Tag: Music

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Interview Music

Enter: Sons of Rice

Ram Sleibi is one-half of the duo Sons of Rice, with Bob Mood.

Sons of Rice sit down to talk about their latest album Guts To Skin

The music scene, especially Montreal’s music scene, needs more iconic and theatrical groups. What does this mean? Think about it: in the past decade, besides Arcade Fire, Half Moon Run, and (maybe?) The Damn Truth, we haven’t had anything of their caliber rise from this diverse and multicultural city.  

Sons of Rice is a duo that is trying to stake its ground in Montreal’s music scene. Enter Ram Sleibi and Bob Mood. Sleimi, who grew up with parents who are actors, stated, “I’ve always been passionate about filmmaking as a source of expression, but my priorities changed when I met a guitar player [Mood] who became my best friend. They met in high school at sec. three [grade nine], in the music room on the first day of term.   

In July of last year, they released their debut album Guts To Skin. Topping off at a short 26 and a half minutes, it seems a bit small for an LP, but don’t let it fool you, for quality is more prevalent here than quantity. According to Sleibi, the umbrella theme for the album is “Identity.” “Under the identity umbrella falls many themes: expression, diaspora, community, death, nationalism, and culture,” he said.    

Their writing process is “all over the place,” said Sleibi. When they first came together as Sons of Rice, they would tumble over lyrics, melodies, and chords while in the same room. Their process has changed drastically now, where Sleibi is in the producer chair. 

“Lyrics are equally written by Mood and I depending on the songs, and the melodies are also a collective effort,” he said. In terms of guitar, Mood is the man for that and Sleibi does the rest (bass, piano, synths, drums). This is due to them getting separated due to immigration issues on Mood’s side. 

Sleibi grew up in Damascus, Syria, while Mood was raised in Saidon, Lebanon. Consequently, the duo brings a touch of their Middle Eastern upbringing into their music.  

“We both have a natural sense to how we implement our Levantine Arab culture into our current music.” said Sleibi. 

When asked about their easiest song to write, Sleibi immediately replied, “Our ego trip ‘Suns of Rise.’” The reason for it was that the core of the track is a loop of a song from Asmahan, a famous Syrian singer. Contrasting with that, their hardest songs to write were “Come Happy Time,” “The Flame,” and “Chase Me Back.”

Unlike many artists, when asked about their influences, Sons of Rice don’t let other musicians/groups get in the way of their songwriting. “I’m mostly influenced by films, stories and people I know in real life,” said Sleibi. However, they do love ’90s/2000s rap and hip hop, Levantine Arab music and rock groups like Twenty One Pilots, Pearl Jam, and Jack White. 

The title of the album Guts To Skin is a lyric in their song “Suns of Rise.” The full line is “Guts to skin is not enough,” which tells the audience that they, as a duo, are not done with just one album. 

“It is not going to be enough for us to express what we feel, and we are also aware that it won’t be enough for the listener to fully trust us into becoming his or her new favourite band.”  

This album is what Mr. Morale & The Big Steppers was to Kendrick Lamar: therapeutic. “We’re human,” said Sleibi: “We think and we must express to share how what we think makes us feel to achieve a sense of relation between people that in return could achieve a state of peace.” 

As a final note, the future for Sons of Rice is working on a second album, but their main objective now is to “offer a term [Sons of Rice] that can give people who use [it] a sense of belonging to one another, a term of unity.” 

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Concert Reviews Music

HEAD: Concert Review: Sophia Radisch, The Space Wizards, and Steve Creep at Petit Campus

Triple threat bill hits Petit Campus

Last Friday, Petit Campus showcased three bands with different energies. If you got to the show in between acts it wouldn’t look like it, but once the bands got on the floor it was packed!

Steve Creep and The Wildcards opened the show, and they were tight. It was their first concert ever, let alone playing for the first time at Petit Campus! They had the energy of a band that was able to show their confidence onstage and prove that they were ready for this show. 

The Space Wizards came on next. They are a Montreal-native trio that mainly dabble in heavy blues and rock. It was their first show in ages, and they performed spectacularly. 

The trio has a sound that incorporates a dark, octave tone with drums that produce crash-heavy waves, filling the venue up. I remember watching them perform “Fill My Cup” pre-COVID and they were all the more tight, which is saying something. After the song, frontman Will said “My wah pedal was extra wah today, and that’s okay.”

In my opinion, the most memorable songs were “Mind In Tatters,” “Tonight,” and “On The Loose,” which sounded like a fight just broke out between the Greasers and the Socs and I loved it. The intro for “Tonight” came straight out of a porno, and the chorus’ line “let’s get down tonight” pushed that thought into my head each time they would sing it.

The last band that stormed the stage was Sophia Radisch, who walked onstage to shouts and screams from the crowd. She performed with tight and explosive session musicians: Zack Sarkissian on guitar, Sandro Ferraro on bass, and Justin Piedimonte on drums.

Radisch’s vocals are like the love child of Melissa Etheridge and Sinéad O’Connor. She employed that raspy voice of hers over the heavy chugs of Sarkissian’s guitar and the gritty Stingray bass of Ferraro. Piedimonte supplied the group with metal-influenced drumming that was off the board. 

The sixth and most memorable song on their setlist was “Ignite,” which featured a guitar change from Sarkissian. When they started to play, it “ignited” my memory, taking me back to when I was listening to songs from the band Our Lady Peace and The Smashing Pumpkins. It was eerily reminiscent of their song “Soma,” because they’re both littered with similar suspended chords, notably the verses. Guitarist Sarkissian laid in the licks and solos as a call and response to Radisch’s lyrics.

Overall, these bands added their own type of fuel to fire up the crowd. Quite frankly, you should have been there to see it. 

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Concert Reviews Music

HEAD: Concert Review: Static-X with Dope, Mushroomhead, Fear Factory and Cultus Black at MTELUS

Static-X performing at MTELUS

 Nu metal is so back. 

Static-X are back on the road again, celebrating the 20th anniversary of their album Machine. The California group, formed in 1994, is accompanied by a stacked lineup composed of Dope, Mushroomhead, Fear Factory and Cultus Black. It’s just a big old happy nu metal family reunion! 

On the night of March 23, MTELUS was packed with nu-metallers, a sea of Korn hoodies and Static-X t-shirts pouring out the doors and onto the street. It’s been a while since a show like this happened, a show akin to the notorious Family Values Tours of the ’90s. I wasn’t surprised at the turnout, especially considering the show had to switch venues because of popular demand and capacity. Oh man, there are a lot of nu-metallers in Montreal. For once I’m not the only one!

Cultus Black opened the night, proclaiming to be “new around here.” For a new act, their set was really impressive, and I wished I’d been in the crowd to conjure up some more hype for them. Sometimes a crowd just won’t move during an opening band’s set and it absolutely sucks to watch. The band, however, did not disappoint. Their cover of “Negative Creep” by Nirvana was such a pleasant surprise. 

Dope, boasting their new album Blood Money Part Zer0, jumped right into their set without wasting much time. I was just as excited to see them as I was for Static-X, thrilled to finally get to hear the song “Die MF Die” live. I think their set was my favourite besides the headliner. 

Now, I’d never really gotten into Mushroomhead despite their steez in nu-metal circles, but they were great to see live. No need to rehash old Slipknot vs. Mushroomhead fan wars. Their stage presence is incredible, I really wish MTELUS’ stage was big enough for a band of that size and magnitude. They had quite the handful of set decorations and it just looked so cramped together. 

Fear Factory marked their return to the stage on this tour since their vocalist change in 2020. I was pretty pumped to see them back in action, and even more pumped to see them play “Zero Signal” off the Mortal Kombat soundtrack. 

Finally, Static-X dominated the stage with classics like “Push It”, “Cannibal”, “Wisconsin Death Trip”, and my personal favourite, “I’m With Stupid”. Towards the end of their set, they took a minute to dedicate “Cold” to Wayne Static, the original Static-X frontman who passed away in 2014. 

Overall the show was a blast, and I think the crowd was probably the only downside for the most part (not really the moving and shaking type, eh?). Yet another piece of nu-metal history in the making, this show couldn’t have come at a better time because… face it, nu-metal is so back.

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Music Quickspins

QUICKSPINS: The Great Escape – Larry June & The Alchemist

Veteran producer The Alchemist teams up with friend Larry June to bless our ears in time for Easter.

American record producer, DJ, rapper and songwriter The Alchemist released his latest collaboration album on March 31, this time with San Francisco rapper and affiliate Larry June. It was only a matter of time before the release of this project, since The Alchemist has been on a collab album streak. 

The legendary producer dropped The Elephant Man’s Bones in August 2022 with Roc Marciano, as well as Continuance with Curren$y in February of the same year, the latter of which features rapper Larry June. 

Curren$y also appears on The Great Escape, teaming up with Joey Bada$$ to feature on the penultimate song “Barragán Lighting” — a personal favourite on the 15-track project.

The Great Escape is already in the top five of the year for me. Some people may say that Larry June has a lazy monotone flow and lacklustre pen game. Real ones, including myself, know that his voice, bars and flow are perfectly homogeneous with the smooth soul loops that The Alchemist concocted. 

The album paints a perfect picture of what Larry June is doing after his success. It’s exactly what is displayed on the album cover: driving around California’s bay area in a classy expensive car. It feels like a victory lap around the hills in a Porsche 911, and The Alchemist is piecing everything together in the passenger seat.

The Alchemist’s curation for lyrical talent is always outstanding, grabbing artists that are forever slept on like Boldy James, Jay Worthy, and Curren$y. It always makes my week whenever I see Action Bronson create anything, especially when he teams up with The Alchemist, and this time it’s for his feature on “Solid Plan”, and it’s as if his best bud made the beat for him. The strange ’80s synth had the loop sounding like it could be found on a hypothetical deluxe version of Blue Chips 7000. 

This kicks off a three-banger streak. The following song, “Palisades, CA” is just gross, easily the best song on the record. It keeps the same uniform vibe of the album, feeling bright yet mysterious and dangerous. Big Sean, who I usually find corny and think of as someone who does too much, absolutely popped off. The Detroit rapper uses a crazy triplet flow while talking about his new luscious long hair and how he tells the truth “like a polygraph in a booth.” A true masterpiece. 

The third elite song in the streak, “Summer Reign,” makes me want to reminisce on the beach with the wind in my hair, maybe with a tear rolling down my cheek. And it’s all because of the wawa-guitar loop paired with the God-given voice of Ty Dolla $ign.

All in all, there is not one skip on this album. No song is lower than a 7.5/10. That being said, The Alchemist will forever be on the hip-hop producer Mount Rushmore, and this album definitely deserves a listen.

Trial Track: “Palisades, CA”

Score: 8.5/10

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Concert Reviews Music

 Concert Review: Cindy Lee at Les Foufounes Électriques

Cindy Lee playing at Les Foufounes Électriques. Picture taken by Jake Beacock

Making their awaited return to Montreal, the enthralling Cindy Lee takes the stage at Les Foufounes Électriques

Dreamy, movie-tragic and esoteric, Cindy Lee is the dazzling drag persona of Canadian musician Patrick Flegel, best known for their work as the lead singer and guitarist of the band Women. Creating atmospheric “confrontation pop”,  Lee sings delicately like a vintage starlet over glimmering guitar riffs and static, encapsulating themes of mystifying melancholy and romance. 

Their March 18 show at Les Foufounes Électriques was opened by Montreal band Born Winner, a duo laying down puffy, funky basslines and classic guitar over an ’80s mall pop vibe. Their work suggests a grunge persuasion, resulting in a great live set for spending any extra energy on dancing. Knowing Cindy Lee’s set would be one of a more mellow, lightweight tone, I absolutely danced my heart out to “average boy” and “too cool for school.” 

On-time and dressed in a white fur-trimmed coat with shiny gogo boots to match, Cindy Lee quietly graced the stage, politely waving and gently acknowledging the crowd of eager spirits. Only mere centimeters away from me, Lee set their own equipment up briefly before easing into their first song. Falling into the embrace of the ethereal tunes, I couldn’t help but close my eyes and sway to the rhythm until Lee smoothly interjected with a tastefully improvised guitar solo.

Lee danced around the stage in a glistening gold dress, bundles of baby’s breath in hand, to the weeping guitar in “I Don’t Want To Fall In Love Again.” The sweet song of distant longing and lost love rang through the venue. Between politely sheepish “thank you kindly”s, they strolled through the set of primarily unreleased and hidden tracks. It was difficult even for me, as a huge fan of their work, to discern which songs were being played! Though I’ll admit, it really adds to the elusiveness of Cindy Lee as both a persona and a project.

I had the privilege of meeting Cindy Lee themself, up close. When their gogo boots were not inches from my hands on stage, they were an incredibly kind and approachable person to speak to. Friends I had attended the show with were keen on telling them how we purchased their album, Cat O’ Nine Tails, which is unavailable on streaming platforms. Their response was somewhere along the lines of “Great! I’m going on strike!” which means we are in for another mystery upon Flegel’s next release as Cindy Lee. I will simply wait patiently until then, and I hope you will too. 

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Ar(t)chives Music Quickspins

QUICKSPINS: 10,000 gecs – 100 gecs

100 gecs returns with an album that’s pure fun

It doesn’t take long to see why 10,000 gecs, the newest project from experimental pop visionaries Dylan Brady and Laura Les, is one of the most thrilling releases of the year. The duo’s 2019 debut album 1000 gecs was a landmark in helping to define the relatively new genre known as hyperpop, with singles such as “money machine” making waves over social media. Coming four years later, it’s safe to say there’s been anticipation for a new record, and luckily this album does not disappoint.

Within the span of a single minute, the opener “Dumbest Girl Alive” begins with the signature THX Deep Note theme, transitions into an overblown guitar solo, and follows that up with a beat reminiscent of Travis Scott’s “Sicko Mode.” It is wonderfully bizarre and sets up a 10-track run that only gets stranger as it progresses. The album triumphs as an exercise in throwing so many ideas at the wall that the wall crumbles down.

If there’s one constant running through the entire twenty-seven minute record, it’s silly fun. 10,000 gecs feels like an album extracted from a late night Discord call — a bit too much caffeine in everyone’s system, each person trying to one up the other with jokes. It’s an experience that you laugh with, not at.

Take the song “757,” for example. Its intensely processed vocals emit such high energy that at a certain point they just start muttering gibberish and it still works. Later, the song takes a turn, and the lines “I smoke the trees when I’m in Colorado / Interior gas station McDonalds” play over a methodical, distorted snare and kick drum combo. Do these lyrics make sense? Not particularly. Does it go hard? Very much so.

Going from track to track is akin to playing musical roulette. From a violent encounter sparked by two friends with an equally violent instrumental (“Billie Knows Jamie”), to a ska song recounting the painful aftermath of a trip to the dentist (“I Got My Tooth Removed”), to relaxed verses explaining one’s questionable life choices (“The Most Wanted Person In The United States”), 10,000 gecs runs the gamut of genres and topics. 

The philosophy of short-but-impactful material is applied to most of the songs on the album, as they all fall within the two-to-three minute range. This is not an issue on its own, but it’s hard not to want a few extra tracks to flesh out the record a little more. Singles “Hollywood Baby,” “mememe” and “Doritos & Fritos” are clear standouts, and the album would’ve benefitted with one more banger along those lines (though it is telling how good a project is when the only issue is that you want more).

10,000 gecs is the kind of album that gets you excited about music. There is so much bursting at the seams in this collection of tunes. It overflows with creativity and is a testament to the power of friendship, comradery, and cranking the volume up to eleven. It also happens to have a song titled “Frog On The Floor.”

Trial Track: “Hollywood Baby”

8/10

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Music

Remembering Bobby Caldwell

 “What You Won’t Do For Love” singer dies at 71

The R&B music scene has lost one of its stars. American singer-songwriter Bobby Caldwell passed away on March 14, 2023 at the age of 71.

Caldwell, who’s known best for his hit “What You Won’t Do For Love,” died in his sleep at his home in New Jersey, according to one of his representatives.

While no cause of death was provided, his wife Mary Caldwell announced on Twitter that the cause of death was due to long-term complications related to antibiotics.

“Bobby passed away here at home. I held him tight in my arms as he left us. I am forever heartbroken. Thanks to all of you for your many prayers over the years,” she wrote.

Over his four-decade-long career, Caldwell experimented with various genres ranging from R&B, soul, soft rock and jazz. He dropped his signature song “What You Won’t Do For Love” in 1978 which propelled his career and landed as number 9 on Billboard’s Top 100. The hit song was covered by numerous artists, such as Boyz II Men, Snoh Aalegra and Michael Bolton.

Caldwell’s label at the time, TK records, tried to hide the fact that he was a white singer in order for the hit to succeed on the R&B radio stations. To further hide his race, they decided to silhouette him on the cover of his self-titled album. Nevertheless, once Caldwell began making public appearances, his adoration from his Black audience only grew.

Not only did Caldwell compose his own music, he also wrote for many other artists, such as Roy Ayers, Chicago, Natalie Cole and even Neil Diamond. He also wrote the classic “The Next Time I Fall” for Amy Grant and Peter Cetera which became a Billboard number one hit in 1986.

Surprisingly, Caldwell received most of his recent success from hip-hop artists, like Tupac Shakur, Kendrick Lamar and Notorious B.I.G. who sampled his songs. 

Caldwell was a major contributor to the world of R&B and will be greatly missed and remembered for his contribution to the music industry.

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Interview Music

Shonk plays Across The Room 

Gabrielle Shonk just released her sophomore album Across The Room

Artist Gabrielle Shonk wearing her heart on her sleeve 

It has been three weeks since Quebec City native Gabrielle Shonk released her sophomore album Across The Room, and six years since she debuted her self-titled album. 

 Across The Room features 11 tracks, spanning a total of 40 minutes, and oh what a wonderful 40 minutes they are. Every song on the LP starts with an emotion, each one different from the other.

She started off playing the piano at a young age but quickly switched to guitar as the keys didn’t stick. Since then she released her 10-track debut which gained her a lot of traction with CBC and Stingray. Shonk has grown into her songwriting style after her last album and it shows in her R&B tinges and her ability to emit feelings of hiraeth through songs like “How We Used To Be” and “5AM.” 

Shonk had the opportunity to play her new album while opening for the Barr Brothers at Théâtre Gilles Vigneault last month.

The Concordian spoke with Gabrielle Shonk about her album.

TC: What’s the meaning of the album’s title, Across The Room?

GS: Finding the title came pretty late in the album process, it was probably at the end of the summer of 2022 when I had all of the songs recorded. I actually had a talk with my manager and he said to go through some of the lyrics and pull out some of your favourites, something might pop out. It is the first lyric of the first track  “How We Used To Be.” I basically finished writing all of these songs during the pandemic, being confined in my home office, so it was the image of me sitting in an enclosed space with all these songs and emotions. That’s kind of what had me choose that title.    

TC: Take me through your songwriting process, what comes first?

GS: For me it will be either melody or chord progression. So, like melody and chords underneath it almost simultaneously. Sometimes lyrics will come quickly to back it up as well. I am more of a musician than a writer so the lyrics take more time to come up with.  

TC: What was your favourite song to write, and what was the hardest? 

GS: I think my favourite changed every day. I love all the songs equally. Each of the songs has its own universe, its own thing. I couldn’t really pick one in particular. But the lyrics I am most proud of are the ones from “Let’s Shine Into The Night.” In terms of challenging, for the music it would have to be “Out Of The Blue” and for the lyrics it was “People Pleaser.”

TC: You said in your promo for the album that you had written the last song of the album “Quand le calme reviendra” while on a retreat to Gaspésie. What was it like and did you write other songs during your stay?

GS: Not ones that are on this album, so yeah I co-wrote a lot of stuff with my artist friends that were there with me. Everyone had songs and at the end of the day, we would each show each other what we had worked on in the group sessions. I have started songs that are a work-in-progress that I haven’t gotten back to that might be on the next album! Maybe?

TC: Have you ever thought of collaborating with anyone? I was thinking you and rapper “Noname” would make a cool track together.

GS: Yes I love her, I remember seeing her live at Field Trip a few years ago. I’d be super open. I’ve done it before too. My first hip hop track collaboration was with an artist from Montreal called Naya Ali. We did a SOCAN writing camp a few years back and basically, you get paired with a bunch of different artists from different genres. It puts you out of your comfort zone and it was extremely fulfilling. I worked with her on a song of hers that she released called “Time.”

TC: What was your favourite moment of your show with The Barr BrothersGS: I really liked going to the merch table at the end. It was really memorable because I got to meet new faces and interact with people who saw the show, especially from the fans of The Barr Brothers who discovered me through my opening act. That was really nice.

TC: What’s next for Gabrielle Shonk?

GS: Playing this album live for as many people and as many places as possible, that’s what I’m aiming for this next year, alongside writing new songs! I’m opening for an artist called Charlie Winston in Canada and the U.S. during April and May, and I will announce my fall tour soon.

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Concert Reviews Music

Concert Review: MIKE at Bar Le Ritz PDB

MIKE delivers an emotionally powerful performance. The Ipari Park Tour is his first major tour boasting over 30 shows in a little over a month. Photo by Max Moller

Underground hip hop champion MIKE played for his first Montreal audience at Bar Le Ritz on March 10, accompanied by Florida-based rappers 454 and Niontay

The crowd was small but dedicated outside of Parc Extension’s Bar Le Ritz PDB, where MIKE made his Montreal debut. Illuminated by the chandelier store opposite from the bar, the line slowly trickled through the door where they were met with a relatively small venue. 

With no DJ, Niontay was the first to play on stage. Hailing from Orlando, Florida, he’s been putting out singles for a few years and his first project, Dontay’s Inferno, releases April 7. His set sounded like The Black Eyed Peas mixed with 

Even though the crowd didn’t know him, that hardly stopped them from enjoying his performance. They quickly took his cues for when to shout and by the end there was enough energy to make him say his Montreal performance was more fun that his most recent show in Boston. 

454 was up next, and since he was born in Florida but lives in New York he acted as a sort of bridge between Niontay and MIKE. He’s been putting out projects since 2021 and it was clear that most of the people there had already heard of him, which makes sense considering his presence on Denzel Curry’s latest album. 

His music had some similarities to Niontay’s, but with more of a trap/drill influence, including gliding 808s and plug-esque video game sounds. His set was more energetic than the first, prompting even a few short mosh pits during the most well-known songs. He did a good job getting the audience warmed up and for a decent amount of MIKE’s set, he was dancing in the audience.

The venue had been crowded from the jump, but at this point it was fully packed and the sweat was pouring. Thankfully MIKE took the stage after a short wait, and after giving some daps to the front row he jumped into a set that was energetic, intimate, and memorable. The highlight was definitely when someone tossed a bag of weed on stage and he stopped the show. “Y’all are gonna see my first ever live zaza review,” he said, before performing his song “Aww (ZaZa).” This prompted a large portion of the crowd to light joints, adding a thick layer of smoke to the room. After trying a few spliffs from the audience, he announced a winner. 

Another highlight was when he acknowledged his mother as the source of his creativity, and a resounding applause was dedicated to her. Near the end of his set, his backing track started skipping, but because of the chopped up samples he typically uses and how rhythmic the skips were, it just sounded like alternate or remixed versions of the songs. 

Unsurprisingly, most of the set was dedicated to his newest album, Beware of the Monkey. This is his 10th studio album in just six years, and it strays more melodic and poppy than his previous efforts. That’s not to say it’s a completely new sound; the reverb-laden sample loops are still there, but now they feel more grounded, even simplified a bit. The result is an album that’s more accessible to a general audience, but also doesn’t alienate the people he already won over. 

Overall, he put on a great show which was only boosted by the small size of the venue. His energy was potent but concentrated, influencing a smaller number of people more deeply. If it had been a larger space, it might have felt more watered down, like it was favouring the quantity of people over the quality of the experience.

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Music

SNDCHECK – summer starts early with euphoric techno party

photo courtesy of SNDCHECK

Montreal-based event planners’ first event of the year was a massive success

After months of waiting, Montreal techno fans were out and about for SNDCHECK Montreal’s 11th event and their first of the year at speakeasy Newspeak. SND0011 was a huge success with people pouring in through the nightclub doors late until the evening. 

SNDCHECK is a Montreal-based events company that hosts get-togethers and parties with various DJs and artists from around town. Their slogan, “aventures musicales nomades,” resonates with fans who often buy tickets before they even know where or when the next event will be. 

They cultivate a space where partygoers can feel safe and unjudged. Nobody cares what you look like or what you’re wearing. Nobody can randomly take photos of you. Everyone is just there to dance and have a good time. 

Cédric Comte is a 21-year-old student at HEC Montreal and a co-founder of the company. He’s in charge of the group’s marketing. 

“At SNDCHECK we organize musical adventures that are nomadic, which is to say every event takes place at a new spot. We want to change the events scene in Montreal,” he said. 

During the pandemic, Comte and a few of his friends went two years without going out. During that period, they felt that the world was changing. Comte said the bars and clubs in the city just didn’t do it for them.

“I can’t even remember the amount of times we were being stopped at lines for clubs and being forced to buy bottles. The whole vibe was off. We wanted to create a space catered to client experience and a world where people really get to experience the full party scene.” 

Since 2021, SNDCHECK has held 11 events. Some take place outdoors at places like Mount Royal while others happen inside, like the time they hosted an event at Théâtre Paradoxe, an old church building. What started off as a group of twenty-ish friends quickly became two hundred, and by the end of last summer, SNDCHECK had over a thousand people dancing at Parc Jean-Drapeau. 

One unique quality to SNDCHECK is their “disconnect to reconnect policy.” When walking into the event, every person is required to put a sticker on their phone cameras, and only a small number of staff are allowed to take photos. This, according to Comte, is essential to the SNDCHECK identity and goals as a group. 

“We want people there just for the music. Not to take photos to flex on Instagram or other media. We want people to be there for the energy and joy.” 

When I was at SND0011, it did feel weird to not have my camera available. My first instinct was to reach for my phone and take a few photos. I noticed a lot of people also had the same thought. One girl opened her snapchat to take a picture of the crowd swaying to the DJ only to realize she couldn’t. 

That night’s DJs were the pair Mvngo/Seb Todd, Ludo Lacoste, and Ghetto Birds. SNDCHECK doesn’t reveal who will be performing until you actually arrive at the event, but usually focuses on house and techno. 

According to Comte, that night they had around 350 available spots but it felt like 500. It was amazing to see everybody dancing and chatting. There were no phones to distract anyone but I still couldn’t see more than 2 metres in front of me.

The venue was decorated beautifully. Comte and his team usually arrive a few hours before each show to prepare. This time, they set up old 2000’s TVs and installed projectors behind the artists and in the lounge area. For a place that does not allow photos, it was remarkably beautiful.

The next event will be held April 6, somewhere in the Montreal area. Follow their Instagram to get the full details when they’re revealed. 

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Music Quickspins

QUICKSPINS: Endless Summer Vacation – Miley Cyrus

 Miley Cyrus has gifted her fans with a pop-themed album

Some artists are afraid to try something new, but that doesn’t seem to faze singer and performer Miley Cyrus. After her last album Plastic Hearts in 2020, which was a commercial success, Cyrus unveiled Endless Summer Vacation on March 10.

Her lead single, “Flowers,” attracted old and new fans worldwide due to its catchiness and inescapable tunes. After its release, everyone anticipated her new album that was set to follow two months later. 

The third track, “Rose Colored Lenses”, is full of fun lyrics with an easy-going instrumental in the background. With verses like “We can stay like this forever, lost in wonderland with our heads above the clouds, falling stupid like we’re kids,” it’s easy to drift to memories of being carefree. With this song, Miley alludes to enjoying the moment while ignoring any red flags, which anyone listening can relate to. 

According to Rolling Stone, Miley Cyrus has said that she organized the songs in an order with an AM and PM vibe, and you can’t help but embrace how different the songs are. The AM side represents the morning of a new day and the potential for any opportunities, like the second track on the album, “Jaded.” In this song, Cyrus reflects on a previous failed relationship and how it’s impacted both of them. The song is filled with harmonies and a quicker tempo that gives it a nostalgic feel for the listeners. 

The PM side is influenced by rest, recovery and partying, like the song “River,” which has a retro beat similar to pop icons Britany Spears or Whitney Houston. This song makes you want to dance all night long.  

The next song is a memorable pop track called “Violet Chemistry,” and it sounds like it could’ve been a bonus track on her 2014 album Bangerz. With a beat change halfway through the song, it could be another party anthem like “We Can’t Stop.”

The album fits well within the pop stratosphere, but there are a few slower songs that change the tempo and overall listening experience. The fourth and fifth tracks “Thousand Miles” and“You” both have mellow beats that make you relax and reminisce about friendships and relationships. 

Cyrus concludes the album with a ballad called “Wonder Woman,” where she sings over the piano about the resilience of the women in her family. Although memorable, it doesn’t fit with the PM party tracks on the album. I would’ve liked to see her end the album with the previous track called “Island,” where she contemplates feeling stranded while also in paradise. It felt like the perfect send-off to her fans. 

This is a fun album for Miley with many enjoyable songs, and her ever-changing sound keeps her fans guessing what comes next. The most unique aspect of this album is that it feels like it’s narrating a collection of memories from the past few years. 

If you look back on Plastic Hearts, the music was rock-filled and edgy as opposed to Endless Summer Vacations, where it’s fun-filled and pop-themed. She’s a versatile artist who never likes to repeat the same thing, and everyone can agree that her range is unmatched. 

Trial Track: “Rose Colored Lenses’”

Score: 7/10

Categories
Concert Reviews Music

Concert Review: JID X Smino at MTELUS

JID performing at MTELUS. Photo by Dorothy Mombrun @pure.domo

JID and Smino both showcased why they’re on the map

It was in the packed MTELUS venue that hip hop enthusiasts gathered to witness two of the most promising figures of the “alternative rap” scene: JID and Smino. Both had released acclaimed albums in 2022 and it was only right for them to collaborate on a North American tour.

Before hitting the stage, they sent another hot name coming from that scene to warm up the crowd: St. Louis rapper Jordan Ward. He only played for 20 minutes, but he didn’t waste a single second and made the most out of it while hyping the crowd, singing and dancing. He definitely left a mark on Montrealers and brought an energy that matched JID’s and Smino’s.

Smino was next up, and surprisingly played with a band instead of a DJ, which isn’t something you see often at rap concerts. Smino gave a great performance, but unfortunately for him, had some things going against him. 

First, the sound was pretty bad, not only for Smino, but throughout the entire concert. The bass and drums were so loud that it was difficult to distinguish the different instrumentals and melodies. All you could hear was Smino rapping over loud bass and the drummer.

Second, even though it was a joint tour between Smino and JID, people were clearly there for the latter. Because of that, a lot of them weren’t familiar with the lyrics to Smino’s songs and weren’t as invested in his performance compared to JID’s set. Even though Smino brought the energy and was singing and rapping well, the crowd wasn’t reciprocating what he was showing them. I’ve been following Smino closely since 2018 and I even had problems recognizing the songs. 

He still delivered an hour-long set where he alternated between some of his most popular songs, with tracks from his latest record Luv 4 Rent.

Now time for JID. He was undoubtedly the star of the show. The singing was great, but the rapping was even better. He started off with the song that put him on the map: “NEVER,” and people were immediately hooked.. He then followed with a long run of songs from his 2022 album The Forever Story. 

JID was incredibly impressive to watch. During shows, most rappers need backtracks to perform and rap over them, but not JID. He was rapping almost every single word and rarely taking breaks. He is well known for having some of the most intricate and unique flows in the rap game, and to see him execute them to perfection during his performance was phenomenal. Songs like “Off Deez,” “151 Rum,” and “Raydar” really showcased JID’s rapping talent. 

He finished his set with fan favourites from his other records, and ended with the high-energy “Stick,” resulting in the crowd forming a massive mosh pit. While his set lasted an hour, I could have easily stayed for an hour more. He was that good.

Overall, despite some issues, JID and Smino still came together and more than satisfied the rap fans who were present. It was a fun night overall.

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