Nigerian-American rapper Jidenna’s second studio album 85 to Africa is an expertly-produced body of work, with each track significantly different than the next. A listen of the album is a journey – one that includes creative sounds with influences from all over the globe, including Africa and the Caribbean.
85 to Africa discusses many themes surrounding Pan-Africanism, as the title suggests. From the origins of black people around the world, to the description of his ideal woman, Jidenna’s ability to balance controversial political themes with ones of lust, love, and tenderness throughout a short 11-track album, is exactly why it’s worth a listen. Its creative musicality and lyrical content are what you look for in a body of work, regardless of the few lackluster tracks sprinkled throughout.
Rich the Kid’s sophomore album offers the same type of tracks its predecessor did—mindless trap rap. However, the Atlanta rapper and Rich Forever signee doesn’t try to act like he has anything else to offer his listeners. His beats are all enjoyable head-boppers. His features, from Young Thug to Ty Dolla Sign, Big Sean and more, are sporadic among the tracklist. This forces listeners to hear what Rich the Kid can offer on a solo track, followed by a featured song, and repeat. The rapper’s voice and flow are similar on every song, but he assured that fans will have a pleasurable album to listen to in the car with the windows down, just in time for summer.
7/10
Trial Track: “Fall Threw” feat. Young Thug & Gunna
Star Bar: “Woke up, pop a bean / that’s my everyday routine / On a PJ, sippin’ lean / smokin’ dope with Charlie Sheen” – Lil Pump on “Rockets.”
Dave’s debut album, Psychodrama, is quite literally a therapy session. The intro cut “Psycho” sees Dave attacking his insecurities and troubles in a three-minute lyrical onslaught. It’s very much a tone-setter, as the UK rapper doesn’t slow down in any of the following 10 tracks. The 11-minute “Lesley” is the strongest bit of storytelling this year, in which Dave details the downward spiral of an abusive relationship. Psychodrama is an emotional heavyweight of an album filled with brooding beats and brutally honest moments of self-reflection. The year is still young, but Dave may very well have a contender for album of the year with this project.
9/10
Trial Track: “Psycho”
Star Bar:
“Furthermore, I should bring that bitch down to Streatham
And then make her spend a day in a veil like a widow
The YouTuber-turned-rapper and recent Epic Records signee, DDG, is looking to solidify his place in the hip hop world. His latest project is a short but sweet reminder of the constant work he puts in to reach musical stardom.
Sorry 4 the Hold Up, a clever twist on Lil Wayne’s classic mixtape series, Sorry 4 the Wait, is a four-track project whose major theme revolves around the complicated, public breakup he went through in 2018 and his actions following the split.
On the album’s opening track, “Lil Baby,” the 21-year-old smoothly croons over an electric guitar-based instrumental produced by superstar beatmaker Mick Schultz. DDG provides a detailed account of his intimate encounters, possibly reflecting on past events with his ex. Sorry 4 the Hold Up’s third track, “Hold Up,” holds the only feature of the EP. Queen Naija, fellow YouTuber-turned-artist, accompanies DDG on an emotional message to their past loves. Queen Naija went through a similar high-profile breakup in 2018, so it’s fitting that she shares the track with him.
The project’s final track, “Run It Up,” features an interesting trio of rappers to close out the EP. Released prior to Sorry 4 the Hold Up, the song includes YBN Nahmir, G Herbo, and Blac Youngsta, each of whom showcase their individual styles and flows on the club anthem. “Run It Up” is produced by Taz Taylor, who’s known for creating the beat for Rich the Kid’s three-time platinum single, “Plug Walk.”
While DDG’s fan base awaits a longer body of work, they should only expect a full project to be released once he gets through his Breaking the Internet tour, set to end on April 18. Nevertheless, Sorry 4 the Hold Up, despite being only four songs long, is just the right amount of music needed to hold them off—for now.
Death Race for Love, the sophomore album from Juice WRLD, is a misfire. With 22 tracks and a 72-minute runtime, the project drowns itself in filler tracks and underdeveloped themes of heartbreak and depression. Stylistically, Juice stays in his emo-rap lane without pushing any boundaries. There are some great emotional moments, such as “Robbery” and “10 Feet,” but Juice meanders throughout Death Race so much that these brief looks into greatness are shadowed by generic and uninspiring songs like “HeMotions.” Undeniably influenced by Lil Peep, this project is suffocated by its attempt to recreate his sound. Death Race was promoted by Interscope as Juice Wrld’s Reasonable Doubt, but it feels more like his Blueprint 3.
Score: 4/10
Trial Track: “Robbery”
Star Bar: “I problem solve with Styrofoam / My world revolves around a black hole / The same black hole that’s in place of my soul, uh / Empty, I feel so goddamn empty”
Rapper Travis Scott performs on middle stage at the Bell Centre March 5 for his Astroworld: Wish You Were Here Tour. Photo by Skye Legault.
Travis Scott’s unique rapping style hyped up the crowd Tuesday night
It seemed like all of Montreal piled into the Bell Centre to see Travis Scott perform live on March 5 for his sold out show, Astroworld: Wish You Were Here Tour. His latest album, Astroworld, was released last year and merch featuring the “Wish You Were Here” tagline was being sold to promote it.
It’s impossible not to hear his songs “Antidote,” “Butterfly Effect” and “SICKO MODE” during a night out. The 26-year-old rapper is known for his use of voice effects and adlibs that create an eccentric, distinct sound that can almost be described as mumble rap. Born in Houston, Texas, he later moved to New York to pursue music after graduating high school. He later released his first untitled EP on MySpace in 2008.
Scott is a part of GOOD Music, Kanye West’s music label. The two artists are practically family. Scott has released three studio albums: Rodeo, Birds in the Trap SingMcKnight, and Astroworld. He also formed a duo group with Quavo of Migos called Huncho Jack, and they released their debut album Huncho Jack, Jack Huncho in 2017.
Rapper Sheck Wes, who is featured on Scott’s new album, was the opening act for the Montreal show and performed his biggest hit “Mo Bamba.” The main act, following Wes, was a wild ride from start to finish—literally, since two rollercoasters were set up above the crowd. People on the floor were invited to wait in line for a ride on the roller coasters. They climbed up, were strapped in by security, and enjoyed a slow coaster ride as the crowd cheered.
Scott energized the audience while shouting “Montreal!” as he was suspended upside down in his roller coaster seat. Pyrotechnics added to the wow-factor.
Astroworld is inspired by a now-closed theme park Scott used to go to in Texas. It meant a lot to him and was a place of fantasy and imagination. He captures that sense of wonder in his show, with trippy visuals and huge blow-ups of his head and an astronaut.
Scott moved between the main and middle stages throughout the night. The crowd on the floor matched his energy with massive mosh pits. One guy was especially excited, as he jumped onstage with Scott and then crowd-surfed. The mood changed with a slower song off his mixtape Days Before Rodeo, “Drugs You Should Try It.” The audience’s cheers were replaced with phone lights illuminating the room. The night proved to be lit. Scott closed the show with crowd favourite “SICKO MODE,” featuring Drake, hyping up the audience one last time.
Scott will be ending hisAstroworld Tour at the Firefly Music Festival on June 22 in Dover, Delaware.
Bobby Payne (left) and Onasis at L'hémisphère Gauche Jan 19. Photo by Isaiah Martel-Wilson.
Montreal rapper breathes new life into his career with help from non-profit
Lenworth Wynter is a Montreal artist, DJ, and producer who goes by the rap moniker Onasis. He has been performing live shows since 2011 and has seen success on various streaming platforms.
After posting his album In a Cloud of Smoke to Reverb Nation on Sept. 12, 2018, Onasis’s album reached #1 on the Hip Hop charts in the Montreal area on Dec. 5, 2018 and currently sits at #4. His music is regularly aired on the radio show, “La Sauce,” hosted by Bobby Payne on 101.5 FM. The two have a partnership and will be performing together on Friday, March 29 at L’hémisphère Gauche.
Onasis is in the process of making a collaborative album, which includes John Molson School of Business (JMSB) student and aspiring rap artist Jahrome Brooks. Onasis had talent in navigating the complex world of entertainment. In an interview with The Concordian, Onasis shared that a lot of the skills he learned came from a non-profit organization called YES.
Onasis in the studio. Photo by Isaiah Martel-Wilson
YES once stood for Youth Employment Services, but has since reinvented their slogan to “Successful futures start with YES,” to better represent their current objectives. Sponsorships from local and governmental agencies, as well as donations through fundraisers, provide YES with the necessary means to support their operation. They are a non-profit Montreal-based organization that helps people achieve their goals through three specialized programs for entrepreneurs, job seekers, and artists. In early 2010, they began expanding their services outside Montreal. Today, YES’s services can be found across the province.
When YES was founded in 1995, the organization’s objective was to reverse the outflow of young English speaking Quebecers. The following year, they began an entrepreneurship program and five years later, the artist program began. YES realized that supporting locals within the province would benefit the lives of not just anglophones, but all Montrealers, improving the economy in the process and the lives of those involved. YES provides individual career counseling, business coaching, day and evening workshops, mentoring, conferences and networking opportunities. With partnerships ranging from Emploi Quebec to CTV, they create a unique service catered around helping Montrealers succeed in various industries, including music. YES is hosting a conference on March 25 at St. Jax called “Business Skills for Creative Souls.”
When asked about YES, Onasis recounted his first experience with a business coach named Gerald Silverberg. “I registered a company [Build-A-Berg Inc.] with my brother but none of us went to school for that. When I went to YES and I met with Gerald Silverberg, it made me see the whole business part of it.”
Silverberg was known for his honest and direct communication with his clients, something Onasis experienced. “I was really on this high horse, very arrogant, and he said to me ‘you’re doing music business, you have the music part down, now you have to handle the business and that’s where the money’s at,’” Onasis said. “I had to really humble myself and listen to what this man had to say, and it’s working. He’s one of the reasons why my music is out right now, why I have a studio right now.”
Concordia professor Dr. Jordan Lebel spent five years as vice president of YES. Although he is no longer on the board of directors he continues to volunteer his time at the organization whenever he can. “Everybody wants to be part of a success story,” said Dr. Lebel. “Whether it’s your story or someone else’s.” Dr. Lebel remains in contact with countless individuals he mentored through YES and values those connections. The relationships forged between employees and clients alike enrich the experience for both parties.
Director of Marketing and Events Catherine Brisindi said, “My tag line for the job search program is your job search doesn’t have to be lonely. Sometimes the best thing is just being in a room of people who get what you’re going through.” Brisindi is a JMSB graduate and has been involved with YES for nearly a decade.
Gerald Silverberg spent 15 years at YES and devoted his life to sharing his knowledge.
Uncertainty about the future isn’t unique to young teens and adults. The fear of not realizing our true potential can be overwhelming. Onasis benefited greatly from a single encounter with a YES consultant. Sadly, Silverberg passed away in April of last year, leaving a lasting impact on his co-workers and clients. When notified of Silverberg’s passing, Wynter said, “We’re going to make millions for Gerald, he was an angel.”
To learn more about YES, follow them @yesmontreal, or visit their website yesmontreal.ca.
The debut album from Montreal trio Planet Giza is a sunny 30-minute break on a dark winter day. Composed of three members, Tony Stone, DoomX, and Rami.B(izzle), the group has outstanding chemistry on Added Sugar. The buttery-smooth production lives up to the name of the album and complements Stone’s lush, melodic flows. The only outside help comes from Mick Jenkins on single “Brk Frm Nrml” and a co-production from Kaytranada on “Timeless//3 Stacks.” Added Sugar is not only a great time, but an excellent indication of the group’s potential.
Oakland pop-punk quartet SWMRS released an album that while sparsely intriguing, never lives up to its exemplary opening track. While the band ventures down interesting roads in terms of production, fusing elements of hip hop and electronic to a pop core, SWMRS fails to flesh out these experimental portions, leaving bland punk at its centre. Listeners will either latch on to these more unique production elements and appreciate the pop sensibilities, or be bored by the vague punk vocals that fall flat. This tape is for those that are willing to sacrifice vocal energy for glimpses of something new in the punk landscape. Either way, check out that title track.
6/10
Trial Track: Berkeley’s On Fire
Star Bar:
“Put your pom-poms down you didn’t win shit,
go bail out your guilty ass it’s not your business,” – Cole Becker on “Berkeley’s On Fire”
Dev sold his watch and PS4 to record his first mixtape three years ago
“Where else should I be?” Dev asked as we sank into the oversized chairs in Montreal’s renowned MakeWay Studios—the place he chooses to spend most of his nights. “I feel like an animal in his natural habitat.”
From sleepless nights recording songs for artists, to producing beats and creating his own music, Dev can be labelled a jack-of-all-trades. For the past few years, he’s honed his craft and built connections in the music industry. And it saved his life.
It’s rare to speak to a 22-year-old who knows what they want to do with their life, but Dev’s sense of certainty and clarity about his future sets him apart. As I sat in on one of Dev’s studio sessions this past week, I realized that he isn’t your average 22-year-old, and it might just be time he let the world know.
Dev sold his nicest watch and Playstation 4 to record his first project in February 2016, but a lot has changed since the release of the unrefined Nocturnal Nights mixtape.
“I had a scholarship to play football at Champlain; I had a job at Target. But every day, the only thing that made me happy was writing bars on the two-hour bus and metro ride to school,” Dev said. “I would download different beats off of YouTube everyday and just write.”
The artist played football for a combined 10 years, sacrificing many summer nights to training and practices. But getting a chance to play the sport at the next level didn’t give him the fulfillment he expected.
Something was missing.
Then, while on lunch break one day at work, it clicked. Dev heard a Lil Uzi Vert song and right then and there, he knew what he had to do. “I got up and quit my job,” he said, chuckling, with a touch of pride in his voice. “I just knew that I was wasting my time. I had to do music.”
Dev in his natural habitat. Photo by Immanuel Matthews
Not long after, Dev dropped out of CÉGEP to pursue his dreams, right before the highly-anticipated start of the football season. Without any formal training or experience, he turned towards music and hasn’t looked back.
Though the decision was a no-brainer for the LaSalle native, his mom was not on-board with the idea. She kicked him out of the house after he refused to get a job and return to school, and his gears shifted into survival mode.
Luckily enough, good connections and even better friends landed Dev on the couch in one of his friend’s condos, in the heart of the city. Carl Uribe, who runs multiple recording studios in the spacious location, brought Dev in on one condition. He’d have to put up with the long nights of chest-thumping bass and booming vocal recordings that played out a few feet from his head, because, well, his room was a studio.
The uncomfortable situation turned out to be a blessing in disguise, one that kept Dev going through the doubts and off-days.
“I learned so much from the people that passed through Carl’s,” said Dev. “I would go to bed listening to people recording their music, and I would wake up to it too. I remember there were some beats that were so amazing they would just put me to sleep. Then I started to record and engineer for people, and I built my own clientele through the connections that I built there.”
Dev’s reputation of consistency and quality work began to spread through the city. Soon, he was recording artists every week at some of Montreal’s major studios: MakeWay, Planet, and Apollo Studios. His quality of his work improved, and so did his price—his business was booming.
Months went by, and Dev got a call from Anu Budz, the owner of MakeWay Studios in Verdun. Budz had heard about Dev and wanted him to come work at his studio. His foot was in the door.
When Dev’s mom saw the work he had put into his music, she allowed him to move back in. His clientele grew, and he continued to work on his craft, producing new beats every week, and rapping and singing new vocals every day.
Inspired by some of our generation’s hip hop pillars like Kanye, Kid Cudi and Travis Scott, it’s Dev’s creative use of effects and sounds, and his work ethic that set him apart.
Dev cites much of his growth to fellow Montreal artist and all-around talent, Marc Anthony Balian, also known as Gxlden Child, who’s been making music for years and has worked with some of Montreal’s biggest talents. Dev has high hopes for the near future, for both himself and his best friend.
“I try to use my voice as an instrument, making it sound all these different ways on different beats,” said Dev. “I really don’t think there’s anyone in the city making music even similar to mine, other than my boy Gxlden Child. It’s just us.”
Dev said they’re collaborating while each working on their solo material. “We can’t wait to drop the things we’ve been working on for so long.”
“I didn’t know I was born for this, but I know I was born for something like this,” Dev said. “It’s like a kid who plays football all his life and finally gets his dream of playing in the NFL. Nothing makes me happier than working on music everyday.”
While Dev continues to grind as an engineer and producer, behind the scenes, he prepares for his full-blown launch as an artist, planning album release dates and brainstorming music video ideas with his management. While no dates have been made public yet, just know…
Nate Husser raps to his hometown fan base gathered at Apt. 200 on the night of his EP launch. Photo by Chris Carpenter @cb43media
Twenty three degrees high and rising
Someone who doesn’t know what Nate Husser looks like would have had a hard time spotting him at the launch of his EP on January 31st. Blending in with his crew, mingling by the merchandise table, Husser looks no different from those surrounding him at Apt. 200. The Montreal-born rapper does not go out of his way to seek the spotlight; it has come naturally over the last five years of his career.
And the spotlight is deserved. Fresh off the release of his newest project, 23+, Husser has now completed the third part of his mixtape trilogy. Preceded by minus 23 and 6˚, the thematic series likens the artist to one of his long time idols, LeBron James. While minus 23 and 23+ relate to James’s departure and return to his hometown team, the Cleveland Cavaliers, Husser longs for a similar experience. He hopes to go to Los Angeles to perfect his craft and return to Montreal as our beloved king, what could be the catalyst for the city’s hip hop fans wishing to see their city at Toronto’s calibre.
When asked why he was leaving for L.A., Husser said: “To sell cookies, man, cause there’s more people out there that eat cookies than over here. So I’m going where people buy and eat cookies more. My type, my flavour of cookies. Cause here they don’t really eat my flavour of cookies.”
Husser shows off his dance moves on top of the DJ booth overlooking the crowd. Photo by Chris Carpenter @cb43media
Husser’s metaphor describes a recuring problem that Montreal rappers find themselves dealing with. With no face to represent the city’s sound, they struggle to establish a name for themselves that reverberates on a national, and eventually global, scale. Husser believes he needs to market his cookies in California in hopes that the music industry takes a bite.
Back at Apt. 200, Husser manages to pack the floor with supportive fans, proving capable of bringing out a Saturday night crowd on a Thursday evening. While the fans may have expected a modest set from behind the DJ booth, the rapper instead turns it into his own stage.
Wearing his yellow custom Huss merchandise hoodie and matching Nike SF Air Force 1 ‘Dynamic Yellow’ shoes, Husser performs from on top of the DJ booth and holds the ceiling pipes to maintain balance. Although 23+ only came out less than 20 hours before the show, lyrics are being rapped back to him. As his over six foot frame towers over those below, fans show support for their hometown hero as he prepares to embark on a journey that will not only further his career, but Montreal’s reputation in the hip hop community.
“Man, I’m just doing what I do,” said Husser when asked about his plan of attack once he gets to L.A. “Gotta be the best. I mean, not be the best, but do the best for myself and just be my best self, and do the best I can. Every single day, no matter what I do. Keep moving forward, and keep moving smart. It’s gotten me this far.”
Mick pulled off insane flows without missing a syllable. Photo by Simon New
Mick Jenkins had L’Astral’s crowd chant the motto that epitomized his come-up. “Drink more…” “Water!!” It is the central theme of The Water[s], the 2014 mixtape that put rap fans on notice regarding Jenkins.
The project was acclaimed for its thick, sub-marine production and Jenkins’s thoughtful, pithy lyrics. Held together by the concept of water as a metaphor for truth, it explained that both were equally necessary. The “drink more water” line that punctuated The Water[s] urged listeners to learn more and to seek more truth. Jenkins’s confident, astute delivery made for a gripping listen, promoting water while many other rappers pushed lean. “I pray it’s never too preachy but I’m preaching,” admitted Jenkins on “Martyrs.” The mixtape remains his most popular body of work.
Jenkins rose with what is now recognized as a new-school wave of Chicago rap. His friends and collaborators include Chance the Rapper, Noname, Saba, Smino and Joey Purp. The Water[s] was significant for Montreal as well. At the time, Jenkins’s manager lived in the city, and Jenkins would make trips every few months. “I think it’s very similar to Chicago, at least on the creative spectrum,” he said in his 2015 Montreality interview. He collaborated with Montreal hip-hop veterans Da-P and High Klassified on the title track of the mixtape. Jenkins also made an anthem for the city, “514,” that became iconic for his Quebecois fans, rapping “I’ve been in the 514, my French getting too clean / Customs is routine, eating hella poutine, I think I’ma buy one more.” Since then, he has released albums and mixtapes that stay true to his standard of quality and pensive, quotable style, but failed to capture the cohesive nature of The Water[s] that had internet rap fans in a frenzy five years ago. It seems then like there are two factions of Jenkins fans, those that discovered the The Water[s] and maintain it as his pinnacle, and fans that may have missed the wave but know him as an excellent MC for his newer work.
Standing at a solid six foot five, Mick towered over the crowd while hitting the gas on the mic and never easing off. Photo by Simon New
It was clear that both groups made it out to L’Astral last Monday the 28th, surely more of the latter than the former. When Jenkins came out after opening California R&B rapper Kari Faux, he was visibly frustrated in the face of the crowd’s applause; after having technical issues and fixing them with his DJ, he tore into some of his new material. Standing at a solid six foot five, he towered over the crowd while hitting the gas on the mic and never easing off. Hearing his aggressive, labyrinthine flows thoroughly backed by his full, deep voice was truly impressive. Watching his new Kaytranada-produced single, “What Am I To Do,” felt like watching his COLORS episode unfold in front of you. All of this was over live drums and bass. Jenkins was accompanied by his DJ, a drummer, a bassist and frequent collaborator theMIND, for vocals and a feature song. The result sounded like butter, but it’s hard to rap in a vat of butter, and Jenkins often drowned in the instrumentals. In a rap show that focuses on a vibe or on the crowd yelling the words, that wouldn’t be an issue, but Jenkins can be hard to keep up with on record. His potent lyrics were stunted by the venue’s sound. This caused a disconnect between Jenkins and the crowd. He kept his movement to a simmer for most of the demanding set, putting energy into his voice over his body. His mid-tempo instrumentals don’t quite lend to dancing either. Fans who know his material were awestruck, while less hardcore fans were low-key about lyrics that weren’t quite clear. The divide in the fandom was never more apparent than when “514” dropped. The anthem by a Chicago rapper for a city that rarely gets mentioned in hip hop got a lukewarm enough reaction that Jenkins stopped in the middle of it to hype the crowd up. “Are you sure y’all know this?” he said, and motioned to cut the song to his DJ. He started it again and diehards rapped along, but couldn’t overpower the Monday-night energy that took over the casual listeners in the audience. It was gutting to watch the crowd go limp on the climax of the set: a song about their city. Near the end of the set, chants for “one more song” turned into “514.”
Mick found diehard fans in a spaced crowd. Photo by Simon New
Mick tried to level with the crowd. He demanded silence and got a drunk yell from the back. He got ahold of the audience and closed with “Social Network,” which finally put the crowd in the kind of frenzy that had me scared for my camera.
It seems evident that a blasé crowd can keep a good show from being great. Indeed, the few hardcore fans that dotted the room bounced and yelled the words to “514” and were still unsuccessful at getting the room moving. But Jenkins was ultimately unable to crack the subdued atmosphere that started with his earlier tech frustrations. He chose his lyrical integrity over getting wild and animated, like we expect of rappers. While we can’t know if Jenkins upping his energy could have won the crowd back earlier in the set, there was a certain pretension and expectation of reverence for his lyrics that, while justifiable, wasn’t elevating the mood. Bad crowds are plentiful, and it was hard to deal with one as divided as L’Astral’s, but in the face of divided attention, Mick powered through for a show that impressed but didn’t connect with the room. From a musical perspective, Jenkins put on a rock-solid set with a truly impressive performance, but the preaching tone held back what could have been a party in the 514.
