Categories
Music

Heartstreets are carving out a place in Montreal’s music scene

Local duo speaks about creating outside the confines of genre

A quick Google search of “Heartstreets” will pull up a description of the band as being R&B, soul, dance, and electronic all at once. In this instance, Google too is at a loss for words—or at least one that encapsulates a sound defiant of any one (or two or three) categories. But that might not be such a bad thing.

According to Gab Godon, one half of this Montreal-based duo, the beauty lies in the ambiguity. “Our music doesn’t always make sense, and I don’t think we have one song that will completely describe what we do. We are a lot of things,” Godon said. “What we are is two girls, singing, rapping and always creating together, and that becomes Heartstreets.”

On paper, Heartstreets is a collaboration between longtime friends Godon and Emma Beko, who bonded over a love of music and a persistent creativity. To become acquainted with their music on a sonic level, however, brings a whole new understanding of their partnership. Punchy, electronic beats and smooth rhythms offer a dynamic backdrop for Beko’s intricate, 90s hip hop-influenced raps and Godon’s soulful vocals, which draw from the R&B mastery of Lauryn Hill and the Fugees. Each contrasting element brings out the best in the others, blending seamlessly and eroding the narrow delineations imposed by preconceptions of their sound.

It should be no surprise that the musical partnership came together in a similar way. Like a plot-twisting scene from a movie, everything fell into place for the duo over a bottle of wine and an Adele song. “Hometown Glory,” Beko recalled, was the song Godon showed her that pivotal night. “She sang it and I thought it was so beautiful, and there was a blank space in the song and so I was like, OK I’ll show you some of the raps I’ve been writing.”

The rest was history and the duo hasn’t stopped creating together since. “It was so fun,” Beko said of their first time in the studio. “We did a second one and a third one and at one point we had four [tracks] I think? And the producers were like, let’s put it out. We hadn’t even really thought about creating a band or having a music group really; it was just out of pleasure. And it still is out of pleasure.” The only thing they needed was a name for the new project. “We had a bunch brainstorms and ideas, and a friend of ours had suggested ‘Street Hearts’ because we’re two, and the duality between grittiness and the soft side we have,” Beko recalled. “But there was a band called Street Hearts—a Rolling Stones cover band—so then we just did Heartstreets.”

Godon described their first release as the moment the pair realized making music could be more than just a hobby. “Once the EP was out, there was the release party at Théâtre Fairmount. It was a big venue, and the first show we were producing. I remember after that I was like, yeah this is happening. We’re in it and we’re not getting out of it; we want to go all the way.”

Carving out a unique place in Montreal’s music scene seemed to happen unintentionally for Godon and Beko, as they began to grow in popularity after the release of their first album, You and I, in 2016.

“I guess we were very innocent at first and didn’t really realize what was going on in our city. We were more focused on becoming artists and creating our identity and our vision,” Godon said, noting the large francophone presence in the local hip hop scene. “We do music in English, so it does separate us from a lot of the francophone artists who are more out there.”

“After eight years, we still feel kind of like outsiders, but not in a negative way I think, we just assume it. But it’s not stopping us from trying to reach our goals,” Godon said. “Making music is not easy. I’m discovering, more and more, it is a shark’s world. But that’s just the way it is. We’re still just trying to do the best we can.”

Fast forward several years, and the duo have performed at festivals like Osheaga, the Montreal International Jazz Festival, Pop Montreal, Canadian Music Week, and, most recently, Mile Ex End Montreal. They’ve worked with local producer, Kaytranada, on the single “Blind,” and with Ryan Playground on the song “Lead Us,” one of Beko’s favourite collaborations.
“When we do it live […] she’ll be accompanying us without the beat, so it’s just her acoustic guitar and our voices,” Beko said. “It’s super cool to do. Since our music is mostly electronic, we do one formula of our show where it’s us and a sampler, but it’s fun to break it down sometimes and make it acoustic and intimate.”

For those who have yet to add Heartstreets to their playlists, Godon and Beko have some recommended starter tracks. “Listen to ‘Under My Skin’ and ‘Cruising With You,’ which are two of our most popular songs that have very different vibes,” Godon said.

“Completely different vibes, but you’ll feel a continuity in the music because, like Gab said, when we’re together there’s this vibe we give off,” Beko added.

Up next for the pair is a new song, this time a collaboration with francophone singer, Ariane Brunet, who goes by L’Isle. “It’s our first feature in French, our first bilingual song, and it’s awesome,” Beko said. The song is set to be released on Sept. 21. Beyond that, Godon said the duo are continually exploring their collaborative creativity and are excited to see where it takes them next. “We really do this because we like making music and we like sharing it with our fans and performing. It’s just for the pleasure of being able to share that.”

Photo by Mackenzie Lad

Categories
Opinions

The fine line between entertainment and reality

Florida rapper XXXTentacion had just left a motorcycle dealership on June 18 and was about to drive off when two masked men approached his car, robbing and fatally shooting him, according to CBC News. It was an incident as tragic and heart-wrenching as it was controversial.

While devoted fans mourned the loss of their favourite artist, others showed no sympathy, largely due to the rapper’s cumbersome heap of criminal charges which range from harassment to domestic violence. But this isn’t the first time a rapper has been in hot water in the eyes of the law. According to Complex Magazine, in 2016 Famous Dex was sent to jail after hotel footage was released showing him beating his girlfriend; something similar happened in a case earlier this year when NBAYoungboy was indicted on assault and kidnapping after a haunting video of him with his partner at the time surfaced on the web, according to TMZ. TMZ also revealed that rapper Tekashi69 currently faces up to three years of jail time due to sexual misconduct—and these are among the most celebrated voices in today’s rap scene. Many of these rappers came up from nothing and are riding off a wave of instant success, which is great. But this also means the spotlight can be placed on people who don’t realize the power they hold, or simply take advantage of it.

I believe the escalation of violence in the lives of rap artists is a result of the genre being too aggressive in its present state. This might seem like an absurd claim—after all, isn’t rap music supposed to be hostile from time to time? But I believe that, nowadays, rap music and culture condones (or perhaps even encourages) toxic behaviour, resulting in an escalation of violence, exposing both the artists and their listeners to danger.

I believe that in the age of social media, an artist’s music and their personality are more prevalent in a holistic sense; rappers need to market themselves on platforms like SnapChat and Instagram as much as they need to advertise their actual tracks to gain traction.

It is a time when anybody with a laptop, a mic and a SoundCloud account has the potential to turn heads, and rappers often take a multitude of measures to ensure the spotlight stays on them. This includes changing their appearance with dyed hair or face tattoos, flexing new purchases (designer clothes, jewelry and cars, to name a few) or, of course, getting caught up in a public beef with another artist.

The latter I’ve noticed much too often in recent memory. With each new day, more rappers are livestreaming themselves and talking one another down in what feels more like a desperate publicity stunt than anything else. In a lot of cases, the talk is, well, just that: talk. But other times it gets physical, with one recent example taking place in our very own Montreal, between rappers Killy and Lil Xan after a storm of malicious tweets. Fights and in-person showdowns between rap artists are about as frequent as they are unsurprising; footage of these tussles go viral.

What scares me is that we live in a world where the fine line between entertainment and reality is becoming harder for people to distinguish. Violent behaviour makes the growing popularity of rap even more complex, as this genre has increased by 72 per cent in on-demand audio streaming in the last year, according to global information and measurement company Nielsen. This same company noted that, for the first time, rap surpassed rock as the most popular genre in the United States last year, with the vast majority of its listeners being young adults and teens.

I’m not trying to demonize rap—on the contrary, I’m trying to protect the music I love. Whether it’s the effortless tongue-in-cheek way Lil Pump approaches his bars or Kanye’s hilariously egotistical one-liners, I believe rap is an unfailing method of getting people to vibe together and providing something to talk about. But rappers should be viewed as entertainers, not idols. They have stories and motives that are unknown to us, and it is of vital importance that any rap listener, seasoned or novice, take this into consideration before putting on their headphones.

Graphic by Wednesday Laplante

 

Categories
Music

Top 10 bad rap brags

In March 2018 Concordia student George Peatty was asked to make a list of the ten worst brags in the history of rap music by music editor Calvin “The Jet” Cashen. Although he was able to finish the list he was unable to write responses to all of the bad brags due to a family vacation in the Southern Balkans. His friend Bryn Coates-Davies offered to write commentary for the brags while George created the list. Due to the content of the commentary Bryn and George are no longer on speaking terms.

  1. “I got so much money/I should start a bank!” – Wiz Khalifa

George unlike many rappers Wiz is thinking long term. Nowadays very few new banks are popping up so this is an untapped market Wiz is getting in to on the ground floor. This may seem like a bad line now but just you wait.

  1. “Got so many whips/they call me whipalicious” Yung Joc

Poor Yung Loc. Not everyone has an entourage that is creative enough to come up with great nicknames. Its unfortunate but this something I believe Loc has come to terms with.

  1. “Rock star/I’m flyer than an ostrich” Juelz Santana

Look George were on to number three and I still have yet to see a bad brag. Juelz Santana is a man of the people therefore he is flyer than an ostrich. Every time I hear this line it makes me feel good that I too am flyer than an ostrich. Plus it’s about time that these cocky ostriches were knocked down a peg.

  1. “That gun automatic/My car automatic” French Montana

This is a great brag automatic cars are the new thing. French Montana is not living that stick shift life. #AUTOBOYZ

  1. “Follow me, follow me I’m the leader/And when I park cars I don’t pay for the meter” Chiddy Bang

George nothing makes you look like a leader than repeatedly saying, “follow me” and not paying for the meter is a legitimate badass move. Those fines add up but he’s still parking his car and never paying. And I bet that car is an automatic #AUTOBOYZ4EVA

  1. “Big house, long hallways, got 10 bathrooms/I could shit all day” Lil Wayne

George I am merely a humble #AUTOBOY but I can aspire to someday live in a house with extra long hallways. Lil Wayne now gets to shit all day in all of his bathrooms. Can you say the same thing for yourself George?

  1. “I know how to rip thongs and I’m pretty good at beer pong” Joey Bada$$

No one wants to be amazing at beer pong. That means you spend way too much time practicing a game in which success means drinking less. All you want is to be pretty good. You will win some games and you will lose some games but you will be forever and ever pretty good.

  1. “I got so many clothes I keep them at my aunt’s house” Tinie Tempah.

I don’t know about your family George but my Aunt Jan has a very large house. I bet your family could fit all of their clothes in her basement easily because it turns out running a curling rink pays pretty well. Having this on the list is a direct insult to my aunt George.

  1. “Bitch I’m cooler than a cooler” Chief Keef

This is a classic brag by a classic man Chief Keef. On a camping trip in the summer nothing is cooler than a cooler. Chief Keef making this claim is a very bold statement and it takes guts. Respect to the Chief.

  1. “I spit tighter, I’m not like all the rest/I’m not a playa but I did stay at a Holiday Inn Express.” KRS-One

George you really whiffed on this list. Not one bad brag in the bunch. I guess the real bad brag was you saying you could make this list. One night at a Montreal Holiday Inn Express can cost up to $130 a night. KRS-One is not an idiot who will stay at a regular Holiday Inn. He doesn’t need that fancy continental breakfast. All he needs is some bread and those weird small things of peanut butter and jam, which are very hard to scoop out with a knife.

Graphic by Zeze Le Lin

Categories
Music

Death of the musician

Much like the literature, music is open to different experiences

The musician’s individual originality is dead. Talk about artistic intent is largely fruitless. In the era of sampling, tributes and trends, it’s hard to know the intent of the musicians who contributed—directly or indirectly—to the song. What does originality really mean in this era, and how original can music truly be? All artists are influenced by the people who came before them. No artistic work is truly original, and variety is a great thing. Like any artistic medium, you have to understand what came before you to make your own work.

To a certain extent, every artist acknowledes their influences. Radiohead is literally named after the 1986 Talking Heads song “Radio Head,” which they have listed as one of their favourite groups. They even worked with producers of the Pixies, who are one of their biggest influences. “Idioteque,” one of Radiohead’s signature songs and an amazing song to experience live, uses a sample from Paul Lansky’s 1976 song “Mild und Leise.”

Despite the fact that people say Radiohead has an “original sound,” they have clear influences, that might not have stylistic traces in their music, but references their production style and work ethic.

Sampling also complicates artistic intent and the originality of an idea. Take Drake’s collaboration track with Rihanna “Take Care” in 2012. The song samples a 2011 Jamie xx track, “I’ll Take Care of U,” which already has a sample of Gil Scott-Heron song of the same name (2010).  That song is a cover of the original version by Bobby Bland. Drake and Rihanna’s song is the fourth version of the same song. Each version carries so much history, and it’s great to see how a song from 1960 transformed into a contemporary pop hit in 2012.

Each artist presumably had their own intent in recording the song, and each version retains the original vision and eventually expands it. With each new iteration of the same song, new ideas are added, and the vibe changes completely.

Drake uses 52 years of history to share a personal and intimate experience on “Take Care” in collaboration with Rihanna, who brought her own style and influences along with her. Drake’s song is tender and personal, whole but cold at the same time, which Jamie xx brought to the Scott-Heron track one year earlier. Drake and Rihanna add their own textures to the song.

Originality doesn’t really matter because “Take Care” is an amazing track. Sampling is not as lazy as some artists say, it’s a way of sharing a sense of musical history. Crafting a song from a sample is an amazingly intricate artform, much like playing the instruments yourself.

Musicians aren’t the only ones who create musical experiences, audiences also create meaning. People experience music in different ways and in different situations. Does the artist’s intention really matter if people interpret music subjectively? I think not. The beauty of music creation and listening is the act of interpretation and experience.

Artistic intention is a muddled field; did Bobby Bland imagine his song being used 52 years later? Like every single artform, music is cultural and historical. Culture is passed on from generation to generation, with each generation making subtle changes, and occasionally monumental shifts happen as a result of different factors. Music is much more than the individual musician’s originality.

Graphic by Zeze Le Lin

Categories
Music

Bully’s music feels alive, but ridden with tension

The band talks their latest album and the struggles of touring life

Fresh off the release of their new project Losing, Nashville’s fiery punkers Bully took their antics on the road for a tour across the United States and Canada. Lead singer Alicia Bognanno is a confident voice in indie-rock, making tracks with lyrics that feel painfully relatable and relevant, like finely aged wine. She took the time to speak with us about her experience interning for infamously stringent producer Steve Albini, her anxieties and personal turmoil and the endless abyss of auteurship.

According to Bognanno, when the band released its latest project, there was more of a learning curve to consider. The album needed to sound larger and more fleshed out, a big change from their lo-fi leanings. But, on top of that, the singer underwent personal turmoil that gave her succificent material to compose even bigger and more powerful songs.

Aside from a plethora of new steps as a band, including testing new material on the road, touring the world and then some, there was the added pressure of winning new fans over. “There was definitely a lot more to consider this time around,” said Bognanno. She assured the reception of the band’s new material has been overwhelmingly solid. The actual recording process was just as smooth. She was able to apply these skills on the new record, thanks to her experience interning for Albini at his studio in Nashville. “I learned a lot about mic placement for amps. I took a lot of notes.”

Bully’s sound is indebted to a wide-ranging palette of 90s grunge–music fueled by angst and insecurity. Those feelings run amuck in the band’s overall sound. Despite the underlying sadness to the band’s music, there’s an endlessly positive catharsis to it all.

The sound of the actual instruments, however, remains untouched. The distortion is raw, the drums are pummelling and Bognanno’s vocals are commanding. There’s a huge, jangly undercurrent of sound that cascades from left to right. These are anthems for the best and worst of times.

The band applied that anxiety well before the release of Losing when they were approached to release a single as part of the Our First 100 Days compilation. The series provided artists with the opportunity to voice their discontent for President Donald Trump’s first hundred days in office. The band contributed their song “Right,” a track that features Bully’s typically angst-ridden instrumentals and lyrics. It’s perhaps the band’s most immediate and urgent song. This is especially displayed in Bognanno’s lyrics: “It’s 8 a.m., this hell I’m in/Seems I’ve crossed a line again/For being nothing more than who I am/So break my bones and throw your stones/We all know that life ain’t fair/But there’s more of us we’re everywhere.”

Much like the rest of Bully’s material, the track feels like a call-to-arms against big business administration. While the track definitely feels antagonistic, there’s a hint of insecurity. Bognanno said she wasn’t in the best personal position while writing the new record. On top of that, the band underwent changes to life on the road as a full-time band right after its release, trudging from town to town to play their new and old songs. The band also switched record labels, making the experience collectively more daunting, overwhelming, but all the more exciting.

Photo courtesy of Sub Pop

Categories
Music Quickspins

Kacey Musgraves – Golden Hour

Kacey Musgraves – Golden Hour (MCA Nashville)

Kacey Musgraves has perfected the art of the country-pop crossover. Golden Hour creates its own grandiosity on its own terms. Its 13 tracks are delicate and inviting, but contain a powerfully cathartic ethos that can’t be replicated. Musgraves takes aim at topics that are relatable and powerfully approachable. On “High Horse” the singer digs deep into the wounds left behind by an ex-lover who’s too cool to show weakness. On “Lonely Weekend,” she tackles the pain of being single when you’re supposed to be having fun. The songs here are remarkably intimate, thanks in part to the accessibility of Musgraves’s performances. She doesn’t overwhelm, instead she pursues these tracks with the earnestness of a woman wise beyond her years.

Rating: 8.8/10

Trial Track: “High Horse”

Categories
Music Quickspins

A.A.L. – 2012-2017

A.A.L. – 2012-2017 (Other People)

Nicolas Jaar’s latest release under A.A.L. is a remarkably complex and deftly produced album of house and electro-funk with enough soul for the dancefloor and enough sleekness for the club. 2012-2017 is an album that’s unattached from the passage of time; its timeless songs breathe new life into sample heavy electronica music. Jaar doesn’t hold back, delving deep into a instrumental palette of snares, high-hats and piano loops. The rest of the album’s space is filled to the gills with excellent production work. Jaar is tinkering his fingers to the proverbial bone. There’s a familiarity to 2012-2017 that engages equally with genres of the past and present. But the final product is woven so effortlessly that you can’t help but get lost in its ageless appeal.

Rating: 8.9/10

Trial Track: “I Never Dream”

Categories
Music

The cuisine of music

Sometimes albums remind us of food

People who have chromesthesia see music in colour. I, instead, have foodsthesia. I see music in terms of food I’m familiar with.

Food and music are both cultural objects, imbued with a sense of identity and belonging. Not only that, both can be appropriated and sold to make tons of money, so they’re even more palatable for the mainstream. Both are celebrations of who we are as people.

Food is actually very evocative; it conveys culture, conceptions of class and even time, as certain food in different cultures is tied to a celebration or holiday. Almost every culture loves to share music and food. They bring people and communities closer together, bridging the gap between different cultures, even if for only a short amount of time.

So much description and identity can be gleaned from food, so this exercise in comparing it to albums can create a new layer for musical criticism. Or maybe this will be just fun.

Fish and Chips

Sgt. Pepper’s Lonely Hearts Club Band (1967) by The Beatles

I chose fish and chips, partly because The Beatles are British, but also because Sgt. Pepper is a good album full of classic hits just like the dish. As with fish and chips, I won’t seek out this album, but once or twice a year, I have the urge to go back to Sgt. Pepper. I’ll have a good listen, and I’ll forget about it for another year.

Beef Tartare

The Money Store (2012) by Death Grips

Death Grips are generally aggressive-sounding, but they have a lot of depth to their music. I am immediately reminded of beef tartare by the band’s overall sound, because both are an acquired taste. I totally understand why people enjoy this album, but like beef tartare, sometimes its rawness is too much for me to handle. Maybe one day I’ll truly appreciate this album.

Deconstructed Cheesecake

Homogenic (1997) by Björk

Homogenic goes for a pop-experimental sound, yet what’s there is so sweet. Like the album, deconstructed cheesecake intentionally lacks the structure and shape of regular cheesecake, looking fancy and strange, but the sweet flavours still shine through.

Steak and Fries

channel ORANGE (2012) by Frank Ocean

This album is meaty and filled with so many great tracks, my favourite being “Pyramids.” Ocean’s melodies are sensual and emotional. The substantial tracks, like “Sierra Leone,” are the steak, because they are flavourful, fusing amazing instrumentals, lyrics and Ocean’s vocal range. Meanwhile, interlude tracks like the delightful “Fertilizer,” are the fries you eat in between the steak. The track proves that side dishes are just as important as the main course. And I’m always in the mood for steak and fries.

Shrimp Pizza

Uyai (2017) by Ibibio Sound Machine

Uyai is the shrimp pizza of albums. Both just hit the right notes for me. It’s the bonding of different elements that I love about this album; the electronic beats, acoustic instruments and the rhythmic singing mesh so well together. Shrimp pizza is analogous, because pizza is a melding of different elements. The crust, the sauce, the cheese and the special toppings fit together harmoniously.

All-you-can-eat buffet

MM… FOOD (2004) by MF DOOM

This album’s theme is literally food; go listen to it.

Whitewashed hummus

Reputation (2017) by Taylor Swift

Hummus has a long history in the Middle East. It’s flavoursome, dense and richly textured. But white people appropriated hummus, stripped it of flavour and history, and made it super bland. Reputation is Swift’s lacklustre hummus. She changed her sound from country music to R&B-inspired beats and melodies, meanwhile bringing up old grudges that few people care about. Swift’s album is uninspiring and tasteless, despite the fact that her other albums were pop hits and in her own style.

Graphic by Zeze Le Lin

Categories
Music

On that note

Jazz singer David Marino reflects on third-place La Voix win

In the 21st century, when the youth of today turn to electronic music for audible entertainment, it has become absurd to believe any person under the age of 50 can enjoy the tenderness of jazz music. Yet, for David Marino—last year’s third-place winner of French talent competition La Voix—singing the jazz standards of the early 20th century has become second nature.

As his father pressed play on “They Can’t Take That Away From Me,” a 1937 George and Ira Gershwin song featuring Frank Sinatra, for his eight-year-old son in 2006, he incidentally pressed play on Marino’s blossoming passion for jazz. About a year earlier, Marino’s mother, Angela Vitulano, had realized her son would fall in love with jazz. “He wanted to buy a fedora at the age of seven,” she said. This is a style of hat worn by many jazz singers, notably Frank Sinatra.

“I feel the music in my bones,” said Marino, a Rivière-des-Prairies native. “It’s just a connection I have to the music; it’s hard to explain.” This connection is something John Gilbert, who has been Marino’s voice coach since 2011, also felt as he helped Marino widen his musical prowess.

It all started with Frank Sinatra and Michael Bublé, without whom Marino said he would never have been encouraged to explore other jazz artists and diversify his tastes. “I’d pick Sammy Davis Jr.,” Marino said when asked who he would like to sit down and have a chat with. “He would bring my performance abilities to the next level.”

“Music is not only about singing the songs you like,” Marino added, “but also making sure the audience will enjoy whatever you sing.” This is something he quickly understood through coaching sessions with Gilbert. Marino performs with the intelligence and wit of an experienced jazz singer, and excels in charming his audience with fancy suits and melodious tunes.

Now 19, the young singer has devoted a lot of time and effort to his career. As the old saying goes, “practice makes perfect,” and Marino couldn’t agree more. When asked about his learning process, Marino said there is no limit to how often he can rehearse a song. “First, you learn the song and the melody, which could take 30 minutes depending on how long the song is,” he said. “Then, I repeat it to find different ways of singing each note.”

For Marino, analyzing the lyrics of a song is also a crucial part of his interpretation, as it allows him to express the proper emotions and understand the message behind the song. “Singing a lyric is harder than singing the melody,” he said.

Marino’s family played an important role in the young crooner’s career. In fact, his parents introduced him to the style of music he now cherishes and encouraged him to take singing lessons. Regardless of the challenges, his family continues to encourage him to pursue a career in music. “We love supporting and just love to listen to him,” said Vitulano with a twinkle in her eyes.

“My parents were the ones who encouraged me to do the show,” Marino said about participating on La Voix, Quebec’s adaptation of The Voice. Although coming in third place didn’t change his life, it allowed Marino to showcase his talent to a large Quebec audience. “It is an amazing learning experience,” he said.

Prior to his success on La Voix, Marino juggled variety shows, local competitions and benefit concerts. “David uses his talent to help others,” his mother said. “For example, he’s using his concerts to raise money for mental health,” a cause close to the young artist’s heart.

Marino described the show as a gathering of people doing what they love most, where spirits are high and interactions are positive. “La Voix was the most exciting project I have completed to this day,” Marino said, but he remains hopeful that more stimulating projects will arise in the near future.

Despite the importance of the competition, Marino remained grounded and always remembered his roots. “I love to sing, because I love to perform,” he said. “I learned what being ‘popular’ means in the music industry.” Although it can be overwhelming to have people approach him, Marino reminds himself that music is the reason he began singing.

Inspired by his coach on La Voix, Pierre Lapointe, Marino is adamant that music is not all about the fame. Even though the show gives contestants connections and exposure, La Voix remains a difficult adventure that requires a lot of hard work and devotion, he insisted. “If an artist entering La Voix thinks the show will give them a career, they are completely wrong,” Marino said.

On April 14, Marino will be performing at the Salle Gesù. Accompanying him on stage will be top-notch jazz musicians under the musical direction of John Gilbert and special guest Shy Shy Schullie, another former contestant on La Voix.

Categories
Music Quickspins

Rich the Kid – The World Is Yours

Rich the Kid – The World Is Yours  (Interscope Records, 2018)

Rich the Kid’s debut album, The World Is Yours, is exactly what you would expect from the New York/Atlanta rapper. Considered the fourth Migos by some, Rich the Kid borrows heavily from his contemporaries, using dark uptempo trap beats, a triplet flow and dramatic ad libs. However, one thing that sets Rich the Kid apart is his ability to actually rap, which he only puts on full display during the album’s final track, “Dead Friends.” At 14 tracks and 46 minutes long, The World Is Yours doesn’t overstay its welcome. However, Rich the Kid does very little to keep the listener’s attention for that long. Many of the songs blend into one another, leaving the project a little one-dimensional. Songs like “Plug Walk” and “New Freezer” featuring Kendrick Lamar keep this project afloat, while some of the other features, like Quavo and Offset from Migos, are underwhelming.

Trial Track: “Plug Walk”

Score: 5.5/10

Categories
Music Quickspins

Paris Louis – Deathcolors

Paris Louis – Deathcolors

Paris Louis, an artist I discovered through a local buying-and-selling sneaker group on Facebook, has released his debut mixtape, Deathcolors. The Montreal rapper is a breath of fresh air, not only because of his ability to craft songs and hooks but also because of his songs’ lengths. Unlike many rappers of his ilk, Paris Louis isn’t afraid to make three-and-a-half-minute-long songs, instead of following the two-minute song trend SoundCloud has cultivated. This allows each track to be a more satisfying listen, with more room for verses and sustained hooks. Paris Louis’s sound blends those of Travis Scott and Jay Critch, while maintaining his own unique vocals. All seven songs on this tape are catchy and feature moody, attention-keeping trap beats. With this tape, Paris Louis proves himself to be an artist to watch out for in the years to come.

Trial Track: “Apt 200”

Score: 9/10

Categories
Music

Concert Calendar

Here’s a guide to the best shows in town this April

Yaeji – April 5 @ Phi Centre

Kathy Yaeji Lee is a 24-year-old DJ from New York, who makes minimalist club music that pays equal respect to the sounds of deep house and K-Pop. Minutes after the announcement of her latest tour in support of 2018’s EP and EP2, the Montreal show sold out in no time. If you were one of the lucky few to score tickets, consider yourself very lucky.

U.S. Girls – April 11 @ l’Escogriffe Bar

U.S. Girls’ Meghan Remy is heading on tour in support of her exquisite album, In A Poem Unlimited. The album is a complex synthesis of bold narrative and downright excellent music that draws influence from disco all the way to post-punk. Remy is a storytelling savant, tackling topics from the state of democracy to personal meditations on sex and representation. This is a must see show, to say the least.

Jeff Tweedy – April 12 @ Corona Theatre

Wilco’s legendary Jeff Tweedy is stopping by the Corona to perform acoustic reworkings of his best songs, solo and with Wilco. So if you’re a fan of artisanal beer, beards and balladry, stop by to hear the best rebellious songs of your teenage years.

Machine Girl – April 27 @ TBA

Machine Girl is bringing their abrasive industrial sonics to an unknown Montreal venue. Combining elements of harsh noise and scream, Machine Girl is a force to be reckoned with, comparable to similar acclaimed acts such as Death Grips and JPEGMafia. The band’s approach to noise and industrial is much more punishing than their contemporaries. I advise you bring earplugs.

Soccer Mommy – April 29 @ Quai des Brumes

Soccer Mommy’s latest album, Clean, is a package of delicate acoustic balladry and pained lyrics about the pitfalls of early adulthood. In support of the album, they will be performing right at the tail end of the month.

No Age – April 29 @ Bar Le Ritz

No Age’s dreamy punk soundscapes have been making waves across music blogs for well over a decade. It has been four years since the band graced the world with a new record, that was until the band dropped Snares Like A Haircut this year. The album doesn’t alter the typical No Age blueprint, but as they say, if it ain’t broke.

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