Annie Hamilton is an artist who wears many hats. Based out of Sydney, Australia, she is a musician, a fashion designer, and a visual artist. She plays guitar in the band Little May and for the artist Jack River. But now, she is releasing her solo project, a self-titled EP.

While nothing on this EP is very surprising, as four of the six songs have already been released, it has a sense of completion that wasn’t apparent with just the string of independent singles.

Her EP primarily examines the aftermath of break-ups and the strain of waiting for feelings to diminish. But she digs deeper than just the sadness of missed feelings, she openly expresses her struggles with anxiety and control. We see this theme woven through the entirety of the EP, whether in a song about a break-up or a song about understanding herself. In this vulnerability, we not only see Hamilton discover herself as an artist but grapple with her own identity as a human.

Soft vocals over fuzzy noise forge a spinning feeling in her music that complements those anxious feelings and also taps into a sound reminiscent of 90s shoegaze. Her music falls into the genre of indie rock, but you can’t hide that grunge influence creeping through with staticky guitars, distorted crescendos, and broody lyrics. This style is immediately solidified in her first two tracks “Fade” and “Kitchen.”

“My New Tattooed Chameleon,” shifts into a more swinging beat with a lighter composition opposed to the preceding. While it still holds a messy aesthetic, it is slightly less constricted—a sort of breath of fresh air from the previous claustrophobia and anger. And within this flexibility, she explores change.

The EP begins with three familiar songs, her fourth track, “California Carpark Concrete” leads the transition into her newer tracks. In this song, she follows more of a folky sense of storytelling especially in the recurring line, “they say if the crocs don’t get you, then the sharks will,” which feels like a tough-love line of advice your grandpa might deliver.

“Oxygen” starts with an electric organ that recalls some spirituality. She pairs this with lyrics of trying feelings. However, it doesn’t have the same desperation that her other songs hold. In “Oxygen” she is more sure of herself and clear-headed.

The EP finishes with “Panic,” her latest released single. And it’s a tone up from the more mellow last few tracks. “Panic” wraps up the EP with a fitting strength. Its all-encompassing noise has you fully stimulated—just like panic, really.

Annie Hamilton shows she is more than just an impressive guitarist, by finding her own voice in this EP. These tracks are like the diary entries you expected no one to see, as she speaks with both vulnerability and fortitude.

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In a true bedroom-music fashion dekleyn started producing in Justin’s tiny childhood bedroom and over the years have moved into the spare bedroom in the rental house Justin lives in, he shared with us over email. Most of the time “the songs will start with a simple 20-30 second loop with mumbled words over the top” from the duo come together and “start to form the structure of the track and continue working on the lyrics both together and individually.”

After releasing the EP Thrive in 2019, dekleyn buckled up and are now focusing on their debut album. The duo have already written quite a few songs and hope to tour with the new album when the time is right. For now, as the teaser of the upcoming album, Matt and Justin are sharing a new single titled “One More Night.” The song is a story of love, heartache, and mixed emotions.

“We really enjoyed working on this one, it was the first song we started working on after we completed the Thrive EP. We finished it, scrapped it, re-worked it, and eventually after months of work we got the track to a place where we love the energy it brings, whilst also having an emotional aspect that shines through when you focus on the lyrics.”

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Peach Pit, the Vancouver, B.C.-based quartet is back with their sophomore album, You and Your Friends. The band, falling somewhere between surf rock and indie pop, is known for their detailed storytelling, with Neil Smith as their mellow-voiced narrator and brought to life by Chris Vanderkooy’s funky guitar riffs. They’re still singing their sad boy hearts out about hazy bedrooms, drunken stupors, and girls scrolling past their Instagram pics. But smoke clouds break for sunny days in this new record, as they have gravitated from their moody sound that was prominently held in their first album Being So Normal (2018).

They start out with a bang. “Feeling Low (F*ckboy Blues),” a title that could easily double as their style of music, is entirely ear-catching. This track was also released with a Lucha Libre inspired music video that compliments the quirky electricity that carries throughout the rest of the record. And in a well-organized album, “Feeling Low (F*ckboy Blues), is the perfect reintroduction and showcase of their talents as both individuals and a collective band.

They back this hit with another previously released single, “Black Licorice.” It’s a tone down from their first track but will likely become one of their classics. You’ll find this style similar to the later “Shampoo Bottles,” a clever story of the remnants of ex-partners, from missed feelings to their old toiletries. They have become pros at masking melancholy behind funny lyrics and swinging tunes. And matched with an upbeat chorus and intricate guitar work, these songs are quintessential Peach Pit.

“Figure 8” comes with a shift from their typical sound—featuring more the likes of a mainstream pop ballad. In this song, Peach Pit becomes our stoner boy band, and even with the cliches, there’s something deep inside that still tugs at your heart.

“Puppy Grin” also takes a different turn, with an energy reminiscent of Panic! at the Disco. They toss between a controlled steady beat and twisting and turning reverb that mimics their lyrics of questioning feelings. Ultimately, it results in a controlled chaos that makes you want to dance out all that built-up tension.

Then we fade into the easy-breezy middle section of the album. “Brian’s Movie” kicks it off with a conversational and groovy surf-pop tune. The easy listening continues with “Camilla I’m at Home” and “Second Life With Emily.” They might be singing of broken hearts and lost love but they still come off as feel-good songs. Initially, this section is so relaxed it might come off as forgettable, but it proves itself to be the center of this jelly donut—pleasantly sweet and sticky.

When “Thursday” begins to play you might think you were listening to a completely different band. The addition of a synthesizer coupled with Neil Smith’s soft vocals makes it especially ethereal. It has you feeling like you’re floating through outer space and then quickly spinning back to reality with some fast drumming and guitar distortion. 

“Your Teeth” is sure to be a catchy standout. The oddity of the lyrics will catch you by surprise, but you’ll likely get swept up in the flirty beat and will quickly find yourself crooning along.

The album finishes with its title track. All you can hope for is a safe landing, and “You and Your Friends” is that, but only that.

Peach Pit proves they are willing to experiment with some new tricks and sounds, but they still keep to the creative storytelling and impressive guitar work that makes them recognizable. With conversational and relatable lyrics, it’s hard to remember they’re not your actual friends filling you in about their latest crush or drunken night. And with You and Your Friends, it seems they’ve moved their kickbacks out of the hazy basement and onto the sunny front porch.

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Hailing from Toronto, Canada, Kiwi Jr. will be releasing their debut album, Football Money on  January 17th via Persona Non Grata.  Opening for the likes of Alvvays and New Pornographers, their sound is a mix of punk and jangle pop, reminding the listener of heavy hitters like The Cars. Composed of singer-guitarist Jeremy Gaudet, bassist Mike Walker, guitarist Brian Murphy, and drummer Brohan Moore, Kiwi Jr. is a bright spot in the punk scene.

Starting with the third track, “Salary Man,” we get a feel for how the rest of the album will play out.  This modern take on Japanese slang for an office worker finds the lightheartedness in the plight of 9-5 drudgery with lyrics like, “I want cigarettes from Japan that taste like oranges.” With an easily digestible, rollicking tune and simple, semi-shouted lyrics, “Salary Man” sets the tone for the rest of the album.

Just one song down is  “Gimmie More,” where the punk elements of this album begin to shine. The repetitive lyrics, singing “gimmie more,” and the twanging of the guitars make this upbeat track have the air of earnest. What’s great about this song is that it’s an upbeat narrative of the dissatisfaction one feels with growing up and finding that being an adult isn’t all that it’s cracked up to be. Near the end of the song, it builds to a buffet of instrumentals, as if the acceptance that “more” isn’t always what one needs.

The 6th track, “Soft Water Apple,” is as soft and sweet as its name implies. Slowly fading into a soft melody, this short song is 1 minute and 7 seconds of pure bliss. The soft, wailing synths blend with watery bass lines, painting a mournful picture that is a delight to listen to. It’s a welcome departure from the enthusiasm from the rest of the album. Without the sharp sounds of the other tracks, Gaudet’s vocals are able to shine.

The first few seconds of “Swimming Pool” is like something straight out of the ’60s. The first few seconds of chiming guitars on this 9th track are a warm undertone to the song. With the addition of a tambourine, the song opens into a gooey landscape, one that encourages listeners to have a lazy moment. The drums beat out yet another simple rhythm, allowing for the guitars twang to reverberate in a way not unlike the classic, jangle pop sounds of R.E.M.

Kiwi Jr.’s debut is short, sweet and addictive. Their easily acceptable melodies paired with repetitive and punchy lyrics make for an album that can be played all the way through, no skips necessary. The band will be kicking things off with a UK tour, followed by gracing the stage of Austin’s SXSW in March of 2020.

Image by Padrian McLeod

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Entry into the gated festival area is a rainbow-shaped gate with a quilt-like pattern, immediately setting a wonderland-kind of mood. This front area of the park is called Underground Village and is hosted by Underground Lauderdale, an official organization shining a spotlight on the largely undiscovered wealth of cultural experiences in the Greater Fort Lauderdale (GFL).

The sandy dunes are divided by walkable pathways, framed by art structures, attractions from the Renaissance Festival, oversized and textured beach balls, blowup igloo, and an array of brand activations like full-body dipping and a floor piano at the tourism booth. The early attendees can be spotted relaxing on beach blankets, basking in the sun, while celebrity chefs from the Maximus mobile kitchen are doing live food demos. Shortly after one of the food demos came to an end, L.A.’s K.Flay took the stage for her afternoon performance.

The singer and lyricist, dressed in all white, began her performance with “Not In California” and  “This Baby Don’t Cry” off her recent release Solutions. This performance is a part of the Solutions tour so naturally Flay spoke to her motivation and search for solutions when greeting the crowd, encouraging them to do the same and concentrate on what they truly care about. The fans were eating up Flay’s words like cake, nodding in agreement while gripping to the barricade trying to get closer to the artist. Pacing back and forth along the stage, occasionally picking up her guitar, playing with the bandmates, and dancing during vocal breaks, K.Flay is contagiously energetic and incredibly hard to not dance along with.

Walking away from the Underground Stage, past Ford Blue Lounge where up-and-coming talent is playing more intimate shows throughout the day, is the Shipwrecked stage, decorated with giant octopus tentacles, already fully occupied by music fans sipping cold White Claw, patiently waiting for The Revivalists to start. Over a decade in the making, this New Orleans rock band is a staple not only in the NoLa scene but the genre in general and gathers a dedicated following for each live show. The band, generously spread out across the stage with a bright pink neon heart in the background, has great on-stage chemistry, seamlessly playing off of each other while David Shaw [bottom image] works the front of the stage engaging the fans. For nearly an hour the band played tracks from the latest album Take Good Care, like “You Said It All” and “Change” and some older crowd-pleasers.

Lauderdale is one of those few places where the nights are dark and with limited light pollution (mainly because the majority of the lights are dimmed as a part of the turtle protection program) so seeing live stage performances in this complete darkness is a very special experience. When Nashville’s Judah & The Lion began their set it was precisely that time of night. From an elevated viewpoint, you can hardly see the crowd while the stage pyrotechnics explode with spectacular power. Judah & the Lion, dressed in matching yellow t-shirts and track pants, had quite a few surprises during their set each of which drove the crowd wild with excitement.

The band’s latest release, Pep Talks, earned a lot of love since its release earlier this year so when Judah Akers began “Pep Talk” single a large portion of the audience knew the words by heart which Akers took advantage of throughout the set, inviting them to sing and clap along. Pep Talks is an album that aims to spread love and positivity and with anthem tracks like “Alright” and “Why Did You Run?” they undoubtedly achieve that message with impressive ease. The set ended with a squad of dancers, dressed in athletic tanks and track pants, performing a synchronized dance during which the pants tore off exposing short shorts – one of the above-mentioned many surprises from Judah & the Lion.

At the far side of the festival grounds is the dedicated VIP area with a side view of the main stage and plenty of space to roam around for all of those trying to avoid the mosh pit and long bar lineups. From this side, an elevated Cabana lounge offers a fantastic view of the Shipwrecked stage where The 1975s created a slightly surreal experience with a large neon rectangle framing Matthew Healy, interactively blending background and foreground visuals. The live video stream on the sides of the stage had matching graphics to go with the stage visuals, a seamlessly branded band performance. The 1975s music at times has bluesy undertones that when paired with pop synths sound a bit like K-pop. Healy, joined on stage by two backup dancers, kept on addressing the crowd as “Babies” asking how people were feeling and sharing how happy they all were to be back in America between tracks from A Brief Inquiry into Online Relationships and singles like “Sincerity Is Scary.”

Above two images are courtesy of Visit Lauderdale & World Red Eye

The weekend’s most anticipated performance, however, was The Killers. The band has been on a bit of a hiatus since releasing Wonderful Wonderful in 2017 but the fans haven’t forgotten. Earlier this fall The Killers released a lineup of stadium dates for the Imploding The Mirage tour nearly all of which were sold out within a couple of hours. The album by the same name is not set to release until Spring 2020 but the warm can begin now.

It was a show everyone was talking about and the one that the beach was particularly packed for. For over an hour the lead singer Brandon Flowers worked his way through the entire repertoire of songs with tracks like “When You Were Young” (Sam’s Town), “The Way It Was” (Battle Born), “Run For Cover“ (Wonderful Wonderful), and of course their breakthrough single “Mr Brightside” (Hot Fuss). Throughout the set Flowers shared small sentiments with the audience and how easy it was for them to say “Yes” to performing a Tom Petty tribute last year, which they once again did tonight. The live stream occasionally had music video effects to match the songs and was aired in full black and white for “The Way It Was,” very authentically retro.

Halfway through the set Flowers shared they had a song for people who like to drum and pulled in an enthusiastic fan to play “For Reasons Unknown” with the band. With the first few beats, it was obvious the guest player (17-year-old local Jayson Verebay) knew exactly what he was doing. The park audience erupted in proud cheers as Jason expertly drummed his part in the song, and on the way out he did a quick interview with the Rolling Stone. Needless to say, Jason’s life has changed since but we’ll have to wait and see what he’ll do next.

***

November in Fort Lauderdale is a southern winter, mostly noticeable through waves of cool breeze but the ‘winter winds’ aside it is still very much a beach destination and Riptide is a beach music festival. It’s a destination festival not far from home (if you’re not a local) and one that offers a unique experience that can only be achieved through community-driven organizational efforts. People come here to hear the bands but they come early and return again and again for the atmosphere and the view. And in the morning, if your hangover is not too tragic, you can break away to explore the nearby breweries, and local art, or go on a classy boat ride along the many canals, an easy way to spend a weekend.

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Vidal N. Granados: How long have you working on Synthetic Soul? What’s the creative process like when doing in the studio?

Chiiild: Our creative process is constantly evolving but at the core, it is based on experimentation and collaboration. We try to source inspiration and sounds everywhere we can find it.

VNG: How would you describe your album Synthetic Soul; and what do you hope to accomplish with this album?

C: Synthetic Soul is a mix of old and new. We hope to create a new listening experience. And also build genuine relationships with the people that listen to our music.

VNG: How was it collaborating with Shungudzo for your track “Back to Life”? How did the conversation on working together and what kind of song you wanted to make?

C: It was really casual. We bonded over shared experiences and outlooks, then wrote an honest song. We chatted for a few hours then we started laying the music bed for the song. Melody came second and she brought the poetry to that song. The song is about growing up and hoping for second chances. It all happened in about 5 hours.

VNG: How is the music scene community in Montreal?

C: Montreal is one of the best cities in the world to experiment as an artist. The cost of living is really cheap so it’s easy to try a bunch of things. You can’t rush creativity, you just show up every day and wait to recognize the gem that just happens once in a while. Also, the city is filled with all kinds of creative minds in the arts so it keeps you humble in my opinion haha.

VNG: Being in the middle of your North American tour and going straight to Europe after, what keeps the journey enjoyable while travelling on the road?

C: The most enjoyable part is the energy you get when you share your music in person is unparalleled. Also, you get to build new bonds with people everywhere. Unfortunately, we’re in and out pretty quick. We’re such a product of our environment so it would be really dope to get lost in the cities more. Maybe next tour.

VNG: How was it working with an artist like Jack ü (Skrillrex & Diplo), Usher, Jacob Banks? And what lasting influence did they provide…

C: Each one was a little different. The seed for the Jack U song was created in my parent’s basement with artist Kai. That seed fount its way to Jack U through her. As for Usher, the song started similarly in a session with artist Bibi Bourelly. A few months later he invited us to Atlanta to do some more work on the album. We were fans of his growing up, so it was a really cool moment. Working with Jacob was chill. He came in with an idea in mind and we helped that vision come to life. He’s a producer in his own right.

VNG: What records did you have growing up that inspired you?

C: Born to do it, Craig David
Machine Head, Deep Purple
Rumors, Fleetwood Mac
36 chambers, Wu Tang
PLAY, Moby

VNG: Thank you so much for your time. Can’t wait to hear your record when it drops later this year!

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The show started off on a strong foot with rock band Hello Yello taking over opening duties. The quiet darkness that engulfed the stage was interrupted with an unpleasant eerie, screeching noise that ringed in your eardrums. Violet lights lit up the room as the band started with the angry track ”Maybe.” The loud screaming of lead singer/guitarist Dylan Wiggins mixed well with the psychedelic sound of bassist Jaden Wiggins and drummer Martin Rodrigues. Hello Yello kept the energy flowing with the follow up “I Don’t Care.” Dylan’s wild style was mesmerizing with his squealing riffs and Rodrigues’ marvelous drum technique. The band had the audience moving with their more relaxed track “Feel That Again.” While most of their songs made you want to mosh, this one made your body groove. Besides, judging from the crowd they were not prepared for a mosh pit. They ended their set with “Without Me.” The introduction is spacey with the lyrics echoing throughout the venue. As the song progressed, it devolved into a chaotic drum solo that shook the entire building. Having Dylan scream at the top of his lungs with the stage lights flashing frantically certainly left a lasting impression on the crowd. Later in the night when I ran into Dylan I made sure to shake his hand because Hello Yello definitely brought the intensity.

It was no easy task but Beabadoobee followed and knocked it out of the park with her sweet song “Apple Cider.” The London-raised artist’s poppy-punk sound was a nice contrast compared to the aggressive style of Hello Yello. Bea introduced herself and her band to attendees before jokingly saying the next song was based on band member Elaina because she plays bass. “She Plays Bass” is a wonderful feel-good song that does a fantastic job showcasing Bea’s gentle voice. That innocence changed when the singer yelled in the breakdown, “1-2-3 fucking jump!” The artist got personal on her song “Disappear” singing “I looked you in the eyes, don’t feel nothing here. ‘Cause the feeling of the love that I used to have, yeah that shits disappeared.” The crowd was completely immersed as they sang the painful chorus along with Beabadoobee. Not wanting to end her set on a downer, she finished her set with 90’s inspired “If you want to.”

Clairo made her grand entrance to the sound of eager fans chanting her name. The soft piano chords of “Alewife” silenced the excited fans giving Clairo a moment to share a vulnerable moment in her life. Afterward, she awoke the crowd by saying, “Hello Chicago, I’m going to sing a song called “Softly”,” which I’ve said was her best song on Immunity. The young singer’s fashion was wild compared to her more conservative attire from Pitchfork earlier in the summer. She was untamed in a loose bun while halfway wearing a trippy pullover hoodie with one sleeve on. Still, the rosy-cheeked singer kept the hits coming one after another by performing “Flaming Hot Cheetos,” “Get With U,” and her song with Cuco, “Drown.”

However, after this point, the artist made the show come to a gradual halt as she showcased most of the songs on Immunity including “North” and “Closer To You.” The album is much slower and less vibrant compared to her earlier work. Sure there are a few pop songs on the album like “Sofia” and the aforementioned “Softly.” But the album is more a reflection piece leaving those in the crowd staring at the stage motionless. On top of that, Clairo’s mic often screeched and her soft vocals had a hard time overcoming her band’s instrumentation. Yet nothing deterred her as she carried on with her supporters cheering her. After finishing her set, Clairo swiftly ran back on stage in under a minute. Rocking a spotted cowgirl hat, she sang “4Ever” and finished with the most popular song “Pretty Girl.”

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His live tours run on a well-oiled schedule and (almost) every fall Fink comes to Toronto, almost always to the same venue, The Mod Club. This year was no exception but one thing is different with this year’s tour: Fink is flying solo.

The stage was set in the center, with a half-circle of guitars set to the right, just within reach of the stool. An intimate, but Fink-aware crowd gathered for the show. As he took the stage, light cheers washed over the room. After playing “Pills In My Pocket,” from Biscuits for Breakfast Fink got a little sentimental, reflecting on how long it has been since that song and album have come out, a few people in the audience nodded in agreement. Promising to play some new stuff and some old stuff the show covered a range of his tracks including “Maker” and “Sort Of Revolution” from an album by the same name (2009) and “Warm Shadow” from Perfect Darkness (2011).

“Give me just a little bit
Give me an inch you know I’m taking it
And all of this time we spend talking shit
Baby it’s all about making it“

~ “Maker” from Sort Of Revolution

The female half of the audience went particularly wild for “This Is the Thing” from Distance and Time (2007) and “Pilgrim” from Hard Believer (2014). As Fink shredded his guitar singing ‘Doesn’t matter when it mattered yesterday / And tomorrow ain’t too far’ the crowd went into a bit of a quiet awe, some singing under their noses, others just swaying like grass in the wind, waiting for him to share another insight into his musical genius once the track comes to an end.

Naturally a few tracks from the last release, Resugram (2017) and upcoming Bloom Innocent (set to drop on October 25 via Ninja Tune) also surfaced during the show. When it comes to new music it is a lot of discovery for the old and new fans alike. This performance has been a timely retrospective of Fink’s wealthy music repertoire and many attendees knew the lyrics. Admittedly, those of us who have been fans since “Kamlyn” may have lost track of a song here and there but hearing the new works is a welcome occurrence. A live Fink experience is always a refresher and reminder of a more solemn state of mind.

There are a few more weeks left until Bloom Innocent is ready for public consumption but in the meanwhile, we can ride the waves of the live show.

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For 2019, Blink-182 made a comeback as Friday’s headliner, naturally, the crowds were large by 6 pm, surging with the after 9-5 crowd. Nearly everyone was sporting all-black attire was peppered with brightly colored hair that was a nod to Riot Fest as the destination for punk and alternative music.

The sun was just beginning to set by the time that Glassjaw stepped out onto the Rebel Stage. People stood on tiptoes trying to see the band over the crowd as they began the set promptly at 7:30 pm and the crowd immediately began to sing along. This came as no surprise,  the band has been around since the early 2000s, playing a part in the development of the underground music scene in the states. The crowd did not miss a beat with lyrics, latecomers were eagerly pushing their way to the center of the fold, it was clear that Glassjaw was high on the list for many attendees. Friday came to a close with the crowds growing thicker by the hour, making for a tough time to get from one end of the park to another, especially with limited lighting.

But the Friday crowd would prove to be no match for Saturday’s when the park began to fill early with people on a mission to see Slayer’s last Chicago show. Slayer shirts were nearly everywhere you looked, with fans all over the age spectrum and a few toddlers to boot. Saturday was like a clear reminder of why Riot Fest is often called, “Warped tour for adults” – the mood was rowdy but never out of control while the sun beat down on the park. 

In keeping with the laid back vibe, Lando Chill chatted with friends before beginning his set at the Radicals Stage as one of the earlier performances. With a smoothness to match the relaxed crowd, Lando crooned, “You feel that? That’s your purpose calling” at one point, encouraging the crowd to vibe with him as he rocked to the rhythmic bass of the music.

Surfer Blood took it up a notch at the Rise stage. Their fans showed up in earnest while they played some of their biggest hits.”Can we get a little more haze up here?” JP asked before launching into “Island”, a song he called, “spooky”. With lively shows and a dedicated fan base, it was no surprise to see some folks make their way from the back of the crowd to the front of the stage, with one being rewarded with a guitar pick at the end of their set. 

“Dedicated fans” was a theme for Saturday while the crowd for Microwave was like a wall of people. They wasted no time hyping the crowd up, and the response was a mosh pit and shouting the lyrics back at the band. The crowd’s enthusiasm must have reached the stage because the band played a large selection of songs which according to some festival-goers is not a common thing, “They never play this one live anymore!” pointed out a fan near me before “The Fever” put everyone under a spell.

Leaving Microwave’s set, the crowd at Riot Fest became thick with Slayer shirts. Almost functioning like calling cards, people nodded at and high-fived each other after glancing down at one another’s band shirts. As Saturday came to a close, shouts of “Slayer!”  could be heard periodically as fans made their way to the exits. 

After some rain, Sunday left the park with large patches of mud. Entry was delayed for about 15 minutes before everyone was able to dash to the stages to see the early bands. Ultra Q was one of them. Formally known as Mt. Eddy, Ultra Q is fresh off their recent rebranding and just as fresh on stage. The guitar-forward group kept the crowd going through their energetic and punk-influenced sounds. The lead singer, Jakob Danger, thanked everyone for coming out early as the crowd grew steadily in size. 

After a high-energy morning, It was time for a different kind of energy. Playing at the radicals stage, Ganser’s moody tones was a great change of pace for Sunday. With Riot grrl vibes and repetitive lyrics, the Chicago based, post-punk band was a breath of fresh air after the power chords of the week. 

Despite the wet and muddy weather Riot Fest ended on a high note. The festival grounds remained full and the beer flowed freely. With artist bookings that reflect the commitment to diversity, Riot Fest holds its own as one of Chicago’s must-do festivals yet another year.

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At first, while still in high school, Jelani dabbled rapping over YouTube instrumentals, back in 2016. He ended up getting a midi keyboard and trying to figure out how to make “something different, something with substance,” Jelani told Notion. This solo pursuit is a rather new adventure for Jelani who started his career as a member of Raised By The Internet – a music collective of people who met on the BROCKHAMPTON page on Reddit.

In anticipation of the EP, we reached out to Jelani Aryeh for a chat.

Kateryna Topol: Hello Jelani, how has 2019 been treating you so far?

Jelani Aryeh: So far my year has been pretty good, I’ve definitely traveled more than I have in previous years. I’m still based in San Diego but during the summer I was in LA, Phoenix, Portland, Ohio, and Hawaii. Portland was definitely a highlight for me, it was my first time traveling to a new state alone. I honestly enjoyed it so much and personally feel like that’s the best way to travel, in solitude. You learn so much about yourself, especially when you have the freedom to do whatever you want and aren’t obligated to other people’s plans. Just being around the people in Portland and immersing myself in all the nature I could during my stay, you definitely see and feel this spontaneous, untethered creativity energy everywhere you go.

KT: That sounds fantastic! On the topic of creativity, can you please talk a bit about your production process?

JA: I mainly use Logic and Maschine; I still work out of my home studio and send files via Google Drive. That’s mainly my process working with my producer Jack Kolbe, another member of my collective Raised By The Internet. I actually did the same with “Patagonia” and track 2 off the EP, “Jetfuel” – the next upcoming single, and track 4 off the project was made with drama club and Heavy Mellow at Heavy Duty studios in Burbank. Oh yeah, I also just got an OP-1 synthesizer that I play around with from time to time. I want to make textures for the album on that thing, some Bon Iver-type shit.

KT: Looking forward to hearing those new sounds! When is the Helvetica EP dropping?

JA: October 25th. Same day as Twigs, smh.

KT: So soon! All right cool. Long question now: When talking about “Patagonia” you said it was the most you as a song so far, that it is healing “in its ability to ground [you] and remind [you] who [you are] and why [you] create when [you] sometimes lose sight of that.” – why do you create, what does music give you?

JA: I create to better understand myself. I create to make people feel something and give them a space to reside in with something that didn’t exist here before. I want to provide some sort of solace for people at a soul level or in ways I’m not all that conscious of yet. I always have to remind myself that this gift is beyond me though, the music really does speak for itself and has its own way of affecting the hearts and minds of others. Music gives me love and pain. It gives me so much insight, inspiration, and feeling. It gives me more than I ask for and sometimes it leaves me super unfulfilled. I definitely consume music in a very selective manner. At least lately.

KT: You are basically a self-taught musician, is that right? It is quite impressive. Can you please speak to that – are there any limitations to being self-taught?

JA: Well I’m not sure. I feel like that term is linked to an instrument and if that’s what you mean then not really. I mainly enjoyed singing my favorite songs and me discovering that I had a somewhat of a voice. I started writing songs only a few years ago. I guess you can call me a singer/songwriter if you want. I produce here and there but I don’t know theory and mainly play the keys by ear. There are some limitations for sure, one being the rate of progression without a teacher or mentor. I’d like to learn both guitar and bass, especially for the next project. If I can get one of those instruments down, you’ll definitely see me with one on stage in the future.

KT: For sure, makes sense. And you still work with Raised By The Internet?

JA: Oh yes of course. Those are my brothers. That is family. I just don’t live in the same house.

KT: How do you balance working with the group and your solo career?

JA: Well everyone’s been pretty focused on their own work at the moment so it hasn’t been hard to work on my stuff. We were planning another tape for the end of the year but figured that it wasn’t the right time being that we have three solo releases coming up. it

KT: What made you go solo? (and we’re happy you did!)

JA: Just felt like that’s where my energy needed to be at. Felt like I owe it to the people that have been rocking with me since SD. also everyone’s using this time to really just assess what their strengths are and what draws people to certain aspects of themselves, so come group time, dudes are on there shit and we’re in a flow.

KT: Do you have any specific goals for the next few months, other than the EP release.

JA: To feel more secure in this body. To be more open an always finding ways to be a better person. To finally be living in Los Angeles, having a healthy routine once I live there. Finding a romantic partner. Making the RBTI album. Doing more shows and touring for sure. Getting comfortable performing. Traveling outside of shows [and] soul searching. Starting the album [and] working on the album with different producers in different locations such as San Francisco, London, and Sweden.

KT: Those are great, I can definitely lean into some of those goals myself.
So the internet tells me you played a Sofar show in San Diego, what was that like?

JA: Really good! Really mellow! I’d love to do more intimate, coffee shop shows like that. We just did an acoustic set and I feel like the words really translate and stick that way. I remember just seeing a lot of people sitting on yoga mats in lotus [poses].

KT: Yeah that’s usually the scene, very peaceful. What are you listening to this week? 

JA: Okay, well, of course, that new Lana [del Rey]. That “Venice Bitch” song is beautiful especially the second half of [it], it’s just hella sensual and makes you a want a woman like that singing in front of you. JPEGMAFIA project!  “Grimy Waifu” – Wow.

KT: All great picks! All right thank you Jelani, looking forward to seeing you perform live in the near future!

cover photo by Daniel Lang

The post Jelani Aryeh is wise beyond his age and a few other insights into the artist’s mind appeared first on Quip Magazine.

The first addition of FME took place in 2002. That year, 22 bands performed and the festival was run by a small group of friends who shared all of the jobs amongst themselves. Today, FME sells out every available room in town and fills a campsite of artists just nearby. “What has grown the most over the years is that fans and people [from] the community got engaged… So now the festival is almost running by itself because it’s really, really organic,” comments festival director Jenny Thibault. Walking around town, FME volunteers could be seen everywhere, it is this region’s TIFF and people do come from across the globe to participate. But FME is not a big festival business and there is no red carpet (although admittedly some of us did get there on a charter plane). FME is a well-run, beautifully designed, community event that fosters discovery, innovation, and coalition.

On Friday the main outdoor stage was home to some of the best French rappers starting with KT Gorique, and Montréal’s Sarahmée. The evening began with Sarahmée, who drew an early and very enthusiastic crowd to the cold outdoor stage. A few people in the front row had been waiting since soundcheck and as the artist took the stage the crowd roared. All of those in the front row got a uniquely personal experience, making conversation with the performer between tracks. Still riding the wave of her most recent release, Irreversible, Sarahmée delivered a clean and powerful performance, hitting the high notes with some of the more popular tracks from the album like “Le cercle se rétrécit“ and “Fuego” with Souldia. On the side of the road is an elevated VIP area, with a scoping view of the stage. Filled with the who’s who and the who’s who’s guests, the patio was a hot location. Intoxicated attendees were cheering and dancing, tightly gripping to their FME mugs while the front of the stage was having small talk with Sarahmée.

Up next, carrying us into the night was KT Gorique, who traveled all the way from Switzerland to perform on the FME stage. Gorique is the first (and only) female champion of End of The Weak, an international freestyle rap competition which she won in 2012. Since then the artist’s main focus has been on music. Her stage presence is open and friendly, and despite the sharp lyrics she was smiling almost the entire set. For each performance, Gorique wears her “most beautiful face” – subtle face paint celebrating her African origin. Gorique took the audience on a music adventure from hip hop to dancehall and reggae and as expected, “Kunta Kinta” (the title track from an album by the same name) and “Outta Road” brought the ‘house’ down. Throughout the performance, she danced, praised her band, and repeatedly thanked the crowd for their affection.

The rest of the weekend showcased a set of heavy hitter rappers like Loud, who has been touring through Europe and Québec and returned to FME for another, near soldout set on Friday. A thick crowd of people singing along to Loud sounded like a stadium anthem, an epic way to end the outdoor performances for the night. Saturday stage hosted Montréal’s rapper FouKi and Koriass, both of whom are incredibly hype. FouKi, sporting a signature yellow tracksuit, was pacing the stage spitting Latin-inspired rhythms while Koriass (bottom image) ran a bit overtime – by audience demand – and at the end of the show jumped into the photo pit to get closer to the fans who were nearly tearing up shouting for an encore.

One of the biggest discoveries in the electronic genre for this addition of FME was Millimetrik – Québec City’s composer Pascal Asselin (image below). Playing a more intimate outdoor stage right after the rain, Pascal was joined by a drummer (cover image) and the two of them went on to play a colorful selection of ambient beats accented with heart-thumping bass and melodic drums. Songs like “Coucher de doll dans Sandoval County” came to life with a fantastic air of disco causing the audience to stomp and swirl on the wet grass. Our shoes got soaked but the cloudy Millimetrik dance party was worth it. For the rest of the weekend, smaller outdoor stages hosted an array of dance DJs creating a small rave around the DJ booth, dancing to the likes of veteran vinyl master Miss USA and a local Shagass Disco who wrapped up the festival at 5 am on Monday morning.

Late nights at FME are a special experience. Hoards of people wander from venue to venue, sipping out of their open containers and festival mugs, meeting new friends over cigarette breaks and hoping not to lose anything. Many nights at FME end at Bar Des Chums, a local staple joint with poor decor and minimal service but hospitable to whatever kind of frenzy your group might be up for that night, from catching a breath on the patio to doing a group karaoke performance after losing quarters at the pool table. 

The musical variety continues even during the day with various pop up shows around town. São Paulo’s Sessa played a surprise morning show at the public market on Saturday. Nested in the sun with three backup singers who performed in admirable sync and played quite a few small instruments, creating layers in the music. Sessa’s most recent release, Grandeza, is psychedelic Brazilian pop, “an album about the natural gesture of love and the softness of the human body,” shared Sessa. It’s the kind of music that makes you appreciate music, grab your portable record player and spend a day drinking champagne on the beach.

Later in the day, Scene Paramount welcomed Montréal’s Dominique Fils-Aimé to the stage. Recently nominated for a Polaris Prize, the singer-songwriter performed with impressive control, creating silence around notes, and matching the strings with her smooth voice. Dominique put the room into appreciative silence, first by request and then out of awe. Standing center stage Dominique gently swayed side-to-side singing her original songs and favourite covers like Nina Simone’s “Feeling good”, weaving a pattern near the microphone with her silver nails. Dominique Fils-Aimé’s poetic narratives are also not light, covering quite a bit of African history as seen through music, but more on that can be found in her interview.

Carrying on the joyful sadness into the evening was La Force, aka Ariel Engle, a vocalist and the most recent addition to the Broken Social Scene. The bio describes La Force as “godless devotional music that comes straight from the beating heart” which may be hard to grasp but can be definitely observed live. Engle was joined on stage by a drummer and a backup singer who complemented her perfectly with a wide range of vocals. Between tracks, La Force shared stories about her music, commented on the themes and pointed out the heavy topics they cover, like postpartum depression. Her tracks range from danceable, like “You Amaze Me,” to straight-up tear-jerkers like “Lucky One.” Engle had the crowd’s dedicated attention, watching her every move for nearly an hour.

Among other more musically-relaxed artists was Pierre Guitard, who played a late afternoon set on Sunday at Stage Evolu-son, a mid-town two-level concert venue. Lit up with blue lights and performing with a full band, Pierre Guitard is pop-rock with a spark of string and a few impressive guitar solos. At this point of our recount of FME, Guitard seems like an appropriate segue to what was seemingly the focus for most festival attendees: rock, indie, and a dash of punk mixed weirdness that cannot be defined as a genre.

One of such bands was Ellemetue (above), Mingo the Indian and Nunu Metal, who played a packed room at the Cabaret – a staple venue at FME. The duo played a mix of experimental electronic rock with an occasional electric keys undertone; their music “rings out like a wild cry from the murky depths of an imaginary swamp” the band writes in the bio. At the opposite end of the festival were FET.NAT, a performance nearly everyone was looking forward to and no one could describe to me. What I’ve learned is FET.NAT (second last image) are experimentalists known for their bizarre strangeness and incredibly entertaining performances. It’s a four-member psycho-jazz punk-funk band that played with the audience as much as with the music. The lead singer’s voice is shockingly scratchy but between the rough vocals, an oddly melodic moment would come through to only be followed by an intensely challenging saxophone solo.

Admittedly, the above account of the festival covers a small portion of performances because it is simply impossible to see them all. As an average attendee, you dance, drink, party, and inevitably take daytime naps knowing that there is always a late-night street or house party you may want to attend. For at least the first two days most people’s diet transforms into rounds of poutine and BBQ served with local brews and gin and tonic coolers. As the perpetual hangover begins to set it the weekend comes to an end, most likely at sunrise. When you get home, a quiet nostalgic reality replaces the music and crowd noise. Merci FME, till next year.

The post Rave, rock, rap, break for a nap: Attending FME, Quebec’s not-so-secret music festival appeared first on Quip Magazine.