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Taverne Tour 2024 Day 2: Intimate Shows Across Genres

February 18 2024 //

On day two Taverne Tour 2024, Montreal’s Plateau neighbourhood was packed with concerts to attend. With acts like TEKE::TEKE, Yves Jarvis, Family Man, Janette King, and more running February 9th, the city’s music fans were out and about Friday night catching a myriad of shows. 

CJLO staff were out on the town for the second day of the festival, seeing just some of the shows Taverne Tour had to offer.  

 

Among the varied lineup of Taverne Tour that can go from hardcore to hip hop, the festival offers intimate performances for folk fans as well. If you happened to be browsing for records at the Plateau’s Aux 33 Tours on Friday night, you were lucky enough to stumble upon a free concert by Yves Jarvis put on by the festival. 

As the lights went down towards the back of the store, we could see a very humble setup from the eclectic performer. Just him, a classical guitar, 

and a little food stand where we could see the artist donning slippers on his tapping feet. Jarvis, known for his atmospheric and dense production, offered a different interpretation of his songs, perhaps as they were originally written, and gave us an insight to his skill as a writer and player. The frequent changes and lack of formal structure in his playing gave nods to influence from the great complex folk artists such as Joni Mitchell. One of the most fascinating moments was his performance of “Bootstrap Jubilee,” a prominent single and a fan favourite. Again, by removing the production elements of the track the audience was reintroduced to a song they thought they knew, but now understand much greater. Much like a meaningful conversation with a friend. 

Such a unique experience and a treat for longtime fans, Yves Jarvis’ performance was a true demonstration of artistry and authentic expression done simply with a voice and a guitar.

- Lisa: Music Director and host of The Last Stop
 

Day two of Taverne Tour featured a co-presentation from Montreal music magazine Also Cool at venue Casa del Popolo. I was only able to catch one act during this performance, but in the end, I’m glad that one happened to be local electro-pop music producer Lola 1:2. As she walked onto the stage, you could sense her nervous excitement. Admitting to being a bit anxious about the show, Lola 1:2 was immediately endearing, as she set up her laptop on a stool, hair partially covering her face. She manually picked every track she played off of her computer, singing along with a wired mic, and dancing across Casa’s small stage. While playing her songs, Lola 1:2 had a strong command of the audience, with her dreamy vocals and danceable pop tunes, which played as a funny counter to her more shy presence in the silences between tracks. Yet, the audience was right in her grasp, as a few groups of younger attendees stood right at the lip of the stage, dancing feverishly to every song. After what was supposed to be her final song, the audience clapped and yelled for an encore, atypical for a festival set, and Lola 1:2 obliged, playing her track “Always I dare.” 

While only having one song released to the public, it was apparent from this Taverne Tour showing that Lola 1:2 made a lot of new fans that night at Casa del Popolo. 

- Aviva: Magazine Editor and host of The Alley

 

Day two of Taverne Tour fell on a suspiciously warm February night. Even if it was blizzarding, nothing would stop me from heading to La Sala Rossa to see Feeling Figures, DANA, and Sweeping Promises. I wasn’t the only one thinking this, as I was heading into the venue, you could see Saint-Laurent was buzzing from Taverne Tour shows taking place all over.

By the time I got to Sala, Feeling Figures were already a few songs into their set and the venue was packed. Feeling Figures had released their debut record Migration Magic on both K Records and Perennial Records just a few months prior, and judging by how they performed on this night, they were at the top of their game. The sound in Sala that night was fantastic, and both lead singers Zakary Slax and Kay Moon’s vocals were clear and strong in the mix. The band plowed through songs such as “Don’t Ever Let Me Know” and “Pour Un Instant,” the audience firmly in their grasp. By the time their set was done, everyone in the crowd wanted more, this reviewer included. 

In order to satiate our thirst for more raucous tunes, Columbus, Ohio’s DANA came out just in time. Right out the gate, the crowd was enamoured by their blend of psych-tinged fast noisy punk. Two things made this band instantly memorable: lead singer Madeline Jackson’s mesmerizing stage presence, and her use of everybody’s favourite early 19th century electronic instrument, the theremin. Never have I seen a theremin used in a punk context quite like this. As the band fell into one of their many noise jams, Jackson made their theremin wail to an inch of its life. By the end of their set, I was exhausted from the intensity, but after two great sets, I was ready to rally for the headliner.

I’ve been a fan of Sweeping Promises since 2020, when they dropped their fantastic debut record, Hunger for a Way Out. They have since followed this up with 2023’s Good Living is Coming For You, and I wondered how these songs would sound live. Would this three-piece match the tightness and intensity found on their two records? Spoiler alert: yes, of course they did, and more. Most impressively, lead singer Lira Mondal’s vocals were spot on, never missing a note, and sounding like an exact duplicate to the album’s recordings. Guitarist Caulfield Schnug’s guitar work was impressive, filling the space and driving the set forward, keeping the audience on our toes. Sweeping Promises played for almost an hour, going through most of their catalogue. Despite the set length, the near-capacity crowd at Sala was begging for more, demanding an encore. Exhausted, but thoroughly satisfied from a full night of pure rock bliss, I used that as my cue to leave.

- Allison: Station Manager and host of Transistor Sister

The New State of (House) Jazz: Berlioz at Le Studio TD

February 18 2024 //

When U.K. DJ and producer Berlioz announced a tour earlier this year, I knew I had to cover his set at Le Studio TD. I’ve been a fan of Berlioz for just over a year, discovering his music on TikTok, as most of his fans have. Seeing that his entire discography, only going back two years, consisted of no more than eight tracks, I expected to be met with a fairly small crowd and a fairly easy night, and I couldn't have been further off. 

Upon arrival at the Place des Arts venue, I was greeted with a line that spanned almost a full block, even 45 minutes after the doors had opened. The venue itself was crowded, with both the floor and mezzanine area bustling with an eclectic mix of Montreal's finest; anyone from senior jazz heads to Gen-Zers clutching Berlioz LPs (I counted 6!) Thanks to this I was able to get a variety of expectations as to how this show was going to go, soured only slightly by the 45-minute wait for the U.K. DJ and his jazz trio to make an appearance.

From there, however, it was all smiles, as Berlioz and crew slid through the DJ's relatively small discography with nonchalant, funky ease. Berlioz ran the drum machine, laying down groovy house 808s and retro cinema vocal samples over some classic jazz loops, both heavily prominent on tracks “jazz is for ordinary people” and “nyc in 1940”. Accompanying Berlioz on stage was a live jazz trio, made up of Matt Carrillo on sax, RC Williams on keys, and Sharay Reed on bass, a standard saxophone jazz trio. Each getting their turns to improvise while maintaining the format of the Berlioz originals, this live instrumentation added a lush level to the already bustling and lively house jams. While this is not common for a DJ set, it works to give Berlioz his unique brand of performance, crafting live house jazz on his own terms. 

Berlioz performing live on stage seems to represent a new frontier for music. Since his start only a year and a half ago, Berlioz has garnered most of his fanbase through the internet, specifically TikTok, with his limited discography of only 8 songs being used in over 50,000 videos. Traditionally, this early in a career, one would be playing smaller venues, local gigs with maybe a festival feature. Berlioz however, is playing sold-out shows and touring internationally without even having an album out. In this age of equalized music representation across all fronts, where artists, new or old, can gain international levels of fame overnight, it's more important than ever to grip an opportunity and never let it go, and that seems to be exactly what Berlioz has managed to do here. Regardless of genre standards, Berlioz is showing exactly what someone with passion and a good ear for funk can accomplish: some lush, vibrant, downtempo jazz, that anyone from music heads to ordinary people can enjoy. Listen to Berlioz’s 2023 EP jazz is for ordinary people here.

 

Sam Kitch is the host of You Might Like This, Tuesdays 11:00AM-12:00PM

Taverne Tour 2024 Day 1: An Energetic Kick Off To The Festival

February 16 2024 //

Taverne Tour was back last week with dozens of concerts happening across several Plateau Mont-Royal venues. From February 8th-10th, venues Casa del Popolo, L’Escogriffe, La Sala Rossa, Quai des Brumes, and more hosted a packed line-up of Canadian and international artists, including: Ducks Ltd., Janette King, Laurence-Anne, Population II, SUUNS, Safia Nolin, and many more. 

On Thursday, CJLO staff attended a few of the shows Taverne Tour had to offer.

 

Over at Casa del Popolo, the theme of the night was audience participation and floor gymnastics with R. Flex and HAWA B. At 8:30PM, Toronto electro-R&B artist R. Flex took the stage as the room started slowly filling up with audience members trickling in from the seated bar side of the venue. By the third song in, the singer began to truly open up, shedding the apprehension they initially seemed to have. The rest of the set was a sexy, high energy, party of a show, with R. Flex practically spending more time within the crowd than on the stage itself. For the track “Inhale” the singer slinked down into the crowd, falling to their knees, and finally belting while lying on their back. Through the rest of their set, R. Flex would sing right into the faces of concert-goers, and twerk to some of their more catchy club bangers. R. Flex’s set was full of highly-danceable tracks performed by an artist who truly knows how to command an audience, even in the sometimes-claustrophobic space of Casa del Popolo.

Up next was local Montreal artist HAWA B. With accompaniment on keys and saxophone by Felix Petit, Hawa B put on a soulful genre-bending show. Hawa B has a knack for connecting with an audience, as her French banter was witty and confident, poking fun at an audience member for sneaking out to the bathroom and playing with Petit by getting him to repeated tap a pre-set on his keyboard that said “HAWA B” in an echoey, distorted voice. During the set, Hawa B brought up local rapper Greg Beaudin to perform “Brokest Rapper You Know”. Beaudin, HAWA B, and Petit all had great chemistry, dancing across the stage with each other. Later, HAWA B also came down into the crowd, toting the stool she had been crooning on to instead dance with, flipping her nearly-floor length braids. HAWA B’s full voice, beautifully-layered jazzy instrumentals, and quietly confident stage presence made this show a necessary go-to for this Taverne Tour. 

- Aviva: Magazine Editor and host of The Alley

 

It takes a lot to get me out of the house in February. Truly the darkest, cruellest month, ideal for hunkering down and catching up on your endless YouTube ‘Watch Later’ queue. However, there are a few things that will drag me out of the house with minimal kicking and screaming, and that’s a rad mixed-genre punk show, like the one put on by Taverne Tour on their opening night. All the punks gathered at La Sotterenea to bear witness to the stacked lineup of Dirty Milk, Jetsam, and Glowing Orb. 

Starting off the night were post-punk weirdos Dirty Milk. This band shares members with a few other local acts (Child Actress, Family Man), and after seeing their name around town, I was excited to check them out. They did not disappoint; right out the gate, they commanded the crowd’s attention with their offbeat stage presence and angular riffs. Lead singer Lukas Beneteau-Forgues’s voice matched perfectly with the disco-influenced post-punk tracks, coming straight from the school of Mothersbaugh. I was most impressed with the rhythm section, as bassist Joshua Linnen’s infectious energy on stage kept us all on our toes, and drummer Bryan Thomas kept perfect time alongside the bizarre riffage. After a good twenty minutes of dancey punk jams, they ended their set with an improved noise and sound effect jam, prompting more than one ‘what the fuck?’s being uttered from the crowd. This was a highlight for me. Keep your freak flag waving proudly, folks.

Following this set were Montreal’s powerviolence heroes Jetsam. Full disclosure: I’m obsessed with this band. I can’t come from a neutral place as a reviewer should. Not only does this band master the hardcore tinged powerviolence sound, but they take it further, incorporating surprising switch ups, spoken word pieces, and moments of pure catharsis. This night’s set was no exception. Lead singer Jack Solar held the crowd’s attention as they blazed through their set, often jumping from the stage and joining those of us on the floor. Bassist Neon Dubé’s was electrifying, leading me to often wonder, how can just one bass hold such a heavy, full tone? It was masterful work. In the middle of their set, Jack stopped the music to discuss trans rights in this country, stating the fascists in this country are leading a genocide of trans folks, not unlike the genocide we’re seeing in other parts of the world, namely Palestine. They spoke with such passion, the audience couldn’t help but be hypnotized. Political powerviolence with a purpose, for the people. I don’t think anything could be better.

It was a hard set to follow, and hardcore punks Glowing Orb did a good job of keeping the energy in the room up. Before the set, my friend hyped this band up as best he could, saying “They have an actual orb!” Well folks, it’s true: there was an orb, though smaller than expected, but it was indeed glowing a menacing red. Menacing is how I would describe this set, as they worked through tracks from their latest release Subterranean Prison with an aggressive flair. Their lead singer, often throwing himself on the floor, screamed and thrashed, inspiring a surprisingly raucous mosh pit. However the set felt quick, I guess not surprising for a hardcore band, and before we knew it, this eclectic and exciting start to Taverne Tour came to a close as we shuffled onto Saint-Laurent for a much-needed post-gig dart.

- Allison: Station Manager and host of Transistor Sister

Frost Children at La Sotterenea: An Energetic Double Header

February 13 2024 //

Frost Children is a musical duo currently based in New York City. The act consists of siblings Angel and Lulu Prost, who both have solo music, but their collaborative efforts have brought them the most success. The siblings produce genre-bending music, with their newest album, Hearth Room, released in November of 2023. Hearth Room is a stark contrast to their prior work, demonstrating the duo's diversity and alternative indie sound. Their other 2023 album, SPEED RUN, features hyperpop, glitchcore, and techno tracks. Frost Children have stated that Skrillex and Alex G are some of their musical influences, showing the wide range of audiences to which their music may appeal. The opening two tracks on SPEED RUN contain an incredible transition between them, and I highly recommend listening with headphones. On February 6th, at La Sotterenea, Frost Children performed in Montreal.

Frost Children’s Double Headed Tour incorporates songs from both albums, giving spectators a concert that feels like two. Starting with songs from Hearth Room, Lulu, and Angel go offstage and change costumes, preparing everyone mentally for SPEED RUN. While they do that, a projector shows pictures of adorable dogs with the words “LETS F*CKING GO” repeated over and over. With their iconic songs from both albums and a couple of other classics, their show leaves the audience feeling extremely satisfied with the performance.

Frost Children's on-stage charisma and energy is evident in every song they perform. The crowd’s engagement was unlike any other concert I have been to. During one of their songs, the duo asked for two audience volunteers to play instruments alongside Angel, Lulu, and their drummer Eden Pacheco. In another song, “Fox Bop,” an audience member was brought on stage and sang alongside the duo, while everyone was dancing and having fun. Even on a Sunday night, Frost Children was able to entice everyone in the audience to accompany them on an emotional journey. Songs from Hearth Room, such as “Marigold” and “Oats From a Mug,” brought both tears and laughter. Songs from SPEED RUN such as “SERPENT” and “LET IT BE” generated an atmosphere of bouncing off the walls with dance. 

After seeing Frost Children as an opener for George Clanton in 2023, it was awesome to see how they formatted their show, and I highly recommend listening to their albums! They also have a remix of the song “Even It Out” by Fever Ray which is one of my favourite songs of all time.

HEAVY METAL BOOK CLUB: To Hell and Back Again: Part I by Varg Vikernes

February 6 2024 //

 

No.
 
 
Read previous installments of Angelica's Heavy Metal Book Club here:
 
Angelica hosts BVST every Wednesday at 7 - 9 PM on CJLO. Tune in for the best (& worst) rock'n'roll, country, punk & metal!

Joey Valence & Brae Unleashed Retro Riffs and Modern Beats at Le Ministere

January 30 2024 //

The frigid Canadian weather became the butt of many jokes throughout the night as Joey Valence & Brae took the stage on January 26th 2024, charming the audience with witty quips about the Great White North. 

The dynamic duo from Pennsylvania dropped their debut single in 2021, signalling the start of their music-making adventure. They bring a vibe that's worth keeping tabs on, with their knack for blending an old-school groove with today's prominent internet culture, creating a musical ride that appeals to folks of all ages. Picture a mix of Beastie Boys, Rage Against the Machine, and your favourite video game soundtrack. Timeless and bang-up-to-date, Joey Valence & Brae craft a sound that's as catchy as it is diverse.

From start to finish, the energy in the venue remained at an all-time high, with no dull moments in sight. The artists maintained an infectious enthusiasm that resonated with the audience, keeping them on their feet throughout the entire show. 

A notable theme of the evening was the artists' emphasis on their independent journey, proudly highlighting their lack of a record contract. They shared anecdotes about their grassroots rise and the freedom it afforded them in pursuing their unique blend of sound, and more importantly, focusing on quality over quantity as they just recently celebrated their first album titled Punk Tactics released in early September of 2023. 

The camaraderie between the two performers, who had forged a deep friendship in their freshman year at Penn State University, was evident in their on-stage synergy. Their shared love for old-school favourites such as Prodigy and Run D.M.C resonated throughout the venue, creating a nostalgic yet refreshing vibe. As the performance unfolded, the energy took diverse forms – from lively mosh pits igniting during their punk-infused anthem "Start a Fight" to the crowd breaking into a rave-like dance frenzy in response to their futuristic electronic track "Drop." These contrasting moments showcased the versatility of their sound and the audience's enthusiastic response, making for an eclectic and unforgettable experience.

The crowd was treated to a unique spectacle when the artists invited them to showcase their talents, turning the concert into an interactive experience.The stage transformed into a melting pot of creativity with a freestyle exposé, a worm dance competition that had the audience in splits, and a b-boy breakdance number that left everyone in awe. The duo's decision to involve the crowd brought a sense of community and inclusivity, turning the concert into more than just a performance.

Many expressions of love, appreciation, and gratitude flowed freely from the performers, creating a genuine connection with the audience. Yet, when the music started, the atmosphere transformed into an electrifying wave of hype, showcasing the artists' dedication to delivering a memorable performance. This blend of personal connection and energetic showmanship left concert-goers with a lasting impression of a night filled with laughter, talent, and the celebration of independent artistry.

Industrial Hip-Hop at it's Finest: a Night with Armand Hammer

January 30 2024 //

If you have paid attention to the underground Hip-Hop scene in the past decade, Armand Hammer will be a familiar name to you. The industrial Hip-Hop duo, comprised of New York MCs Billy Woods and Elucid, have been touring their critically acclaimed 2023 release We Buy Diabetic Test Strips since October. Their stop at Bar le Ritz this past Sunday was a fantastic display of the scenes' respect for these two cult legends. 

The sold-out Montreal crowd was a strange one, very telling of Armand Hammer's diverse fanbase; an eclectic mix of fans, some of whom have been listening to both the rapper's solo and collaborative work for over 10 years, and others who had heard nothing past the singles. This made for interesting energy, as the intimate venue was packed from stage to bar, a seemingly rare case for the underground Hip-Hop scene in this city.

What really pulled the crowd together was the electric opening performance from Quinton Barnes, a Montreal multi-hyphenate who is supremely talented in production, singing, writing and rapping. With a sound reminiscent of early JPEGMAFIA works, sprinkled with inspiration from artists like Injury Reserve and Armand Hammer, the young artist blessed the crowd with a brief 15-minute performance. Jumping from the brutally industrial queer anthem “Wild Man”, to the synth-heavy rnb cut “Arouse”, Barnes delivered a performance that reminded me of watching Teezo Touchdown open for Tyler, The Creator’s 2021 tour; a true artist, someone who has put in unimaginable time and effort honing their craft, on the verge of blowing up. By all means, Quinton Barnes is a veritable talent powder keg. 

Barnes' unbridled energy made for an interesting switch to the thought-provoking, gloomy tone that would continue for the rest of the evening. Still, if anyone can pull off a shift like that it's Armand Hammer, and pull it off they did. Coming out of the gate with 4 songs off of We Buy Diabetic Test Strips, then subsequently launching into a wide collection of older songs, features, and both rappers’ solo work, the duo spat bar after bar of profound lyricism accompanied by some of the gloomiest, dirtiest beats to ever grace Bar le Ritz.

The sound crafted by this legendary duo feels violently disjointed and jarring, with both woods’ and Elucid’ flows and lyrics twisting and contorting through bone-shaking instrumentals with a sort of industrial grace. The best example of this was the performance of “Trauma Mic,” off of the duo's newest 2023 release. On the foundation of the blaring 808 patterns that visibly shook the stage, both rappers spit bleak verses, chronicling their own hopeless reflections on the current state of Hip-Hop. Despite the dreary atmosphere, there remained an energy in the venue that I have found present at most of Montreal's underground Hip-Hop shows; an air of respect and appreciation for the pure artistry of the duo's music. While the genre that Amand Hammer operates under is not the type of music to bust a move to or to break into a mosh pit to, the crowd seemed more than happy to nod their heads and absorb the undeniable talent and industrial charisma that oozes from woods’ and Elucid’s hypnotic performance. 

Although underground Hip-Hop may not be for everyone, it would be foolish for any enjoyer of music to write off the genre-bending phenomenon that is Armand Hammer. In the words of a 56-year-old dad accompanying his teenage son to the show this past Sunday, “I had no idea what to expect, but god did those guys kick ass.” Check out Armand Hammer’s new album, We Buy Diabetic Test Strips here, and billy woods’ collab album with producer Kenny Segal, Maps here. 

 

Photos by Maureen Elisa

 

Sam Kitch is the host of You Might Like This, Tuesdays 11:00AM-12:00PM

 

CJLO YEAR END TOP 100 OF 2023

January 29 2024 //

Well, here we are in 2024 and after 25 years CJLO 1690 AM is stronger than ever! This past year we felt the love from our unstoppable community raising over 12,000$ for our funding drive! We booked over 25 sessions and had countless interviews with artists from the Montreal scene and abroad. Need proof? We released our mixtape Baked in the Oven Vol. 5 that features raw performances from innovative artists!

We also kept doing what we do best and that’s bringing good music to you! This chart shows the top 100 albums that were played by our DJs over 2023. Elisapie grabbed the number 1 spot with her album Inuktitut. DJs couldn't get enough of these introspective versions of popular songs sung in her mother tongue. Up at number 2 is Red Moon in Venus from the ever evolving Kali Uchis, whose 2024 release is already gaining momentum on our charts. At number 3 was Infinity Club from BAMBII who dominated both our electronic and hip hop charts as well. 

The rest of the list features incredible releases from Montreal groups such as Karma Glider, Night Lunch, Markus Floats, Sunforger and TEKE::TEKE. But also highlighted groundbreaking international acts such as yeule, Sampha, Armand Hammer oh and this group called 100 gecs?

Enjoy perusing this list and make sure to check out our Spotify playlist to discover what we think could be some of your new favorite artists!

Can’t wait for what’s in store for 2024!

 

  1. ELISAPIE - INUKTITUT

  2. KALI UCHIS - RED MOON IN VENUS

  3. BAMBII - INFINITY CLUB

  4. KARMA GLIDER - FUTURE FICTION

  5. FIREBALL KID -GAS STATION

  6. NIGHT LUNCH - FIRE IN THE ROSE GARDEN

  7. MOOCH - WHEREVER IT GOES

  8. MARKUS FLOATS - FOURTH ALBUM

  9. EMILIE KAHN    - MAYBE

  10. LA SECURITE - STAY SAFE!

  11. YEULE - SOFTSCARS

  12. BEVERLY GLENN-COPELAND - THE ONES AHEAD

  13. JAAW - SUPERCLUSTER

  14. TOUGH AGE -WAITING HERE

  15. WEDNESDAY - RAT SAW GOD

  16. SUNFORGER    - SUNFORGER

  17. TEKE::TEKE - HAGATA

  18. TURNSTILE & BADBADNOTGOOD - NEW HEART DESIGNS EP

  19. KIMMORTAL - SHOEBOX

  20. HAVIAH MIGHTY - CRYING CRYSTALS

  21. U.S. GIRLS - BLESS THIS MESS

  22. SEUM - DOUBLE DOUBLE

  23. TOBI - PANIC

  24. SLOWDIVE - EVERYTHING IS ALIVE

  25. YOCTO - ZEPTA SUPERNOVA

  26. BOYGENIUS - THE RECORD

  27. BODYWASH - I HELD THE SHAPE WHILE I COULD

  28. VANTABLACK WARSHIP - LAST OF THE HARDMOUTHED POETS

  29. SAMPHA - LAHAI

  30. ANDY SHAUF - NORM

  31. ARMAND HAMMER - WE BUY DIABETIC TEST STRIPS

  32. DAIISTAR - GOOD TIME

  33. BLACK COUNTRY, NEW ROAD - LIVE AT BUSH HALL

  34. ANIMAL COLLECTIVE - ISN'T IT NOW?

  35. TAXI GIRLS - COMING UP ROSES EP

  36. VANILLE - LA CLAIRIERE

  37. MITSKI - THE LAND IS INHOSPITABLE AND SO ARE WE

  38. MAC DEMARCO - ONE WAYNE G

  39. UNKNOWN MORTAL ORCHESTRA - V

  40. WAAHLI - SOAP BOX

  41. FIDDLEHEAD - DEATH IS NOTHING TO US

  42. NOBRO - SET YOUR PUSSY FREE

  43. DEAD QUIET - IV

  44. SWEEPING PROMISES - GOOD LIVING IS COMING FOR YOU

  45. FEIST - MULTITUDES

  46. FROST CHILDREN - HEARTH ROOM

  47. BLACKBRAID - BLACKBRAID II

  48. BIG|BRAVE -NATURE MORTE

  49. JESSY LANZA - LOVE HALLUCINATION

  50. NATION OF LANGUAGE - STRANGE DISCIPLE

  51. BONNIE TRASH -HAIL, HALE!

  52. ALLISON RUSSELL - THE RETURNER

  53. LUMIERE -GLAM

  54. NORA KELLY BAND - RODEO CLOWN

  55. SUFJAN STEVENS - JAVELIN

  56. THE NEW PORNOGRAPHERS - CONTINUE AS A GUEST

  57. SUPER PLAGE - MAGIE A MINUIT

  58. YU SU - I WANT AN EARTH

  59. VARIOUS ARTISTS- TURNED TO STONE VOL 7

  60. PRIVATE LIVES - HIT RECORD

  61. ANDRE 3000 - NEW BLUE SUN

  62. LAURENCE-ANNE - ONIROMANCIE

  63. TIGERCUB - THE PERFUME OF DECAY

  64. CROSSED WIRES - ELLIPSIS

  65. FREAK HEAT WAVES - MONDO TEMPO

  66. KY - POWER IN THE PHARMACY

  67. YO LA TENGO - THIS STUPID WORLD

  68. COMPUTERWIFE - COMPUTERWIFE

  69. ABSOLUTE LOSERS    - AT THE MALL

  70. POPULATION II - ELECTRONS LIBRES DU QUEBEC

  71. SORRY GIRLS - BRAVO!

  72. JAIMIE BRANCH - FLY OR DIR FLY OR DIE FLY OR DIE (WORLD WAR)

  73. DEBBY FRIDAY -GOOD LUCK

  74. LUGER - REVELATIONS OF THE SACRED SKULL

  75. RADIANT BABY - PANTOMIME (DELUXE)

  76. SEUN KUTI & BLACK THOUGHT - AFRICAN DREAMS

  77. FEVER RAY - RADICAL ROMANTICS

  78. 100 GECS - 10,000 GECS

  79. HOLY WAVE - FIVE OF CUPS

  80. MUNYA - JARDIN

  81. SASHA CAY -SPIN

  82. KAYTRANIME -KAYTRANIME

  83. SOPHIE OGILVIE -COMING UP, CROCUS

  84. HOTLINE TNT - CARTWHEEL

  85. FUCKED UP -ONE DAY

  86. KELELA - RAVEN

  87. HELENA DELAND -GOODNIGHT SUMMERLAND

  88. DINNERS -DOMINO

  89. APOLLO SUNS - DEPARTURES

  90. SLOW PULP - YARD

  91. ALVVAYS - BLUE REV

  92. PARAMORE - THIS IS WHY

  93. SWEETMESS     -EVERYTHING'S FINE

  94. SLOW LEAVES -MEANTIME

  95. BRAIDS -EUPHORIC RECALL

  96. THE TELESCOPES-    EXPERIMENTAL HEALTH

  97. RED MASS - VOL 6 THE EVIL OF OUR COLLECTIVE MIND

  98. SAMWOY - AWKWARD PARTY

  99. DEADBOLT - DEADBOLT

  100. DVTR - BONJOUR!

 

** Red highlight indicates Canadian artists

 

Lisa Rupnik is the head music director at CJLO and co-host of The Last Stop. She is also an avid record collector, a “no nonsense” film lover and feels that her personality can be best defined by her two favourite bands: YMO and Sparks

Charlotte Cardin - Une semaine à Paris EP Review

January 25 2024 //

In mid-November of 2023, Montreal’s very own Charlotte Cardin released her Francophone EP, Une semaine à Paris following the singer’s week-long stay in the French capital. The short and sweet 4-track work was released after the drop of Cardin’s second studio album 99 Nights, and continued her careers’ upwards trajectory. Une semaine à Paris encapsulates the intense passion within Cardin’s relationship with actor Aliocha Schneider and the ebbs and flows of emotional intimacy. 

Cardin’s discography is one of versatility in language, genre and execution. Ergo, Une semaine à Paris was not the first of the Quebec born singers’ venture into French pop music. Cardin’s career has remained consistently in forward motion since her 2013 debut on Montreal’s La Voix, the francophone extension of popular talent show The Voice. While her early-day singles and EP’s offered Canadian listeners a taste into Cardin’s wildly expressive vocals, it was the singer's inaugural studio album that launched her career to a broader audience. Phoenix, released in 2021, includes Cardin’s first ever track to chart in the top 50 on the Billboard Hot 100, “Passive Aggressive”. The work marked a pivotal shift in attention towards Cardin’s music however, her success with the album was truly showcased at the 2022 Juno Awards where Cardin became the most-nominated artist at the event, and brought home two armfuls of awards. 

While some in Cardin’s acclaimed position would have allowed such success to fuel their egos and hinder their creativity, she instead took her wins as a sign of creative evolution. Cardin’s now well-seasoned originality exuding from Une semaine á Paris is a testament to her intentional ignorance of industry pressures that surface during an uprise of success. 

Delving into the EP, Cardin and Laylow’s collaboration “Real Love” lures listeners into a complex, emotionally taxing relationship written against a slowed trap beat and deep bass. The production and mixing of Cardin’s vocals create a ghostly sensation mimicking the romantic exhaustion. In such; Cardin’s verses and chorus are quickly met with contradiction in that of Laylow. The back and forth between the two translates to Cardin’s explanation of miscommunication and uncertainty.

Cardin’s evident catharsis did not stop with “Real Love”. The singer's French version of her recent hit “Confetti” speaks to her need to shield her struggles, instead portraying a joyful facade. While the track remains the same as that on 99 Nights, its French translated verses gives it an edge against the track's hard hitting club beat. Similarly, “Feel Good”, an upbeat dance track, illustrates the power of passion and intimacy towards one’s self image, accentuating Cardin’s confident alter-ego. Finally, the work ties perfectly together with a heartfelt slowdown, showcasing Cardin’s delicate falsetto. “Un peu trop” speaks to obsession within a relationship; wanting so badly to be loved by a person and thus doing anything to attract their attention. In its entirety, Une semaine à Paris later became an extension of Cardin’s 99 Nights Deluxe, perfectly tying up Cardin’s sophomore album and giving listeners a little extra post-album release. Une semaine à Paris pays homage to Cardin’s bilingual background and provides listeners with the conflicting back-and-forth relationship album that was missing amongst the works of sheer heartbreak.

The Lives of Documents: Photography as Project at The CCA

January 24 2024 //

“The photographic object has a beauty of itself, but it cannot become a sacred object,” says co-curator Bas Princen, in the video introduction to “The Lives of Documents: Photography as Project” at the Canadian Centre for Architecture (CCA). As its title suggests, the exhibition proposes a consideration of photography as a project, rather than an object. Deconstructing the link between the immediate and the objective that permeates conceptions of documentary photography, co-curator Stefano Graziani underscores the personal position of the photographer in regard to what is being photographed: no matter the pretext of objectivity inherent in the medium, the photograph is engrained with its creator’s method, with a particular way of seeing the world. It is with this in mind that I enter “The Lives of Documents,” where I am constantly reminded of my own interested approach to art.

With a focus on the photographic process, “The Lives of Documents” examines the contemporary role of photography as a means of architectural representation through a selection of photographic projects which illustrate personal perspectives and challenge the documentary nature of the medium. Conceived as a display of open research, the exhibition unveils the behind-the-scenes of the making of a photographic object: works from the 1960s to the present are displayed together with unpublished projects, historical and research documents, books, interviews, conceptual texts, publication mock-ups and photo book dummies.

Through its exploration of photography as an investigation of architecture, the exhibition connects photographs that serve as research tools to propose a certain vision of built and natural environments. What makes this exploration successful is its unvarnished portrayal of the creative process. In the first room, the viewer is greeted with a collection of photographs by Stefano Graziani and Bas Princen taken during studio visits and research phases spanning from December 2021 to December 2022. Displayed on a table-like surface rather than hung on the museum walls, the photographic objects offer a sensory encounter akin to that of the creators’ during the archival process. Positioning visitors not merely as passive observers but as active participants, this intimate and tactile experience blurs the boundaries between 'viewer' and 'creator.' As visitors are invited to engage with artworks, encouraged to leaf through accompanying books and materials, and let in on the creative process, the show successfully demystifies both the space of the artist’s studio and the making of the photographic object. 

Placing works that diverge in form, content, and methodology in a communal space, the show heightens the contrast between the artists’ intentions and thus grants further importance to the subjectivity behind the making of each photograph. The contrast between Tokuk Ushioda’s My Husband (2022), a collection of images which exude a nostalgic familiarity reminiscent of family snapshots, and Bernd and Hilla Becher’s Framework Houses of the Siegen Industrial Region (1960-1972), an attempt at “an objective and neutral documentation” of the disappearing industrial landscape of Europe and North America, is all the more striking through the works’ spatial proximity. Deliberately creating a clash between artists by juxtaposing diverging works, the exhibition underscores the presence behind the camera.

Jeff Wall’s Dominus Winery (1999) is a work that explicitly points to this ‘presence’. This large-format photograph of the Dominus winery in Yountville, California, built by architects Jacques Herzog and Pierre de Meuron, was commissioned by the CCA on the occasion of the exhibition "Herzog & de Meuron: Archaeology of the Mind" (2002). Although it more strongly resembles a landscape photograph, it is precisely the fact that the building is not the focus of the work that makes Dominus Winery a successful architectural photograph. By distancing himself from the building, Wall is able to capture the very essence of the Dominus winery, which is inextricably tied to its setting. The infinite perspective of the vineyards and mountains, and their harmony with the building, which is barely visible in the distance, suggest a fusion of architecture and landscape. The strict regimentation of the vineyard complements the carefully measured character of the building, further reinforcing their connection. Moreover, through his choice to take a circular image with a small lens, Wall leaves a black border on the image, making the intermediate of the camera visible. The circle thus represents the limits of the lens, suggesting that, in the making of an image, there is always something left out. This reminder of the mediated photographic representation and its distinction from reality permeates the exhibition as a whole.

Indeed, as I travel through “The Lives of Documents,” I am invited to question the idea of neutrality in art and art history by considering the reflective nature of artworks, which not only mirror cultural values and ideologies inherited by their creators but also reflect each viewer’s own bias. This reflective nature is put forth in the exhibition through a strategic arrangement of LED light fixtures, carefully positioned in parallel with the displayed artworks as to cast reflections on the glass casings. The persistent interplay of light not only reminds the viewer of their own position, as the reflections shift in tandem with their steps, but it also disrupts any attempts at capturing secondary images within the exhibition space. Notably, the viewer is unable to capture a planar photograph without inadvertently disclosing their vantage point, the radiant lines crossing out the captured artwork in a brilliant visual metaphor.

Framed as part of the CCA’s efforts to redefine “the role of photography within the field of architecture,” “The Lives of Documents: Photography as Project” successfully questions conventional understandings of photography and art more broadly. By refusing to sanitize the artwork and mystify the artistic process, curators Stefano Graziani and Bas Princen refute the sanctity of the photographic object. Moreover, by underscoring both the artist’s and the viewer’s biased positions, the exhibition calls into question the documentary nature of the medium, exposing the photograph as a mediated object rather than a representation of reality. 

 

The Lives of Documents—Photography as Project is presented in the Main galleries of the CCA until 7 April 2024. Admission is free for students.

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