Monthly Archives: January 2017

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CKUT TOTAL ECLIPSE OF THE CHARTS::: January 31, 2017

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Hi friends,
Not sure what to say in this week’s charts… it’s a scary world out there. I’m gonna take a page out of the CJLOmar book and revert to a cute animal photo here because lord knows we need it right now.

Please note that I will be out of town from Wednesday through Friday this week, so email me if you have any tracking inquires and I’ll field them soon as I’m back in the office.
xo
joni

:::WHAT’S UP AT CKUT:::
CKUT and the McGill Black Student Network invite you to join us on Wednesday, February 1st for Black Talk 2017. Hit up ckut.ca to read the full schedule and stream or download 13 hours of Afrocentric programming. Not to be missed!

:::CHARTS:::
ckut top 30 – january 31, 2017

1. aurochs – another helpful medicine – all-set! editions CC
2. tasseomancy – do easy – hand drawn dracula CC
3. avec le soleil sortant de sa bouche – pas pire pop, i love you so much – constellation CC *
4. beatrice deer – fox – self-released CC
5. monomyth – happy poppy family – mint records CC Continue reading

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Album Review: Tasseomancy – Do Easy

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Do Easy is the third LP by Toronto-based band Tasseomancy. Together, twins Romy and Sari Lightman (vocals) along with Evan Cartwright (drums) and Johnny Spence (piano, synth) devise an album inspired by William S. Burroughs’s notion of “Do Easy” from his piece The Discipline of DE. Here, Tasseomancy take this philosophy — the belief that, to control our self-destructive id-like features, we must live in the easiest and most relaxed way possible — and transform it into a blend of prog-pop tinged with folk and goth elements. Ultimately, this synthesis of diverse sounds framed by Burroughs’s philosophy sets the album’s confounding yet hypnotic feel.

Kate Bush’s stylistic influence runs rampant throughout the veins of Do Easy’s anatomy. As if the dramatic pop queen was their muse, Tasseomancy contrive a series of beguiling tracks reminiscent of Bush’s most enchanting melodies. With their opening track, “Dead Can Dance & Neil Young,” Tasseomancy deliver a phantasmal tune emulative of Bush’s “Wuthering Heights.” Complemented by mellow piano, the Lightman twins’ voices capture a tender uncanniness that leaves the listener spellbound. On “Missoula,” Tasseomancy harness a folk-like vocal energy with a progressive beat and drifting saxophone. The combination of varying sounds spawns a mystical tune remindful of Bush’s “Sensual World.”

Although it draws heavily from these ‘80s pop touchstones, Do Easy upholds an individual sound. With “Wiolyn,” Tasseomancy references a variety of distinctive genres. At first, the smoky sweetness of the Lightman twins’ vocals, paired with a satiny synth-driven instrumental, elicit similarities to a slowed down, eerier version of “You Keep Me Hangin’ On” by Diana Ross and the Supremes. Later in the album, “29 Palms” finds the Lightman twins choose to diversify their vocals by toying with enunciation and timbre. The idiosyncrasy crafted by the haunting voices and gentle ripples of saxophone sustains the album’s fanciful quality.

Throughout its entirety, Do Easy is a dance between ghostly and charming – a duality which is at the core of the album’s allure. With their languid yet wistful strain of prog-pop, Tasseomancy induce a calming reverie, capturing the relaxed state Burroughs’ philosophy promotes. If stricken with escapist yearning, then a listen to Tasseomancy’s Do Easy might prove to bring a most whimsical respite.

– Review by Soraya Mamiche Afara

 

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CKUT TOTAL ECLIPSE OF THE CHARTS::: January 24, 2017

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Hello friends,
I’m back in action after a very busy weekend playing a couple shows, one of which took place in a bizarre curio shop/art installation straight outta David Lynch’s brain. There were flickering TV screens everywhere, plastic limbs emerging from the walls, and this skeleton-headed mannequin that hovered over the mixing board. You can’t really see it from the picture, but our skeleton friend is wearing a Mickey Mouse hat with the name ‘Chris’ embroidered on it — very nice.
xo
joni

:::CHARTS:::
ckut top 30 – january 24, 2017

1. avec le soleil sortant de sa bouche – pas pire pop, i love you so much – constellation CC *
2. run the jewels – run the jewels 3 – self-released
3. los angeles free music society – lafms box box – box editions
4. fond of tigers – uninhabit – offseason CC
5. the luyas – human voicing – paper bag CC * Continue reading

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CKUT TOTAL ECLIPSE OF THE CHARTS::: January 17, 2017

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Hi friends,

Got to catch a stunning show on Friday featuring Lee Ranaldo, Steve Gunn, and Meg Baird just before succumbing to the winter cold that’s been making its way around Montreal… despite the preliminary throat-tickle that was creeping in, the night really stood out and proved to be one of the most memorable gigs in quite some time.

Hope you’re all staying healthy & warm out there!
xo
joni

:::WHAT’S UP AT CKUT:::
This January Anastasia (of The Submissives fame) will be making a weekly pilgrimage down to CKUT to host If You Got Ears. They’ll be playing a mix of gnarly (and saccharine) pop music, leg-bouncing electronic jams, and abject synthpop: exploring the intersections where mainstream meets experimenta. Lucky listeners will experience the sonic equivalent of sitting under a vitamin D lamp. Expect guest appearances and live sets from weird and wonderful friends (and strangers), and the occasional sniffling/sneezing on-air as they attempt to survive flu season.

:::CHARTS:::
ckut top 30 – january 17, 2017

1. nadja – the stone is not hit by the sun, nor carved with a knife – gizeh CC
2. tasseomancy – do easy – hand drawn dracula CC
3. beatrice deer – fox – self-released CC
4. sam shalabi & alan bishop – mother of all sinners: puppet on a string – unrock CC *
5. ingrid laubrock – serpentines – intakt Continue reading

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Album Review: Squanto – Rose Gold

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Rose Gold is the debut album by Calgary band Squanto. Together, Bobby Henderson (vocals, guitar, and bass), Wil Moralda (keys), Derick Lodovica (drums), Duncan McCartney (saxophone), along with Kat Westermann, Jolene Marie, and Connor Mead (backing vocals), contrive an album flooded with undertones of funk, jazz, disco, synthpop, and occasionally folk-rock. Although the album is quite multi-faceted, the crux of Rose Golds charm lies in its intricate and diverse instrumentals.

The opening track, “Act Your Age” melds the carefree strumming of ‘70s folk-rock with the spry synths and keys of early ‘80s synthpop. Despite the overt folk-rock and synthpop influence on this track (and Rose Gold as a whole), Squanto’s blending of distinct genres and Henderson’s youthful yet gravelly vocals manage to strike a contemporary sound. The height of Squanto’s experimentation is found on “Comin’ Down,” where the band concocts its most elaborate instrumental. The track commences with a sprightly jazz-pop tune; however, halfway through the piece the saxophone pierces through and ushers in a thick jazz melody. McCartney’s saxophone is reminiscent of a much tamer and more primitive version of Dick Parry’s magnetic saxophone on The Dark Side of the Moon (particularly “Us and Them”).

Compared to the rest of the album, the track “Jade Green” experiments less with its structure and sound. That being said, Henderson’s raspy vocals coupled with a funky instrumental produce a groovy melody that is memorable in its own right. Album closer “Times A Thief” finds Squanto crafting a gentle tune, evocative of quintessential early ‘70s folk-rock. Though distinct from the rest of Rose Gold, this simple, almost pastoral track delicately draws the album to a close.

Rose Gold is strewn with buoyant melodies containing hints of disco, synthpop, and a dash of folk-rock. On the whole, the album exudes a very youthful feel, which is probably due to its grainy production and lackadaisical style. Nonetheless, the album’s laid-back quality doesn’t deter from Squanto’s embellished instrumentals and makes Rose Gold an ideal listen for a lazy Sunday morning.

– Review by Soraya Mamiche Afara

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Album Review: RTJ3 – Run The Jewels

maxresdefaultOn January 20th, many Americans will be searching for a way to vent their frustration about the current state of the nation; for my fellow ex-pats, look no further: Killer Mike and El-P, the masterminds behind Run the Jewels, have got you covered. As “Volga Don” (nickname courtesy of my clever grandfather) ascends to the highest public office in the United States, you can lift your speakers to the heavens and blast “2100” until you feel stable enough to re-enter into society. RTJ3 aims to be the antidote to our current national and global angst, with the mentality that sometimes, you just need to get mad. Run the Jewels are not known to sugar-coat or present their lyrics on a bed of roses, and on RTJ3 they are as blunt and sharp-tongued as ever. Killer Mike and El-P take turns shooting barbed rhymes at rapid-fire speed, whether crowing over the success of their nearly-four year collaboration or preaching on the injustices of society.

Run the Jewels have never shied away from addressing issues they find abhorrent, and over time they have mastered the craft of yelling through a bullhorn backed by complex production. El-P has outdone himself on this album, creating stable and well-rounded tracks that simmer and swirl underneath his and Killer Mike’s rhymes. The pair has tapped a host of up-and-coming powerhouses in the rap and hip hop fields, including Danny Brown (“Hey Kids (Bumaye)”) and Trina (“Panther Like A Panther”). Kamasi Washington, renowned sax player who appeared on the scene with Kendrick Lamar’s To Pimp A Butterfly, features in the closest thing to a Run the Jewels ballad (“Thursday in the Danger Room”). The attitudes on RTJ3 range from a mad rage against class divisions (“A Report to the Shareholders/Kill Your Masters”) to the stereotypical pat-yourself-on-the-shoulder vibe (“Legend Has It”) put out by countless rap artists; though through the clever lyricism of Run the Jewels, this kind of trope doesn’t feel hackneyed. “Thursday in the Danger Room” addresses two very different losses suffered by Killer Mike and El-P: the former’s friend shot in the street for gang-related reasons, the latter’s close buddy dying in a hospital of a fatal illness.

RTJ3 doesn’t necessarily start of with a bang, but rather more of a low simmering energy. “Down” is a tightly-produced track that shakes off any braggadocio carried over from RTJ2; the boys are back and man, are they ready to go. “Thieves! (Screamed the Ghost)” carries the torch with a sinister background melody and sampling The Twilight Zone. Here, Run the Jewels address the rise of riots in response to the blatant police misconduct that has rampaged the U.S. The track is an adrenaline-packed analysis of the reasoning behind the looting and violence that inevitably accompanies what usually start out as peaceful protests. “Thieves!” isn’t the most diverse track on RTJ3, but it doesn’t have to be; the powerful lyrics featured here speak for themselves, and reverberate long after the closing sample of Martin Luther King’s speech on riots.

But Killer Mike and El-P are not done with rending righteousness from their listeners: “2100” begins as soon as “Thieves!” ends, now with a message of hope for those still reeling from the election results (it was released on November 9, the day after Trump’s victory was announced). BOOTS features on the chorus, almost moaning a plea: “Save my swollen heart/Bring me home from the dark/Take me up.” On “Panther Like A Panther” and “Oh Mama,” Run the Jewels return to more typical topics of discussion: crowing about their sexual prowess and general eminence, but assuring listeners they’re still kept in check by their familial ties and dedication to their loved ones.

Letting out this rage and sadness through song and music can be quite cathartic, and Run the Jewels recognize this better than anyone. Over the next four years, I will be returning to this album when I feel that words can no longer express my existential angst concerning the plight of our society. Killer Mike and El-P are certainly better lyricists than the average citizen, and use that advantage to give a voice to those who have none. It will certainly be interesting to see what Run the Jewels tackles next on RTJ4.

Album released: January 13, 2017

review by Juliana Van Amsterdam 

 

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Art has a birthday, and thus we will PARTY

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Art’s Birthday was originally proposed in 1964 by artist Robert Filiou as a celebration of all things Art. Ever since that fateful year, arts organizations all over the world celebrate Art’s Birthday with parties and performances. CKUT has produced special programming in celebration of Art’s Birthday since 2007.

According to our calculations, Art will be turning 1,000,047 this year, and once again CKUT will be ringing in the occasion with a variety of stunning performances. From the serious to the silly, the night will be a celebration of Art in all its varieties.

This year’s installment will feature Carodiaro, Esther Splett, Radwan Ghazi Moumneh, McGill-based acapella ensemble The Chromatones, and the legendary CKUT Circus Work Shirt.

See y’all at Casa del Popolo (4873 St-Laurent) this Sunday.
Doors are, 9:00 music at 9:30.
8-10$ — a fundraiser for CKUT!

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CKUT TOTAL ECLIPSE OF THE CHARTS::: January 10, 2017

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Hi friends,
January in Montreal = plenty of snow and sub-zero temperatures (duh), so I’m deep in hibernation mode for the time being. Please send me your favourite book recommendations, movie tips, and comfort food recipes. Winter will not get the best of me this year.
xo
joni

:::WHAT’S UP AT CKUT:::
Tara Desmond is well-known around these parts. Not only is she a kickass multi-instrumentalist (The SubmissivesDrainoliththe Pink Noise, etc etc), she’s also one of Montreal’s trippiest visual artists and an avid booker/supporter of live music in our fair city. Plus, she’s got one of the most eclectic record collections out there. Needless to say, we’re beyond thrilled to welcome her (under the Original T Dizzle moniker) into the studio for January’s edition of the Montreal Sessions everyTuesday from 3-5pm. Open your ears to T Dizzle’s Wacky World and soak in everything from kitschy thrift shop tapes to underground New Zealand pop to local punk jams. Hold on tight, yer in for a wild ride…

:::CHARTS:::
ckut top 30 – january 10, 2017

1. tasseomancy – do easy – hand drawn dracula CC
2. meredith monk – on behalf of nature – ecm
3. ylangylang – life without structure – self-released CC *
4. v/a – quarter life crisis: still alive at 25 – mint records CC
5. eric arn – orphic resonance – feeding tube Continue reading

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Concert Review: A$AP Ferg @ Metropolis

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A vodka-stained shirt, a fight, saving a life, sweat, and bruises summed up a night at A$AP Ferg’s Turnt & Burnt tour stop in Montreal. A very youthful crowd packed Metropolis when doors opened at 8pm, and it seemed as though people weren’t just there for a concert; instead, it was an opportunity to post up with their squads to let others know they were in the building. The crowd flaunted its latest fashions, leaning against walls with one foot up intending to stunt on the kids who think they’re cooler. In a way, the environment was tense, but you knew that underlying this subtle competition was the excitement of seeing A$AP Ferg & Co.

45 minutes after the doors opened, up & coming A$AP Mob member Marty Baller took the stage, performing songs from his newest mixtape, Marty G Raw. His eccentric, animated energy coupled with bass-heavy, high bpm songs enthralled the crowd into a frenzy of shoving, jumping, and pure aggression. That standoffish tone that had been so present pre-show had completely vanished. Everyone was in a sort of unison, moving together as one large pulsing mass. Marty Baller delivered as one would expect an emerging artist to: he performed as if he had everything to prove. After his set, one nearly forgot the show had only just begun. After a short intermission, Rob Stone took stage to face a sweaty, revved up crowd demanding more. His set only added fuel to the fire and the energy was intensified. When it seemed as though his set was over, the stage lights faded out until the venue stood pitch black and an excited confusion filled the air. After a short period of silence, the chilling whistle of Stone’s most popular anthem, Chill Bill, pierced the atmosphere and the crowd erupted. The crowd split into two walls, and at the moment the first bass dropped each side collided with the intensity of two sides at war. Bodies were flying, feet were in the air, and arms flailed. It was survival of the fittest in this pit of ear-splitting, vibrating bass and hostility. Following Rob Banks’s set and another quick intermission, I awkwardly thrusted my way towards the front of the stage in anticipation of the final opener, Playboi Carti. At this point, we all desired more sweat and bruises and Carti gave us just that. Decked out with sunglasses and a winter coat, his image reflected the peculiar, youthful style that was so readily displayed by the crowd before the show. Carti’s energy, coupled with performances of his most popular songs, “Fetti,” “Beef,” “Talk,” “Run It,” and “Broke Boi,” reminded us the show had only just begun and that we needed to go just a little bit harder. Moshing persisted for the entire set and the crowd moved as one in every direction squeezing everyone within. Many people lost their balance and fell, forcing myself and others to help them from being trampled; it was a telling reminder that we were all in this together.

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After Playboi Carti’s exit the final intermission commenced, during which many individuals hastily made their ways out of the crowd for some much-needed hydration. There was a small fight and a drink was inadvertently spilled on me, but it was all part of the experience — not to mention fitting preparation for the show’s conclusion.

A$AP Ferg finally took stage at around 11:00 after what had already felt like an entire music festival. The entire venue was illuminated in purple and pink lights from the stage that created a very hazy, mysterious atmosphere. He opened with “Rebirth” from his most recent album, Always Strive and Prosper. He then performed “Hood Pope” from his 2013 album, Trap Lord, singing acapella at one point. Marty Baller also made another cameo when performing “Telephone Calls” alongside Ferg. A$AP Ferg concluded the show declaring it was finally time to get “burnt.” This worried me. I thought I was beyond burnt at this point. More like pan fried and slightly overcooked then thrown to roast in an oven. And in an instant the high tempo, heavy bass tracks of “New Level,” “Work,” and “Shabba” played back to back, squeezing all of the remaining life from the crowd. Upon the conclusion of his set and the crowd’s applause, I felt a sense of relief walking out of Metropolis. I was dead; bruised everywhere. The sweat that drenched my face was now salt making the commute home in the cold rain more bearable. It was quite nice actually. The undying, almost relentless energy of the show made the experience truly rewarding and enjoyable. Overall, A$AP Ferg’s Montreal stop on his Turnt and Burnt tour was nothing short of “Turnt & Burnt”.

– Review by Nathaniel Bahadursingh

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CKUT TOTAL ECLIPSE OF THE CHARTS::: January 3, 2017

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Hi friends,
Happy new year! Hope you all had a nice & relaxing holiday season. I spent mine out west hanging with family – it felt so good to get out of the city and unplug for a bit. We’re still easing into the new year so only a top 30 today; rest assured specialty charts will be back next week.
xo & all the best for 2017
joni

ckut top 30 – january 3, 2017
1. ylangylang – life without structure – self-released CC *
2. v/a – quarter life crisis: still alive at 25 – mint records CC
3. duchess says – sciences nouvelles – bonsound CC *
4.  radian – on dark silent off – thrill jockey
5. monomyth – happy poppy family – mint records CC Continue reading