Tag: album review

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Music Quickspins

QUICKSPINS: PinkPantheress — Heaven knows

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

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

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

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

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

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

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

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

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

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

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

Score: 7.5/10

Trial Track: Mosquito

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Music Quickspins

QUICKSPINS: The Alchemist – Flying High, Part 2

The Alchemist's "Flying High, Part 2" album cover. Courtesy of Apple Music.

The producer reaches new heights by rapping all over his latest EP.

Fans of hip-hop are no strangers to The Alchemist. With an extensive catalogue that spans back to the late ‘90s, the American music artist has continued to dominate in recent years by releasing collaborative projects with contemporary figures like Action Bronson, Curren$y, Freddie Gibbs, and Larry June, among many others. Alongside these artists, he also began releasing small sets of EPs: first, the This Thing of Ours series in 2021, and now, Flying High.

In the past, The Alchemist has laid down guest rap verses on tracks with Action Bronson (“Arnold and Danny”), Larry June (“60 Days”), and most recently on “Midnight Oil” from the original Flying High. Flying High, Part 2 marks a new milestone—for the first time in his career, the producer is tackling a full project as an MC. The rapping throughout the EP is solid: he flows in and out of different pockets, switching speed between lines as he uses more and fewer syllables, similarly to how Action Bronson does it. This delivery makes each and every one of Alchemist’s lines stand out, illuminating his knack for wordplay.

The EP kicks off with “Turkish Link,” a lavish jazz-based cut. The song’s beat is backed by horns which evoke a triumphant entrance. Alc’s bars are a mix of introspectiveness with some boasts about his achievements. He notably recalls having “slept on couches and stayed inside of basements / Put in major pain to get minor placements.”

“Phil Drummond” follows, backed by a sinister instrumental. It features a siren-like sound that looms faintly in the background, helping maintain the song’s menacing tone. Conway the Machine is a great addition to the track, given his bold delivery and statements like “Every sentence in my lecture is intricate architecture.” The track rounds out nicely with a mellow horn section which effectively segues into a skit as the next track begins.

“Vertigo” is one of the most entertaining tracks on the record. It begins with an oscillating sonar-like sound that leads into a funky, warbly instrumental. Alchemist provides a colourful, lighthearted backdrop over which he drops witty lines. Given such an animated beat, who better to join in than Action Bronson? Bronson’s verse is just as fun and is packed with his usual references to food and vivid imagery—most notably, bringing his own food to a restaurant in a Tupperware and wrestling with a leprechaun.

“Royal Hand” marks the reunion of The Alchemist and Oh No as the duo Gangrene, for the first time since 2019. The track features an ominous, stuttery melody paired with slow-tempo, punchy drums. The Alchemist adopts an impressively quick flow and rides the beat perfectly. Oh No handles the second verse with the same momentum with fewer breaks, making his performance even more relentless. The track is grim and hypnotic, and the fast-paced rapping performances make it even more mesmerizing.

The closing track “Paint Different” is another jazzy number. Its soothing instrumental also features horns, though they are much more relaxing in fashion. The soundscape sounds like fine dining by the sunset on a European coast, a setting that The Alchemist’s lavish verse perfectly captures as he raps about visiting Europe, drinking wine, and daydreaming. Curren$y feels right at home on this track that is sonically reminiscent of his and Alc’s 2022 collaborative project Continuance.

Flying High, Part 2 is an unprecedented extensive showcase of The Alchemist’s talent as a rapper, one that also features amazing production per usual. The motif of horns ties the soundscape together nicely whether the beats are bold and baleful or soothing and slow tempo. The Alchemist brings his usual suspects along for the ride whilst proving that he can hold his own beside them as an MC.

Score: 8/10

Trial Track: Royal Hand

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Music Quickspins

QUICKSPINS: Sampha — Lahai

Courtesy of Apple Music.

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

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

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

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

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

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

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

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

Score: 9.5/10

Trial Track: Jonathan L. Seagull

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Music Quickspins

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

Courtesy of Apple Music

Nobody knew the Latin sensation would release this unexpected album.

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

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

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

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

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

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

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

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

Trial track: MONACO

Score: 9/10

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Music Quickspins

QUICKSPINS: Westside Gunn – And Then You Pray For Me

Courtesy by Apple Music.

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

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

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

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

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

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

Score: 6.5/10

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

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Music Quickspins

QUICKSPINS: Drake – For All The Dogs

Courtesy of Apple Music

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

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

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

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

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

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

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

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

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

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

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

Score: 6/10

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

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Music Quickspins

Quickspin: Elisapie – Inuktitut

Apple Music

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

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

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

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

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

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

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

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

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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 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

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QUICKSPINS: Travis Scott – UTOPIA

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

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

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

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

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

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

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

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

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

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

Trial Track: “MY EYES”

Score: 8/10

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QUICKSPINS: 5 Seconds of Summer – CALM

5SOS reveal their growth and improvement in their new album

After disappearing for two years and releasing Youngblood in 2018, 5 Seconds of Summer has returned with their fourth studio album, CALM.

The album starts off with loud songs, such as “No Shame,” and “Easier,” in which the bass and drums are prominent. After the fifth track “Teeth,” the album shifts to softer, calmer tracks, like “Wildflower,” and “Best Years.”

The Australian pop-rock band gave us exactly what we needed during this quarantine: incredible music to enjoy. Songs like “Teeth” have you dancing around to catchy beats while screaming the lyrics (“Fight so dirty but your love so sweet/ Talk so pretty but your heart got teeth”).

Yet, the profound lyrics heard in “Old Me” have you reflecting on the old you (“Shout out to the old me/ And everything he showed me/ Had to fuck it up before I let you get to know me”). This will, undoubtedly, make you think of all the mistakes you’ve made but don’t necessarily regret, as they probably made you into the person you are today.

Also,  lead vocalist and rhythm guitarist Luke Hemmings explained the meaning of the 12 songs in an interview with Apple Music. “You’re not the person that you were when you were younger, but also you have to do these things and make mistakes to move forward and grow as a person,” he said, explaining “Old Me,” and possibly the album, along with their 2016 disappearance.

Taking time to explain the meaning of every song is extremely helpful for fans as they can understand what the songs mean to the band, as well as their purpose in releasing the album.

Rating: 9/10

Trial Track: “No Shame”

 

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QUICKSPINS: Childish Gambino – 3.15.20

The final album from Childish Gambino sees the multi-talented artist distance himself even further from rap

Donald Glover doesn’t follow any patterns. Be it in his music, his movies, his TV series, there’s no one-word you can use to describe the Stone Mountain-bred artist. After an abrupt end to his rap albums with the beautifully retro Awaken, My Love! under the Childish Gambino moniker, fans wondered if they’d ever hear him rapping again.

Sure, “This Is America” is technically a rap song, and sure, his feature on 21 Savage’s “Monster” is a rap verse, but those two moments are literally the only times we’ve heard Gambino rap since his 2014 mixtape STN MTN.

Childish Gambino released his newest album 3.15.20 on a Sunday morning at 3 a.m.—on his website. You couldn’t download any tracks, nor could you even know what song was playing as it was just one long stream with no breaks in between tracks. As was expected, there was little-to-no rapping, which is for the best.

Rapping has never been Gambino’s strong suit. He’s been able to scrape by with inventive concepts that show how hard he’s trying to create a unique experience no one else is offering. Because the Internet was a millennial look at life in an internet-filled world and was accompanied by a script that reflected on mortality. Awaken, My Love! echoed the funk-driven sound perfected by Funkadelic, a prominent funk band from the 70s. It was also seemingly dedicated to his then newborn son.

3.15.20 feels like it’s lacking that conceptual drive. Instead of a cohesive storyline, the album feels like a loose collection of tracks that feel more like summer-ready bops than a narrative-driven project. The songs aren’t basic, as Gambino really tries to experiment with instrumentals, vocal effects, and track lengths throughout the 12 tracks.

“Algorythm,” (yes that’s what it’s actually called) is the first real track on the album that sounds like a computer-generated banger. Gambino’s lyrics are simple and uneventful, but the hook is enough to bolster the track from boring to decent. 

“Time” features the stellar Ariana Grande who shows great chemistry with Gambino as they both sing the chorus in an uplifting way (“Maybe all the stars in the night are really dreams/ Maybe this whole world ain’t exactly what it seems/ Maybe the sky will fall down on tomorrow”). Gambino manipulates his vocals to make them seem both robotic and drugged-out.

The hooks shine the most on 3.15.20 because of how sticky they are. “19.10” and “47.48” are breezy guitar-led tracks that sound like they came from the 60s while high on a cocktail of drugs.

The album’s highlights come in the shape of “12.38,” “24.19” and “42.26” (previously released as “Feels Like Summer.” The first of the three tracks features an excellent 21 Savage verse accompanied by a strong instrumental from DJ Dahi and bright vocals from Gambino.

“24.19” is a beautiful track dedicated to a “sweet thing” who moved to southern California and follows her parents’ orders daily. The lyrics are a bit all over the place (“If you wanna be happy, don’t look at my phone), and that somewhat brings it down, but the instrumental and the vocal effects are enough to distract from the few iffy moments. That said, the first verse without any alterations to Gambino’s voice is the most sincere part of the album (You wouldn’t change a hair/ Sometimes I wonder why you love me / But you love me). However, the track runs about four minutes too long and, along with many other tracks, overstays its welcome.

Gambino falters a little after that track as “32.22” and “35.31” are a bit underwhelming. The former track is one of the grimiest beats on the album but comes out of nowhere and seems a bit out of place. “35.21” is a childish attempt at making a country-rap crossover that sounds more like a kids’ song than an experimental island song the album seems to have been preaching up until this point.

Thankfully the album closes out nicely with “42.26,” “47.48” and “53.49” which allow Gambino to stick the landing on a good––but rather quaint––album. 3.15.20 is a step back from Awaken, My Love! but it is still enjoyable to an extent. It feels unfinished and the track titles are just psychopathic.

Glover  has been vocal about 3.15.20 being his final album under the Childish Gambino moniker. It may be time to retire him indeed, but Glover should continue to make music. It’s become evident that he no longer wants to rap, which is what Gambino is primarily known for (if you exclude “Redbone”). But if there’s one thing that 3.15.20 makes apparent, it’s that Glover should have been singing his whole career.

Rating: 7/10

Trial Track: “24.19”

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