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An Intimate Evening with Slaughter Beach, Dog
Slaughter Beach, Dog’s (“SBD”) sold-out show at Le Ministère was both cozy and intimate. Instead of touring with the usual ensemble, SBD’s North American solo tour was led by none other than Jake Ewald. As one of the founding members of Modern Baseball, Jake is no stranger to the indie-rock genre. In fact, his past work with Modern Baseball and his current solo tour under the SBD banner are indicative of his role in defining the genre throughout the past decade.
One of the smaller music venues in Montreal, the stage at Le Ministère was set up with an assortment of vintage furniture and other household items that the artists picked up in different cities throughout the tour. The collection of different furniture and objects that populated the stage, whether intentional or not, created an atmosphere that was more akin to watching a friend jam out in their living room. It felt as though Jake invited you to his home and performed for you. Soothing and gentle, SBD’s melodies were sung to us as though they were sung to us by a friend we wished we had. In fact, when Jake Ewald addressed the audience throughout the show, it remained apparent that he was truly appreciative of his fans - even taking a song request from a member of the audience during the encore.
SBD’s setlist, as well as the choice of songs that they covered further cemented the idea that their show was truly one that was meant to recreate that “I'm watching my friend play the guitar in their living room” feeling for the audience. With the born and bred Nashville singer, Erin Rae, opening the show, her performance echoed the feeling of closeness that would permeate throughout Le Ministère for the rest of the evening.
Soon after the opening act, Jake emerged from the side door, shuffling through the crowd to finally get on stage. Performing the first few songs of the set alone, the solo act would later become a duo with guitarist Adam Meisterhans, and finally a trio with Erin Rae coming back on stage with her acoustic guitar. Performing songs from their latest album, Crying, Laughing, Waving, Smiling, as well as older ones, SBD also performed a number of covers, as an homage to the artists that inspired the band’s sound and style. While the show ended on a melancholic note with a cover of Blaze Foley’s “Clay Pigeons,” you could faintly hear the crow singing along, bridging the gap between the artist and the crowd and allowing them to become one.
During the show, Jake told the crowd that there is no better feeling in the world than being able to jam out with your friends. Feeling inspired, I texted my friend after the show, eagerly awaiting our next jam session.
Cadence Weapon on His New Album, Social Media, and Politics: “I Like to Stay Uncompromised”
Rapper, producer, author, and former poet laureate Rollie Pemberton - better known as Cadence Weapon - released his sixth studio album, ROLLERCOASTER, this spring via MNRK Music.
Having emerged as an artist who gave voice to issues of systemic inequality and racial disparity, particularly among Canada’s Black communities, with his 2021 Polaris Prize-winning fifth album Parallel World, Cadence Weapon returns with an urgency, addressing the dizzying contradictions of modern culture and technology with both precision and irreverence.
With ROLLERCOASTER, Pemberton expands his incisive commentary to the sprawling internet—a former utopian playground that’s turned into a capitalist junkyard—to remind users they don’t have to just “go along for the ride,” he says.
This interview has been edited and condensed for length and clarity.
I was going to ask you the obvious question of whether you felt any pressure after winning the Polaris Music Prize for Parallel World, but thankfully you answered in your Substack that, no, this wasn’t the case. So instead, how did you approach ROLLERCOASTER from a mental and creative standpoint, considering that there was no pressure?
When I made Parallel World, I really had the concept so deeply in mind. I wanted to be really political and I really just wanted to let it rip about specific socio-political issues. On this record, there is the theme of technology and social media and things like that. But I think the way I approached it was ‘I just wanted to make some fun music.’ That was a big part of it for me, to get out of my head a little bit, and just try and make really colourful, ecstatic fun music. I couldn't resist still having a concept and a message and everything. I was really influenced by a lot of hyperpop-type stuff, and electro and a lot of the kinds of stuff that I like to DJ musically, and then I was just thinking of ways to integrate that into my own music.
Every artist is now expected to introduce a new era when an album comes out. Was it nice to get away from that, focusing instead on growing beyond album cycles?
I feel, musically, I always try to be a little bit different on all my albums, and it just happens naturally. [I’m] really just following my muse at the given time. It was a freeing experience, especially [as] the last record added a different kind of pressure than you would expect. It became this thing like, okay, so I'm like ‘the voice of a generation’ and I speak for Black people in Canada. I started getting invited to talk on all these panels as the Black guy on the panel. I really don't like being pigeonholed. I don't like to be seen as the political rapper guy, or the underground rapper guy. That is something that makes me want to zig. You know, it really makes me want to subvert expectations. That's really a strong urge in me – what people would expect from me, I always like to do the opposite.
What about this record do you feel subverts expectations most?
I feel like a lot of the more electronic stuff, like “My Computer,” “Exceptional,” “Lexicon;” songs that are just straight electro; stuff that are super-fast. I never really had any songs like that. But it's interesting because when I would play live, I would rap over instrumentals like that. Or if I'm at a party, and I just got on the mic. I would rap over stuff like that. I always felt really comfortable doing, but I realized there wasn't a lot of stuff in my discography that reflected that. I feel like some people might be surprised to hear me on tracks like that, but it’s actually second nature to me.
One of the tracks that fits that mold is “Press Eject,” which also plays like a thesis statement for the record as a whole. The song is from an artist’s perspective of navigating success online and wanting to log out of its constant demands, but now we've all become content creators in some way that we can all relate. Can we really reject the online world though?
I think it's possible. The idea is to just be more mindful about what you're doing and more mindful about your experience, because it's easy to lose track of what you're doing. That's what I'm really talking about on the album. We have to use these tools - artists, regular individuals - and it's really about using the tools and not letting them use us. Because it can easily go the other way, where it becomes like, I work in the content mine and I gotta have this many TikToks this week, otherwise, the foreman is gonna fire me. That's what it starts to feel like, honestly. You're on TikTok or Instagram and it’s like I've got to up my content quotient this week. It just feels terrible. I do think there is a future for me where I just don't do it at all and I'm just out of it. I'm really currently very inspired by Cindy Lee and their approach to the way they released their album.
It's a good point you make about using these apps as a tool rather than them using us. Out in the world as Rollie and not Cadence Weapon, how do you go about trying to make it a tool that can be of some benefit to your life?
I really follow my wife's model, because she's a journalist and is really mindful about her online diet. I'm really into Twitter, that’s the one for me. I love just the thoughts and ideas, and sometimes there's some really good jokes and everything. But it also has the most negative effect on my quality of life and my mood. If I wasn't promoting my album, I probably wouldn't be super active on these platforms. It's just really easy to get addicted to it all. I swear, it's worse than cigarettes. A lot of these apps are designed to be very addictive. I read this really good book about this called Please Unsubscribe, Thanks!, and [the author Julio Vincent Gambuto] talks about how to disconnect yourself as much as possible. One of the things that he talks about is doing a social media audit, and looking at ‘how many people here do I want to see their content and unfollow them?’ It's like ‘do I need this app for work? Is it making me happy?’ If it's not, delete it. He goes as far as being like, give up your phone.
On the album artwork for ROLLERCOASTER, you’re upside down, hinting that maybe not all is right. But you're also out in nature. In the press photos, too, you're lounging on the grass. It feels like, ‘alright, I did throw out my phone, and you know what, it's still a bit weird, but I'm enjoying myself.’
I feel like the idea is ‘touch grass.’ Every time I get into a Twitter fight, I need to just think ‘Okay, go outside now, go to the park.’
With the new record, you've said that, you want to recapture what made Web 1.0 special. The sense of community, which is still present, but without commercial forces getting in the way. Is it possible to get back to that form of Web 1.0 that’s more community-centered?
There's a few things that are of that old spirit. I think Reddit is still a bit like that. It's one of the only places you can get actual information, searching something and “Reddit” in Google. There's that and there's Discord. Those feel like the kind of old-school communities where it's real people all interested in one thing, and it's not like there's a profit motive at all. So I like that. I think some of the websites that you see that haven't changed at all, like Craigslist, that's another example. It just is what it is and it's not another thing. Meta’s whole thing [for their apps] is just to swallow the other apps and it's gonna be like 50 apps and one app is the ‘everything app.’ And it's like, man, jack of all trades, master of none. So I think it's possible. I feel like the way the internet is going, it really is becoming just this all-consuming funnel to sell products. I think anything that you can do that goes against that is great.
What I'm talking about on this album is really to be more mindful about what you're doing online and to take a bit more control. It's easy to get into this feedback loop of ‘I'm opening Facebook, I'm opening Instagram, I'm opening TikTok, I'm opening Twitter;’ and that's all I look at. Go on your own adventure. Do your own path and actually find [and] learn something, or do something that's just for you. And it's not to enrich someone else. And it's not for somebody else to profit [from].
I went to go see a 25th anniversary showing of The Matrix recently, and while it was very 1999 in its tech lingo, at the same time it felt really current in its concerns. Just swap out some of the more dated references with talk of AI and it would sound the same. It's funny listening to you describing Web 1.0 from around that same time and thinking, ‘if only they knew what was coming, they wouldn't have been so pessimistic.’
One of the reasons I made this record was really for younger people who weren't around for it, and for them to really know that there's a different way of doing things; you don't have to just follow the walled garden that the social media apps want you to be in. I want people to be aware of their own agency.”
I’m absolutely certain so many people have asked you about this quote from [Resident Advisor editor and friend] Gabriel Szatan, after he wrote it as the last line in the foreword to your book Bedroom Rapper: “next step politics, right?” In “EFT” you rap about “MPs all up in my DMs.” And now former rapper Wab Kinew is the premier of Manitoba. I mean, I think you know where this question is going.
There's definitely been a lot of interest in me doing something. Parties have reached out to me about running for different ridings. I worked on a political campaign last year municipally in Toronto [for mayoral candidate Josh Matlow]. I was working on their social media. I learned about how the sausage is made and what it's like behind the scenes, and it's pretty fucking ugly. Politics is ugly – it’s way worse than music. You will never experience worse people than when you're in the political world. They're just terrible, scum of the earth. The disappointing thing is they may start with good intentions, but it inevitably corrupts them, the power. It doesn't matter what part of the political spectrum they're on, it's just inevitable that it will. It just drains the life out of you. So, I think I won't be running for office anytime soon. I also feel I can get more done outside of this system. I feel as an artist, I don't have to check-in with anybody. I don't have to tow the party line. I don't have to do anything I don't want to do. I like to stay uncompromised.
Catch Cadence Weapon live in Montreal on May 2 at Le Système and on August 4 at the Osheaga Music and Arts Festival.
Photo by Jodi Heartz
Alex is the host of Ashes to Ashes, your home for modern pop in all its forms, Tuesdays 7PM-8PM
MIKE and Crew: Theatre Fairmount hosts an abstract hip-hop marathon
When I first heard MIKE in 2020, I was, as most first-time listeners are, surprised. At first glance, MIKE seems to be not much more than your average abstract hip-hop artist. Slurred bars laid over disjointed, chopped-up soul samples fill most of the rappers' tracks, but after a few minutes, it seems to transform. MIKE’s flows seem almost spiritual like he is nonchalantly tapping into a higher power to put any listener into some sort of jazz-rap trance. There is a friendliness buried in the soul chops and introspective bars, like a warm hug from someone you've known since childhood. With all this, it's easy to see how MIKE has hugely influenced the hip-hop scene. Mentored by Earl Sweatshirt himself, the New York MC has been crafting raps for almost a decade now and has formed a community of sonically like-minded individuals around him, working hand-in-hand with said community to create a prominent new sound in today's industry.
Avant-garde jazz rap is what most refer to it as, and it is a genre truly brimming with talent; Navy Blue, MAVI, Sideshow and Wiki are a few names that come to mind. This sound has even crossed the border to the North, with rappers like Toronto’s Raz Fresco and our city's own Mike Shabb toting similar sounds. And, while these artists all bring their level of talent and artistry to the game, it seems to always come back to MIKE; acting almost like the heart of the sonic space, pumping out inspiration and style throughout the game. Seeing this raw talent live has been on my checklist for almost as long as I've been a hip-hop fan, and last Friday this dream was fulfilled at Montreal's very own Fairmount Theatre.
Upon entry to the Fairmount, it was easy to tell what kind of sound would be hosted that night. The crowd was filled with familiar patrons, all toting merch from artists like Earl Sweatshirt and MF DOOM, like a sort of abstract hip-hop uniform. Even the DJ seemed to be in on the action, playing back-to-back hits from frequent MIKE collaborator The Alchemist. The all-around experimental rap theme didn't stop there; opening the show was a veritable abstract hip-hop hat-trick. First up was D.C. native El Cousteau, whose disjointed, in-your-face flow seems to vary just as much as his beats do. Hopping from Kanye-esque soul chops to heavy-hitting Detroit-style trap beats within the same song (listen to B/W), El Cousteau grabs listeners by the collar and drags them along a stylistic trip through his influences. Burning through a handful of tracks from his 2023 album Dirty Harry, Cousteau kept the entire crowd on their toes, an accomplishment for any opener. 
After a short 15-minute set, the rapper cleared the stage and Brooklyns' own Niontay took his place. Over pounding bass punches and melodic synth hits reminiscent of Pierre Bournes' best work, Niontay raps in the high-pitched cadence that his style of rap is known for; a slurry of words that feels drowsy, as if he couldn't care less about the bars he’s spitting. If I had to draw any comparisons to Niontays work, I’d look in the direction of Detroit rapper Veeze, who seems to hold the overall steez of his performance in the same high regard. With a similarly concise set to that of El Cousteau, Niontay covered most of his new album, Demon Muppy, before playing an unreleased track, and subsequently trading out with the final opener, 454.
Of the three openers, 454 is by a large margin the most prolific. Having worked with industry giants, from Frank Ocean to Denzel Curry, the Flordia native is already on the precipice of widespread adoption. His sound strays from the frequent soul chops that mark El Cousteau and MIKE’s work and goes even deeper into that “SoundCloud trap” sound that Niontay is known for. Most of 454’s music brings to mind the prominent underground hip-hop coming out of TikTok right now, with whining keys dancing over simple, bedroom-production drum loops. It's a sound that to many rap fans feels nostalgic, paying sonic respect to the 2016 SoundCloud era while still staying fresh and new. These three openers seem to form a posse of sorts around MIKE, appearing frequently on his past two albums. While their sounds are different, the unofficial group has a sort of coherency in the space they operate in; they each seem to represent a different side of the current underground hip-hop scene, meshing styles and sounds together to make art that is as unique as it is enjoyable. It seems that now more than ever, MIKE is bringing unmatched influence to the game, while still staying true to the music he wants to make.
After the underground trifecta of openers, the crowd was eager for the main event. MIKE’s stature is something he's known for (garnering him the nickname “Big MIKE”), so it was tough to miss the rapper as he strode out onto the stage. Before rapping a single bar, MIKE led the entire crowd through a series of warm-up stretches, then abruptly began rapping cut after cut from his 2023 critical hit Burning Desire. These are pure rap songs, with MIKE spitting verse after verse of soulfully introspective lines, but they were balanced out with a surprising amount of singing. MIKE sang along to every soul-chop sample played that night, encouraging the crowd to follow suit. 
It's clear that every second of the music counts to MIKE, as he embraces not just the raps but the beat in his all-encompassing musical exposition. In the words of one attendee, “There is a man who LOVES his beats.” Jumping throughout his catalogue, MIKE covered everything from early hits like “Hunger”, to tracks off of his newest collab with producer Tony Seltzer like the dark trap cut “Yin-Yang.” Throughout the music, MIKE’s flow floats with an elegant drawl, as if he's on the brink of taking a nap mid-track, but cares too much about the performance to bother. It's easy to trace and just as easy to get lost in, like he's casting some sort of soul-chop-powered enchantment on the crowd. By the end of the 18-odd song setlist, the crowd had morphed from a group of onlookers to a hivemind mass of positivity. A mass joined by MIKE who, donning a Palestinian flag as a cape, moved off of the stage and into the crowd, embracing audience members and mumbling along to the disjointed closer to Beware of the Monkey, “Closing Credits.” Between his all-accepting attitude, endlessly entertaining interludes and genuine, down-to-earth tone, MIKE is a generational talent. Very rarely do you find someone with so much to bring to the game remains as humble as MIKE, and I cannot endorse anyone more. And, at only 24, he’s still got a lot to give.
Check out MIKE’s newest album Pinball, a collaboration with producer Tony Seltzer, here, and his critically acclaimed 2023 release Burning Desire, featuring Niontay and El Cousteau, here.
Sam Kitch is the host of I Think You Might Like This, Tuesdays 11:00AM-12:00PM
Have you ever wanted to shout for an encore after an opener? And wanted to do it two more times?
Birds of Prrrey, Laura Krieg, Mary Jane Dunphe, 9Million at Cabaret Fouf, April 19
When the Torontonian shoe-gazy emo-y post-punk band 9Million announced their Live Across America tour on Instagram, they had no Montreal dates. Understandable, as Montreal is indeed, not in America, but instead they had a mid-May date in my hometown of 21,000 people. In my late-night scrolling haze I commented “Playing my dear hometown but no Montreal dates </3”, they quickly responded, “we’re playing mtl on the 19th!” WOW. That was embarrassing. If I had scrolled only a fraction of a screen down their Insta, I would’ve seen a beautifully ethereal poster for a show on April 19th at Les Foufounes Électriques. I put my head in my hands, cringed, and emailed CJLO’s magazine editor.
Explosively opening the show was Montreal’s Birds of Prrrey, an energetic and friendly riot-grrrl-esque three-piece that encouraged the audience to move closer to their shredding guitar and seriously sick drumming; the audience obeyed immediately and provided a good amount of actual dancing. This was the first time I had heard of Birds of Prrrey; now I am a die-hard fan, complete with a one-of-a-kind screen-printed thrifted shirt, and the workings for a CJLO live session with the band. Before searching the crowd for their dad, Grace, bassist and vocals, told me Birds of Prrrey have an EP coming in June, and I am very excited.
The second opener made the New Order playing between sets make a lot more sense on a largely punkier ticket: clad in black sequin booty shorts and a 1980s evil chef uniform, Laura Krieg’s darker energy and captivating vocals brought us into a brutalist but gothic vibe in the intimate red lighting. If you want to feel serenaded in a masochistic way, Krieg will be playing a show in Soni Per II Popolo in late June. Laura Krieg’s album will be released this fall, just in time for the Boy Harsher and Siouxsie and the Banshees playlists that excel in October. 
Mary Jane Dunphe slammed us with a high-energy performance. Based in New York and originally hailing from the Olympia area, which is why she’s so cool, MJ is dual headlining two shows with 9Million. Mary Jane’s performance was captivating, switching from rough low screams of lyrics and stomping on the stage to twirling around and singing whimsically. I’m sure the question “Is she wearing knee pads?” rumbled through the audience's mind, followed up with “Why is she wearing knee pads?” then “Oh! That's why she’s wearing knee pads” when she would inevitably fling herself onto the floor of the stage. What seems to be her signature move, and works very well to keep the audience’s already rapt attention, is Mary Jane bounding across the stage, literally cartwheeling, and loudly thumping the mic on the floor. One jump caught two guitars in the crosshairs and sent them flying across the stage. Stay tuned for undisclosed excitement, presumably following her newest singles “Seasons” and “Fix Me” on SubPop Records.
The final band of the night filled the small stage with a staggering six members and arrays of pedals, contrasting the solo artists whose energies filled the space with artistry and performance, 9Million were here to play their music and hang out. Still, their show was good, providing an ample wall of sound that had me reaching for my earplugs. I have found that 9Million’s technique with playing live is stretching out and blending songs, making it hard to know when songs end or begin, and vocals sounding even more ethereal than My Bloody Valentine. The band was presumably tired from their tour van’s flat tire, and annoyed with issues in their headsets, but they were gracious enough to play us an encore song. I am so glad they responded to my stupid Instagram comment, and that I was lucky enough to tell the drummer the best place to get biscuits in my hometown, I hope they get to enjoy the Cheerwine donuts too.
Jasper aka dj jazzy maize hosts The Castle, Fridays 1PM - 2PM on CJLO
Monday Nights are for Psychedelic Rock with the Allah-Las
The Allah-Las, alongside their opener Maston - who is also their keyboardist - brought over some soothing and nostalgic sounds to a receptive crowd at the Beanfield Theatre. On a chilly Monday night in Montreal, the audience immersed themselves into the Californian psychedelic rock band’s one-hour set. A musical oasis for those who have been lucky enough to stumble upon them, the Allah-Las leaves their listeners with a sense of nostalgia for a time and place most have never experienced, but long for through the band’s music. Heavily influenced by their home state of California, the Allah-Las’ performances have revived sounds from the 60s and invite their listeners to embark on a musical journey that bends time and space.
Usually accompanied by a band, Maston’s solo act set the mood with their song’s, such as “Souvenir” and “Infinite Bliss.” Now living in Paris with his wife, Maston has incorporated rhythms and melodies inspired by his new home that seamlessly complement the Californian sounds from the Allah-Las. A sweet prelude to the main show, Maston’s performance cultivated an atmosphere that made me forget where I was for a moment, a feeling that would further be sustained once the Allah-Las set foot on stage. Both Maston and the Allah-Las successfully demonstrated how music is a vehicle that transports its listeners to the places and times in which the band wishes to take us. Indeed, the gentle warmth radiating from the Allah-Las was reminiscent of the summer sun caressing your cheeks.
Mostly playing songs from their recently released album Zuma 85, including “The Stuff,” “Jelly” and “The Fall,” the Allah-Las concluded their set with a familiar classic and the band’s first single, “Catamaran.” The crowd visibly wanting more, the Allah-Las reassured their Montreal fans of their intentions to return to the city.
After the show, I was able to chat with one of the band members, Miles Michaud. Though brief, my encounter with Michaud was memorable and gave a better glimpse into the essence of the Allah Las. While reminiscing on the release of their first and self-titled album, Miles described how the songs on that album are a reflection of the aches and heartbreaks that define your mid-20s. In his words, “People often think that Catamaran is a song about surfing,” but affirms that the song is really one about the messiness that surrounds youth and love.
With their North American tour almost complete, the Allah-Las are ready to set sail for their upcoming shows in Europe this August.
The People's Joker Film Review
One of the most anticipated movies of the year, the sequel with the promise of a few musical numbers, is Joker: Folie À Deux starring Joaquin Phoenix as Arthur Fleck (Joker) and Lady Gaga as Harleen Quinzel (Harley Quinn). After watching the trailer multiple times, there are some interesting elements at play that are reminiscent of musicals like La La Land and All That Jazz. Fear not, I say, because to tide you over until the October release date we have Vera Drew’s The People’s Joker arriving in select cities and theatres. It will be playing in Montreal at Cinema Du Parc on April 28th at 9 PM.
The People’s Joker is a parody comedy DIY project from writer/director/editor and star Vera Drew. Taking elements from the Batman and Joker films, Drew comes up with her own version of the character (Joker The Harlequin), subverting the traditional notions of the Joker. Joker The Harlequin is an aspiring comedian in Gotham City, where comedy is outlawed and creates her own anti-comedy trope where she finds love and a group of friends along the way. She forges her own comedy routine and rises in the ranks of the underground comedy circuit eventually getting a call from Lorne Michaels of UCB Live. Her own relationship with Joker sets her on a collision course to become born again through a fall in a vat of feminizing chemicals to becoming the more personified embodiment of Joker The Harlequin.
There is another underlying element to this film that is a vehicle for Drew to tell her autobiographical story about finding one’s self and self acceptance. Not all of life is full of cherries and roses as anyone familiar with the DC canon of dark and gothic can attest to. Some of the storyline falls under the toxic relationship between Joker and Harley Quinn, which Drew does not shy away from portraying in her relationship between Joker The Harlequin and Joker. Another storyline sees Joker The Harlequin and her mother having a falling out and trying to find acceptance with one another at the very end. Finally, it takes her mentor at QBC Live Ra's Al Ghul to help her find self-acceptance.
I don’t recommend this film for anyone who might have issues with some of the dark subject matter, including but not limited to toxic relationships. However, I can state that Vera Drew, on a creative level, is a force to be reckoned with for taking a familiar franchise and subverting it to her own narrative as a vehicle for an autobiographical film about identity and self-acceptance. In the same way, Joker and Harley Quinn are seen as the outcasts of society who are looking to find self-acceptance of their identity and personas. If you are looking for a dark comedy that subverts the DC Batman/Joker narrative and calls it out on its hypocrisy, or if you are looking for a film to tide you over until Folie À Deux then I recommend checking out The People’s Joker.
The People’s Joker will be playing at Cinema Du Parc on April 28th at 9 PM. Cinema Du Parc will be closed for renovations from 29th of April to the 16th of May so it’s a great way to support this local independent movie theater.
Remi is the host of At The Movies Along Co-Host Danny Aubery every Tuesday Mornings from 8-9 AM only on CJLO 1690 AM. They cover local film festivals, have interviews with directors and actors, and talk about a new film or the classics.
Oneohtrix Point Never Returns to Montreal
The last time Oneohtrix Point Never played a show in Montreal was 2018. Suffice to say, a lot has changed since then.
In the past six years, OPN (helmed by child of refuseniks Daniel Lopatin) has gone from being an obscure, critically acclaimed composer and producer to a moderately recognized, critically acclaimed composer and producer. Lopatin’s relative opacity is surprising considering his recent output. He’s become the go-to-music-guy for the Safdie brothers, directed his bff The Weeknd’s Super Bowl halftime show, dated a controversial neo-fascist podcaster, and collaborated on and/or produced scores of well-received albums and singles from the likes of Soccer Mommy, Charli XCX, David Byrne, Rosalia, and FKA Twigs—to name a few.
MYRIAD, the 2018 touring show, was an experimental live installation that blended original music and the Age Of (2018) album with digital art. The result? A strange, cacophonous robotic soundscape set against images of hyper-consumption, bringing attention to the reification of OPN’s own artistry as a consumer product. Woof.
If that seems like it’s a step above the regular fare that a casual music listener would enjoy, that’s because it is. When OPN returns to Montreal, he’ll be returning to Theatre Fairmount, the local venue/secret second floor of Supermarché PA, known for booking now-legendary acts like Cupcakke and Oasis. Again, is the live interpretation of OPN’s 2023 album of the same name.
Again comes in a long line of extremely well-received albums. While it didn’t get quite the same buzz as the totemic Magic Oneohtrix Point Never (2020), for fans of Lopatin and those who like their music glitchy and post-human, and are constantly pondering the role of “the archive” in the everyday, Again hit the perfect sweet spot. It’ll be interesting to see what experimental artist Freeka Tet will do in his role as creative director for the tour and how Lopatin’s bugged-out ambient music will sound nestled in the hallowed halls of Fairmount.
Oneohtrix Point Never is playing at Theatre Fairmount Monday April 29th, presented by Avec Courage and Good Shows
PinkPantheress Redefines Pop for a New Generation at Theatre Beanfield
Pop music seems to be in the midst of a revival of sorts. Every month, a new “internet queen of pop” seems to emerge from the constant content explosion that is TikTok, from Renee Rapp to Chappell Roan. While these artists are all pumping out fantastic back-to-back cuts, one consistently stands out from the crowd: PinkPantheress. I was introduced to PinkPantheress, as much of her fanbase was, in the summer of 2021. Breaking onto the scene with a generational run of five back-to-back singles within 3 months, it felt like nowhere on the internet was safe from her frightfully catchy hooks. Since then, she has dropped two albums, collaborated with some of the biggest new names in the industry, from Ice Spice to Central Cee, and grown a veritable cult fanbase, all hooked on her jungle-pop fusion. So, when I saw that she would be stopping by Montreal's own Beanfield Theatre, I knew it would be a special night; and special it was.
Between the Beanfield’s raised viewing platform and the stage lay a sea of phone cameras set to 0.5 and mullets, both telltale signs of a Gen-Z crowd, which, for PinkPantheress, makes sense. The singer is only 22, and the internet has repeatedly benchmarked her rise to fame. To say PinkPantheress owes her come up to TikTok would be a criminal dismissal of her talent as a musician, but it has played a huge part. This is not to dismiss the parents chaperoning their (at most) middle school-aged kids, of which there are plenty, which if anything shines an even brighter light on the average age of the PinkPantheress fan. As the room began to fill up, the buzz and excitement hung in the air like a cloud, mixing well with the lingering scent of cotton candy vape and sweat. This isn’t the artist's first warm welcome from Canada though; two nights earlier in Toronto she sang to a sold-out theatre, with some waiting over 7 hours in line just to get a hand on the barricade. The crowd of fourteen-year-old girls beside me told me this, before grilling me on my admittedly lacklustre PinkPantheress knowledge. Thankfully, before they could realize I was but a rookie in comparison to their stan behaviour, the lights dimmed, and the Beanfield was filled with enough screams to coax any artist out of the comfort of the green room.
Sticking with the theme of musicians who got their rise on TikTok, Bktherula opened the show, joined on stage by her hype man, cameraman, and two people with bubble guns (awesome). For a crowd expecting the poppy, upbeat, garage-style dance tunes that PinkPantheress is known for, BK got a warm welcome. Playing a collection of tracks off her new album LVL5 PT2, followed by an unreleased track featuring Soundcloud legend Lil Uzi Vert, and finally, a collection of her hits, like “Tweakin Together” and “Idk What to Tell You”, BK had the Beanfield crowd going hard enough to shake the top floor. With a trap-plugg style reflective of some of the best underground hip-hop right now, Bk graced the Beanfield with her melodic vocals and deep 808s, sonically representing her home city of Atlantas in a way that would make even Three-Stacks proud.
Just as soon as Bktherula and posse had cleared the stage it was covered in movement, as dozens of workers began setting up for what promised to be a fantastic headliner. Unable to contain their excitement, the young crowd whooped and hollered, clapping at any semblance of a musician on stage. Then, almost as suddenly as they had dimmed, the pink and purple lighting hit the Beanfields stage, exposing 5 live musicians and PinkPantheress’s signature stage piece - an oval, full-body mirror, as seen on the cover of her November release, Heaven Knows. The live band aspect was admittedly a shock to me at first; it's not every day you see a garage set with live drums, guitar and keys, especially with the pop-vocal heavy sound that PinkPantheress is so well known for. Worried flashbacks of the early 2010s trend of ukelele rap covers filled my head but were thankfully quenched the second the bassist played the first bar of one of my favourite tracks, “Break It Off”. And, as PinkPantheress skipped out onto the stage, the crowd went wild with excitement. It seemed like the entire room knew every word as if possessed by the giddy, British, 20-something pop queen in front of them.
From then on, the night was a blur. Every hit was played, which seemed to be her entire catalogue; from lofi deep cuts like “Passion” and “Pain” to new crowd favourites, like the Y2K throwback “Nice to meet you”. These tracks were interspersed with beautiful instrumental sections from the live band, witty banter from the singer herself, and some of the most genuine crowd interaction I have ever seen at a show. At one point, a fan wearing the same thing as PinkPantheress was pulled up on stage and given a round of applause, before being dragged off by security (to the dismay of the young singer, who booed the guards off). It felt less like watching a show, and more like watching a friend play their surprisingly good music for you, as the old Beanfield was filled with Britpop-infused affection. And although the sun was shining throughout Montreal that day, it felt infinitely warmer in that room, as someone who genuinely loves what they do got to share their art with a crowd more than willing to support it. This was evident after the double encore, as the crowd applauded for over 2 minutes, recognizing PinkPantheress as exactly what she is: a new-gen queen of pop.
As I said before, pop music is in a revolution. No longer is the dominant sound coming out of L.A. studios, or big-budget labels; it's coming from bedrooms. With unbridled access to the internet, more and more people are turning to music-making for fun, experimenting with sound in ways unthought of just 10 years ago. Artists are coming full bloom out of apps like TikTok, gaining popularity off of talent and genuinely good music. While this may create the most resilient of artists, one thing is clear: PinkPantheress is here to stay. Whether you are a pop fan or not, I urge you to dive into her discography, as it is filled to the brim with the innocent charm of someone untainted by the music industry. It is true, unbridled artistic talent, and damn is it fun. Check out PinkPantheress’ newest album, Heaven Knows, here, and Bktherula’s LVL5 PT2 here.
Sam Kitch is the host of You Might Like This, Tuesdays 11:00AM-12:00PM
Tiny Habits at Studio TD: A Trio Whose Unparalleled Vocalization Has Created a Folk-Pop Music Group Like No Other
Imagine meeting your three best friends in post-secondary school, sharing and exploring mutual passions during the dawn of adult life and two years later turning friendly amusement and aimless conversation into a full-blown career and lifeline. Standing on stage, hand-in-hand in front of a venue of sardined-audience members was such a journey of the ever-growing, Tiny Habits.
Tiny Habits, an acoustic-folk trio of pure vocal harmony, is composed of three Berklee College of Music students, Maya Rae, Cinya Khan, and Judah Mayowa out of Boston, MA. The affable ensemble was formed in 2022 at the hands of an arbitrary exchange on Instagram. The bandmates’ quirky remarks on how to properly load the toilet paper holder in their dorm room bathrooms comfortably evolved into friendly discussion surrounding music. It wasn’t long before the three were sitting in Rae’s room harmonizing to karaoke tracks. Not Rae, Khan or Moyowa would have anticipated what the seemingless formation of this friendship would later entail.
As their bond strengthened and their sound enriched, the trio quickly fell into the music industry. They released a handful of well-received TikTok videos, featuring covered songs by artists Kelly Clarson, Carly Rae Jepsen, Kacey Musgraves and many others. With an ambience like that of Crosby, Stills and Nash, the group has since sunk into their own creative endeavours, writing songs alongside one another and slowly letting the world into the harmonious sound of Tiny Habits.
The Little Bit Farther Tour’s superlative vocalization seasoned with deeply rooted technique and musicality, enriched Montreal’s Studio TD last Wednesday, April 10th. Rammed with travelling fans from New York, New Jersey, and even a true “Hab” all the way from London, England, the audience ranged from giddy middle and high-schoolers to millennials, and even a handful of boomers who quietly sat towards the back.
As warmhearted and ‘Honest’ show opener, Beane, triumphantly closed his set with a tear-jerking acapella rendition of Louis Armstrong’s "What A Wonderful World,” fans' applause erupted into fulfilled bells and whistles. Beane’s performance was the perfect precursor to the tour's main event as the singer’s sound openly welcomed unfamiliar and familiar listeners into Tiny Habits’ wholesome tone.
As Rae, Khan and Moyowa made their way to center stage in dim warming light, the trio opened with “Circling.” I have never personally seen an audience so immediately fixated on a performance with no overtaking of excitement, no hooting and hollering out of sheer joy. Evidence of amazement came from the astonishment plastered on the faces of listeners. There was a collective inhale from the crowd as the piece came to an end. The slow fade of the band, Khan’s light guitar strums and the three singers’ decreasing volumes enunciated the complete silence of the room. This shock and awe came as a result of the entrancing sound that exudes from Tiny Habits.
As fans regained their sense of awareness, the trio's smiles were illuminated. As the group took a moment to pause to converse with the audience, they spoke of the significance of this first headlining tour and Montreal being their second-last North American stop. Rae revealed, “It's okay if people don’t show up,” in reference to what the group anticipated for their musical shuttle across live performance venues. Needless to say, Tiny Habits were happily put in their place as their false expectations were corrected.
During their most recognized cover and hot track from their EP Tiny Things, the singers’ live performance of “Landslide” filled the room with voices from the audience. Not only were people singing along to the lyrics; but they were also following the same rhythmic adjustments the group had reverberated to make the song their own in contrast to Fleetwood Mac’s 1975 original.
Further on in their set, Rae’s voice flourished in her vocal runs during “One More”, while Khan and Mohawa’s stillness in harmony turned on audience water-works during the group’s newer release, “Mudroom.”
While Rae announced that the band “had no more music to play” the stage began to dim and she laughed, “Don’t ask for anymore guys” as the group's close was signalled. Fans were happy the group's bad habit of lying in their closing held true. Tiny Habits went onto encore with “Pennies” and “Tiny Things,” leaving not one heart in the audience untouched by their heart-wrenching lyricism.
Watching the three focus so deeply on listening to one another truly creates a new form of artistic performance. Not only is the sound of Tiny Habits nothing but natural and skillful talent, Rae, Khan and Mohawa’s ability to listen and combine each other's voices into one entity truly allows the group to exist as a nuanced phenomenon.
Destroyer Plays an Intimate, Sold-Out Set at Bar Le Ritz
Dan Bejar’s Destoryer is one of Western Canada’s biggest names in indie rock. Recording music for over twenty five years, Destroyer’s lush instrumentation and whimsical lyricism has seen many different genre shifts over the years, spanning from indie-folk to synth-heavy art pop, as Bejar and band navigate shifting inspirations and moods.
Opening for Destroyer was fellow Vancourverite band, Lightning Dust. The duo consists of Amber Webber and Josh Wells, both members of heavy rock band Black Mountain. Lightning Dust, the musicians’ more synth-focussed effort, provided an atmospheric and calming start to the show. Webber and Wells’ vocals interwove and harmonized beautifully over their heavy guitar petals and moody synth passages.
Destroyer kicked off his set with “Helena” off 2001’s Seahawk: A Seduction. This acoustic track worked well as the start to this show, as Bejar was performing with only his frequent-collaborator David Carswell on electric guitar. Just guitars, no synths, drums, or any of the layered and lush production one comes to expect from a Destroyer record. However, Bejar’s unique, highly-annunciated voice and complex lyricims more than made up for the sonic differences, as the audience was forced to pay extra attention to every lyric uttered.
This tonal difference was especially felt in the back to back “Cue Synthesizer” and “Your Blood,” two of Destroyer’s more upbeat songs, the former losing its titular instrument in favour of a more slowed down acoustic tone, while the latter got a more heavy guitar-pedal treatment from Carswell.
During Destroyer’s set, Bar Le Ritz began to pack in. The sold-out show truly felt it, as Bar Le Ritz tends to become rather claustrophobic even at partial capacity. Between songs, Bejar mentioned that the show felt like one he played twenty-three years ago at Plateau institution Casa Del Popolo. He asked the crowd if anyone here was also in attendance all those years ago, a small pocket in the middle-back of the venue cheered. His nostalgic memory of that Casa show is likely what drove him to play at a small venue such as Bar Le Ritz. Destroyer can obviously sustain a larger venue, as he has played Theatre Fairmount in years past. Yet, Bar Le Ritz, despite how uncomfortably packed in, did give the feel of a more hard-core-fans-only atmosphere, where the excitement was deeply experienced.
Bejar’s idiosyncratic, at times elusive stage presence was on display that night. In a few instances, he’d pause between songs, as if to start on a typical bit of stage banter, maybe an anecdote, just to instead leave the audience hanging in a sort of ironic anticipation. In one instance of this, Bejar paused while tuning his guitar to say, “Seems nuts not to mention the eclipse,” and stood there for about fifteen seconds before just jumping into his next song, getting some knowing chuckles from the audience.
During the show, “Painter in Your Pocket” was a highlight, as the already acoustic guitar-driven and lyrically-dense song fits well with this style of show, and the audience sang along to this fan-favourite tune.
With no encore, Destroyer ended on a deep-cut from the band’s early discogragrphy, “Don’t Become the Thing You Hated,” which Bejar described as a lullaby. Whether this is literally true or a joke about its slowness, the song did act as a soothing closer to a sweet, intimate, Bar Le Ritz show.
Aviva Majerczyk is the magazine editor at CJLO 1690AM. She is also the host of The Alley, a folk-rock show airing Fridays at 11:00 AM.
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