Well, I guess it's true that history is a cycle. I originally wrote this entire thing a week after Sleep Token released their latest record, Even in Arcadia, and then thought, "Why should I publish this? What is the point?" But upon reflection and seeing the band get a Grammy nomination, both in a metal and rock category, I thought maybe I should revisit this in case a flood of new think pieces come out saying how this is a horrible thing.

But let's get some things out of the way first.

Walking out of Saint Laurent metro, it wasn’t hard to spot who was headed to the Snow Strippers show. Fuzzy leg warmers, mini shorts with ripped tights, and spiked hair all moved excitedly towards MTELUS. Under the venue’s painted ceiling stood a growing crowd, with sunglasses in their hair and plastic cups in their hands. The night was very much young and alive, as conversation mixed with electronic pop resonated across the room.

As a first-year student at Concordia, I’d never been to McGill’s Lilith Fair, though I’m aware that it happened last year as well. This mini-festival, organized by the McGill Collective for Gender Equality and McGill’s Jam for Justice, is inspired by the original Lilith Fair, founded by Sarah McLachlan in 1997. Her goal with this festival was to promote female artists and address gender inequality in the music industry.

A few days before Quinton Barnes was set to perform at Casa Del Popolo, I listened to Quinton’s most recent project, Black Noise, an album characterized by the unsettling cacophony of orchestral instruments inspired by Miles Davis, overlayed over an otherwise beautifully produced album. On the day of the show, I woke up at 6 in the morning to catch a rideshare from Ottawa to Montreal.

The press tour for Josh Safdie’s new film, Marty Supreme, is virtually inescapable. Perhaps you’ve seen the orange blimp flying over the southern USA.