Following a brief venture into experimental territory, BROCKHAMPTON have returned with a much more focused album in Ginger. This isn’t a return to the bright, fun style the boy band perfected during their Saturation era. This is a brooding album with each track focusing on the struggles each member has had to deal with since the controversial removal of ex-member Ameer Vann. These struggles are best highlighted on the standout track “DEARLY DEPARTED” which features one of Dom McLennon’s best verses ever,
Setting the tone early, “NO HALO” is a dark, string-led track bringing the best out of each member. The M.V.P. of this album is undoubtedly Bearface, whose vocals have reached new heights, especially on tracks like “BIG BOY” and “VICTOR ROBERTS.”
Ginger is a triumphant success that shows just how much America’s best boy band has grown over the last year.
8.5/10
Trial Track: “NO HALO”
Star Bar:
“When somebody that you know throws you in the fire
How do you survive?
I kicked down the door inside a home I didn’t own just to save a friend’s life
Little did I know, the one who pulled the strings was once on my side
I had just moved to Texas, tried to make it right”
The title to Snoh Aalegra’s new album is a dead giveaway on what to expect from the Iranian-Swedish singer. Ugh, those feels again is a masterclass of retro-sounding soul music in which the recurring themes of loneliness and heartaches hit the listener like a tidal wave in hurricane season. “I Want You Around,” “Toronto”, and “Nothing to Me” put Aalegra’s elegant voice at the forefront while her instrumentals are smooth, soulful, and perfect for listening with headphones on under the stars. It’s a one-of-a-kind project that should rank high among many year-end lists.
9/10
Trial Track: “I Want You Around”
Star Bar:
“You and me go back and forth, that’s nothing new
I said I’m better on my own, there’s nothing you can do
What’s at home if I’m alone? Baby, that’s it (Baby, that means nothing to me)
You’re the type that can’t commit to nothing (That ain’t it)”
Mac Miller is the writer, and Watching Movies with the Sound Off is his diary.
Released in 2013, Miller’s sophomore album delves deep into the MC’s mind, uncovering his struggles with fame, addiction and love.
From prescription painkillers, to the infamous cocktail known as lean, he raps about attempting to fight off his dependance on said substances, though he explains that he knew about the dangers they hold.
Through calculated, hard-hitting bars, Miller effortlessly flows over every beat, as though he could do it in his sleep.. Fitting that on the second track, “Avian”, he raps “Feel like I do this in my sleep/Literally, I do this in my sleep.”
The 19-track project features diverse instrumentals with a wide variety of sounds, demonstrating Miller’s affinity for musical creativity. From the spacey piano and string duo on “Avian” produced by the rapper himself, to the classic boom-bap beat on “Red Dot Music,” Watching Movies with the Sound Off is far from a predictable hip hop tape.
While Miller undoubtedly gave so much to hip-hop, we must appreciate our favourite artists while they are still here, creating music for us all.
Portland rapper Aminé has returned with the follow-up to his 2017 debut studio album Good For You. This project sees Aminé ditching some of the sunny, poppy production of his last album and opting for more trap-influenced instrumentals. While this direction has the project lacking the commercial sensibilities of Good For You, it makes for a more cohesive-sounding project. The album achieves a good balance of smooth, introspective tracks and braggadocious bangers throughout the track listing. “DR. WHOEVER” sees Aminé reflecting on his life and stresses, referring to the listener as his anonymous therapist. On “REEL IT IN,” Aminé showcases his versatile flow and witty punchlines over a bass-heavy instrumental with an infectious flute-sample. With a fantastic selection of beats and just a few features, this project is highly enjoyable and does a great job of highlighting Aminé’s abilities as a singer and rapper.
Since emerging in 2010, Everything Everything has formulated a way of writing songs uniquely and effectively, and their fourth studio album, A Fever Dream, is no different. The album’s forthcoming and cryptic sound reflects a concern with the modern human condition. This is due in part to the album’s politically driven lyrics, which display feelings of disillusionment with the world’s current political climate. Musically, however, there is a clear playfulness and restlessness that downplays the political undertones. Everything Everything is successful in always inventing new ways to twist and bend rock and electronic to create surprising sounds. A Fever Dream flows really well, sucking you in with the moody “Night of the Long Knives” and picks up tremendous pace with the catchy “Can’t Do.” If you want a good introduction to the band, have a listen to “Desire,” a foot-stomping track that has everything you’d expect from the monumental Everything Everything.
Grizzly Bear’s new album, Painted Ruins, is an airy and ambient journey. Five years since their last album, the band comes back with impeccable production, clean instrumentation and grand vocal performances. The group has constructed an amazing sounding album. “Four Cypresses” features tight drumming, chill guitar riffs, swelling synth sounds and strings. Despite that, the band’s blend of electronic and organic instrumentation sounds like something Beck has done before. The group’s grandiose-sounding vocal performances complement the descriptive yet ambiguous lyrics. The lyrics provide a neat sense of mystery, such as, “Eyes on the lost sons trained in the tricks of the world / Fathers and keepers packed in that crowded room,” from the track “Glass Hillside.” Painted Ruins channels the feeling of walking in a grassy field on a breezy morning with clear blue skies above.
The Private World of Paradise is the next step for Colyn Cameron, the primary member and singer/songwriter of Wake Owl. This is Wake Owl’s first album, although they released an EP, Wild Country, in January 2013. The EP mostly contained slow, folksy songs, where Cameron played his acoustic guitar.
Press photo
The Private World of Paradise is completely different. Cameron, working with producer Richard Swift, (member of The Shins and producer of Tennis, Foxygen) and multi-instrumentalist Aiden Briscall, explored a very different, more dynamic sound, creating an upbeat, retro, nostalgic feel to the album.
The 11 songs on the album each bring different, unique vibes, while still fitting together perfectly. “Candy” brings an upbeat, retro pop sound, with a hint of hip hop influences, while “Vacation” has a western, soothing feel. “Oh Baby” has a sultry vibe, while “Madness of Others” is chilling and melancholic. Singles “Candy” and “Letters” have already been released but the full album drops on March 4.
“[Working with Swift] was fantastic, he’s really fun to work with. He heard where the songs needed to go,” Cameron said. “We kind of knew we wanted to take the same record.”
The Private World of Paradise still maintains the themes of love, loss, relationships, and the mystery of life that were found in Wild Country, but takes them a step further.
“[The Private World of Paradise] is more honest and more direct, [the themes are a] little less buried…its more imaginative and more personal,” explained Cameron.
Cameron found that writing The Private World of Paradise held different challenges than writing Wild Country had.
“The EP was written almost in one summer, one or two months all of the songs. I was not writing them to put out a record, I was just writing,” he said. “There were different hurdles to get over to make that next step in terms of expectations.”
Cameron knew that he would be performing The Private World of Paradise on tour, and therefore he had to work to write songs that would stay as fresh as possible being played night after night, adding even more pressure.
“We’ve been performing bits and pieces of the album for almost seven months, trying it out live,” he added.
The name of the album came to Cameron as he was illustrating the album.
“I think it was something that came to me after lots of art I was drawing around it, it had this weird mysteriousness that had the same ring to it that a lot of the music had,” he divulged.
Cameron first began making music 10 years ago as a teenager in southern California, where he was born and raised. At first, Cameron wrote and performed hip hop and rap, before discovering the acoustic guitar. This led to a complete change in his music.
“I was trying all sorts of things, writing songs on the guitar was coming the most naturally, so I dedicated myself to that.”
Cameron said that he would like to possibly collaborate with hip hop artists in the future, and maybe writing for them, but that he does not think he will rap again.
After graduating from high school, he studied organic agriculture at Emerson College in England. He worked on different farms throughout the U.K., Germany, Chile and Canada. After returning home to Vancouver, Cameron played with a few bands and experimented with music. He then decided to record the songs he had written after his travels. This led to the creation of his first EP, Wild Country.
The EP was successful, and has led to Wake Owl being nominated for this year’s Juno Awards in the breakthrough artist of the year category. Cameron said that he was surprised when he heard the news. He explained that he had not been thinking of awards at all when writing Wild Country, and that it was an honour to be nominated.
Wake Owl kicked off their Canadian tour when they performed on Feb. 15 at the Winterruption Festival in Vancouver, and will be heading out to 13 other performances across Canada. Wake Owl will then perform across the U.S. in April and May.
Wake Owl will perform in Montreal at Le Divan Orange on March 1.
Fall 2013 has quite a few surprises in store for audiophiles this year. Amid the over-hyped releases by Lady Gaga and Katy Perry, you’ll find quite a few under-publicized gems worth checking out. 1. AM – Arctic Monkeys
The Sheffield city quartet has come out with a new sound that old fans will either love or hate. Their first single off AM, “Do I Wanna Know?” about an unrequited love is impossible to resist. Lead singer Alex Turner’s vocals paired with Matt Helders’ drums – nicknamed the Rhythm Panther – make for an unforgettable fall hit that will leave you breathless. The follow-up single titled “Why Do You Only Call Me When You’re High?” is less about romance and more about lust but manages to deliver with an unexpectedly funky and hypnotic chorus. The rest of the album comes out on Sept. 9. 2. AHJ – Albert Hammond Jr.
Albert Hammond Jr, best known as the guitarist for the Strokes, is releasing his third solo album on his bandmate Julian Casablancas’ label Cult Records on Oct. 8. It is often said that quality trumps quantity and this is certainly the case with AHJ. With only five tracks on the album, Hammond Jr. gives it his all with songs such as “Carnal Cruise” and “Rude Customer.” Although a single has yet to be released, the fact that the album was produced by Gus Oberg, who has previously worked with The Strokes, should provide a clue as to what the songs will sound like. 3. MGMT – MGMT
The New York electronic duo is about to release their self-titled third album MGMT. “Your Life is a Lie” is the only song that has been released so far, and it is exactly the psychedelic other-worldly jam you would expect from them. With a loud cowbell clashing throughout, their single hints at the direction of the rest of the album. Andrew VanWyngarden and Benjamin Goldwasser have not strayed too far from their roots with MGMT and fans of their previous albums will not be disappointed on Sept. 17. 4.The Bones of What You Believe – CHVRCHES
Pronounced “Churches,” this Glasgow band is releasing their first album The Bones of What You Believe on Sept. 23. In “Gun,” lead singer Lauren Mayberry’s sugary sweet voice is laid over synthetic-heavy beats, making this song an original and an exciting listen. “Lies” packs a heavier punch but both songs are equally worth listening to. CHVRCHES is set to explode on the alternative music stage so grab your copies as soon as you can. 5. Days are Gone – Haim
Haim is relatively new to the game, with their first album Days are Gone coming out Sept. 27. Made up of three sisters from L.A, they have drawn inevitable comparisons to Fleetwood Mac, due to their folksy sound and flowing hair. If Stevie Nicks is not necessarily your cup of tea, do not be deterred because these girls are one-of-a-kind. The buzz surrounding their debut album should be more than enough to pique your interest. Their songs range from pop hits to more mellow tunes but they always provide a more than danceable beat.
Memoryhouse – The Slideshow Effect (Sub Pop; 2012)
The opening line of Memoryhouse’s first single, “The Kids Were Wrong,” from their first full-length album, “Go to sleep / nothing’s changing,” is a ballsy lie. Composer Evan Abeele and vocalist Denise Nouvion have made massive strides from their hazy reverberated swells to much more vibrant acoustic endeavours. Nouvion’s voice is front and centre, confronting listeners like that of a lead singer rather than from behind the ambient gauze of The Years (2011). Music moving and shimmering like never before, the pair show that they are more than just another chillwave experiment. A confessed fan of composer Max Richter (who released his debut solo album Memoryhouse in 2002), Abeele brings the same haunted sounds of Richter’s nouveau classical. Lonely strings prowl the first song “Little Expressionless Animals” and most songs carry a sense of longing. The album isn’t perfect, yet it shows a maturity and mastery that can only mean better things from the band.
Rating: 8.0/10
Trial track: “Little Expressionless Animals”
– Patrick Case
Fanfarlo – Rooms Filled with Light (Canvasback Music/Atlantic Records; 2012)
Start teasing that mullet and slip into those skin-tight neon jeans, because the ‘80s are back—at least according to Fanfarlo.
This London-based folk-pop collective initially made their mark on the indie scene with their 2009 debut Reservoir. In a desperate attempt to distance themselves from becoming an Arcade Fire-esque copycat band, they have traded in their scruff for some new wave ‘80s glamour.
In no way do I condone such an overt gimmicky effort. Cashing in on the “retro” appeal of the 1980s is just tacky. Although, I will admit that Fanfarlo has managed to borrow from the past whilst remaining rooted in modernity with lush string sections, the inclusion of brass and a pocketful of irony that would make Urban Outfitters proud. This is a band that seems to be struggling with making sense of the modern world.
Rating: 6.0/10
Trial track: “Shiny Things”
– Paul Traunero
Anti-Flag – The General Strike (SideOneDummy Records; 2012)
Back with their eighth studio album, Pennsylvania’s Anti-Flag presents The General Strike, their second release on SideOneDummy Records.
The LP was recorded by the band at their home studio in Pittsburgh. Angry about United States bailouts and corporate injustice, and providing musical accompaniment to movements like Occupy Wall Street, the band produces some of their most hardcore and pissed off music to date.
At just 27 minutes and 16 seconds long, the album is short, but the record is sure to please punk-rock and anti-establishment fans alike. Its verses are well-written with catchy, infectious guitar riffs, convincing more conservative listeners to sing along. “Get up! Your voices are needed!” screams one of the vocalists. “This ain’t a fad / this ain’t a fashion / This is the world wide anthem,” declares another lyric.
Set for release on March 20, the album will provide an ample soundtrack to striking Concordia students.
Rating: 8.5/10
Trial track: “The Neoliberal Anthem”
– Andre-Joseph Cordeiro
The Church – Of Skins and Heart (EMI/Parlophone; 1981)
Emerging from Sydney, Australia’s rock scene, The Church first recorded a four-track demo, catching the attention of producer Chris Gilbey, who had cut his teeth with AC/DC a decade earlier. As part of his project to resurrect the Australian branch of record label Parlophone, Gilbey signed the band and co-produced Of Skins and Heart as an EMI/Parlophone release in 1981. Even though the album was not as commercially successful as later releases, it became the band’s most mainstream work, predicting the jangly, psychedelic rock of the mid- to late 1980s. The album itself is sonically diverse with post-punk, new wave and alternative rock inspirations. Opener “For a Moment We’re Strangers” is a dance rock gem, while “The Unguarded Moment” features soft/loud dynamics overlaid with singer Steve Kilbey’s coolly detached vocals. An unpretentious pop-rock album reminiscent of The Smiths and The Stone Roses, it paved the way for the later success of catchy alternative rock.
