Had a pretty big weekend over here: played some rad shows in Ottawa and Toronto, had a birthday, and zoomed back home on Sunday night just in time to see Big|Brave (above) and Sleep totally crush it in Montreal. Still kinda reeling! How was your week?
:::WHAT’S UP AT CKUT:::
Winds are howling, snow is falling, you probably have chunks of industrial salt in your boots… But fear not! We’ve got the perfect cure for your late January blues: hop on over to CKUT’s open mic Thursday January 28th @ ECOLE on the McGill campus as a part of our Thursdays (A)Live Series. Read your poetry, tell some jokes, bust out yr guitar and soak in all the talent that the McGill crew has to offer. The best part: this event is FREE, so regardless of whether you’re on a student budget or not you can come out and enjoy the night.
ckut top 30 – january 26, 2016
1. sheer agony – masterpiece – plastic factory CC *
2. perils – s/t – desire path CC *
3. oneohtrix point never – garden of delete – warp
4. nap eyes – thought rock fish scale – you’ve changed CC
5. chairs – drawn into mazes – kinnta CC * Continue reading
The relationship between musicality and lyricism is a complex topic as music in itself is a product of expression free from the limitations of language. With maximum self-expression in mind, some musicians are able to avoid words all together and convey their emotion through composition or improvisation. On the other hand, certain songwriters use sound as a way of increasing the impact of their poetic ideas. The lines can also be further blurred by the possibility of writing lyrics pertaining to a more instrumentally-centric work and the display of musical brilliance alongside a more poetic work. The poetic musicality debate is a subject of conversation on No Negative’s December release, The Good Never Comes. A product of the noise punk idiom, The Good Never Comes includes vocal work, however, at times the lyrics can be hard to understand resulting in a more textually important vocal presence. Through their vague use of words and improvisational nature, No Negative are able to effectively display their emotions in a unique way that showcases both their way with words and ability to manipulate sound.
The unpredictable instrumental texture is accomplished through the lack of melodic hierarchy. This is to say that rather than letting a single part of the ensemble stand out at moment, the whole group dictates the sound as one entity. The crashing, dark chord progressions are matched by the high-intensity, melodic solo lines as the heavy drums barrel down on the listener in a moment of pure, unadulterated aggression free from the notion that any parts hold a higher significance than any others. This notion is also the inspiration for the vocals which add another layer of melody to the muddy ensemble sound. This whole idea provides for a conversational nature similar to the world of jazz. In both realms, certain motivic ideas are repeated and, at times, the ensemble comes together to maintain some sense of unity, however, the spur-of-the-moment, human touches are prioritized.