Tag: Review

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Opinions

I watched Dave Chappelle’s new comedy special so you don’t have to

I love dark humour. I live in a generation raised by memes and shaped by absurd, Dadaist comedy. I also live in a more open-minded, progressive, and inclusive generation than anyone before mine. How do I reconcile the two?

It’s not that complicated. If you make a joke that’s funny, I’ll laugh. Just don’t be a complete asshole while you do it. I’m looking at you, Dave Chappelle.

While having been in the business for over 35 years, Chappelle still finished as the third highest-paid comic last year, according to recent Forbes statistics. His new stand-up special, Sticks and Stones, was marketed as this sort of celebration of all that is politically incorrect and supposedly funny. In reality, it’s closer to a fading comedian who operates in the same capacity as a Reddit troll.

He opens the show complaining about cancel culture and shows a remarkable lack of understanding of the very industry he thrives in. By mocking the suicide of Anthony Bourdain, (because apparently rich people can’t struggle from anything), Chappelle not only completely misinterpreted some of the harsh realities surrounding suicide, but belittled everything Bourdain went through.

He then moved on to practically brag about being a victim blamer and did his best impression of the shrug emoji when entertaining the fact that the allegations made against Michael Jackson might hold some truth.

“Even if he did do it *shrugs*,” said Chappelle. And then went on to explain why it should be an honour and an incredible sexual achievement to be assaulted by someone that famous. He seemed to not notice the blatant irony as he had the audacity to criticize the #MeToo movement and defend Louis C.K.’s actions.

Next up came the same old, overused, and painfully unfunny joke about trans athletes. He continued to go on about how Lebron James could just announce that he identified as a woman and score as much as he wanted. Chappelle—who is widely regarded as one of the greatest comics of all time—is now stuck rehashing the same level of comedy as idiots who yell out “bUt WhAt If i IdEnTiFy aS An ApAcHe HeLiCoPtEr.” That was just the tip of the transphobic iceberg.

Oh, by the way, this was all within the first twenty minutes. Now, I could end up writing a doctoral thesis on everything wrong with the following 40-minute shitshow, like his complaining about not being able to use homophobic slurs in his skits or referring to the LGBTQ+ community as “the letter people,” but my blood pressure can only take so much.

What Chappelle is doing right now is clinging to the last bit of clout he has in a changing world of comedy. More and more TV shows, skits, and comics are realizing that you can be open-minded and progressive and still be absolutely hilarious, all while pushing the envelope and tackling dark humour.

Dave Chappelle is one of the people that stands to suffer from that shift in comedy. He appears so dead-set on shaming you for enjoying an inclusive comedy experience that people like Hasan Minhaj or John Oliver can provide.

Chappelle tried so hard to sound edgy but he just ended up coming off as an ugly, asinine mix between your annoying, boomer uncle’s Facebook feed and an 11-year-old that just discovered what the word “dank” means.

Dave Chappelle will always go down as one of the greatest pioneers of comedy and one of the first from that field to become an international mega-star. That’s why it pains me so much to see him so unapologetically insufferable.

Did I crack a smile once or twice while watching? Sure. But it’s disheartening to see such a funny human stoop so low that they would appeal to the lowest common denominator of an audience. Instead of changing with the times and showing some range, he’s doubled down on being as unabashedly insulting to as many people and communities as possible.

 

Graphic by Victoria Blair

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Quickspins

QUICKSPINS: Post Malone – Hollywood’s Bleeding

Post Malone - Hollywood's Bleeding

While many have questioned Post Malone’s appreciation for hip hop and its roots, any debate surrounding his musical talent no longer hold any grounds whatsoever, as Hollywood’s Bleeding solidifies his position as a musical powerhouse – regardless of the genre.

This project is Posty’s third studio album, and probably his most heavily anticipated body of work to date. Following the success of his first two records – Stoney and Beerbongs & Bentleys – his fans patiently waited almost one year and a half for some new content, and it’s finally here.

Through the 17-song journey, the Austin artist effortlessly flows over a wide range of instrumentals, creating an easily-enjoyable vibe fit to please anyone and everyone. He discusses themes ranging from toxicity in Hollywood to fame and fortune, and his vocal abilities and sheer emotion provide for an extremely deep experience – one which connects the listener to Posty and his music on a whole other level.

9/10

Trial Track: “Take What You Want” ft. Ozzy Osbourne and Travis Scott

Star Bar: “Tryna chase a feelin’, but we’ll never feel it

Ridin’ on the last train home

Dyin’ in our sleep, we’re livin’ out a dream

We only make it out alone” (Malone on “Hollywood’s Bleeding”)

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Quickspins

QUICKSPINS: Lana Del Rey – Norman Fucking Rockwell!

Lana Del Rey - Norman Fucking Rockwell!

Without a doubt, Norman Fucking Rockwell! Is Lana Del Rey’s most ambitious and strongest album to date. While her debut, Born to Die, took the world by storm, the album was still somewhat of a mixed bag. Her vocals were underdeveloped and her lyricism was simplistic at best. However, none of those criticisms are even marginally relevant on her fifth album. Songs like “Mariners Apartment Complex,” “How to Disappear,” and “Fuck it I love you” show major improvement in both Del Rey’s songwriting and overall performance.

Despite being just over an hour in length, the album never loses the listener’s interest, as each track provides something unique enough to differentiate itself from other records on the LP. Lana Del Rey has not only crafted the best project of her career but one of the best of the decade.

9.5/10

Trial Track: “Fuck it I love you”

Star Bar: “Goddamn, man-child

You fucked me so good that I almost said ‘I love you’

You’re fun and you’re wild

But you don’t know the half of the shit that you put me through” (Del Rey on “Norman fucking Rockwell”)

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Quickspins

QUICKSPINS: BROCKHAMPTON – Ginger

Following a brief venture into experimental territory, BROCKHAMPTON have returned with a much more focused album in Ginger. This isn’t a return to the bright, fun style the boy band perfected during their Saturation era. This is a brooding album with each track focusing on the struggles each member has had to deal with since the controversial removal of ex-member Ameer Vann. These struggles are best highlighted on the standout track “DEARLY DEPARTED” which features one of Dom McLennon’s best verses ever,

Setting the tone early, “NO HALO” is a dark, string-led track bringing the best out of each member.  The M.V.P. of this album is undoubtedly Bearface, whose vocals have reached new heights, especially on tracks like “BIG BOY” and “VICTOR ROBERTS.”

Ginger is a triumphant success that shows just how much America’s best boy band has grown over the last year.

8.5/10

Trial Track: “NO HALO”

Star Bar:

“When somebody that you know throws you in the fire
How do you survive?
I kicked down the door inside a home I didn’t own just to save a friend’s life
Little did I know, the one who pulled the strings was once on my side
I had just moved to Texas, tried to make it right”

-Dom McLennon on “DEARLY DEPARTED”

Categories
Quickspins

QUICKSPINS: Tones and I – The Kids Are Coming

Tones and I is a newcomer onto the music world’s big stage; although The Kids Are Back is exactly what the world needed from the pop singer since her lightning-fast rise to fame this year.

The 6-track EP highlights the Australian former busker’s creative use of her voice over both upbeat dance-style instrumentals and more melancholic, piano-driven tracks. Her ability to twist and bend words, almost deconstructing their pronunciation and transforming them into an unrecognizable musical sound, perfectly demonstrates her ability to use her voice as an instrument. Also, the fact that she touches on relevant themes, such as sexual discrimination and the importance of the youth, show that her understanding of music goes beyond her natural talent. Tones and I is here to stay, and this short EP was enough to prove it to everyone.

8.5/10

Trial Track: “Dance Monkey”

Star Bar:

“No one wants to listen to the kids these days

Yeah, the fibs these days, yeah

They say that we’re all the same

But they’re the ones to blame” (Tones and I on “The Kids Are Coming”)

Categories
Quickspins

QUICKSPINS: Snoh Aalegra – ugh, those feels again

The title to Snoh Aalegra’s new album is a dead giveaway on what to expect from the Iranian-Swedish singer. Ugh, those feels again is a masterclass of retro-sounding soul music in which the recurring themes of loneliness and heartaches hit the listener like a tidal wave in hurricane season. “I Want You Around,” “Toronto”, and “Nothing to Me” put Aalegra’s elegant voice at the forefront while her instrumentals are smooth, soulful, and perfect for listening with headphones on under the stars. It’s a one-of-a-kind project that should rank high among many year-end lists.

9/10

Trial Track: “I Want You Around”

Star Bar:

“You and me go back and forth, that’s nothing new

I said I’m better on my own, there’s nothing you can do

What’s  at home if I’m alone? Baby, that’s it (Baby, that means nothing to me)

You’re  the type that can’t commit to nothing (That ain’t it)”

Categories
Quickspins

QUICKSPINS: Jidenna – 85 to Africa

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.

8/10

Trial Track: “Babouche” ft. Goldlink

Star Bar:

“Travel wide, travel wide

I and I, by and by, that my tribe

They tryna conquer all the tribe

We laugh and multiply, divide”

Categories
Music

Osheaga 2019: A weekend review

The 14th annual music and arts festival featured various hidden gems and one breathtaking performance from a headliner

The initial March release of Osheaga’s lineup was met with mixed reviews as many disgruntled concert-goers believed the roster lacked the star power that prior years brought to the stage.

With questionable headliners and supporting acts, some Montrealers doubted whether they would attend the 14th annual music and arts festival. However, those that did were pleasantly surprised by Osheaga’s organization, accessibility and the hidden gems in lesser-known acts.

Osheaga’s relocation to their original site on Ile St-Helene after two years made a tremendous difference in the festival’s flow. Lines seemed to move quicker, travel time between stages was reduced and less congested, and the ground’s layout made everything more accessible than the years the festival took place on Ile Notre Dame.

Spread out over three days and six stages, Osheaga caters to all music lovers by hosting acts of many genres. With over 30 acts per day, people can expect to catch shows ranging from rock n’ roll, to hip hop, to EDM, to pop, and more. This year’s headliners included the Lumineers, The Chemical Brothers, and Childish Gambino.

Friday featured notable acts like Australian DJs Fisher and Flume, Atlanta rappers Gunna and Gucci Mane, 88rising solo member Joji, hip hop duo $uicideboy$, and The Lumineers closing out the main stage. As all the artists play at different locations, oftentimes overlapping in time slots, people were encouraged to download the Osheaga app to create their own schedules on their phone to remind them of the acts they wished to attend.

Atlanta rapper Gunna looks onto the crowd below him before one of his biggest hits. Photo by Jacob Carey

Hip hop artists Denzel Curry and JPEGMAFIA saw many of the same audiences flocking together from one stage to another in the early hours of the festival. In the scorching hot sun that blessed attendees all weekend long, hoses fired water onto the crowd to cool them down. While necessary at times, the hose seemed like overkill on other occasions, causing people to back away to avoid drenching their festival outfits (and photographers’ cameras!).

However, the hose seemed most necessary during trap rapper Gunna’s performance – one that had the most energetic crowd of the day due to the success of his recent hits (“Drip Too Hard,” “Speed It Up”) that have gained massive popularity in the teenage demographic. While one would have expected the same from veteran rapper Gucci Mane, his stage presence was not as enthralling despite it being his second-ever performance in Canada following years of legal issues.

Gucci Mane salutes his audience in his second-ever Canadian performance. Photo by Jacob Carey

Saturday saw a slew of singer-songwriters dominate the main stage, including Ravyn Lenae, King Princess, and City and Colour. During the intermissions, people could turn their attention to the adjacent stage to catch performances from Young the Giant, Janelle Monae, and Logic. All the while, the Scène de L’Ile stage featured nonstop electronic music acts from 1 p.m. until the festival’s close just before 11 p.m.

The last rapper to take the stage was New York native A Boogie wit da Hoodie, who recently secured his first Billboard number one album with the release of Hoodie SZN. Speaking to the Concordian following his performance, A Boogie spoke about what it’s like to get into the studio with veteran rappers such as 50 Cent.

“It’s really motivational in a way where, it’s like going to see a psychic basically,” said A Boogie. “You’re going to see the person that you’re going to be in the next 10 years, depending on who you’re talking to. So, I was talking to 50 Cent right before I got live and everything, and it made me feel like ‘Alright, he’s telling me the steps. He’s telling me how this shit is, so how can I go wrong?’”

“Canada – I come here, I feel like, a few times a year – and every time I come here they feel like I’m in New York,” A Boogie said. “When the lights come on and the show comes on, it’s like the same thing. New York’s probably a little more lit,” he laughs. “But you know, if I’m comparing this to that, there’s really something special here.”

Sunday’s lineup showcased various Montreal talents including Jerico, The Franklin Electric, and singer-songwriter Mac DeMarco. Producer Kaytranada also attracted a massive crowd, who came to show their support for the hometown hero who has gained worldwide success over the past few years.

Young Thug croons into his microphone on a blistering hot summer day. Photo by Jacob Carey

Yet, Sunday’s lineup would be nothing without the mention of the festival’s final act and weekend highlight – Childish Gambino. The writer-turned-actor, turned-television-director, turned-rapper is a man of many talents. One can’t help but see these talents blend into his performances. Gambino told the crowd early on that he would be taking them on a “church experience,” and nothing seemed more fitting.

Rising from a platform in the middle of both stages, shirtless and surrounded by white fog, Gambino’s raw vocals were enchanting enough to convince anyone that this man is much more than just a rapper. His beautiful falsettos and the church choir who performed backup vocals were crisp and powerful. His interaction with the crowd appeared genuine and heartfelt, urging us all, following a weekend of multiple mass shootings in the United States, to simply “have fun and love yourself…and put down your phones. This is for us right here.”

Watching from the back hill of Osheaga’s main stages on a widescreen display, the whole of Gambino’s performance felt like an extended version of his ground-breaking “This Is America” music video. The artist stared deep into the camera’s soul. His dance moves were impeccable and captivating. In a crowd of thousands, Gambino somehow made you feel like he was speaking directly to you.

Anyone who had been skeptical of Osheaga’s choice of headliners was immediately corrected as they left Ile St-Helene late Sunday night; if not for the entire set, then solely because of the stellar performance that Childish Gambino gave to everyone willing to listen.

 

Feature photo by Laurence Brisson Dubreuil

Categories
Student Life

Tasty food reccs for broke students

By Alex Hutchins and Jacob Carey

Tasty food reccs for broke students

Restaurant Nilufar

1923 Ste-Catherine St. W.

Falafel wrap, Moroccan chickpea soup, and lemonade trio ($4): 8/10

The warped floors, low ceiling, and limited space really add to the dive-resto vibe at Nilufar, but do not let it’s slightly-lacking aesthetic fool you. The falafel balls themselves have just the right amount of crisp before they give way to a warm explosion of flavour, and the cool veggies add the perfect crunch to every bite. The soup’s soft chickpeas, lentils, celery and onions all blend together beautifully, with just the right amount of cilantro. This was particularly impressive, since I’m not one to enjoy cilantro (it tastes like soap). Moroccan soup was my choice of the day, however there are four other options: lentil, barley, vegetable, and spicy Tunisian soup. The lemonade is the standard drink of choice, while the staff cycle out alternative juice options from day to day, such as peach, lime and pink lemonade, all of which pair beautifully with the meal.

Souvlaki George

6995 Monkland Ave.

Poutine ($9.20): 6.5/10

A few weeks ago, we recommended Souvlaki George as one of the few spots around Loyola to grab some grub. While poutine is by no means their specialty, being a Greek restaurant and all, it was still surprisingly unimpressive. The first major flaw: no napkins or takeout utensils to eat the poutine with, and trying to eat greasy fries with two plastic knives chopstick-style seriously hindered my ability to enjoy the meal. Secondly, the fries were very soggy. While this may not have occurred had I eaten at the resto, the short walk back to campus should not have brought about that much sogginess. Honestly, the best part of the whole dish was the gravy; its savouriness cannot be disputed. While the gyros, pitas and plates are probably delicious, if you’re looking for some poutine, I’d suggest going elsewhere.

Café Bistro Bano

6929 Sherbrooke St. W.

All-dressed chicken schnitzel sandwich ($6.29): 7.5/10

Café Bistro Bano may be easy to miss as one walks down Sherbrooke St. W., but its quality of food should not be overlooked. Just a three minute walk from Loyola campus, the Persian restaurant provides a cozy eating space that feels like home with its unique wall decor. The chicken schnitzel is the most popular and recommended dish, and provides clientele—mostly Loyola High School and Concordia University students—with a satisfying bite at a low cost. The crispy chicken breast in ciabatta bread makes for a nice crunch that is complemented by the lettuce, tomatoes, pickles and spicy sauce. The fries are mediocre, although soup or salad can replace them as a side dish. However, the dessert is shouldn’t be skipped. The homemade cheesecakes are fantastic and the truffles are a must-try.

Parma Café

1202 Bishop St.

Chicken cutlet panini ($10.25): 7.5/10

Located two streets over from Concordia’s downtown campus, Parma Café is an Italian bistro with a wide selection of food options. The modern set-up with soothing decorations and a friendly staff makes for an enjoyable dining experience. The deep-fried chicken cutlet panini comes with grilled eggplant, lettuce and homemade mayonnaise—all flavours that enhance each other beautifully. For an extra dose of flavour, don’t be afraid to add another layer of cheese. The restaurant offers several variations of paninis, salads, pizzas and pastas, as well as the specials of the day. Their desserts range from cannolis and brownies, to cookies and nutella horns, all with a home-style touch. These are best alongside one of Parma’s espresso-based beverages.

Feature photo by Alex Hutchins

Categories
Arts

Tom Hardy’s “Venom” lacks bite

Venom (2018)

Despite bad screenplay, Tom Hardy is the perfect Eddie Brock

Venom, the first spin-off in Sony’s Spider-Man universe without Spider-Man himself, was hindered by an inconsistent tone and slow pace, despite a stellar performance by Tom Hardy.Venom tells the story of journalist Eddie Brock, played by Academy Award-nominated actor Tom Hardy. Following a scandal, Brock attempts to revive his journalism career by moving to San Francisco, where his girlfriend, District Attorney Ann Weying, lives. He begins investigating the Life Foundation, led by Carlton Drake (played by Riz Ahmed), who is secretly and illegally testing the relationship between humans and the alien species, the Symbiote.

However, when Brock comes into contact with one of the symbiotes, he acquires incredible superpowers and struggles to prevent the twisted being from controlling his body and committing murderous acts. This is how he becomes the anti-hero known as Venom. Drake also eventually bonds with another symbiote named Riot. In the comics, Venom has a reputation for being an ultra-violent character who bites people’s heads off. One would think a movie about a character as violent as Venom would be R-rated, but it isn’t. With Disney now owning Marvel, all movies must be PG-13, leaving out a handful of violent action scenes.

For a movie called Venom, there sure isn’t a lot of actual venom.

The symbiote only takes over Brock’s body 50 minutes into the movie and it happens too fast for the audience to see everything. The first real fight scene with Venom has him crack open a gas grenade, hiding his figure. Another fight scene, this time with Riot, goes by too fast for the audience to keep up. An R-rating could have solved this problem by giving the audience longer action scenes with more violence, while also showing Venom’s true nature. Additionally, Riot looks exactly like Venom—he is grey instead of black—making it hard to tell them apart during the fight scenes.

Another area where Venom falls short is the screenplay. As previously mentioned, the script takes too long to introduce the character and includes many forced gags. Several awkward moments in the story feel as though the scenes are supposed to make the audience laugh and make fun of Brock. This turns the dark comic book character into a goofball, hindering the tone the character is known for in favour of comedy.

The script is inconsistent, going from dark to humourous in every other scene, further preventing character development and simultaneously making you feel like you’re watching two completely different films.

However, where the movie really shines is Tom Hardy’s performance as Brock. For one, the character is a risk-taker. He went against his boss’s orders to ask a question that could destroy the Life Foundation. He ultimately paid the price for it; the Venom symbiote takes over his body, messes up his mind, convincing him to do bad things. Tom Hardy is the perfect Eddie Brock, as he balances his portrayal of a brave, demonic, alcoholic, crazy man. He understands Venom.

Riz Ahmed also delivers an excellent performance as Carlton Drake. Drake is a sadistic madman masquerading as an ambitious businessman who seeks to end all of the world’s problems. Ahmed balances these tones with ease and when Drake is taken over by Riot, he takes on another personality without overacting.

Overall, despite the bad screenplay, this is the movie to see for anyone looking for a better adaptation of Topher Grace’s Spider-Man 3 Venom.

***
Venom is currently playing in theatres.
Categories
Arts

Auteur directors deliver stunning feats

Call Me By Your Name and Wonderstruck make their bid for awards season at the Festival du nouveau cinéma

While major film festivals like the Sundance Film Festival and the Toronto International Film Festival have always welcomed the biggest names in the industry, the Festival du nouveau cinéma gathers a more modest crowd. However, that doesn’t mean the festival’s programming fails to match up with its competitors.

This year’s lineup included a range of high-profile films, including Quebec filmmaker Denis Villeneuve’s Blade Runner 2049 and Yorgos Lanthimos’ The Killing of a Sacred Deer, starring Nicole Kidman and Colin Farrell.

In addition, two of the most highly anticipated films, Call Me By Your Name and Wonderstruck, screened during the festival’s final weekend. Let’s see if they lived up to the hype.

Timothée Chalamet (left) and Armie Hammer star in Call Me By Your Name, a coming-of-age love story.

Call Me By Your Name

When a film receives so much praise across the board, it might be tempting to dismiss it as overrated. Luca Guadagnino’s Call Me By Your Name is not such a film. Starring Armie Hammer and newcomer Timothée Chalamet, the film is a sexy coming-of-age tale that explores first love, self-discovery and heartbreak.

Set in northern Italy during the summer of 1983, the film follows Elio (Chalamet), a boyish and brooding 17-year-old who, while vacationing with his academic parents at their summer villa, becomes transfixed with 20-something Oliver (Hammer), an American grad student who arrives to work with Elio’s father for six weeks. Elio and his parents are intellectuals—they’re all perfectly trilingual and read Joseph Conrad while lounging by the pool—and so is Oliver, so he fits right in.

As Elio and Oliver get to know one another, they are simultaneously perplexed by and drawn to each other. This creates a push-pull relationship in which neither of them are entirely sure the other is interested. But the chemistry between them is palpable, and their desire for one another is beautifully exemplified against the sumptuous backdrop of the Italian vistas they explore together.

Elio experiences all of the typical highs and lows of first love. Yet his heartbreak is amplified to a new level, perhaps because their relationship is never fully realized and their romance is somewhat forbidden. The more entangled Elio and Oliver become, the more devastating their eventual goodbye feels.

Call Me By Your Name is a true masterpiece, and it’s hard to imagine Guadagnino ever topping it. It’s safe to say the film is a shoe-in for awards season, with both Hammer and Chalamet poised to receive tons of accolades for their crushingly honest and sensitive performances. This is absolutely not one to miss.

Call Me By Your Name hits theatres everywhere on Nov. 24.

Wonderstruck follows two young children on separate journeys of self-discovery.

Wonderstruck

“We are all in the gutter, but some of us are looking at the stars.” This quote is oftentimes the only source of comfort for young Ben, the main character in Todd Haynes’ brilliant film, Wonderstruck. After Ben loses his mother in a car accident, and then loses his hearing when he is struck by lightning through a telephone, he decides to run away to New York City in search of his father, whom he has never met.

Ben’s story, set in 1977, is told simultaneously alongside that of Rose, a young deaf girl who lives in New Jersey in 1927. Rose, like Ben, is also trying to escape a reality she cannot fathom. Told in black-and-white, silent-film-style flashbacks, Rose travels to New York City to free herself of her strict father and reunite with her absentee mother. As Rose and Ben’s journeys unfold side-by-side, they happen upon the same places, but it’s unclear how the two are connected.

Haynes is known for invoking strong performances from his actors, and he does so beautifully here with lead actresses Julianne Moore and Michelle Williams. Williams gets little screen time, but she pulls off her wistful, loving character well, and you miss her when she’s not on screen. Moore, on the other hand, delivers yet another emotionally rich and mesmerizing performance without ever saying a word. The film’s young cast, comprised of Oakes Fegley as Ben, Jaden Michael as Jamie and Millicent Simmonds as Rose, provide a sweet purity and sense of excitement that only adds to the film’s magic. Wonderstruck isn’t Haynes’ best work, but it will certainly strike a chord with audiences—there won’t be a dry eye in the theatre once the film ends.

Wonderstruck is currently playing in Montreal theatres.

Categories
Music Quickspins

Young Thug & Carnage – Young Martha

Young Thug & Carnage – Young Martha (2017, YSL/Heavyweight)

On Young Martha, Young Thug and producer Carnage bring out the best in each other—embracing their respective idiosyncrasies with dynamic performances and lean-soaked instrumentals. Young Martha largely serves to expand Thug’s  extensive range. In it, he stretches the reaches of his prolific palette, while at the same time, testing some new sonic ground. The elastic synths on “10,000 Slimes” see Thug adjusting the cadence of his staccato flow in real time, hitting vocal inflections that feel sporadic yet precise. Sonically, Young Martha is sheer ear-candy, but the writing draws from the same absurd wordplay Thug has adopted over the last five years. Carnage has relayed that Young Martha will be a series, much in the same vein of Thug’s Slime Season trilogy, culminating in a collaborative album. While not the most striking combination of songs in Thug’s repertoire, if Young Martha is any indication, it’s clear his track record is just winding up.

8.3/10

Trial Track: “Liger”

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