Redbull Music Academy has found its home in Montreal over the last month throwing impressive shows with widely recognized musicians and artists alongside some fresh blood. Noteworthy, RBMA has been choosing less-frequented and alternative venues to host these shows. This past Saturday, Jacques Greene’s live A/V set at Bain Mathieu was no exception. Located on the east side of town, the former bathhouse was built in the 1930’s then abandoned in the 1990s, and in its current incarnation, it’s being used for cultural events and parties. Rightfully so, the space is polished and pristine, almost too clean for the subterranean vibe that should have been the focus, but was near to absent.

The weather outside was wet, well suited for the setting. Washed in deep blue light, the porcelain floors of the pool held part of the crowd while the rest watched from the surrounding mezzanine. What would have normally been the bathrooms became a second space, and having two rooms broke up the sound stream nicely, so one could choose music based on their mood.

Hailing from Montreal but currently holding it up in Toronto, the evening’s headline Greene hasn’t released a record since 2014. His new album has been long awaited, and the live A/V set was promoting its arrival. As a result, this show was anticipated on the home front. Although he played just a week prior at the one-time revival of his crew’s Turbo Crunk party, the Bain Mathieu showcase brought a totally different crowd. Clad in black, the majority of those in attendance stood stoically, casually sipped their beers, and waited for Greene to take the decks. Running slightly behind schedule, he seemed stressed. A thick pane of glass hung over the booth, with his recent single title “You Can’t Deny” cascading softly over it.

The set itself felt slightly flat with Greene gently bouncing to his repertoire of well-known tunes and mixing in new track previews. The visuals were underwhelming, though streamlined and clean following his usual aesthetic. A large group gathered below the booth to dance hard, looking up in awe as if he were some sort of club-God – and there is no doubt, Jacques Greene has clout. Although his sound has yet to dip away from its recognizable samples & synth lines, there is something special about the way he structures his music. Greene understands a certain brand that isn’t necessarily in fashion at the moment, though he knows how to package it.

His sound has always been next-level ethereal, led by rounded-out signature melodies, oscillating between dance-floor-ready electronica and lush ambient house, with hints of R&B chilling in the background. He creates full-fledged soundscapes: tracks that grow, swell, and flow, tracks that have a serious crescendo. Towards the end of the set, Greene apologized to the crowd a few times for his lateness, showing a typically Canadian side. As a longstanding fan, the show didn’t make a huge impression. Maybe it wasn’t the right space, or set up, or crowd, or vibe, or maybe it just wasn’t his night.

The post RBMA, Jacques Greene at Bain Mathieu appeared first on Quip Magazine.

Red Bull Music Academy is taking over Montreal for a month of shows, exhibitions, and talks. Place Des Arts opened its doors to The Cinquième Salle. The room was nearly pitch black upon entrance, with a barely lit stage to match. The balcony seating felt awkward for those arriving late; people clutched their beers tightly as they tried to navigate the space. Photography was prohibited, and phones were kept out of sight for most of the show, in an attempt to embrace and engage with the full experience. But, as usual, a few broke the rules and pulled them out, texting nonchalantly under jackets, looking up every once in and while to make sure the show was still happening.

As the lights dimmed following the second intermission, Jean Michel Blais and CFCF aka Mike Silver entered from opposite ends of the stage. Neither addressed the audience, but instead, made way to their individual instruments, heads down in a gesture of intense focus.

This was the first live collaboration between Silver and Blais, though both are currently based in Montreal, and are highly respected in their individual creative fields. It has been a significant year in the realm of their careers, as Silver was nominated for a Grammy for his reimagined version of “Berlin By Overnight,” a striking violin piece originally composed by Max Richter. Jean-Michel Blais was signed to Arts and Crafts and has just released his debut LP Il, a mixture of classical composition and ambient sound.

The two collaborated effortlessly, or so their live show suggested. They displayed a minimal setup, with only Blais’ piano on one end and Silver’s laptop as well as a few midi controllers on the other. Blais perched in front of the piano, fingers gliding across the keys; he plays with such precision he could be mistaken for a pre-programmed machine. Silver is known for his creation of beautiful textures, layering found sounds over ambient fabrics and electronic drum structures; he did not disappoint, standing stoically behind his apparatus.

The pair created something suggestive of a cinematic experience; sound standing in for image.  Although visuals played out behind them (geometric shapes dancing in monochromatic and pastel colors), they crafted the narrative by way of resonant noise, detached vocal samples, and atmospheric melody. Their compositions started off light and airy, but gradually built into complex and profound stories. Blais’ piano harmonies were artfully pulled through Silver’s setup to feed out looping ambient structures backed by throbbing and oscillating beats. Their re-conceptualization of classic pieces by Steve Reich and John Cage was stunning; Silver adding playful synth tones into the mix, making things feel poppy and upbeat while still maintaining the emotional breadth and depth of each original piece. They performed an adaptation of Silver’s “Berlin By Overnight” remix, which was a personal highlight. The remix alone leaves the listener without words, but seeing it come to life was astounding. Blais took ownership of each note while Silver delicately assembled the intricate accents and vibrations to round out the song; they crafted something heartfelt and cry-worthy.

Blais spoke in French mid-way through their set, explaining to the crowd how he and Silver began working on the project. Later, Silver filled in the Anglo audience. They revealed that the performance was the culmination of a month and a half of intensive work and experimentation. Their dedication was visible, the show appeared to flourish without flaw. Blais and Silver drew the audience in close, held them tenderly in the folds of their mixes, moved them, and brought them outside of their quotidian experience.

They were honestly captivated; the performance was a definite top feature of the ongoing Red Bull Music Academy series currently taking over Montreal. The series thus far has reached well beyond the typical Montreal show, and Jean-Michel Blais and CFCF seemed right at home among the high-caliber work that has been shown.

All images courtesy of RBMA

The post RBMA MTL: CFCF & Jean-Michel Blais at Place des Arts’ Cinquième Salle appeared first on Quip Magazine.

Kandle and the Krooks: Kandle Osborne, the lead singer of Kandle and the Krooks, has an excellent stage presence. To top that off, The Krooks feature some pretty reputable MTL musicians including: Jason Kent, David Deias, Felix Duotte, and Tim Fletcher. The singer joked casually with the crowd at her sold-out Saturday show on the Ubisoft Terrace. The setting was quite spectacular, overlooking Montreal’s Mile End at dusk. Pretty much everyone rushed to take a selfie with the setting sun. However, a brief interruption occurred as something/someone triggered the building fire alarm. Everyone was evacuated outside for a chilly 30 minutes, and the crowd dwindled down. But for those who stayed, Kandle and the Krooks continued. The sky was blushing hot pink and red as Osborne wooed the audience with her tender folk melodies: she sings, and it, legitimately, makes you melt. For all its hiccups, including a broken amp and the nine flights of stairs, this was, without a doubt, one of the most delightful shows of the festival for the talent and skill of the band alone.

John Waters: John Waters represents the unconventional: a counter-culture God. His Saturday night lecture/stand-up set at Theatre Rialto featured a bare stage with a single tiny table holding a vase of flowers, a glass and a pitcher of clear liquid. Waters looked clad in his classic mint, mushroom patterned suit, red tie and ornamental Vans slip-ons. He strung together a well-crafted narrative about his longstanding history in DIY queer-centric film production and its relationship with the current state of affairs in America and the world at large. Much like his films, Waters held nothing back. He was honest, heartfelt and hilarious, and as instructed, the audience kept their phones in their pockets; living in the whimsical moment that Waters created live.

Hand Cream, Not You: Following their Brasserie Beaubien show, where some troubling technical difficulties occurred, both Hand Cream and Not You played a secret show at Drones late Saturday night alongside Un Blonde and New Fries. Hand Cream hail from Montreal, and have a chill vibe about them. They could be a cross between the Beach Boys and Cluster: a post-pop noisy outfit with droned out, dreamy vocals. Hailing from Halifax, Not You has a similar vibe with a 90’s inspired tang. The women who make up the band are some serious musicians, and you can tell that they’re having the best time while onstage. Fellow bands watched on as they truly rocked the house, making up for their frustrations from earlier on.

Image by Louis Longpre for POP MTL

The post Kandle and the Krooks, John Waters, Hand Cream and Not You at POP Montreal appeared first on Quip Magazine.

BizZarh, Ice Cream: Joining Montreal from Toronto, duo’s BizZarh and Ice Cream gave some especially skilled and sassy sets on Friday night at Brasserie Beaubien. Ice Cream’s post-pop no wave sound is smooth and sultry, while still maintaining upbeat tempos and romantic vocals. These women were a dream to watch. BizZarh uses hip-hop tropes but takes a modern, trap-inspired approach: reminiscent of groups Gang Starr and Digable Planets with dark, wavy undertones. Their out-of-this-world live show was chill but hype with both women captivating the audience and creating a surreal vibe.

Angel Olsen: Olsen’s show at Theatre Rialto was so powerful, it’s difficult to put into words. Opening for her was Montreal’s Best Fern who give off an ambient, soft vibe that is gentle on both ears and eyes. As an anticipated festival headliner, Olsen had to meet fairly high expectations. Nonetheless, she delivered. Her large backing band was a perfect accompaniment to her haunting vocals. Not to mention, Olsen was syrupy sweet with the crowd, giving her Dad a cute shout out mid-show. Her songs translated without flaw to the live setup, as the balcony welled up, clearly feeling far too much and not knowing how to handle it.

Le Clubhouse POP: Granted this isn’t a band or performer, but throughout the weekend several highlights occurred at Le Clubhouse POP. Friday night’s basement reggae party was strong, co-presented by CKUT. They booked some incredible artists including Brigadier Jerry and Kingston 12 Hi-fi. In the same space on Saturday, Uniiqu3 was a showstopper; an incredibly powerful vocalist and performer. Upstairs, the venue, which was a ballet studio converted, was packed. It featured Canadian acts including Blood and Glass, Fake Tears, and La Fievre. The main level of the Clubhouse was a hub for people and artists alike to chill, charge their phones, grab a drink and mingle. LIP founder Frankie Teardrop mixed for those who were just hanging out. A bonus at Le Clubhouse were the snacks available throughout the fest, a different local chef showcased each evening.

Image by Louis Longpre for POP MTL

The post BizZarh, Ice Cream, Angel Olsen, and others at POP Montreal appeared first on Quip Magazine.

Montreal continues to be a hub of wild creativity and reckless abandon, on the forefront of what’s hot in music and art. One festival, POP Montreal, means serious business. The not-for-profit curated cultural event spans over 5 days, and features both local and international artists. The festival offers live performances and talks as well as art, film, and fashion showcases. POP’s mandate is to celebrate emerging artists, giving voice to individuals and groups that deserve recognition.

POP was thought up in 2002 by friends Peter Rowan and Dan Seligman, and last week, it capped off its 15^th year. POP’s longevity proves that its model is successful, having expanded from an $8,000 budget to a million dollars, from 15 venues to over 50 as well as corollary events such as Film Pop, Kids POP, and Puces Pop.

The festival has helped put Montreal on the map as one of the leading centers for providing an introduction to a new generation of independent talent. This year, POP pulled in some big names but still maintained exposure for the DIY homegrown talent. Here are some of the highlights from this year’s festival:

Un Blonde: Montreal locals Un Blonde played a short but ultimately sweet set at Casa Del Popolo on Thursday night alongside acts The Submissives and Carla Sagan. Un Blonde’s recent release Good Will Come To You has been very well received, and although they play fairly frequently in the city, singer Jean-Sebastian is consistently impressive, always a treat to see. Un Blonde’s most recent record is heavily rooted in gospel music, and differs slightly from the drone guitar melodies of earlier jams. The new songs translate smoothly to live performance. The band bathed in red light lulling a small and respectful crowd into silence.

Babyfather: Babyfather cast a smoky shadow over the Thursday night audience at S.A.T, opening for Kode9. Outside the venue, the weather was pretty cold and miserable, but Dean Blunt and crew packed serious heat. The London group’s music functions like a tool of political and artistic protest; it hardly feels the need to follow “good” music guidelines. They featured off-kilter, off-tempo beats, Angelo Badalamenti-esque string, horn and synth samples paired with lo-fi, pitched down vocals. There is a melancholic feel to their live show that is both relatable and uncomfortable, as they experiment with themes appearing frequently in American hip-hop: money, lust, drugs.

Partner, NoBro, Birds of Paradise: are talented humans, and a favorite among bands in the Canadian scene. They headlined the show at Divan Orange on Thursday evening, visiting from Sackville, NB. Their music has a sense of humor while exploring themes of queerness, intimacy, and Canadaiana. Live, they were somehow charming and intimidating at the same time. Montreal’s NoBro are a serious dose of doom: they’re a youthful hit of guitar-centric garage rock. These ladies can shred and they know it, their music is confident and fun but packs a serious punch. Birds of Paradise are a cross between PJ Harvey and Scout Niblett. Their sound takes a slower, lower, electronic approach with some surf rock thrown in the mix. At times it’s confusing while feeling new and dated at the same time. For that, it’s intriguing. Listening to them live felt like being trapped in a dryer with an MP3 player, quite the ride.

Image by Louis Longpre for POP MTL

The post POP Montreal: I’ll have a HiPOP Montreal appeared first on Quip Magazine.

The humidity rolled into the city last weekend, as Montreal’s population grew with an influx of tech heads and electronic music enthusiasts visiting for this year’s Mutek. The festival boasted a stacked lineup, with some of the world’s electro pioneers showing face alongside smooth newcomers. There was a palpable energy: enthusiasm saturated the streets.

Each evening found various venues packed to the brim until early AM. Two main venues hosted this year’s festival: Montreal’s Museum of Contemporary Art (the MAC) and centrally located, swanky mega theatre Metropolis. At the MAC, where mixed-media installations reigned, most spectators stood still with mouths gaping and eyes wide, the odd word uttered to express contentment. At Metropolis, where the vibe was heavily focused on the atmosphere, the party, people moved rather than spoke. Though, few sat solo in the bleachers watching the sea of bodies just below, ebbing and flowing to the techno, the deep house, the minimal. Even the daytime events attracted a wide range of fans: from families to curious teens and tourists who were just checking out the bass booming from behind Place des Arts.

Here are some particularly hot highlights from the 5 days of lush tunes and warm bodies in close proximity:

Aisha Devi played the MAC on opening night. The crowd was sparse but her performance definitely made up for it, filling the space with a wall of layer vocals. Her visuals evoked a vapour wave, mall soft vibe: geometric shapes, half naked bodies, bright colours, images of the sea. Her voice delicately swam and took center stage as she sang to her ancestors, her music heavily influenced by familial relations and places she’s lived. The stage was later cleared for Moritz Von Oswald, who sat unaccompanied in front of a laptop on a leather office chair: no frills. Frankly, he looked animatronic, bored almost. His lack of expression and lassiez-faire movements seemed to intrigue the crowd: the spectator/audience relationship was broken momentarily as people curiously snuck up to the side of the stage. “Who is this guy?” was uttered several times, and the people who knew ignored the question and continued dancing along to his dark dub.

Canada’s own Tim Hecker ‘s intricate light installation expanded the minds of Thursday’s crowd. Cascading glass beams of colour hung at the front of the room, shifting shades to accompany his minimal, ambient set. A heavy layer of smoke hung over the crowded room. Hecker’s soft sounds mimicked field recordings, with hushed tones and sharp pulses that elicited an imagined soundscape from a Sci-Fi rainforest. Swedish born Peder Mannerfelt’s set was a trip, taking over the basement of the MAC. A long blonde wig covered his face like a mask, adding to an already eerie vibe that his goth electro evokes. Behind him, a giant screen projected his image on repeat, bright colours oscillated alongside his cosmic synth meltdowns and bass-heavy buffering. His performance left the crowd blurry eyed and dizzy, wandering into the night like zombies on the prowl for fresh meat.

Lakker’s Friday night set at Metropolis was astonishing, one of the best of the festival. The noise duo from Dublin owned the large space, sending the crowd into a giddy frenzy with good reason. Their techno harnesses an industrial, post-apocalyptic vibe, mixing in sensitive, pure points of vivid sounds. They don’t try to fit into any club-music category, creating a space in electronic production that is both dissonant and harmonious. Dasha Rush took a different approach, with a paired-down performance that was sophisticated and mellow. Rush is an extraordinary producer, and her live sets exceed her production. She knows how to harness the noiseless noises, the silences, the empty spaces that are crucial in techno music. Although Metropolis as a venue did no favours to her sound, she reined in the crowd with her purring, her drawling, her humming: and of course, the boom of the bass.

The Boiler Room event at the Satosphere on Sunday was the ultimate wind-down to five days of music. The space’s design is dream-like, with a screen that stretches as a dome over the dance floor. Sepalcure’s set focused heavily on melody and vocals, tying in some bouncy UK garage to keep the crowd bumping. Iron Galaxy played to his strengths: his performance was clean with indie-electro beats, harmonious house melodies and flawless mixing. Martyn started off slow, carefully building his soundscape to match the depth of the room. His synth twinkled as the crowd crooked their necks towards the ceiling to watch the work of the VJ. Casually, Martyn picked up momentum, and the focus quickly shifted from the screen to the floor. A mixture of bass heavy music with a touch of techno, his set was one of the most eclectic of the weekend. 

Rounding of the party for one of the finest acts of Mutek, was local Project Pablo’s live set. It was, for lack of a better word, perfect. Swaying his head from side to side, clad in baseball cap, he sailed between his hardware and keyboard, twisting knobs that released chirpy, high pitched tones over shimmering refrains. Showcasing an incredibly intimate nu-disco performance, Project Pablo has a swanky style with just the right bit of edge. His sound is chilled out: down tempo that still makes you want to dance. His music is sexy without being salacious: it is well-crafted and well-informed in both production and performance. His tunes were the ultimate night-cap, sending tired spectators tenderly back out into the real world and leaving behind their dreams of Mutek.

The post Exploring music through the night at MUTEK Montreal appeared first on Quip Magazine.

Montreal’s Suuns produce music that is cool, calm, and collected: prog-pop melodies with a wry vibe. Their last two LP’s Zeros QC and Images Du Futur were refreshing and sleek in a scene that was mostly saturated with derivative and overly complicated lyricism and production. Yet unlike their first two albums, their newest LP Hold/Still has a discomfort which resonates just below its shiny surface, and their songs seem to hint towards something deeper.

The album is accessible to the average listener, but it’s also tinged with a distinct knowledge of the past: a sense of history that a music lover will recognize. Hold/Still is steeped in reference points; from prog-rock to German experimentalism to shoegaze to new wave to pure pop.

I caught up with Suuns drummer Liam O’Neill to discuss Hold/Still, among other things.

Amanda Harvey: Hold/Still feels very different from your first two LPs. Can you please talk about this progression?

Liam O’Neill: ‘Twas a very fine progression. For us, we did it in a new place with a new producer, and having those para-group elements always changes your process. It’s funny to think that if we did the record in Denmark with Q-Tip producing, we’d have not only another record, but probably a whole different genre. You know what they say: Location, location, location.

AH: Does location have an influence on your sound? 

LO: Nope, location isn’t really that important to us. In the end, you’re just kind of in the studio, a totally insular environment, working on your shit. The process in Montreal is slightly more social, which may influence things, but it’s actually kind of impossible to tell.

I think more than the cultural environment, whose influence is undeniable but impossible to measure, the experience of working with one person or another really matters. ‘Cause at the end of the day, making a record involves so much social interaction, so much communication and miscommunication, so much conversation about aesthetics. Of course, we are the products of certain cultural communities, but that influences the writing of the music – that’s the position you are taking in society, and more of a long-term thing. But when it comes down to the studio, recording time, it’s Friday Night Lights, baby, and it’s all about that sweet, sweet convo.

AH: Where do you look for inspiration when writing/producing?

LO: Mostly “Friday Night Lights”. Fuck, that song gives me g-bumps every time. At the beginning? Man.

I mean, we reference other music while making our own – that’s just kind of an effective way to communicate, like if I say “two” you know that that is more than “one”. Mostly, what inspires us is the alchemy of trying in vain to communicate with each other. That’s how you get to the interesting shit, I think. Understanding each other one minute, missing each other the next.

AH: I’m curious about the Dark Sky remixes of “Translate” – as electronic manipulation seems to play a large role in your sound, how do you feel these remixes play off of the original?

LO: Yeah, well I wouldn’t say that we employ electronic manipulation so much as we just use electronics. There is very little post-production of the electronic variety or any variety when we record. So in that way, a remix of our music is like any other.

However, I will say that the sounds we use, especially the synth sounds, are very much derived from dance music and so lend themselves really well to being remixed. I’d imagine that Dark Sky had a pretty easy time with that jam.

AH: How do you feel about appropriation (culture jamming, remixing) within the industry in general?

LO: Culture jamming is a word I haven’t heard in a while. Takes me back. Well, that is a huge question, of course. There is more awareness than ever about the politics of cultural appropriation in all kinds of social arenas, music being one of them, and it’s important to be mindful of that. But it’s also good to consider exchange and how beautiful that is. Like, what do we want? Each ethnic group plays its own unique music and we are all separate, doing only things that we are “entitled” to do? Hm. Dunno. It’s good we are having a more active conversation than ever about this stuff now.

AH: If you could collaborate with any artist or group of artists, who would they be?

LO: I’ve always found the Balinese Gamelan tradition to be fascinating. Maybe we’ll collaborate with an LA studio band to imitate that kind of stuff in the future.

AH: I read on your Twitter that you consider all music to be ‘experimentation’ – could expand on the words ‘experimentation’ and ‘tradition’ and the role these words play in the conception and production of your music?

LO: I mean, yeah, it’s not like we’re playing music randomly and just gonna “see what happens.” All music is an experiment in the way that walking out of your house, or making a cup of coffee is an experiment. I didn’t write that thing on Twitter. Probably it sounds like [bassist/keyboardist] Max wrote that.

We partake more in tradition than experimentation, I think. It’s more a matter of combining various traditions into a form that we consider to be something new, which I suppose is a kind of experiment. But certainly it is not “pure” experimentation. What are we talking about again?

AH: Ha! Ok, lastly, what are your favorite Montreal spots that no one has ever heard of? Places you like to go to disappear rather than to be seen.

LO: If I told you, I’d never stop being hounded by the thousands of fans dying to meet me – I’ve taken to wearing ball caps and Ray-Bans in daytime.

The post Montreal’s Suuns refuse to “Hold/Still” with their latest LP appeared first on Quip Magazine.

Jeremy Greenspan and Matt Didemus collaboration Junior Boys has been on a brief hiatus. The electro-pop pair haven’t released an album since 2011’s It’s All True, and have spent the last five years working on personal projects with other hot Canadian acts like Caribou and Jessy Lanza.

Hailing from Hamilton, Ontario, Greenspan and Didemus have been making music together for over a decade, delivering four full-length LPs and two EPs to favorable reception. Greenspan’s flirtatious and melodramatic vocals alongside the Boys’ unapologetically 80s-inspired synth lines helped craft a previously missing tight-knit groove in the Ontario electronic music scene. Junior Boys continue to remain relevant in a subgenre that has almost lost its mod edge.

The duo teased two singles late last year from their newest LP, Big Black Coat, helping to create a murmur for the album’s release early next month. Greenspan whispers to listeners on the title track, “everybody wants to be in your big black coat, everybody wants to have your style”, also expressing the complexity and intimacy that Junior Boys possess. They have a distinct signature style that might seem transparent and imitable, but their sound carries a weight like fine-quality leather or wool: heavy, deep, and rare.

Opener “You Say That” is cool and current, with a strong trap drum line rounding out the song.  A quick cough comes in at the end, potentially suggestive of the distinctly Ontarian vibe Junior Boys allude to: puff, puff, pass, anyone?

“C’mon Baby” implements a laid-back wobble bass, cooing the listener into a lull. The track is smooth like a velvet sheen, reminiscent of a song from a John Hughes movie. Their contemporary take on 80s synth pop is playful and passionate; Greenspan tells the listener, “I dreamed of you again last night” as the song builds. It ends crisp and clean with a dramatic halt of sound.

“M&P” uses distorted vocals and unexpected punches of synth during the chorus line — the track seems most unlike Junior Boys’ typical melodies, but it still fits snugly into the middle of the LP. “No One’s Business” is a short track that has Greenspan echoing soft musings into the listener’s ear with his delicate vocals; his voice mimics the movement of silk gliding against skin, soft to the touch.

Their cover of Bobby Caldwell’s “What You Won’t Do For Love” bares almost no resemblance to the original, lyrics aside. But the arpeggiation and lush keys leading up to the chorus is magic. When Greenspan finally reaches “what you won’t do, do for love”, one can imagine it being 5 a.m. at a club, dancing with eyes closed, hands up, head back: a moment of pure bliss.

“Baby Don’t Hurt Me” is the album’s only slow jam, a track that could have easily been placed on Sofia Coppola’s Virgin Suicides soundtrack. It is quiet and melancholic, the melody enveloping the listener like a comfortable blanket.

The post Junior Boys’ “Big Black Coat” traps listeners in its folds appeared first on Quip Magazine.

FaltyDL is all about evolution. He released his most recent LP, The Crystal Cowboy, under his name, Drew Lustman, rather than his more familiar alias. He’s moved from label Planet Mu to Ninja Tune. He even created his own tag, Blueberry Records, to slot into the mix of the record industry. For his latest two-track EP, Visceral, Lustman has returned to his moniker. But even though the name calls back to music past, his new release relays an obvious progression.

The EP starts with the self titled “Visceral”. A refined track with a multiplex of layers: the elements slowly swell as the song pushes itself forward, growing in depth by the second. Lustman’s music incorporates orchestral samples, signature to his sound. Opening with a delicate pan flute and xylophone accompaniment, the melody is quickly carried to a swift pace with snapping strings and a steady drum structure. The rhythm has a rolling pulse that is a staple of Lustman’s work. Each instrument is carefully considered as it’s added into the crescendo. Throughout the track, Lustman allows for short moments of clarity where main samples drop out, permitting gentle maracas and chimes to sway softy in the background.

“The Ah Track” follows next on his EP, opening with a metronomic tap of the high hat. Like “Visceral,” this song boasts a slow burn build, but with a much more mellow approach. It’s reminiscent of early Orbital, with that 90’s style lounge/house vibe. The wandering synths lays a thick, cozy coat over the listener, enveloping them in a dream-wave-state hypnosis. Unlike his first track, “Ah” is minimal in its elements: monochromatic, clean and crisp. This seems to speak to where FaltyDL might be heading, if we catch his redolent drift.

The post FaltyDL’s newest release: “Visceral” EP appeared first on Quip Magazine.

With the breadth and depth of lyrics that spit from GoldLink’s mouth, it’s hard to believe that the DC artist is a mere 22 years old. “Tell me what you really wanna say?” he whispers to the listener on the track “Polarized” from his forthcoming LP And After That, We Didn’t Talk. Listening to the album, it’s evident that he’s an artist who isn’t afraid to speak his mind.

Citing influences that include Edgar Allan Poe, Grimes and Pink Floyd, GoldLink’s self-described future bounce sound is singular in hip-hop: his music carries a heavy, palpability that isn’t easy to categorize.

Born D’Anthony Carlos, he was a relatively elusive figure up until recently, adding to the intrigue of his music. He’s been slowly making his way into the public eye the last two years, and his slick, fast paced rhymes alongside his pristinely produced beats have gained him praise and notoriety. GoldLink’s first LP The God Complex was self-released last year, and this past summer he headlined his first North American tour.

And After That, We Didn’t Talk opens with a crash – literally. Initially disorienting, the first track “After You Left” slowly slips into a shimmering synth and mellow beat as GoldLink begins telling his story. His lyrics wax poetic social and cultural injustices: sometimes he’s so quick it’s hard to catch how well crafted the narrative is.

The album’s forth track “Spectrum” takes influence from classic house, it’s melody bumps along with a sultry feminine lyricist. “Late Night” is brutally honest: “You’re not the only woman in my phone,” he lets an unknown admirer know. These harsh lyrics are cross cut with rolling trap drums and a female voice confessing her obsession with the artist – but really, who can blame her? GoldLink knows how to make a person crush. “Palm Trees” is soft, sweet and reassuring. Polyrhythms, classical strings and standard hip-hop beats take the listener to the beach: “Listen to the waves, I can be your fantasy” – definitely.

GoldLink’s sound is a fantasy for the music obsessed. His album flawlessly fluctuates between genres; all of his vast influences are able to find their place. Afro-Caribbean drum patterns cradle gospel vocals; hometown funk influences seep in, intertwining with his distinct, tight-lipped voice. Everything is neatly tied together: And After That, We Didn’t Talk is really an ethereal, yet candid, dream.

The post GoldLink’s newest LP fulfills fantasies appeared first on Quip Magazine.

The opening track, “Do You Go Up,” from Khai’s debut EP, If You, draws the listener in close, asking in a sultry coo, “Do I make waves in your body, love?” 

This week, the Octal Sound label’s newcomer released If You, a 5 track mini album that attests to his wide-ranging talent. The EP is Khai’s first solo project, and was written, produced and sung almost solely by him alone. The songs are soothing and sharp, as each track unfolds to reveal another side of his incredible range. 

The only collaboration on the album is “Take,” which features Chicago native CYN. Her soft voice works perfectly alongside his clarion sound. The song seems to oscillate somewhere between electronica and R&B, making this a definite sway-worthy track. “Into the Dark” harks back to the keys of the early Ratatat song “Cherry”; it’s synth heavy melody harmonizes with Khai’s voice, as both lyric and refrain linger tenderly over the percussion.

Khai’s experimentation with tempo is noteworthy. A particular gem is title track “If You,” which features lagging vocal echoes, vivid arpeggiation, silky 808 drums and a shrill synth stab. Somehow, Khai manages to delicately blend all of these elements together without cluttering the song. Also skilfully mixed is “In Void,” which opens with a peppy gamelan vibraphone sample and quickly drops time to incorporate slowed down trap drums. These melodic and rhythmic combinations are particularly reminiscent of Lorde’s debut LP, though Khai’s approach has a much tougher undertone.

At times, Khai’s lyrics can come across as simple and repetitive, but in most instances this works in favour of his overall sound. His music has a manifold of subtle noises sprinkled throughout, and complex lyrics might overwhelm and remove from his acute attention to detail. He has truly crafted a fresh EP, asserting that he has a solid foundation to build upon. We’re definitely looking forward to what’s to come from him.

The post Khai “If You” debut EP is a promising beginning appeared first on Quip Magazine.