Tag Archives: Review

Album Review: Lungbutter – Honey

There has been, for many years, a dichotomous debate in regards to consuming music: is it better recorded or live? I can’t think of anything more disappointing than seeing your favourite band play live for the first time only to have the music be void of the personality which initially attracted you to it.

On the other hand, it is equally disappointing to discover a new band live, be enticed into
listening to their latest EP, only to find that the energy and vigour which you loved so much
during their set to be confined to that set alone. “When will this musical catfishing end?” You
wonder. Luckily for you (and me, and everyone), Montreal based trio Lungbutter provides the
best of both worlds.

 
The group formed back in 2013, the band is made up of vocalist Ky Brooks, guitarist Kaity Zozula, and former CKUT music director Joni Sadler  rockin’ it on drums.

Despite this minimalist set up the band possesses energy which compresses more power than even a  five or six piece band. The noise-rock trio has opened for bands like Psychic TV, Perfect Pussy, and Yamantaka//Sonic Titan and has also played the OBEY Convention in Halifax, and POP Montreal and Suoni Per II Popolo here in Montreal.

 

Their debut album Honey was released on May 31st, 2019 on Constellation Records,
and will surely cement the trio’s place as one of this city’s most iconic bands.
The album opens with the title song “Honey” and features Zozula’s classic guitar style: heavy
distortion, impressively obtrusive and yet strictly melodic. These opening 50 seconds invoked in
me an excitement for this album the same way I would be for a live show. The spoken quality of
Brook’s voice fuels the energy of the album. Combining this chanted style with frequently
repeated lyrics creates an atmosphere that is incredibly catchy and high powered, making
“Honey” the perfect opening song for a Lungbutter album.

Over the course of 34 minutes, 11 songs perfectly fall into each other. Their relatively short
length (the longest one being the closer, “Veneer”, at five minutes and 29 seconds) makes it easy to absorb the album in one sitting, and I would go as far as saying that this is essential for first time listeners of both the band in general and the album specifically. While all these songs are strong in their own right, I want to highlight a few of my personal favourites.
“Flat White” is the fourth song and one of two singles on the album. Matching the rhythmic,
chanting style of “Honey” “Flat White” captures the visceral, raw emotion of this album better
than any of the other tracks.

 
“Intrinsic” is the seventh song and the second single on the Honey. The song encapsulating a
similar sound to Pixie’s Surfer Rosa album, featuring a slow and heavily rhythmic intro which
erupts at around three minutes in. The context of the rhetorical questioning of the lyrics shifts
drastically with the tempo change, giving the repeated intro lyrics “having a future/it makes a
difference” a heightened sense of urgency.

 
Finally, the holder of my favourite title on Honey goes to “Depanneur Sun”. The lyrics “I love myself through books, pottery and so on/yet I will never finish my book” spoken with Brook’s tone and infuused with Zozula and Sadler’s instrumentation lend a sense of angry and stubborn self-love.
Due to its largely instrumental nature, “Veneer” serves as the perfect epilogue to the high
intensity of the preceding 10 songs. It gives the listener room to reflect the lyrics they’ve heard and leaves them with a sense of closure. The entire album weaves together with perfect
precision: every song is exactly where its supposed to be, and every note is exactly where it
should be. The ability for an album to sound so hectic and so controlled at the same time is
nothing short of masterful.

 

I highly recommend Honey a listen and also check out Lungbutter at
Suoni Per II Popolo this summer on June 15th.

~Review By Madison Palmer, student programmer and blog writer

Album Review: Tim Hecker – Konoyo

Konoyo by Tim Hecker, Kranky

Konoyo by Tim Hecker, Kranky

With yet another midterm season upon us, it is sometimes easy to neglect the notion that professors lead careers outside of their lectures, and Tim Hecker is no exception.  The Vancouver-born McGill professor began his music career as a DJ and techno producer, the influence and experience of which resonate thoroughly across his September 28th release Konoyo.  For his 9th studio album, Konoyo shows concise stylistic refinement, employing synthesizers and software that emphasizes the importance of the samples Hecker is isolating and manipulating.  The foundation of the musicality and inspiration of this album stems from a form of Japanese imperial court music known as Gagaku; an intense ‘drone-style’  produced by the incorporation of instruments such as bamboo mouth organs and double-reeded aerophones.

I want to preface this review by admitting that I am fairly unacquainted with the electronic genre, and Konoyo was my first introduction to this distinct style of experimental minimalism.  While I don’t have precedent albums to compare this one to (including Hecker’s previous works), I can say that my first impression of this album was overwhelmingly positive.  Released by Chicago-based label Kranky, the tracks intertwine with each other perfectly, keeping the listener in a suspended tranquility deprived of jarring breaks as the album completes its hour-long play.

Konoyo opens with “This life”. Comprised of only jarring synth tones until approximately 30 seconds in, this track sets the atmosphere for the rest of the album.  It is, tonally speaking, clinically cold and through immense tension the songs create a sense of apprehension.  The sounds emulate waves as the tension pulses through its eight-minute course and demands the full attention of the listener.  On an interesting note, while it obviously connects seamlessly to the following track “In Death Valley”, it also pairs perfectly with the closing track “Across To Anoyo”.  At the 15 minute mark, the song’s intensity ties together the elements of the first six , with a significant call back to the first track as the music fades out into more ambient.


Moreover, the length of these pieces gives Konoyo a highly introspective quality.  The meditative nature of Hecker’s style makes this unavoidable, regardless of whether the listener is closely analyzing and dissecting the music or just throwing it on as background music while studying.  This is an amazingly versatile album, that can be perceived as complex or as simple as the listener wants, and serves as a virtuous introduction to this genre.

~Review by Madison Palmer, Noise Architect

 

 

a2628204520_16

Album Review: Japanese Breakfast – Soft Sounds From Another Planet

“I want it all,” Michelle Zauner coos on “Diving Woman,” the opening track from her new album as Japanese Breakfast. The breathy vocals turn what could be a bold opening statement into a kind of aspirational mantra, something to reach toward.

Six and a half minutes long, “Diving Woman” is an enticing, meandering track that immediately differentiates Soft Sounds From Another Planet from Japanese Breakfast’s last release, 2016’s Psychopomp. That record was short, sweet, and immediate. Zauner put it together right after her mother passed away from cancer, and though most of its songs weren’t explicitly about her mother’s death, the album had a sense of working through fear and pain as they’re happening. That rawness was what made Psychopomp stand out, despite the fact that some of its two-minute tracks slid pleasantly in one ear and back out the other.

Soft Sounds, on the other hand, takes the time to brood, and is stronger for it. Zauner’s guitar is still at the forefront but now shares the spotlight with flitting synths and bells. Her vocals, meanwhile, are lighter than they’ve ever been, creating space for the songs to swell underneath. Soft Sounds is an indie rock album, but the tracks aren’t interested in catchy hooks so much as settling into a good groove and seeing where it goes. This isn’t a departure for Zauner, then, but an expansion.

Because of this calmer tone, Soft Sounds feels simultaneously in-depth and distant, the lyrics often expressing a sense of disconnection and isolation, as if sung by someone looking in on her life. In “Road Head,” Zauner recalls a failed relationship while remaining separate from it, her voice floating as she sings, “‘dream on, baby,’ were his last words to me” – a reference to an ex who told Zauner she wasn’t good enough for a career in music. The airy vocals and synths don’t create a sense of emptiness, but possibility, like the narrator is dreaming herself right past this shitty dude.

Continue reading →

photo taken by Aaron Bentley

Concert Review: Kaytranada @ L’Olympia

photo taken by Aaron Bentley

photo taken by Aaron Bentley

Final exams didn’t faze dedicated fans from attending a sold out show at L’Olympia from local electronic producer Kaytranada. Taking the stage at 11:20pm, the venue was packed to the brim with people eagerly anticipating the eccentric young artist to perform his latest mixes for everyone. Fellow local artists Planet Giza and Lou Phelps opened the show earlier on that night with their own sets to warm up the crowd. However, if you planned on catching just the main act then you would’ve had to bear waiting outside in line for over half an hour before stepping foot into the venue.

Once inside L’Olympia, security pushed their efforts in patting down every single person before letting anyone onto the dancefloor. The crowd was immense, nothing but a sea of bodies could be seen in every direction and by the time my friends and I made our way inside, Kaytranada had already took to the stage with performing his mixes.

We made our way up towards the front of the stage, the energy in the room was unparalleled to the show that Kaytranada performed back in May for the release of his debut LP 99.9%. By this time around people knew what to expect from the young producer, his debut album garnered widespread attention and has been making appearances on end of the year lists for the hottest albums of 2016.

He performed fan favorites from 99.9%. The tracks “Glowed Up” and “Lite Spots” had the audience going ballistic and vibing hard off of the hottest two singles on the album. During another point of the show “Cranes In The Sky” off of Solange’s latest record A Seat At The Table had people grooving hard to the funky remix that Kaytranada was able to provide on the track. The liveliness of the venue was constant, everyone in the building was able to lose themselves to Kaytranada’s crisp production that has become distinct to the artist’s production style.

After over an hour of material the show finally concluded around 12:35am, roars of excitement and cheer filled the venue of L’Olympia as Kaytranada thanked everyone for coming to the show. While it’s only been a couple of months since 99.9% dropped, the amount of playability that album holds is always refreshing when listening to his debut efforts. On a live stage all his songs translate exceptionally well to the dancefloor, which makes total sense. His music is meant to be danced to, meant to be played at parties, and most importantly is meant to showcase that Kaytranada is no one-trick pony when it comes to making music.

-review by Michael Eidelson

weyes

Album Review: Weyes Blood – Front Row Seat To Earth

 

weyes

Natalie Mering, or better known by her stage name Weyes Blood, released her elegant new LP Front Row Seat To Earth a couple of weeks ago. The New York singer-songwriter’s second album released under Mexican Summer’s record label approaches the listener with tenderness and care through the whole tracklist. The realities of dealing with relationships and celebrating change in attitudes are central themes surrounding Mering’s latest project.

“Diary” is the first track off the LP that starts with a slow piano progression that feels heavenly to the effect of Mering’s beautiful vocals. The atmosphere feels intimate and sparks different notions of what Mering might be experiencing in her life. It’s almost as if she’s singing a personal passage from her own diary, informing the listening audience about how she feels. This sets the tone for the rest of the album which feels extremely personal from one track to the next.

The song “Be Free” is absolutely stunning, it pulls at your heart in the most comforting way possible. The guitar playing feels dreamy, Mering’s vocals towards the later half of the track resonate well against the brass instruments and finishes the song off exquisitely well. “Generation Why” was used as one of the singles for Weyes Blood’s latest record and discusses the idea of our current generation and dealing with change in everyday life. The gentle guitar plucking throughout the song is accompanied by violins that support Mering’s stellar harmonies on the track. At this point the consistency of the album feels satisfying and carries forth similar production within each song proceeding.

“Can’t Go Home” is the following track after “Generation Why” and utilizes a harmonizer for the background vocals, the effect feels like a beautiful outer worldly instrument. “Away Above” has cool synth work seeping its way through light guitar playing and pretty vocals that emulate a sense of sorrow that’s oddly uplifting at the same time. Mering addresses how confusing love can be, what it means to love someone, and how real that feeling can be to someone. It’s a harrowing track that is relatable for anyone facing the dilemma of what it means to have feelings of love resonating within one’s self.

Front Row Seat To Earth is a magnificent accomplishment for an album. Exceptionally touching and forward thinking, the latest LP from the New York songstress is one that should not be overlooked. Pick up this record and give yourself the pleasure of pulling up a front row seat to the experience. You’re going to want to be seated for the initial playthrough.

– Review by Michael Eidelson

image001

Concert Review: Luc Ex Assemblée

image001

Luc Ex’s Assemblée is something of a super-group that pits together voices from all over the underground music community.  Hamid Drake serves as a powerful drummer with tendencies for heavy handed grooves, whereas Ingrid Laubrock and Ab Baars trade quirky, avant-garde saxophone melodies that encompass a wide array of extended techniques.  Lux Ex himself is a powerful bassist with stage presence and natural musicality to lead any group in the right direction.  The group’s Saturday night show at this year’s Suoni Per Il Popolo festival showcased a massive dynamic range making for surprising moments throughout each of the two sets. Continue reading →

image002

Album Review: She-Devils – Self Titled EP

Displaying image002.jpgDisplaying image002.jpgimage002

Having a distinct sound is possibly the most important aspect of any musical project.  Falling into the monotony of guitar-punk bands across the internet can be avoided through the addition of more modern, electronic elements, however, this too can bring about issues in authenticity. It would be counterproductive to classify any sound not made directly by a human playing an instrument as inauthentic or cheap, but at the same time some balance must be achieved between the futuristic synthesizer/turntable sounds and the in-the-moment, human quality of music.  Another important aspect of a band’s individuality is its influences.  Contemporary bands oftentimes fall into the trap of borrowing from each other too much, which can lead to an overabundance of bands with the same set-up and sound. Montreal’s own She-Devils seem to have fixed this problem by combining a relatively predictable modern set-up with an unusual pallet of influence.  By fusing the modern, sample-based DJ sound with a vintage songwriting approach, the She-Devils have created a fresh, new sound that pushes forward into the realm of electronic music while also hearkening back to the psychedelic feel of the 1960s.

Continue reading →

tim berne

Album Review: Tim Berne – You’ve Been Watching Me

tim berneTim Berne has been a major component of the avant-garde jazz scene since the 1980s and his latest work certainly does not disappoint. You’ve Been Watching Me has been circling the CKUT charts for a good chunk of the summer and it really is the perfect level of unique, underground modern jazz that the station strives to broadcast.

Continue reading →

PHI

Album Review: PHI – Progression

PHI

Montreal-based music producer PHI (Patrick Haggart Ippersiel) has crafted an electronic journey with his sophomore album Progression. Underneath the pretty piano in the opening track is a tension that remains until the last note of the record, swelling and receding but never quite going away. It’s this tension, combined with the slick production, that ties the album together as the songs flow effortlessly across the spectrum of electronic music. PHI draws from a diverse catalogue of styles without coming across as indecisive, resulting in an effortless, laid-back sound. The overall feel of the record is more like a contemplative night-time drive than a sweaty dance club, though Searching would not be out of place at 2am on a packed floor. Continue reading →

Ice Daggers

Album Review: CMD – Ice Daggers EP

Ice Daggers

With Ice Daggers EP, I’d like you to take yourself back a few months to the death-freeze of February in Montreal. If you’re elsewhere, imagine it’s really cold.

But you’ve just gotten inside, maybe you’re at home, or maybe you’re at the function. Wherever you are, the most crucial thing is (I’m writing a review here!): CMD’s Ice Daggers EP is playing.  Continue reading →