved effective. Fans sang along before the drums finally kicked in, releasing the crowd’s bubbling hype into jumps.

KAYTRANADA followed suit with an infectious DJ set that no concertgoer could resist dancing along to. His medley of songs included his remixes of Sam Gellaitry’s “Assumptions” and Teedra Moses’ “Be Your Girl,” “LITE SPOTS,” and a yet-unreleased remix of Beyoncé’s “CUFF IT.” 

Aminé joined him once again to perform their 2015 collaboration “LA DANSE,” after giving a shout out to the Montreal producer for reaching out and gifting him with free beats during that period. The pair closed the show with some of the biggest hits on KAYTRAMINÉ such as “Rebuke” and “Sossaup,” with the Pharrell Williams-assisted lead single “4EVA” rounding out the entire performance.

Before the crowd could fully spill out amid chants of “olé olé olé,” the swarm of fans that had begun leaving ran back towards the stage as the lights dimmed down again and KAYTRANADA’s hit single “Intimidated” began playing. Fans were treated to an encore and a second serving of “4EVA,” which upped the energy and wrapped up the show on an even more lively note. 

With both artists toting the flag of their respective ethnic background (Ethiopia and Haiti), the show truly felt like a celebration commemorating their heritage, their joining of forces and the pride KAYTRANADA has brought to his home city.

Parc Jean-Drapeau proved to be an ideal venue as the outdoor area perfectly complemented the bright, bouncy and summery instrumentals on their album. Given the club-ready and danceable qualities of KAYTRANADA’s production, the space augmented the party concept to a larger extent. With volleyball courts, ping-pong tables and an entire area dedicated to food and drink trucks and merchandise, the site entertained, served, and accommodated the crowd with ease, while also leaving enough room to keep everything spread out. “It wasn’t too crowded and the overall vibe of the people was great,” Strollo explains.

KAYTRAMINÉ showed and received overwhelming love to and from the people of Montreal, successfully starting off their tour with a bang. Attendee and fourth-year human relations student Alfred Umasao describes the abundance of local artists as “Seeing Montreal artists do what they do best.” Umasao has no regrets from attending the show: “I got my money’s worth for sure.”

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Music

How DJs at CJLO 1690AM navigate tangible Music

CJLO's Physical Music Library. Photo by Tabéa Benlakehal / The Concordian

A talk with CJLO’s music director about the radio station’s airing process.

As Concordia’s one and only radio station, CJLO 1690 AM’s team needs to stay up to date with the emergence of new music to air while continuously cataloging incoming music. As conveyed on their website, over 80 DJs spin through various music genres and  CJLO has been streaming seven days a week from early 2003. Their tower and transmitter can be heard as far as Ottawa and Burlington, Vermont. This means that the station’s crew ought to not only constantly broadcast but also take into account their large number of listeners to successfully run a radio station in 2023. 

CJLO’s head music director, Lisa Rupnik, shares a typical day in the life at the station and what the DJs encounter and need to consider when airing music these days. Her job mainly consists of tracking what DJs play on their shows and translating that information into their weekly music charts. In her day to day, she is also in correspondence with record label representatives and radio promoters who keep her up to date on all the latest releases. This allows her to ensure their playlists are suitable for listeners and offer novelty. 

After receiving recommendations, Rupnik curates what gets added to the station’s digital library based on their DJs’ tastes and interests. After the digital side is taken care of, she explains that the next step is to oversee the physical media collection and coordinate volunteers to help with music library projects. 

Rupnik validates that the majority of the DJs at CJLO stream music for their show exclusively. With the decline of tangible music like CDs and vinyls at the station, she says some DJs make an extra effort to play physical media, but it is generally just for fun and doesn’t actually make any noticeable difference to listeners at home. 

Their in-house music library holds hundreds of physical media and is part of their permanent collection that has been going strong since CJLO’s start 25 years ago. As music director, Rupnik continues to add physical submissions to their library, which she receives from promoters. 

“We value keeping CDs and vinyls to keep a tangible archive of music trends over the years,” Rupnik says. “The fact that CDs and vinyls are rarer these days encourages us to keep and maintain a quality collection.” 

As a core member of the CJLO team, Lisa can tell when a release is really exciting, as the singles take the radio by storm long before an actual album is released. For example, the latest Slowdive album, Everything Is Alive, was just released on September 1, but CJLO’s DJs had already been spinning the singles since June.

That being said, a lot of other DJs will play artists on their show whose entire discography consists of singles. These artists are often found on TikTok, YouTube, SoundCloud and even Bandcamp. Rupnik agrees with this support: “It’s great that DJs are supporting these artists as some of them are totally DIY, although you should take into consideration that the “singles only” trend happens amongst both indie and major artists.”

Concordia’s on-campus radio station is then far from vanishing collectible pieces of media but does keep a close eye on taking the extra effort to sustain their library and encouraging DJs in engaging with more tangibility in music. 

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Music Quickspins

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

Categories
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

Categories
Music

Students vs. Spotify

Carleen Loney @shloneys / The Concordian

The platform increased its monthly rate amidst the absence of a student discount in Quebec

Remember watching Disney Channel as a kid? Can you recall the feeling of excitement that came with the idea of winning sweepstakes and getting to meet your favourite TV star, only for the offer to be “not valid in Quebec.” For Spotify users in the province, the disappointment is the exact same.

For many years now, Spotify’s student discount has not been offered in Quebec. The province’s Consumer Protection Act prohibits companies from automatically charging for services at regular price once a free trial or discounted period has ended—for which Spotify faced a class-action lawsuit in 2017 before the Superior Court of Quebec.

Quebec is notably the only province in Canada that does not accommodate the discount. On SheerID, Spotify’s student verification system, no Quebec institutions can be selected from their directory. However, these same schools can be found on UNiDAYS, the site used by Apple Music. Students can thus access the same discount for the same price, just on a different streaming platform.

Minh Tu Chau, currently studying in the computer engineering co-op at Concordia, believes that the student discount should be available solely based on its widespread demand: “More people use Spotify than Bixi, but we [students] have a Bixi discount.” He also sees Spotify as a cornerstone of student life: “So many people use it for studying.”

Some students have since found a workaround: selecting universities outside the province that are also named Concordia, such as the one in Edmonton. “Just send an acceptance letter or any other official Concordia document,” an anonymous student shared with The Concordian. Transcripts, schedules, offers of admission, and attestation letters—”anything with the word Concordia on it,” they added—all grant access to the student discount when uploaded through SheerID under another “Concordia University.”

Furthermore, throughout the month of August 2023, Spotify users have been greeted with a bright blue screen with news that is equally blue: starting in September, their subscription price will be increasing from $9.99 to $10.99 per month.

Many subscribers have expressed their dismay towards the change, but Tredy Delcar Méroné—a first year economics student—sees it as inevitable: “It’s their first time ever increasing their prices in 11 years.”

“It’s annoying that we have to do all this just to have discounted Spotify,” Delcar Méroné said, which is just about the general consensus around the Spotify-student situation in Quebec.

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