Tag: Review

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Music

Toro y Moi truly emits inner and outer peace

Photo by Cecilia Piga

 

Toro y Moi takes me back to my years in high school: playing Tame Impala, MGMT and Toro y Moi in the yearbook room, lying on the grass with our heads in a circle, feeling whole with the world and one with my friends… yeah, I did that.

On Nov. 5 at Corona Theatre, Chaz Bear, aka Toro y Moi, aka Chazwick Bradley Bundick, brought this back.

Bear, who changed his name four years ago when he married Samantha Beardsley, feels fresh, composed and genuinely happy; he emits a gentleness. He sings, his eyes squint, a smile spreads across his face. Moving across the stage in a dance that feels characteristic of Childish Gambino.

Blissful. Real. Truly himself, in love with his music; a joy that rubbed off on the crowd.

His band members feel very Portland – I’ve never been to Portland, any Portland, but that’s the vibe – complete with long shaggy hair, blundstones, thick socks, button down shirts and reusable canteen bottles. Bear wore an Everlane-esque get-up, mod wide-leg blue pants (not jeans), a black jacket, and a black mock neck, which he kept on the entire time – a rarity on stage. Performers usually strip halfway into the third song.

Photo by Cecilia Piga

The stage glows with simple, pleasing colours: pinks and purples, blues and greens, yellows, oranges, peaches… the instruments highlighted with bits of fluorescent orange tape scrawled with “TORO E MWA,” a translucent drum set of the same colour. His crisp lyrics linger, echoing not only in the theatre, but mashed up in my mind days after the show. 

You saved my life, I don’t want to be alone, I want somebody, I don’t have time for this weather… Die for my love… For a second I forgot who I was, I thought I was over you … now I don’t know who I am … I feel weak, uhuh… 

On Oct. 29, Toro y Moi released “Soul Trash,” a 30-minute long art film by the same name of a mixed tape released in January of last year. The duo moves away from simple lo-fi musician status and into the world of pure artistry. Sixteen minutes in, the film pauses to watch Bear, wearing a bucket hat, eat chips.

“I see two of you, I see one of me,” he says, pointing to the viewer, a photographer taking pictures of his reflection, I imagine. The whole thing is pretty obscure.

As though Bear was given a paintbrush, needle and thread to collage together this masterpiece, his new album, Outer Peace, feels authentic, not as laboured or crafted as I felt in some of his older albums. Now the poster child of chillwave, his music crosses boundaries, feeling very 70s indie pop with a sprinkle of some classic T-Pain autotune.

Outer Peace speaks to finding satisfaction, oneness and peace out in the world, rather than just within. Whether in blending genres, dance, work or just being present in a social environment… there’s no one way to find that.

 

Photos by Cecilia Piga

Categories
Ar(t)chives

Yum or Yikes: Mimi & Jones

Photo by Noemi Stella Mazurek

Mimi & Jones, the new entirely vegan diner in Mile End, embodies its location flawlessly. It’s eager to be hip, accomplishing something alternative, and mimicking a vintage scene. 

It was a spur of the moment decision I’m happy my friends and I made. After a sunny day spent wandering the Plateau and Mile End, crunching the gilded foliage beneath our boots, we swung into Mimi & Jones.

At 4 p.m., we were the only customers inside the tiny, bright locale. We slid into the only booth (from which, beyond the restaurant’s outdoor terrace, we had an uninterrupted view of Parc Avenue) and bopped along to the 50s rock and pop hits as we scanned the menu.

Furnished in retro decor (bar stools, black and white floor tiles, leather seats), at face value, Mimi & Jones appears to be just another modern take on a classic 50s diner. But the entirely vegan menu is what sets it apart from the rest.

Thankfully, Mimi & Jones doesn’t sacrifice greasy staples in the name of veganism. They impressively and creatively accomplish everything a regular diner would serve with strictly plant-based ingredients. We ordered cheeseburgers, milkshakes, deep-fried nuggets, caesar salad and ravioli in attempt to sample as much as we could from the short but concise menu. We were not let down.

Though Mimi & Jones is a licensed establishment, we chose not to spike our milkshakes and enjoyed the thick, sweet, creamy goodness just the same. I ordered the cheesecake flavour, which came adorned with morsels of tangy, melt-in-your-mouth cake that provided a nice contrast from the deliciously sugary shake.

Next, our food arrived in bright red baskets lined with checkerboard paper. Overall, the flavours and textures accurately mimicked those of their non-vegan counterparts, and were just as satisfying.

The Mimi Burger was exceptionally assembled: loaded with all the usual toppings, the handmade patty rounds off the perfect balance of flavours. The Croquettes Jones, which I ordered with the maple-dijon sauce, were simply addictive. The tofu was breaded and deep-fried to golden perfection resulting in crunchy, but not overly greasy nuggets. The ravioli, which we drowned in the rosé sauce, was equally delicious. The pasta pockets were nicely al dente and the tofu-almond “ricotta” filling was soft and creamy.

If there was one dish that disappointed, it was the caesar salad. Though it was enjoyable, topped with roasted chickpeas and capers, it lacked the essence of its traditional inspiration.

Though each individual appetizer, drink or dish wasn’t outrageously priced, the bill did add up to a little more than I was anticipating, especially considering portion sizes. However, vegan food can be expected to cost a little more, and we did leave thoroughly stuffed.

I’ll confess: I’ve been dreaming about the flavourful sauces and greasy goodies at Mimi & Jones since our impromptu afternoon adventure. However, I think next time, I’d go at night for a fresh experience. The diner and bar are open until 9 p.m. Thursday to Saturday, and until 8 p.m. on Sunday and Monday.

Comfortably retro, satisfyingly filling and innovatively delicious, I could go for a hearty burger and some crispy croquettes at Mimi & Jones any night of the week.

FOOD: 4.5/5

PRICE: 3.5/5

SERVICE: 5/5

AMBIANCE: 3.5/5

 

Photo by Noemi Stella Mazurek

Categories
Music

Black Midi make it look easy

Photo by Cecilia Piga

Black Midi impress with their musical chops, leaving the crowd wanting more

“I just want to get the energy right,” said Brooklyn-based MC Fat Tony as he waved a stick of burning Palo Santo around the stage. Standing on the monitor he engaged the crowd and took them on the journey which was his set. His hands flew back and forth from his laptop to his turntable, to one of the two microphones he was using, employing his incredible MC abilities as he showed the diversity of his music.

The Houston native flew through his songs, some of which sampled music from many different genres – from fast-paced punk to Texas country and 80s pop. Shortly after performing a song about his decision to eat healthy, Fat Tony left the stage to the cheers of the satisfied audience.

Casually strolling onto stage, Black Midi picked up their instruments and immediately thrashed away while the pink and blue lights strobed over the energized crowd. For a band of twenty-somethings, the complexity and musical prowess of Black Midi is mind-blowing and sets an extremely high precedent for other bands. Based out of London, England, Black Midi were formed while the members attended Brit School, the school responsible for celebrated alumni Adele, Amy Winehouse, and Tom Holland, to name a few. 

Photo by Cecilia Piga

The Mercury Prize-nominated band wasted no time and controlled the stage as they performed “Near DT, MI.” Bassist Cameron Picton recited the sparse lyrics while the band played softly; the audience anticipating the next change. A quick pause, and the wall of sound began as they wailed on their instruments and the bassist screamed into his microphone, while a young man climbed onto the stage and perfectly timed his stage-dive. Guitarist and lead vocalist Geordie Greep prowled the stage as he sized up the audience, his hands flying over the fretboard and strings.

After a quick finish to the song, Black Midi diverged into what they do best: jamming. Drummer Morgan Simpson held the gaze of the other band members while they read each other for signals of where they would be headed next. The intense instrumental blended seamlessly into “Speedway,” the second track off their debut album Schlagenheim.

Their musical abilities were on full display; particularly Simpson’s drumming. In 2014 he was awarded the “Young Drummer of the Year” award, and it was clear that night that it was well earned. His hands flew across the set, often so fast that they appeared blurred. When lead singer Greep wasn’t gracing the crowd with his unique croon, he was directing the band using his arms, to indicate where the dynamics of the music should go next – arms up for louder and arms down for quieter. 

Lead guitarist Matt Kwasniewski-Kelvin resembled a young Jonny Greenwood as he bent over his guitar and shredded the ear-drums of the audience with his fast and powerful strums.

Black Midi took the crowd through the better part of Schlagenheim, filling the rest of the set with instrumentals and their 2019 single “Talking Heads.” It would appear that Fat Tony’s energy cleansing technique did its job. The energy was just right, and Black Midi performed as well as expected, leaving the crowd chanting for more.

 

Photos by Cecilia Piga

Categories
Quickspins

QUICKSPINS: FKA twigs – MAGDALENE

FKA twigs - Magdalene

FKA twigs creates world-class pop music on MAGDALENE

MAGDALENE comes four years since twigs’ first full-length release, LP1. While LP1 introduced twigs as an innovative artist to follow, MAGDALENE cements her as one of the most creative voices of modern pop music.

As is evident from the record’s title, MAGDALENE is steeped in Christian references. The juxtaposition of religious symbolism and sexuality can often be used as a cheap ploy for subversiveness in pop songwriting. Yet, because twigs brings the Christian elements both into the lyrics (as on “Mary Magdalene”) and into the orchestration (as with the choral singing on “Thousand Eyes”), this combination makes complete sense.

Despite the R&B sensuality that flows through this record, it is also deeply pained. To say MAGDALENE is a breakup album might be a bit reductive. Yet, many of the tracks deal with twigs coming to terms with who she could be outside of a broken relationship.

MAGDALENE is a tortured, spiritual manifesto for pop music’s future, and you can expect to hear its influence in countless albums to come.

9.5/10 

Trial Track: “Home With You”

Star Bar:
“I’m a fallen alien
I never thought that you would be the one to tie me down
But you did
In this age of Satan
I’m searching for a light to take me home and guide me out” (Twigs on “Fallen Alien”)

Categories
Music

Jesus is King doesn’t deserve a crown

Kanye West - Jesus is King

Despite Kanye West’s abysmal rapping, Jesus is King is still richly produced and somewhat enjoyable

Amidst a long-spanning controversy over his support of Donald Trump, bold wrongful claims about slavery being a choice, and simply releasing sub-par music (I’m looking at you “I Love It”), Kanye West is back with Jesus is King, an album born from West’s embrace of Christianity.

The album was originally intended to be released on Sept. 27, but was delayed indefinitely after it failed to show up on streaming services that day. No one was surprised, really; it is Kanye West we’re talking about here.

The project is another tonal shift for West. The Life of Pablo and Ye were his only albums to not sound like he was trying to change the soundscape of hip hop and music in general. He has definitely embraced Christianity before, like on “Jesus Walks” and “Ultralight Beam,” but West has never gone so far as to dedicate an entire album to it.

Through and through, Jesus is King is a gospel album. Beginning with the Sunday Service Choir-assisted “Every Hour,” West assures the listener that this was going to be a project dedicated to Christ.

Across the album, the instrumentals are what you’d expect from West. Heavy on the sampling, gorgeous melodies, and peculiar arrangements. This is especially true on standout “Selah” that features a powerful choir harmony singing “Hallelujah” at the instrumental peak of the track. This song also contains West’s best verses on the album. That being said, the verse isn’t exactly strong.

The track bleeds hypocrisy as he raps: “Love God and our neighbour, as written by Luke.” If West really wanted to love his neighbour, he should maybe consider not supporting Trump in favour of the Democratic nominees with actual good ideas (hey, Bernie).

“Follow God” is another strongly produced track that features a Pablo type beat and cadence, but is once again burdened by horrible lines— “I was looking at the gram and I don’t even like likes.”

Despite the continuous flaws in West’s lyricism, the album still remains somewhat gripping due to the powerful production and great guest performances, most notably Ty Dolla $ign on “Everything We Need.” The track was recycled from West’s unreleased Yandhi but they chose to remove XXXTentacion’s verse.

West is clearly inspired and he’s trying, but the album is hollow beyond its production. West’s rapping is as lazy as it’s ever been, and his plight of Christianity feels half-baked as if he created this album weeks before it was even announced.

Content aside, the mixing is another point in which the album falters. “Selah,” “Follow God,” and “Water,” among others, are noticeably poorly mixed. Whether or not this is by design is moot; the album doesn’t reach its potential because of this. It seems rushed.

Even with the attempt to pair it with a short film, aptly titled Jesus is King, his message only becomes more muddled. The movie doesn’t add anything to the narrative. Its empty, albeit well-shot visuals, make for a pleasant viewing experience, but nothing actually happens. There are a few close-ups of the choir, one continuous shot of West holding his newborn son, Psalm, and a few other unmemorable moments.

The film only becomes somewhat interesting towards the end as West sings a softer, modified version of his 808s & Heartbreak stunner, “Street Lights.”

Simply put, Jesus is King is too uninteresting to merit multiple listens. It sounds nice, but the ideas aren’t fleshed out enough. Sure, we know West is a born-again Christian now, but what of it?

Following Ye, he needed something more substantive to truly paint a clearer portrait of a man affected by bipolar disorder. Instead of explaining to us where he is mentally, he resorts to underwhelming bars about Christianity that make Donald Trump Jr. happy.

Still, the album has enjoyable moments, if you can tune out whatever the hell West is saying. There are some high points on it that are unfortunately too few and far between to make this project a contender for the year’s best.

Jesus is King is at its strongest when West barely even appears. “Use This Gospel” is masterfully produced, featuring rich keys and melodies from West as he sings the short but sweet hook. Also assisted by a Clipse reunion, Pusha T and No Malice return with killer verses that outshine anything West had done on any of the previous tracks.

“Closed on Sunday” has a gorgeous string leading into it that’s unfortunately marred by a horrid bar about Chick-Fil-A. “Hands On” features a lovely refrain by Fred Hammond backed by a skeletal, chilling instrumental.

Jesus is King is, unfortunately, the weakest entry in West’s discography, but it still isn’t a failure.

It’s simply insubstantial and it would’ve benefited from a few extra tracks and fleshing out the shorter tracks. It would have also been more entertaining if West wasn’t so obnoxious in his rapping. How does someone go from claiming he is a god to following God? If only West rapped more insightfully about his transition to Christianity.

Album rating:

5/10

Trial Track: “Use This Gospel”

Star Bar: “A lot of damaged souls, I done damaged those

And in my arrogance, took a camera pose

Caught with a trunk of Barry Manilows

They sing a different tune when the slammer close”

  • (No Malice on “Use This Gospel”)

Film rating:

4/10

Categories
Music

Why Fleetwood Mac’s Rumours will be the one and only for my ears – always

Graphic by @sundaeghost

On their 50th anniversary tour, the band demonstrates that even though time goes by, the shared love and music is everlasting

“If music be the food of love, play on” – that’s how Shakespeare wrote it. If Fleetwood Mac was a meal, I could eat it everyday (and most of the time I do). My alarm went off at 6.30 a.m. this Wednesday, and I got myself ready for an opportunity I’ve wanted for the last five years: a night with Fleetwood Mac. Unfortunately, the band’s 50th anniversary tour didn’t pass through Montreal, so I got on a bus to Quebec City in the early hours to experience what has been the soundtrack to most of my young adult life.

Fleetwood Mac is the ultimate symbol of an intense, deep and heartbreaking relationship told through music. From their early beginnings with British Blues in the 60s, to their careless and hardrocking tracks in the late 90s, they have showed us how inseparable music and the turbulent excitement of love are.

About five years ago I was at a place in my life filled with doubt, changes and my first proper heartbreak, and that was when I discovered the 1977 album Rumours. I have been madly in love with their tender and honest sound ever since. Best rebound ever.

Not only is Fleetwood Mac’s Rumours one of the greatest tales of love in music history (it was a product made in a time where the band members struggled with divorces and crossover-affairs, all while they consumed huge amounts of cocaine), it is also a stroke of genius in musical terms. 

The tonal soundscapes consist of cosmic electric guitar riffs balances with the calm Americana-inspired acoustic and soul-lifting harmonies with the melodic bass humming underneath. It’s all held together by Fleetwood’s rhythm-superiority on the drums, where fills are being poured over this musical unicum as a cherry on top. Rumours topped the US Billboard 200 for 31 weeks in a row after its release in 1977, and marked Fleetwood Mac as one of the most inspirational music groups of the 20th century (last year they were announced as Person of the Year by MusiCares, the charity arm of The Recording Academy).

But a lot has happened since 1977 – the ever-changing group dynamic was not only shown on the production of Rumours, but has been an ongoing issue ever since. Fleetwood Mac has had no less than 18 different members, with the only permanent one being the founder, Mick Fleetwood. The rotation and shift of members has was caused by drug abuse, affairs, dramatic fights and firings, where the latest was the layoff to vocalist Lindsey Buckingham due to artistic disagreements. Therefore, I was extremely excited to see if the ever-changing band could give me the same nerve-wrecking sensation as the 50 year-old LP I have on my shelf back at home.

Twenty minutes after the show began, the group known to be history’s greatest soap opera band appeared on stage, and the memorable bass drum from “The Chain” surrounded us all in one joined heartbeat. My heart was (once again) stolen, and like the rest of the crowd, I got carried away for two hours in the musical universe that is Fleetwood Mac. New Zealand singer Neil Finn is the replacement for Buckingham. Even though he didn’t have the exact same tonal finesse, he still did a pretty good job (you know how it is embracing the flaws of your loved ones).

While hearing Stevie Nicks singing about disappointment and heartbreak on “Dreams” (an ode to fuckboys before the term was even invented) or experiencing the 10-minute long drum solo by Mick Fleetwood – where his characteristic eyeballs looked as if they could pop out of his head anytime – I lost sense of time and place, and everything came together in one big cosmos.

So, was Fleetwood Mac just as sharp, energetic and passionate as they were on Rumours? I think the show was as good as it gets, despite the stamp all of the members have achieved from the vanity of life (especially one as musicians). 

“We love doing this every night,” was the final words of the night from drummer Fleetwood. That’s the thing about true love – no matter how many times you spend doing the exact same thing and the exact same routines, you can feel the magic and anticipation just as strong as you did on first sight (or listen).

 

Graphic by @sundaeghost

Categories
Quickspins

QUICKSPINS: D Smoke – Inglewood High

Netflix’s Rhythm + Flow winner shows immense potential on debut

In October, Netflix aired the first season of its new hip hop talent show, Rhythm + Flow, judged by T.I., Cardi B and Chance the Rapper. The trio stopped in various U.S. cities in search of the genre’s next big star. After 10 episodes, Inglewood, California native D Smoke emerged the victor. On Inglewood High, he proves exactly why he was chosen.

D Smoke has delivered an EP filled with mature, introspective songwriting over soulful, jazz-infused instrumentals. He uses the project’s short run time to paint a picture of what life is like in Inglewood, through various perspectives.
The album opens with the tone-setting titular track “Inglewood High”, a short, one-verse introduction that tells Smoke’s story – that of a young man who avoided gang life by pursuing a teaching position at his local high school.

Following the introduction are “On Paper” and “Lil Red,” tracks from the perspective of two of his troubled students. These tracks highlight both Smoke’s storytelling ability and his ability to effortlessly rap in both English and Spanish, even constructing verses that use both languages.

While D Smoke’s immense talent is apparent, his cadence and flow are sometimes too similar to some of his peers – namely Kendrick Lamar. For example, his second verse on “On Paper” could easily be mistaken for an unlisted feature from Lamar.
Overall, this is an extremely impressive first outing. Smoke’s poetic lyricism perfectly pairs with a great selection of smooth jazzy instrumentals. He shows a maturity that is uncommon for a debut project.

If this is just the start, we have a lot to look forward to from D Smoke.

8/10

Trial Track: Ain’t You

Star Bar:
“Seven Gang was the clique; it wasn’t no Blood or no Crip
Was more like fraternity ties mixed with bare knuckles and clips
My big homie saw something in me, said f**k hitting licks and pistols
Your test scores gon’ hit the lick with pencils, teaching credentials.”
(D Smoke on “Inglewood High”)

Categories
Music

Part concert, part book tour: Canadian Twins Tegan and Sara put on a unique show at the Corona Theatre

Photo by Susan Moss.

Most artists releasing their ninth album might feel the need to forget the early awkward days when no one would pay attention to them, but Tegan and Sara do not see their messy, formative years that way at all. The twins have embraced and celebrated their roots through the release of their new album,  Hey, I’m Just Like You, and first memoir,  High School.

The Corona really felt like a theatre last Wednesday, as Tegan and Sara brought their Hey, I’m Just Like You tour to the city. They had set up chairs on the ground and had ushers in the alleys directing everyone to their purchased seats, already hinting this would not be your typical concert. The stage was simply decorated in two halves: a keyboard and guitar amps on the right, and stools and a bookcase on the left with about a dozen journals on it.

By 8:10 p.m. everyone had found their seats.  As the lights went down, Tegan came out, and began reading the first memoir excerpt: a vivid childhood memory about her sister’s night terrors. Afterwards she revealed how she had only recently found out it was her and not Sara who this story was actually about, and wondered aloud how many of her memories were really her own.

Tegan made her way over to the right side of the stage as the LED lights illuminated the keyboard and amps. Sara joined her sister for their first acoustic performance of the title track “Hey, I’m Just Like You.”  This sequence would repeat itself throughout the night: memoir excerpts from each sister, followed by a song with a similar theme. Every few tracks, archive footage of them in their highschool bedrooms would show up on screen, with Tegan or Sara narrating or cracking jokes over it.

Even the smallest cough could have been heard over the acoustic tracks and readings, yet the crowd was totally silent except when time to cheer.  They were laughing just as much as they were tearing up, as the chapters covered everything from their first kisses, water beds, and acid trips (“don’t do drugs kids,” they giggled. “It was the 90s.”), to bad reviews, internalized homophobia, and the fear of how coming out would ruin their careers.

The tracks from the new album worked with just the two of them on stage, and made up half the setlist. With just guitars and keys, it sounded like polished versions of the original demos, and let the lyrics and storytelling shine.  Songs covering the feelings of fearing the future, and messy first relationships like “Hello, I’m Right Here” and “I’ll Be Back Someday” felt like two teenage girls wrote them in their bedrooms. Unfortunately the singles from previous albums they incorporated onto the setlist like “Closer” and “I Was a Fool” left me missing the live drums and band they usually tour with.

After two hours and upon reaching the end of the memoir, Tegan and Sara wished us a wonderful night, summarizing their show as an invitation to “visit [our] younger selves more often and be more compassionate to them.”  While it is tough to define exactly what this show was, and I still hope to get the chance to see them in concert with the band one day, they really do have something special, raw and vulnerable on their hands.

 

Photo by Susan Moss

Categories
Quickspins

QUICKSPINS: Rex Orange County – Pony

_Rex Orange County

Simplicity isn’t a bad thing on Pony

There’s sweet innocence to be found in Rex Orange County’s latest album, Pony. The project basks in simplicity and it wouldn’t be a stretch to compare him to Ed Sheeran, albeit a much more endearing version of him.

His lyrics aren’t meant to be groundbreaking, but the honesty with which Rex sings them makes this project all the more lovable and entertaining.

Songs like “Pluto Projector” sound like his best attempt at recreating a Frank Ocean song, and he pulls it off with success. However, more often than not, Rex is comfortable making clear-as-day, indie pop-rock songs that could be played at both a high school prom and at your grandparents’ house.

“10/10” is a solid single that shows Rex’s paranoia and distrust of disloyal friends and opportunists who try to take advantage of his fame. “Face to Face,” the third promotional single for Pony feels like an ode to 80s pop and specifically, Queen, as the vocal pitches and beat switches sound inspired, even if minimally, by “Bohemian Rhapsody.”

Towards the back end of the album, the piano-led ballad “Every Way” jumps out as the emotional apex of the album. It’s short and simple, but it’s also cute enough to slow dance to at a wedding. The following two and last tracks continue the sequence of great songs as the album ends on a high with “It Gets Better” and “It’s not the Same Anymore.”

Pony is a decidedly simple album, and one could mark that as a flaw given how many deep, complex, and layered pop projects have been released this year. Sometimes, though, simple is nice. The album doesn’t require much thinking, it’s just a lovely Sunday afternoon neatly packaged as a 30-minute listening experience.

7.5/10

Trial Track: “Pluto Projector”

Star Bar: “The great protector

Is that what I’m supposed to be?

What if all this counts for nothing

Everything I thought I’d be?” (Rex on “Pluto Projector”)

Categories
Music

Truth Is… Montreal can’t get enough of Sabrina Claudio

sabrinaclaudio_bclarke-7

The singer never ceases to impress fans with her charisma

If you were lucky enough to be in the gleaming presence of R&B singer Sabrina Claudio on Oct. 17 at Corona Theatre, then you are well aware of the lasting impression she left on audience members.

Clad in a sparkly corset and three-piece lingerie set, her hair tied up in a tight bun, with hips that just refused to lie, and a voice too sultry to ignore, I think it’s fair to say that the audience got a firsthand look at the physical manifestation of utter beauty. Period.

Claudio started off her set with the first song off of her latest album released on Oct. 4, Truth Is, titled “Take One To The Head.” Her stage presence immediately captivated the audience, who were ooh-ing and ahh-ing as soon as the first verse left her mouth.

She followed up with a classic Claudio bop, “Unravel Me,” which sent the audience into a frenzy, with many attempts at impersonating Claudio’s falsetto.

Claudio is known for being very in-touch with her fans, both online and onstage. This was especially conclusive when she took a few minutes to discuss the meaning behind her masterpiece, Truth Is, and what led to the creation of the cover art for the album.

sabrinaclaudio_bclarke-19

“You guys will be surprised to know that despite all of this (referring to her sultry outfit), I’m quite the shy girl,” she said.

Claudio is known to be very private in terms of writing and producing her music. Although she usually takes the bull by the horns, she decided to incorporate the work of other producers and singers in an effort to change up the creative flow for Truth Is. She made a point to state that the efforts of so many successful female writers and producers behind this album made it the solid piece it is, hence why it is her favourite album to date. Thus, she decided to have some of their faces sketched onto the cover art.

Pulling up a stool closer to the stage, we entered the more sensual part of the concert. “Let’s see how many of y’all are emotional,” said Claudio, a playful smirk forming as she teased the audience and jumped into her timeless ballad, “Frozen.” In a nutshell, the perfume of romance was in the air, and couples were swaying along to the track throughout the crowd.

“Belong To You” came up next, with a twist from the original cover. A jazzier take, if you will. Next came “Holding The Gun” – another favorite from the new album – the lighting was dimmed down to create a more somber atmosphere to fit the lyrics of the song.

Claudio ended the night with the obvious, “Truth Is,” interchangeably mixed in English and Spanish. The half-Puerto Rican, half-Cuban artist from Miami is no stranger to bilingualism; this was made abundantly clear.

Just when we thought the night was over, we were given a last encore, with the song that some may say launched her career in music, “Confidently Lost.”

“I’m alone but I’m not lonely…,” the first verse rang through the crowd with such depth that many were straight up yelling the lyrics from across the venue in an effort to reach her.

A perfect ending to a perfect night. Fans can rest assured that Claudio will come back again, just as she has for the last three years. They can also concur that there is a god, and her name is Sabrina Claudio.

 

Photos by Britanny Clarke

Categories
Music Quickspins

QUICKSPINS: Gucci Mane – Woptober II

Gucci Mane - Woptober II

The trap pioneer’s 15th studio album probably sounds as you’d expect it to

Gucci Mane, veteran Atlanta rapper and the new face of fashion luxury brand Gucci, released his 15th studio album as the second edition of his Woptober series. The album features a variety of features including young up-and-comers DaBaby, Megan Thee Stallion, Lil Baby and 66.6 per cent of Migos.

The rate at which Gucci releases new music is impressive to say the least, but this may take away from any of these records having any more longevity than the next. His clever bars and familiar flow are always welcomed, but Woptober II, like many of its predecessors, has little lasting power compared to some of the classics that Gucci released earlier in his career. The tracks with features always sound like a fun collaboration among friends, or between rookie and vet, while Gucci’s solo songs typically offer more introspection into the mind of a trapstar criminal turned multi-millionaire businessman.

6/10

Trial Track: “Big Boy Diamonds” ft. Kodak Black

Star Bar:
“I’m not talkin’ the Weeknd, but I’m talking ‘bout Abel / You see this shit that Cain did, and they weren’t even strangers” – Gucci Mane on “Highly Recommended”

Categories
Music Quickspins

QUICKSPINS: Wale – Wow… That’s Crazy

Wale - Wow...That's Crazy

Wow… That’s Crazy sees Wale at his sharpest, making the few misfires all the more frustrating

After spending the last year and a half releasing a handful of well-received EPs, Wale has finally delivered his sixth studio album. Wow… That’s Crazy explores the many facets of the D.C. rapper’s personality, and a variety of topics. While this is one of the project’s strengths, it leads to some very out-of-place moments that keep it from being great.

This album is at its best when showcasing Wale’s poetic lyrics and smooth delivery over lush, layered instrumentals. The 6lack-assisted “Expectations” is a perfect example of this. On this song, Wale speaks on his struggles with expectations, as well as the pressure women face being expected to fit certain beauty standards. On “Set You Free” Wale dissects his own lack of self-love, and its effects on his relationships and mental state, featuring a beautiful vocal performance from R&B legend Kelly Price.

Unfortunately, the album strays away from these moments of maturity and reflection, opting instead for generic, formulaic bangers. “Routine” featuring Meek Mill and Rick Ross follows a run of smooth, R&B-infused songs, making immediately apparent that it doesn’t fit in there. The closer “Poledancer” featuring Megan Thee Stallion is so far removed from the vast majority of the tracks, both sonically and thematically, that it causes the project to end on a sour note.

Overall, Wow… That’s Crazy, is a solid body of work, with a mostly consistent sound and mature content throughout. Unfortunately, a few unnecessary and inconsistent songs keep the album from being as great as it could have been.

7/10

Trial Track: “Expectations”

Star Bar:
“Self-loathing is my addiction amongst
Other things I don’t mention ’cause you be itchin’ to judge
It’s love, it’s overrated and underrated because
It seem like a placebo when it be done” (Wale on “Set You Free”)

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