Toronto audiences got a treat on Halloween night this year when acclaimed noise rapper and producer JPEGMAFIA played the Opera House. Praised for his thrilling beats, gritty collage work, and experimental use of samples, the inventive musician (whose real name is Barrington Hendricks) injected an adrenaline shot into the crowd with his amplified electronic rap music.

On tour with his third album, All My Heroes are Cornballs, a political and abstract hip hop album, the shock rapper delivered an electrifying show to a throng of fist-pumping fans. Flailing across the stage in a fit of musical possession, he aggressively rapped along to his powerful and provocative rhymes. Entranced in his self-produced beats, he performed several tracks from his new album, like “PTSD,” “Jesus Forgive Me I Am a Thot,” along with a bunch from his debut Black Ben Carson and his sophomore effort Veteran, like “Baby I’m Bleeding,” “I Smell Crack,” “DD Form,” and “DJ Snitch Bitch Interlude.”

Losing himself in his performance, Barrington fed off the crowd’s energy, taking his set into the mosh pit to party with his fans, and crowd-surfing multiple times, giving the concert-goers a thrill as he passed overhead while passionately and vehemently rapping along to his heated lyrics. Known for his controversial rhymes that confront racism, homophobia, and misogyny, his latest record presents themes that deal with how it feels to live in an era powered by mindless scrolling and compulsive tweeting, positioning himself as both a participant and vocal critic of trends of the new millennium.

This concert was originally scheduled for Adelaide Hall, which is where he played last year at this time, but they had to move it to a bigger venue. Clearly his notoriety has spread, with more and more people catching on to his raw, edgy, and electro style of hip hop and rap music. He also seems to have a lot of genuine love and appreciation for his fans, promising, as they all screamed for an encore, that he would take photos with them and hang with them after the show—and he did!

A musical and lyrical genius who’s taking rap music to a new level of creativity, JPEGMAFIA is currently touring the US. If you haven’t heard of him and want to discover an experimental fusion of rap, rock, house, and trance music that will fire you up and speak truth to power, check out.

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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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Though Mxmtoon may only be 19 years old, her latest album release The Masquerade is ready to start the aging process like a fine wine that is ready to hit the shelf of unique flavors. 

“Unspoken Words,” which is the first track off the record, features bells that sing like an ice cream truck and beats like a drummer boy. Instantly, as the vocals emerge you are able to recognize this album will be a heart-shaped band-aid for those either needing healing of juvenile memories or stuck in the awkward phase of trying to figure out your feelings in need of some first aid. This couldn’t have been a better start, as it’s like opening the box looking for what else needs to be uncovered. 

“I can’t ever seem to try to ask for help,” is just one sentence in “Prom Dress” that tugs on your heartstrings so smoothly like poetry. The track is upbeat and is a steep hill that keeps lifting you up considering how honest the lyrics are. As seconds went by, I pictured “Prom Dress” perfectly fitting into movies such as Angus, Thongs and Perfect Snogging, which means the theme is a great representation of a role model for young women in the form of sound.  

 “Blame Game” is the start of a maturing sound while still keeping Mxmtoon’s bright color energy surrounding the melody. At this point in the album, “Blame Game’s” personality trait gives off the feeling of your favorite pair of worn-out denim. Even though you are tired, there is a small pit in your stomach that struggles to let go of toxic energy even though there are too many rips and tears of the relationship. This is most definitely an ‘I hate that I love you’ type of song. 

For the closing symphony, “Late Night” brings visuals to your mind where the curtains draw and you ultimately are satisfied. The Masquerade never felt rushed and gave just enough material for Mxmtoon’s audience to connect so deeply. Go grab yourself a warm cup of tea, a pair of headphones, and experience what Quip has been tasting.

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When Melina Duterte, better known as Jay Som dropped her breakthrough indie-darling of a record Everybody Works in early 2017, she re-sparked an age-old debate around the definitions and merits of “Low-Fi” music, and more specifically what’s been so cleverly coined as bedroom pop. Though contested, bedroom pop is broadly considered to simply be D.I.Y. music recorded in – yes, you guessed it – one’s bedroom.

The notion of predicting an entire genre based upon the environment in which it’s recorded grows more meaningless with each passing musical year. Pretty much any artist with the resources to record and release an album from their bedroom is more than likely hammering away at the same EMS synth used at Long View Farm Studios by LCD Soundsystem’s James Murphy on depressive-hipster classics such as “Someone Great”. As such, critics and fans alike began paying attention to the merits of Melina’s music rather than the confines in which it was created. What most found in doing so was a particularly pretty, off-the-wall-brand of dream pop with enough gritty realism to keep it tethered to reality. Now, on Anak Ko, Jay Som doesn’t so much expand upon her lavish-brand of a dream, but rather hones it in and paints the edges black.

Our first taste of Anak Ko came in the way of its shiny lead single, “Superbike”. A nostalgic piece of washed-out revivalism, the nineties-drenched track spends its duration rolling both the best and worst traits of the decade into one cohesively perplexing piece.  Kicking off with an irritating guitar riff that’s, more washed-up than washed-out, the next two minutes parallel a scrapped Alanis Morissette single before being swallowed whole by an epically distorted, thrashing guitar-solo in the last minute. What’s spit back out here is a sort of sonic lens from which to view the record as a whole, as like with “Superbike” itself, Anak Ko shines during it’s fuzzier, more brooding moments. A prime example of a moodier, darker Duterte can be found on the opener “If You Want It.” Driven by a groovy bass-line, lively vocals, and stiff guitar licks, it’s a great example of a more rich, adult take on a dream.

The appropriately titled “Night Time Drive” is another highlight, serving as the personal soundtrack for anyone who’s taken the back-road instead, beer in hand, watching the violet sky crash down from the windshield above. Lush and gorgeous, the mid-tempo jaunt plays like that feel-good road-trip before the inevitable existential depression kicked in. For a record that flirts with joy, it concludes with the decidedly melancholic “Get Well.” A beautifully mesmerizing and intoxicating tale of addiction. All Melina needs is a downtrodden bass, wobbly synth, and lethargic steel-pedal to invest you fully, muttering lines such as “Get well, I hope you can, how can you find peace, with a drink in your hand?” At their worst, tracks like this can come across as untruthful or pandering, but “Get Well” is delivered with such palpable, gloomy passion that you can practically feel the empathy emanating through the speakers. 

The streak of mature melancholy woven throughout this record is a welcome one. Melina prevails in not fetishizing the darker, more tortured tones and notions on the record. While it’s brighter, pop-centric tendencies displayed on tracks such as “Tenderness” contrarily lack the instrumental intrigue required to overcome it’s inherently bland, overused cliches. However, despite its high-spirited shortcomings, Anak Ko showcases Jay Som as one of the most defined artists in a largely ill-defined genre.

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Immunity opens with the soft-spoken track “Alewife.” Clairo’s gentle voice and the mild-manner instrumentation are soothing to hear. However, the actual context within the lyrics is much more dire. Clairo shares her darkest hour by admitting how close she came to committing suicide before one of her close friends came to her aid. “I didn’t mean to scare you, just had the thoughts on my mind. They showed up at my door, my parents didn’t know what for. Swear I could’ve done it, if you weren’t there when I hit the floor.” Through her vulnerability, Clairo professes her gratitude for having someone who cares deeply about her well-being. The subject matter is gut-wrenching, as we all know someone struggling or maybe hurting ourselves. But it reflects the importance of having those who care. The following track, “Impossible,” is a little more dynamic. The drums keep the tempo more energetic and Clairo’s voice shows more range than the previous song. Here Clairo catches up with an ex-lover after years have passed while not trying to get reattached to them. Even that can be easier said than done. Trying to communicate to someone you haven’t been close with for years can be difficult especially once old feelings resurface.

The song that really gets the album grooving, however, is “Closer To You.” The instrumentation has deep booming bass and ticking high hats making it sound more like a trap beat you’d hear on a rap song. Also, Clairo uses autotune on her voice for this track. She breaks free from the robotic sound on the high pitch chorus once again showcasing her vocal range, “The things you do only make me want to get closer to you. And the things that you say, only make me want to stay.” The next track “Bags” is a pretty badass indie rock song. With wavy synth, thumping guitar, and piano, Clairo expresses the baggage carried by being in a one-sided relationship. Yet having the courage to walk away to better oneself.

“Softly” is easily the breakout hit of Immunity. While most of the album is slower in tone, this song is alive and poppy. The vibrant guitar is funky, and the vibe is groovy enough that you can bounce along and dance. While the beat is innocent, Clairo starts speaking out about being attracted to women by using more female pronouns. While she touches on the subject of “Softly,” Clairo is more blunt about discovering her sexuality on “Sofia.” As the artist stated on her Twitter account, “Sofia is about my first ever crush on women I saw in the media. People like Sofia Coppola, Sofia Vergara, etc. This was my way of making a celebratory song about this discovery while maintaining the cheesy/corny lyrics you’d normally find in songs where you profess your love.” The song has an electric feel to it that makes you want to fist-bump to it. Its hip and repetitive lyrics are catchy enough to get stuck in your head.

“Sinking” is a soulful R&B song with hushed whispers. It’s yet another emotional slow jam where Clairo illustrates the pain of arthritis that engulfs her on a daily basis. The delicateness of the instrumental paired with the agony in her words is almost enough to make you cry. The last song on Immunity, “I Wouldn’t Ask You,” is also her most experimental. Clairo continues to express her struggle with arthritis while being in a hospital bed. Accompanied by a piano, vocoded voice, and children’s choir, she shows appreciation to her boyfriend for sticking by her side in the slow, drawn-out first half. By the second half of the song, it becomes more of an upbeat jam with Clairo’s and the children’s heavenly voices to send off the album properly.

With Immunity, Clairo showcases her growth as a songwriter. Most of Clairo’s music touches on heartbreak, but as she matures she’s able to dive deeper in conveying her experiences. The majority of the album is slow and deals with emotional and physical pain. Of course, it’s not all doom and gloom as there are still a few pop hits. It’s crazy to think she’s only 20 and is only going to continue to get better. It’s a solid outing for the young artist and displays promise of what’s to come in the future. Clairo is currently touring with more dates to be announced. Immunity is available now.

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The London-based band wasted no time riling up the impatient crowd. The thumping bass and crashing high hats of “Ducter” echoed through Union Park. The first half grabs your attention with its funky baseline while the breakdown deteriorates into chaos causing a raucous. Vocalist, Geordie Greep, sounded like he unleashed his inner demons when he hyperactively muttered the words for “Bmbmbm.” The bulk of lyrics repeat the phrase: “She moves with a purpose, what a magnificent purpose” yet the uncontrollable shift in tones with frantic pace made it seem more like he was speaking in tongues. Although the Pitchfork volunteers were able to get rid of most of the water near the stage, there was still a large body of it left over. People danced around the edges until the breakdown prompted them to mosh in the disgusting pool during “Years Ago.”

Covered in dirt from the waist down listeners migrated to the Red stage to witness JPEGMAFIA. Rocking black overalls the loudmouth rapper stomped on stage spitting his verse from Denzel Curry’s “Vengeance.” Being his own DJ, JPEGMAFIA ran back and forth to his laptop after each song to change the instrumental. The rambunctious artist yelled out the words of “Thugs Tears” as he sprawled over the edge of the platform swinging his arms wildly. His aggressive style kept everyone on their toes. Showing he had the most guts JPEGMAFIA was the only artist the entire weekend to crowd surf, during “1539 N. Calvert”.

Midday through the event the skies finally cleared up once Clairo graced the stage. She charmingly stated,: “The sun came out just for us.” Now sporting red hair the petite artist oozed swagger walking across the floor. Diehard fans sang along the words for “Flaming Hot Cheetos.” Proving that she’s more than a talented singer Clairo threw a guitar strap over her head and strummed the chords for “Bags” and “Bubble Gum.” Fans grasped onto every word Clairo said as if she spoke directly to their souls. Her soothing voice put them in a trance as they swayed not wanting her set to end. Clairo also debuted her new track “Sinking.” She concluded the performance with her hit songs “Pretty Girl” and “4Ever.”

Looking back over at the Red stage the audience noticed two large yellow 3D cubes had been set up. The crowd were more than ready to get the party going with pop artist Charli XCX. Of course it being summer Charli had to get the festival jumping with fan favorites like “I Don’t Care” and “Vroom Vroom.” The carefree artist also showed a softer side by going down memory lane that everyone could relate to with “1999.” Fans lost their minds when Charli brought Cupcakke out for their collaborative jam “Lipgloss.”

Finally, with Pitchfork Music Festival coming to an end this year it was only right that it be closed out by a superb artist like Robyn. She had the most luxurious set this weekend: gigantic white sheets were draped all around the stage flowing freely in the wind and sets of stairs were placed with a statue of a pair of hands in the center. The Swedish singer took control of the night with spaced out tacks “Send To Robin Immediately” and “Beach2K20.” While songs like “Missing U” talked about loneliness and heartbreak, Robyn kept the crowd moving with “Dancing On My Own.” Synth-heavy sounds kept the listeners zoned in. Equipped with a large band, Robyn showed off her dance with a ballerino. Even when one of they sheet fell onto her she never lost her composure. Instead she wrapped herself in the large fabric and dragged it across the stage. Robyn was a goddess on stage, yet she carried enough humility to pay respect to Chicago saying Deep House music is what helped inspired her sound years ago.

Overall Sunday’s lineup was much more of a mixed bag next to the previous days. The fact you had pop artist like Robyn and Charli XCX made the last day a true celebration. Better weather conditions made getting through the day an improved experience. Even with all the craziness Pitchfork did a fantastic job catering to everyone’s musical needs – there was something for everyone to enjoy. Leaving the event you may have picked up a new genre to give a listen. While you may not have liked everything, you could appreciate the variety of talent showcased. This makes us look forward to see how they plan to top themselves next year.

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Big news for downtempo fans this month: Grammy-nominated artist Tycho is set to release the upcoming album Weather this Friday, July 12^th. Running just under the 30-minute mark, Weather stays true to the artist’s signature exploratory, lo-fi sound. The upcoming release stands out against Tycho’s past body of work with the addition of vocal leads to his songs.

Saint Sinner, the dreamy Soundcloud singer who joins Tycho on Weather, can be found on “Pink and Blue,” a colorful track released earlier this year to clue listeners into the bubblegum side of the album. Gentle, bouncing synths recall breezy days and sweet, simple feelings of innocent loves. Deeper in the album, some of life and love’s natural letdowns are spotlighted, but Tycho’s song structure allows us to emerge without feeling cynical or discouraged. The melodies, along with the lyrics, are ebullient and candid, even when wistful. “Don’t complicate it,” coos Saint Sinner in “Skate.”

Scott Hansen, the composer and producer behind Tycho, seems to have streamlined his way into a musical niche. Tycho exemplifies chillwave, as well as the millennial easy-listening “beats to study/relax to” genre, without losing focus to excess distortion or repetitive loops. Track titles like “Easy” and “No Stress” prove that the graphic designer/photographer turned electronic artist is hyper-aware of his musical brand.

Paired with the smooth, soft vocals of Saint Sinner, Tycho creates an ambient work more interesting and pieced together, without taking anything away from his signature buoyant, spacey brand of electronica. Weather invites us to embrace light and dark together, to slow down and “feel the rain and the sunshine” amidst our fleeting time on a changing world.

Tycho will be touring the album in September this year along with Saint Sinner and friends. Look out for dates on his website.

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