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This is Going to be Ryan Olcott’s Year: An Interview
“I felt awkward and weird most of the time because I didn't know shit, but now I know shit,” Ryan Olcott tells me, referring to how much has changed since he and his band, 12 Rods, last released new music. “My Year (This is Going to Be)”, came as a happy surprise to a devout, yet ever-growing fan base upon its release back in April; being the first new 12 Rods single in over 20 years. I had the opportunity to talk with the Minneapolis musician, producer, singer, and lyricist over what lapsed into a two-hour phone call to inquire about his latest album If We Stayed Alive, releasing July 7.
The last anyone heard from 12 Rods was back in 2017 with Accident’s Waiting to Happen, a documentary chronicling everything from the band’s formation, the years they spent churning out some of the sickest, genre-defying music of the ‘90s, and regrettably to their disbandment; alongside the band’s commentary with the perspective of little more than a decade later on all that transpired. The end of the documentary sees a crestfallen Ryan, clearly in pain over the disbandment: what he then believed was 12 Rod’s fate.
Though before there were gnawing feelings of failure that would deter Ryan and the band from releasing new music for decades, there were the ‘90s. There were small punk bands scorning big labels, and then signing with them—there was feeling invincible. And so in 1992 when Ryan (vocals, guitar, synthesizer) joined his brother Evan Olcott (vox, synthesizers, guitar), Matt Flynn (bass), and Christopher Mcguire (drums), they would form 12 Rods; and within the next eight years, things would look up for the band. They would go on to self-release Bliss (1993) and then be the first American band to sign with V2 Records, with whom they’d release their first EP, gay? (1996) and their debut LP, Split Personalities (1998). All works would be met with positive acclaim.
Ryan recalls back to a moment in the late ‘90s when his friend Ryan Shreiber, the founder of Pitchfork, “had just started this online music thing and opened up his first generation laptop right in [his] room, and showed [him] that someone just rated [gay?] and gave it a ten.” There’s a telling silence that Ryan is back in time, being shown that review all over again. “How was anyone going to see any sort of credibility out of that? Even I brushed it off.” He continues,“we’re the reason people start picking on Pitchfork, because there was this period when they got corporate and big. It was the specific moment when they dropped us and people thought that was a low blow.” To the extent that even strangers would freely share their Pitchfork contempt with him, regaling me of the story where he was once “cornered in a club when a journalist nearly yelled in [his] face about how 12 Rods is the reason why Pitchfork sucks.” This was the moment when 12 Rods’ stature began to dawn on him, having realized “that [the 10-star review] had gone way deeper than [he] thought [12 Rods] dug.”
Within seemingly a blink of an eye, the new millennium reared its uncertain head. "All of the sudden there's Napster and the internet, and the major labels are freaking the hell out”, Ryan tells me. “They were starting to ask stuff of us that was way beyond our job descriptions, like how we would make the V2 website, or they’d ask us to figure out how to do merchandise sales on the internet”; artists even then weren’t sufficiently supported. “When they were asking us those sorts of favours we thought ‘yep it’s over, they have no idea what the future holds.’”
It was during this time Pitchfork would write about 12 Rods again since retracting the first 10-star review. Their 2000 release, Separation Anxieties, was not so much reviewed but disparaged with a rating of 2 stars and some petulant similes. The Accidents Waiting to Happen documentary gives fans a glimpse into the band’s faltering, hinting it was partly due to a lack of adequate support. Despite investing in the help of renowned producer Todd Rundgren (who has worked with names such as The New York Dolls, Patti Smith, and The Psychedelic Furs), the production for Separation Anxieties was left in the band’s hands instead. “We had to teach him how to work Pro Tools and we had to sneak in [the studio] on the off hours to do the editing ourselves because he didn’t know how,” Ryan reveals, despite knowing “no one will ever really believe [him].” All factors combined would lead to V2 Records dropping 12 Rods, to instead sign more palatable acts such as The White Stripes and Moby. The documentary also gleans how at only 25 years old he had to bear the brunt of 12 Rods’ fallout and lack of commercial success; of his “life and dreams [feeling] shot to shit, that all hope [was] gone.” Moreover, he had to take responsibility for the bankruptcy all on his own as the rest of the band had already bowed out. No one can point fingers at Ryan for his disheartened disposition, but only sympathize with his hardships of being left to clean the mess of bankruptcy and of the shattering, hopelessness that ensued from the fallout; a mess that would take him decades to sift through.
Talking with me on the phone now, however, is a much more optimistic Ryan. When I bring up the 360 degree change in mindset within the last few years from when the documentary was released up until now, he chuckles in a slightly embarrassed acknowledgment of his past reservations. From cursing life, fans, and 12 Rods as a whole, he states, “the documentary stopped so abruptly and it had this tight framework of what people perceive us as and there’s a lot more to the story.” The impassioned sentiments fans saw in the documentary are a candid glimpse into the reality of being utterly disheartened, and how visceral feelings of shame and failure can be.
But now Ryan tells me, “[he’s] shutting all that old stuff out.” That “[he] still [has] issues, but they come out more colorful in songs and in different metaphors without sounding like ‘where I grew up’”; he says referring to the second track off of gay? and fan-favourite, “Make Out Music.” On it he sings, “I wish I didn't grow up / In the town that I grew up in / It kept me silent / It kept me stupid / Never fought back”; the consequences and isolation that stems from being unaccepted among one’s peers. Or off of the same ep, take the song gaymo for instance, the western-influenced unrequited love song where in a somehow self-loathing yet simultaneously self-pityingly way he repeatedly sings, “everyone is cool except for me.” But luckily Ryan isn’t worried about any of that. “Lyrically, I don’t think the audience is going to miss that angst-y negativity that I was singing about at all, nor will they compare and contrast what I’m doing,” he asserts. “I think what they’re going to hear on the new album will supplement that void.”
And “My Year (This is Going to Be)” succeeds in doing just that. The song begins with lyrics questioning, “where did the last few years go?” The ensuing lyrics resolve, “they just disappeared into the candlelight”; the burning flame of hope he didn’t even realize was within himself all along. “What I’ve been through has been tortuous,” Ryan says, “a kind of fucking living hell at times.” Except one would never have gleaned his past hardships from listening to the track, as they’re awash in rhythms deliquescent from their emanating warmth; the kind that elicit the absoluteness of a summer’s day and makes one realize the feeling is forevermore within every one of us. Although more than 20 years have passed since the last 12 Rods release, the song proves Ryan’s vocal delivery is as defiant and unrelenting as ever; making the gap of twenty years’ time nonexistent.
[“If We Stayed Alive”] is a literal statement of ‘this is what the record would have sounded like if 12 Rod’s did stay alive.’” Even if Ryan did the record himself, he tells me, “it’s exactly how [he] think[s] a 12 Rods record should’ve sound like to begin with.” Back then, “we wanted synths, we wanted samples, and all this production value for a reason that made more sense back then that doesn’t make any sense today to me.” He continues, “there were a lot of bands we wanted to model ourselves to sound like because we were just kids who liked certain bands and wanted to sound like them, but we’re so past that point.” Now, however, Ryan is writing for the music rather than writing for an aesthetic; being free from the impositions of the ‘90s. Back then, “it was just layering for the sake of layering because we didn’t know that our parts we’re bad. You could bury your vocals, you could pull some My Bloody Valentine tricks and it was in vogue to mumble your way through music because you didn't know what you were saying anyways.” With that, “vocals are much more present now and parts are simple. It’s not very messy, it’s very straightforward without being minimal.”
Ryan and the labels are finally “seeing eye to eye and making calls every day.” He knew deep down that it was time to release the album, as “everything fell into place really quick.” After finishing the record, it only took him six hours before he was signed to two labels. “It was much more exciting of a period than any other record I’ve released,” the catharsis in his voice speaking for itself. He’s hoping that he with the new album, he can live off music again; and surely after all he’s endured, he’s earned the right. “I don't want the castle on the hill, or the luxury sports cars,” like any other artist, he “just want[s] to eat daily and not have to worry about [his] rent.”
“I’m really aiming to get to that this time around, I’ve had a lot of situations where I do a certain project and I hit rock bottom back to zero because something wasn’t right and it's usually some price tag of a manager I couldn't afford, or some PR stunt agent of sorts that would’ve helped me but I couldn't afford that.” He continues, “but now I do have the support again, and there's enough of it for me to go ‘You know what? Why won't it happen this time?’” The sepia hues of nostalgia tint his words ever-so-faintly as he explains, “it’s unlike the old days when we didn't have the internet and we’d have to call the manager and the label on payphones on the side of the road—it was that long ago.” But he’s careful in not fully being swept away in what once was, appreciating how there is now “a whole new era of communication where [he] really feel[s] like [he] can level with all the staff and everyone involved all the time.” He fully returns to the present and exasperates, “it’s a world of difference.”
Ironically enough this early internet, Pitchfork history 12 Rods made—the same thing that may have played a part deepening the impact of their unravelling, is also the same thing that brings a lot of the youths to 12 Rods’ music. “There were a lot of people out of nowhere that became interested in 12 Rods over the past few years and it’s really wild to see because we haven’t played in years.” Among these people Ryan tells me, are “the kids [who] are reading up on all this stuff, writing about it and listening to it”, who came out of the woodwork sometime after 12 Rod’s Lost Time reissue in 2015. “It doesn’t feel weird but it just feels like ‘wow either these kids are really catching up and evolving or it’s just I don’t know…,” the shock that 12 Rods’ music lives on in the harbingers of the future, still seizing him. Except these younglings don’t solely listen to 12 Rods just because of a 10-star review, they stay for the music. “When people write to me and tell me their experiences through [my] music of who they are and what they feel,” he says, “it blows my mind.” He continues, “the things they come up with, it’s very profound information and it feels like I’ve saved a lot of lives— it feels like I’ve changed people’s lives.”
Throughout our conversation, Ryan realizes that all of his projects begin because he subconsciously feels an obligation to his communities. “I'm always trying to write for someone or something else,” remarking how even 12 Rods is the product of the same ethos, never forming in the first place if it weren’t for their friend needing a band to play at a party. “I’m given this strange task to make a musical project to make something for an event and it ends up being the next thing I’m doing for the next 8 years.” I think he quips when he says, “if someone wants me to write a bossa nova song, or they want me to write a string arrangement I’ll learn how to do it in a couple days.” Except his solemnity speaks for itself when he insists he’ll go beyond their expectations. “It’s fun to approach making music like that because I have a reason,” he says; highlighting how people and our relationships with and to others is what makes life meaningful, and worth living.
Now Ryan knows he can do this right; not solely for his own redemption, but to make the former 12 Rods lineup, and the ever-growing fan base proud. Confident in his abilities as a musician, producer, and lyricist more than ever these days, he’s able to show up for all the other communities that believe in him; knowing there are others who do believe in him. For instance, “LGBTQ+ communities, and all these other communities really identify with 12 Rods”, he ruminates. “I’ve only heard this and I’ve seen things online but some furries—,” he begins, cutting himself off to ask whether or not I know who furries are. Chuckling, I reassure him I am aware of furries. He continues, “I don’t believe it but I’ve had a couple of furries tell me that 12 Rods is the first official ‘furries band’ or something like that”, due to the Lost Time album cover prominently featuring the head of a dog. “This community in their minds, all probably think we’re furries too but that culture has embraced us, and that's dope!” Even if Ryan and the rest of the band aren’t furries, the invaluable power of support and what it means to feel connected with others is evinced. He continues, “whatever culture it may be, as long as it’s a loving, positive culture and not hate related, fuck yeah!” It really does take a village.
“I'm getting closer now to people and community than I ever have before because of [this new album], and what's more important than that?” Ryan ponders. “I don't know. It’s pretty beautiful, I guess. And I never thought it’d happen through 12 Rods.”
Pre-order If We Stayed Alive on 12 Rod's Bandcamp here!
Piknic Electronik's Opening Weekend Knocks on Summer’s Door
Last Sunday everyone’s favourite summertime festival, Piknic Électronik, kicked off its 20th season with a solid line-up of some of the biggest names in the Electronic music scene; internationally and locally. Taking place from May 21 to October 1 every Sunday on Montreal’s Île Sainte-Helene, festival goers can catch numerous DJ/Producers perform on two stages. This year's line-up includes legends such as New Yorkers Louie Vega and Kerri Chandler, Montreal’s own and Piknic fan favourite Misstress Barbara, and Fred Everything. Returning this year with even more dates, the Off-Piknic series will be showcasing some big and exciting names. Check out Belgian-Techno producer Charlotte De Witte, Canadian duo Zeds Dead, the legendary DJ/Producer Green Velvet, and Claude VonStroke; just to name a few.
Every end of May for the past two decades Piknic opens for the season. The opening weekend of the 2023 edition happened in a different but albeit familiar location. For the opening weekend only, it was held under the ‘Three Circles" sculpture by American artist, Alexander Calder; or more affectionately called "The Calder" by Piknic diehards. Going back to its original roots under "The Calder" is a great nod to its humble beginnings, where house and electronic music fans would come and enjoy great music every Sunday with their families and friends. Although the site around The Calder might have changed a lot, the nostalgia hasn’t dissipated one bit.
As we enter the festival ground, we’re greeted with the sight of The Calder and Montreal’s Old Port, downtown view in the background; the main stage nestled along the waterfront heading towards La Ronde’s parking lot, steps from its now regular location. On a hot Sunday, the mood was a festive one and everyone's now-iconic-Piknic Buckets fulfilled. For a moment, we forget we’re still in the latter half of spring. The Scène Fizz, Piknic’s main stage, was already packed with hundreds of partygoers dancing and cheering to the sound of Montreal Duo The Neighbors and belting out some dance floor anthems. The duo seemed to be enjoying themselves just as much as the crowd, interacting with them every so often.
On the Scène Piknic, the second stage under The Calder, Isabel Soto was dropping some heavy techno tunes in front of her hometown crowd. Perfectly setting up the dance floor for the techno finesse master himself, DVS1, closing out the night on the second stage. The night's main event was none other than the legendary Louie Vega, whose career spans almost three decades and has been a major pioneering force behind the New York house sound. Wearing his trademark hat, Louie Vega didn’t waste time getting the festival goers in a dancing frenzy. The Nuyorican legend dropped beats on the powerful Piknic sound system playing well into the night, with a captive audience dancing and moving to every beat.
Tradition always sets up the opening weekend as a double header event. Monday’s line-up was as solid as the day before. Even though Sunday was slightly cooler than the hazy summer weather of the previous day, it didn’t deter eager fans filling up the site early and catching Hey: Albert with Alexa Borzyk and Laura Scavo. Later, Montrealer from France DJ, Numea Daze, showcased his wide-ranging taste in electronic music. He is the man behind Bolting Bits, a website dedicated to exploring and spotlighting the wide-ranging variety of genres that make up modern electronic music. Ending off the night, Italian producer Deborah De Luca, made her long-awaited debut at Piknic. Initially scheduled to perform back in 2019, she’s finally gracing the stage for this year's edition. Putting on an amazing performance that perfectly capped off a great opening weekend.
Going back to the original site as an ode to the past was a nice touch! The site has been heavily modified over the years and the old school fans have gotten older (me included). I first attended Piknic Électronik back in 2007, when it only cost 10$ to get in and entire families would spend their sunny Sundays listening to great DJs spin their music over the sound system. Like everything, we grow and evolve yet one thing remains the same: even after all these years and the Covid hiatus, Picnik is still one of the best ways to spend your Sunday afternoon.
One weekend down, a whole lot more to go! With much more ahead and more great acts to come, we’ve barely made it past the gate.
Beach House's Become EP: a Review
Beach House surprised the world by releasing a new EP Become, on April 22, 2023. The collection being the second EP in the American dream-pop duo’s discography, follows their 2022 album Once Twice Melody. Victoria Legrand (vocals, keyboard) and Alex Scally (guitar, keyboard, backing vocals) have been making music together since they formed the band in 2004. By October 2006, they had marked their place in the music industry with their self-titled debut album, Beach House, which immediately received critical acclaim.
Fast forward 17 years, following the band’s nine other albums and their first EP, iTunes Session (2010); Beach Houses’s Become consists of “American Daughter,” “Devil’s Pool,” “Holiday House,” “Black Magic,” and “Become.” These five tracks serve as a sort-of sequel to Once Twice Melody, the duo’s eighth studio album , a double album featuring 18 songs presented in four separate chapters. Fans were teased with each chapter release, balancing at the edge of their seats in excited anticipation until the album was complete, or so they thought.
Become is not to be mistaken as a fifth chapter in the Once Twice Melody story. Legrand and Scully describe it as “a collection of 5 songs from the Once Twice Melody sessions. We didn’t think they fit in the world of OTM, but later realized they all fit in a little world of their own. To us, they are all kind of scuzzy and spacious, and live in the spirit realm. It’s not really where we are currently going, but it’s definitely somewhere we have been.”
Become is an excellent place for unfamiliar Beach House listeners to delve into the band’s discography. The EP delivers 24 minutes and 29 seconds of classic Beach House sounds. Dreamy lyrics are delivered by Legrand’s soft singing with support from the steady drawl of synthesizers and Scully’s signature guitar arpeggios. The band often seems to enter into another dimension, slightly out of touch with reality, giving listeners the sensation of having their head-in-the-clouds.
“American Daughter” serves Lana Del Rey-esque lyrics on a typical Beach House instrumental. The band tackles darker themes in the song fittingly called “Devil’s Pool,” setting the tone with eerie echoing vocals and orchestral instrumentation. Take a trip down memory lane in “Holiday House,” a merry-go-round-sounding track that describes childlike fantasies at a familiar getaway; certainly suitable for driving to a cottage in the summer. Return to the city and fantasies continue to run wild in “Black Magic,” which bewitches listeners with lyrics describing “a certain fascination with the dark side of the street,” accompanied by layers of lilting guitars. The EP’s title track builds slowly, much like OTM’s final track, “Modern Love Stories.” A starry synthesizer dances on top of the bass, pulsing like a heartbeat, by far the most obscure-sounding song of the collection.
Beach House originally released Become in honor of Record Store Day. First conceived in 2007, this event occurs annually on the third Saturday of April and every Black Friday in November. Participating stores in 14 countries, including Canada and the United States “celebrate the unique culture” of independent, “real, live, physical, indie record stores,” according to their official website. LP collectors lucky enough to visit American record stores this year would have had the chance to own one of the limited 8,000 copies of the RSD-exclusive Become edition on crystal clear vinyl. For those who missed out, digital copies of the EP were made available for streaming on April 28. As of Friday, May 19, physical copies of cassettes, CDs, and LPs became within easy reach again, with websites like MegaMart shipping internationally.
Many fans agreed that Become isn’t Beach House’s best work, but they’re happy to listen to anything the duo releases. Fans also commented that much of the compilation sounds abstract and somewhat aimless, undoubtedly a collection of album scraps. Critics echoed the fans’ neutral stance. Pitchfork’s Marc Hogan says, “more of the same is not always unwelcome. If you’re unfamiliar, Become might even be a decent place to start.” Beach House enjoyers alike are undoubtedly excited to see what will follow this EP in the band’s never-ending legacy of stardom.
Beau is Afraid: Not A Mother's Day Movie
Cineplex recently posted some Mother's Day movie suggestions now in theaters, one of them being Beau is Afraid. I couldn't help but feel a certain dread at the idea of Ari Aster's latest film being recommended for mothers and sons. Don’t get me wrong, Beau is Afraid, is a vast spectacle of a film that succeeds as being one of Aster's most complex robust works as a director, almost hitting the three hour mark. The film dives into some deep rooted maternal issues, to which my friend stated after our first viewing, “I think Ari Aster needs a hug.” I saw it for the first time in IMAX which was truly worth the experience, and beats the contest I entered at the Imperial theater with Aster in attendance.
The film opens up to a black screen and the sound of induced labor. We then meet Beau (Joaquin Phoenix) who is meeting with his therapist (Stephen McKinley Henderson) to discuss his anxieties and to let him know that he’s flying out to meet his mother on the anniversary of the death of his father. His mother lets him know that his father died and left him with a congenital heart problem and tells Beau that he should not have sexual relationships due to his heart condition.
Beau lives in an urban city where there seems to be no sense of moral decorum within the streets, but it would not be far-fetched to say that it’s all in his sense of his own paranoia in creating this urban nightmare. After a scene where he misplaces his keys and locks himself out of his apartment, he can’t get out to see his mother, which she guilt trips Beau about over the phone. Finally getting back to his apartment he gets a call from a UPS driver saying that his mom is dead, to which Beau begins his journey to get to his mothers house. However it does not end well where he is assaulted by an individual, has a run in with the law, and finally gets hit by an ice cream truck.
Certain recurring scenes are flashbacks of a younger Beau (Armen Nahapetian) on a cruise trip with his mother befriends where he falls in love with Elaine (Julia Antonelli), who is also on a trip with their mother. As much as they form a strong friendship bond and romance blooms, it is taken away but a promise is made to reconnect later on in life. In another flashback there is Beau’s mother who is trying to get him to take a bath to a reluctant Beau who keeps on asking about his father. His mother then forces a young Beau up in the attic crawlspace. He wakes up under the gentle care of Grace (Amy Ryan) and Roger (Nathan Lane). Along in the household would be their rambunctious teenage daughter Toni (Kylie Rogers) and an unstable Army Veteran Jeeves (Denis Menochet). Beau gets a call from his mother’s lawyer, Dr Cohen, (Richard Kind) stating that his mother can only be laid to rest once Beau gets to the house. Roger tries his best to get Beau to his mother, however, there is a sense of derailment due to prior commitments on Roger's behalf or Beau’s inability to progress through his emotions about going home. Beau is forced to go on the run whilst being hunted by Jeeves, resulting in his continued quest to get back home. Some of the best dark comedic moments are found in this chapter due to the performances of Nathan Lane and Amy Ryan, and just like my Toni Collette Heredity nightmares, their performances will be overlooked come award season.
The films then takes on a meta approach as Beau gets lost in the forest and finds a theater troupe of actors putting on a play that is reminiscent of his own pilgrimage. It also shows, however, into the future of what Beau’s life would be through some clever animation sequences from Cristobal León & Joaquín Cociña. There is a symbolic of Beau, breaking his chains but also tells actual Beau he knows who his father is. The revelation is hijacked by Jeeves who ambushes the theater troop forcing Beau deeper into the forest.
I won’t reveal most of the end of the film because that’s is one of Aster’s specialties to leave the audience with questions rather than answers, however, I can describe the ending as the ultimate guilt trip. Not the movie that I would recommend for any mother’s day viewing, Cineplex had that wrong, but maybe the lighter fare of Book Club: The Next Chapter (2023) would be better and save on the therapy bills later. As far as Aster’s previous films, Beau is Afraid is his most challenging and his most ambitious, and deals more with themes of dynamics between mother and son that Hereditary similarly delves into. At this I feel that Aster has succeeded. Joaquin Phoenix delivers another great performance as Beau through his vulnerability, with nuanced character traits through his previous characters blending into Beau. Some of the critics and audiences disliked the film, describing it as a mess at best due to it’s ambitious nature.
Maybe we can all agree that this film is not a Mother’s Day film and Ari Aster needs a hug.
Remi co-host’s At The Movies, which can be heard every Tuesday morning from 8:00 - 9:00AM. Tune in for discussions about movies, soundtracks, and iconic film scores. At The Movies also covers film festivals that are located in Montreal.
Filmmakers from the Indian Sub-continent Diaspora Shine Bright at the South Asian Film Festival of Montreal
South Asian Film Festival of Montreal (SAFFM) 2023, presented by Kabir Centre for Arts & Culture is back after a year of dormancy. The festival was screened with Bibliothèques de Saguenay and La Cinémathèque québécoise from April 28 to May 10. This year’s films were picked all the way from India, Pakistan, and Bangladesh, to Canada and the United States; aired in person and online. Kabir Centre aims to unite communities through thought-provoking films from the Indian Sub-continent empowering the culture and the languages.
I have had the great opportunity to witness and be part of the pluralism the centre aims to promote through this festival. Amongst the 58 films in this year’s roster, I watched two movies: Agam Darshi’s Donkeyhead and Bhaskar Maurya’s Muthayya.
I booked the tickets for May 5, 2023, a Friday evening to watch the Donkeyhead and Four Nights screening together. Montreal constructions and road closures confused the pedestrian in me, and I wandered around La Cinémathèque québécoise on St. denis street for a solid 15 minutes before finding the main entrance.
As I finally found my way to the theatre, I hushed through the dark to find a high raised seat at the very end. Before I could make sense of the movie that was already on the screen, I realised that it was Nepali-English movie Four Nights, directed by Deepak Rauniyar.
The drama film revolves around Ram and Maya who moved to New York City from Nepal to earn fame, success and money. It was a 17 minute short film, of which I watched 2 solid minutes before the end credits.
What followed next was a nearly two hour film that entertained, mesmerized, resonated, and also made me cry. Donkeyhead, which is also written by Agam Darshi, is a Canadian-made immigrant story revolving around failed careers, sibling angst, strict parenting, and family mayhem.
Agam Darshi also plays the lead, Mona, a struggling writer who neglects her potential while caring for her sick father. The first few scenes unlock a hidden fear in me, which is to see your parents lying unresponsive on the bed. But with a twist of events, Mona’s Sikh father wakes up, scolds her and goes back to taking rest. Within a few minutes into this scene, Darshi’s characterization manages to induce anxiety in me and then alleviate said anxiety with comedic relief from Donkeyhead’s character.
This drama film is filled with witty jabs at the typical Desi-aunty behaviours, of siblings one-upping each other while their father is in a coma, and of untimely appearances and demands of distant relatives while the children mourn their father’s demise. It took the writer 10 years to write this story, and throughout the course of the decade Dasrshi says, “[she] fell in love with it and fell out of love with it multiple times in the process.”
“Everybody who watches it has a different interpretation. Some people say at the centre it’s a father-daughter story, some people say it’s about siblings, or it’s about what it is to be a woman in a South-Asian family…all of it is true,” continues Darshi, talking about how the story evolves from being a broad spectrum story to something personalised and close to home.
The monologue Mona recites at the end of the film focuses on her relationship with her father, how his inflated ego prompted her to rebel so she can make some space for herself. Her monologue also reveals how she wishes there was someone who could have told him that it was okay to fail, and that it was okay to mess up.
“I don’t think that anyone has ever told him that. He needed to hear that at least once in his life,” ends the monologue, which made me wail. The story didn’t end there, but went on to take a positive tone when Mona decides to leave home and pursue her passion.
Muthayya is a small town based heart-touching movie by debut director and writer Bhaskar Maurya. The movie has won the Best Feature Film Award 2022 at Kolkata International Film Festival. Bhaskar Maurya won Best Debut Director 2022 at Dubai META Film Fest.
Creative Producer Hemanth Kumar made sure that the movie reaches an art film loving audience through unconventional promotional methods of participating in as many film festivals as possible.
“Our world premiere was in May 2022, and it all started with the UK Asian Film Festival,” said Hemanth.
The comedy feature film revolves around the main character Muthayya (Sudhakar Reddy), a 70-year-old man who dreams of acting in movies and to see himself on the big screen at least once, before he dies. The film is set in a remote village Chennuru, in Telangana in India.
I always had a fascination towards small town movies as they feel so simple and raw. When the story begins with Muthayya and his 24-year-old mechanic best friend celebrating their weeknights by drinking ‘till late under the sky, without a worry in the world, I silently wish to have that peace in life.
Maurya worked on this script for two years but it only took 15 days to shoot the movie when scheduled with well-rehearsed talented actors, and a great collaborative team. “Our main concern with casting was finding the right one to play Muthayya. Bhaskar Maurya had watched Sudhakar Reddy, the man who played Muthayya in mind especially for the look, and talent for a 70-year-old passionate man,” said Hemanth.
The film’s atmosphere results from spontaneous acting with minimal takes and consequently makes the audience celebrate the victories, smile in the happy moments, and dwell in the sorrows alongside small-town Muthayya.
Montreal’s Kabir Centre recognizes arts from many cultures through events and festivals; some of which will enlighten you, encourage you, or even make you cry.
Cats, Clutch, and Beer Torture
My first experience with opening act, Amigo the Devil, was a standard affair. Their output originally came in as a mere muffled kick drum echoing around the depths of the MTELUS– a steady beat rocking the gaping porcelain mouths upstairs. Joining this heartbeat were the anguished hurls of an occupant in the next stall, whose devilish retching combined with the muffled beat in a way that would make the best black metal bands jealous. Amigo the Devil weren’t that bad.
I hate to say that this introduction summed up my experience at the Clutch concert. As their name suggests, these Maryland ‘Muricans have been offering a steady output of good music to blast when driving down the dusty American highways of old. Perfect music for the honcho hunk behind the wheel and his cowgirl driving stick.
I can’t remember any of the actual beer names or where the hell they came from, but this first brew took the definition of “light” far past Coors could ever dream of. I basically traded a cool pink crisp one for carbonated water with a 4 per cent alcohol content. Bad pick. No biggie. Onto the next.
Looking for something more flavourful after that original scam, I opted for an Irish red proudly labelled as “local.” As it turns out, “local” is synonymous with “collected from the rusty gutter runoff trickling into the alleyway behind the venue.” Who drinks this crap?
Fool me once, shame on you; fool me twice, shame on you for selling this garbage. All I wanted now was something with the reliability of a big brand name like Heineken, or maybe a refreshing Blue Moon for God sakes.
Surprise! All of the normal beers drunk by regular God-fearing men like myself had been taken out of rotation for the super duper special Festival Brewtal 2023 festival.
As I sure as hell wasn’t about to drink wine at a rock concert, I knew my third and final beer choice had to be a good one. A redeemer of the lost souls forming a frothing mutiny in my otherwise empty stomach.
I went with the least of all evils: a quadruple IPA with the most normal looking can. This ale was easily the worst of the bunch and tasted like something wrung through a sweaty sock.
Despite the trials and tribulations of a mere mortal in search of beer, the music was pretty good. Amigo the Devil had a varied set that twisted between hard blues heel-stompers and love songs longing for your crush’s husband to face a painful death. They were a silly band that managed to get the crowd singing along to silly ballads. The best part of their set was the huge flag backdrop, adorned with Amigo the Devil’s band logo and a humongous litter of cute kittens. “Put the lights on the cats,” said frontman Danny Kiranos. The crowd cheered as the house lights spun around, illuminating the furry family.
Clutch were also fairly decent. Their set featured a heavy rotation of stoner rock thumpers that livened up the crowd. Frontman Neil Fallon offered an energetic and captivating performance, using the stage to its full potential while belting out Eddie Vader-esque drawls.
The headliner’s varied setlist was also much appreciated by the crowd. Opening with the title track of their newest record Sunrise on Slaughter Beach, Clutch went on to play music from all of their eras - nailing hits like “Electric Worry” and “X-Ray Visions” during the encore.
While the bands were fair, I’m afraid the concoction hipster beer was brewing an angry storm in my stomach. Following a few after-show Crescent pints, I was soon rejoicing in the hurling energy of that poor soul whose cries echoed around the men’s room at the beginning of the night. I will be boycotting all future editions of the Festival Brewtal for their crimes against brew-manity.
A Rotting Christening of the new Studio TD
Greek black metal legends Rotting Christ stormed through Montreal on March 7th, playing the newly refurbished Studio TD (formerly L’Astral) in the Quartier des Spectacles. Dubbed the “Under Our Black Cult” tour, the band were supported by three other ghoulish groups - Gaerea, UADA, and Carach Angren.
With a black metal roster like this, I was expecting atmosphere over energy. While death and thrash metal shows tend to empty beer kegs faster than barbacks can run, black metal shows are often low-tip nights for staff behind the counter. The subgenre caters towards more straight-edge folk who like to go on long walks soundtracked by their favourite white Norwegians. Black metal fans are outcasts in society, and even greater outcasts at black metal concerts, because they’re all trying to be cooler than the weirdo next to them. In short, these shows tend to suck vibe-wise.
Rotting Christ envangelists immediately proved me wrong when some surfin’ bird kicked me in the back of the skull like I was the last cross eyed furry in a sweaty game of whack-a-mole. As I was recovering from the crowdsurfer’s dissatisfaction with my head, fans continued to crawl over me in an effort to make it towards the stage. I really don’t blame them - have you seen the hunks in Rotting Christ? Those Athenians are top.
To be fair, opening acts Gaerea, UADA, and notably Carach Angren did do their best to bring enthusiasm out of the audience. My favourite were Carach Angren, Dutch symphonic black metallers with a fetish for spooky keyboards. Frontman Seregor put on an energetic performance as he commanded the stage. The best part of their performance however was keyboardist Ardek, brutalizing a stage piano like John Cale wearing corpse paint. Ardek also occasionally busted out this sweet keytar - the bastard child of a guitar and piano. Carach Angren were really a good time!
But whatever energy the opening acts could drum up was nothing compared to what would come. Apparently everyone was really just edging for Rotting Christ - and frontman Sakis Tolis’ opening power chord strum let everyone know it was time to go nuts. The band pushed ripper after ripper through the speakers and by consequence through the audience, whose centre crowd were now brawling to the pulse of blackened Hellenic chants, Mythos running smooth through their bloodstream.
I wasn’t kidding about the Hellenic chants. Rotting Christ do an amazing job of working anthemic aspects into their music, which translates wonderfully live, as the more symphonic elements to their sound mesh amazingly with the rawness of their heavier cuts. Their songs are also amazingly varied tempo-wise, transitioning from obnoxiously catchy grooves to blastbeat assaults. These aspects all point towards why Rotting Christ shows seem to hit so different than other black metal acts - Satan aside, their music is fun.
I was genuinely surprised at the energy Rotting Christ brought out of the audience. Even under the black metal moniker, the band were able to get the house moving more than some of the better hardcore acts I’ve seen. And the lack of karate was nice. This was a damn crazy show, proving that Rotting Christ are still a force to be reckoned with in the metal scene - even after 35 years in the business.
Canadian Speed Prevails at TraXide
Ottawa speed freaks Occult Burial headlined another successful celebration of the Canadian underground metal scene this past Friday night. Hosted by the infamous TraXide, the bill also featured three supporting Montreal acts in the form of Skumstrike, Vespéral, and Conifère.
If you’ve never heard of TraXide, I don’t blame you. The best description of the hole-in-the-wall venue I can offer is in the form of an exchange sparked by an eager concert-goer on the event’s Facebook page. “L’adresse SVP” writes a fan. The only response came from none other than Vespéral frontman Sovannak: “nope.” Gotta be in the know, I guess.
While Occult Burial and Skumstrike play music to the beat of something akin to an amphetamine-fueled metronome, Vespéral and Conifère offered a little more ambiance with their performances. As expected in the numbers drought that tends to create incestuous but high quality local black metal scenes, Vespéral and Conifère share multiple members and play in a similar style. Seeing the same musicians come back on-stage after a Skumstrike speed-break interim was quite comical, as Vespéral put on new costumes, stage-right went to stage-left, and they became Conifère. My favourite of the two was definitely the latter, as the group played a straighter 2nd-wave black metal style, but also featured a slew of heavy and borderline groovy segments to their songs that got the crowd pushing and shoving again. A black metal band that can get people moving is a big accomplishment.
Skumstrike were also a blast. I knew we were in for a wild trip when the guitarist took the stage adorned with an AC/DC t-shirt and mirrored Top Gun aviators. “Emperor sunglasses!” shouted somebody in the crowd - which was almost an insult; Skumstrike would never dare play as slow as Emperor. Blastbeats and sleazeball punk were the name of the game for these speed dealers, surging the packed room into a maelstrom of spikes and body odour. My lower back became well-acquainted with the sharp edge of the shelf behind me, punk after punk bouncing off me like some kind of perverse speed dating event.
Headliners Occult Burial broke into their set with true underground fury. Good on them for driving all the way from Ottawa for this basher. To be fair though, I’m sure the band enjoyed being in a fun city for once.
The best part of Occult Burial’s sound is frontman/bassist Joël Thomas’ manic shrieking vocal style, which brings these fan-favourites leagues above any other neighbourhood blackened speed act. Batterie-master Dan Lee is also a maniac on the kit and personally looks like he’s always ready to star as a zombie in an impromptu b-movie horror flick (and I say that as a compliment). In true punk fashion, Occult Burial also don’t feature a rhythm guitarist, which allowed for lead Dan McLoud (could have gotten more creative with the fake handle - two Dans?) to soar during bassy guitar solo breaks that always hit like a brick.
Three songs in, somebody ripped the band’s paper setlist off the floor, as it disappeared into the mass of contraband this is a TraXide audience. “Hey, uhhh, who stole our setlist?” gawked the frontman, staring back at his kitmaster with uncertainty, telepathically communicating the message “What do we do now?” I can only assume the rest of their set was somewhat impromptu, as that sweaty piece of paper never resurfaced. The opportune thief will make a cool $5 selling that on Kijiji in a few years.
Occult Burial played through rippers like they were mainlining adrenaline, blasting out cuts like “Jackal Head,” “A Witch Shall Be Born (Daughter of Darkness),” and “Ancient Returns.” Audience members (and the frontman, who was panting and sweating bullets the whole time) were allowed to come down during the slower, groovier “Highway Through Borderland” off the band’s most recent LP.
Occult Burial’s varied set and the dynamic range of their sound strengthened their status as one of the champions of the underground Canadian metal music scene. With the strong accompanying performances from Skumstrike, Vespéral, and Conifère, the event was truly a successful celebration of the Canadian music scene, proving that it isn’t going anywhere anytime soon.
CTRL ALT: FKJ Displays His Genre-Bending Abilities at MTELUS
CTRL ALT delves into the dynamic world of alternative music; from sultry R&B to soft rock, to the unique experimentalists, to those whose tracks you just can't put in a box, and to those who make major waves in waters once still. This column chronicles concert and album reviews, artist interviews, live jazz spots in the city, Montreal's DJ scene, music news, and more. Look out for the parallel radio show CTRL ALT, airing soon!
An ethereal experience— that’s one way to put it. A psychedelic, jazzy, celestial peer into a highly musical stream of thought. That’s another way. No matter how it’s described, no words can really condense the enchanting performance put on last night by Paris-based, self-taught funk/soul instrumentalist French Kiwi Juice, or FKJ for short (real name Vincent Fenton, born March 26, 1990, in Tours, France). He’s currently embarking on his North American tour for his last album, V I N C E N T, that kicked off in San Francisco three weeks ago and is set to end in Mexico City in mid-November.
He last performed in Montreal in 2019 at Osheaga, so the crowd welcomed him warmly. Everyone was fully immersed in the show and consumed by the music. Looking back at the photos I took, I only saw two or three cellphones in the crowd. Epitome of living in the moment and soaking in the present if I’ve ever seen it.
I had only heard about him being on tour and coming to Montreal a week or two ago, so I was so pumped that I would get the opportunity to see live. He’s been big for years, but he really grew in the mainstream a couple years ago thanks to internet virality; Tadow, the improvised song by Masego featuring FKJ has been used as a TikTok audio for nearly a million videos. His use of stunning locations has also garnered a massive YouTube presence, like this video of him performing at the world’s largest salt flat, or here at the Paris Modern Art Museum.
I’ve really become a sucker for producer-artists acts like FKJ in recent times. From birthing a melody, to playing all the instruments of a full band skillfully, to finetuning the sound engineering, I can’t get enough. Like KAYTRANADA, Montreal-native house producer, or Fred again, who put on a great show in Toronto a few weeks ago (Was I there physically? No. Did I live vicariously through my friends that attended via obnoxiously excessive Instagram Story documentation? Most definitely).
Cradling the audience’s ears with a sweet, rare and hypnotic gentility, OHMA, the new LA-based band formed by Mia Garcia & Hailey Niswanger, opened the show. They released their debut album, Between All Things, just over a month ago. Duly self-described as a “sonic forest”, they layered smooth saxophone riffs, melodious guitar strums, airy keys, and meditative vocals to simulate the waxing and waning of nature on earth.
Nothing could have prepared me for the enchantment I was in for. OHMA had just started their set when I entered the room. It was my first time attending a show at the MTELUS venue, and it looked just like the photos. A very lowkey, intimate space that still holds grandeur and charm. Right in the pit towards the front and righthand side, I was in an ideal spot as I had easy access to the balcony and exit, stood close to the speakers, and had an amazing view of the stage. I had never listened to OHMA prior to the show, but they gained a fan within moments as I was pulled in by their entrancing sound. Their music put me in a state of mind, a state of being, that I had no desire to step out of. Each instrument had its own distinct voice, yet they all meshed so effortlessly to build mesmerizing harmonies and invoke such serene feelings.
Everything from the synthesizer to the saxophone is within the scope of this musical mastermind of many talents. Watching him waft around the stage, shifting seamlessly from the piano to the sax, to vocals, to an array of guitars, to shakers, to turntables, was something out of a dream. Every single song embodies elements of genres, making his work impossible to confine to labels. He explored swanky funk, soulful jazz-infused sounds, dance-pop tunes, and even soft, guitar-driven psych rock. Beat by beat, note by note, he displayed the elements of his craft so remarkably alongside his drummer and bassist, and string section that joined in the second half. I particularly loved the way he laid the layers of the beats and notes in front of us with gradual loops added live, including the audience in his composing process. I also really enjoyed the enhanced naturalistic elements, like sprinkles of faint bird chirps and calm outdoor sounds; they’re only one example of how he embeds his love for nature in his music.
The setlist was mostly made up of songs on his latest album. Others include his popular track, Risk (a longtime favourite of mine), made in collaboration with Dreamville rapper Bas, and Vibin’ Out, one of the many songs he has with his wife and fellow experimental musician ((( O ))). The two violinists and the cellist that graced the stage alongside him were one of my favourite components of the show. Their rendition of “100 Roses” from FKJ’s 2019 EP, Ylang Ylang overwhelmed me with emotions, and I *may* have shed a tear or two. My hat is off to French Kiwi Juice after experiencing him live in concert. Be sure to look out for his future shows, because he truly puts on an unforgettable show that you don’t want to miss.
BEST OF 2022
The clock changes from 11:59PM to 12:00 AM, the month from December to January and with it: the year from 2022 to 2033. The one thing that doesn’t change here at CJLO, is the reflection of all that’s passed in the form of yearly ‘Best of” lists! Thank you to everyone who supports CJLO, a radio station for the people, by the people. Surely, this spirit will only continue fostering into the close-knit community that brings the city together! Without further ado, here are the CJLO’s staff picks of favourite 2022 releases!
MEGAN DAMS - CJLO'S HIP HOP MUSIC DIRECTOR AND HOST OF PURPLE HOUR
BEST PROJECTS OF 2022 (NO PARTICULAR ORDER)
1. Untidy Soul - Samm Henshaw
2. HIT 'EM WITH THE FUNK - Kalisway
3. Wasteland - Brent Faiyaz
4. SOLO - Eva Shaw
5. It'll Be Fine - Chase Shakur
6. RENAISSANCE - Beyonce
7. Mr. Morale & The Big Steppers - Kendrick Lamar
8. Few Good Things - Saba
9. HEROES & VILLAINS - Metro Boomin
10. SOS - SZA
11. Monologues [EP] - Ogi
12. eleven achers [EP] - nemahsis
13. DAWN FM by The Weeknd
14. MOTOMAMI by Rosalia
15. Anxious [EP] by Fthmlss
BEST TRACKS OF 2022 (NO PARTICULAR ORDER)
1. “WHEN SPARKS FLY” - Vince Staples
2. “Paradise” - Prime Society
3. “MIDNIGHT STRANGERS” - Eva Shaw, Thouxanbanfauni & DB Bandito
4. “Grow” - Samm Henshaw
5. “Cresco” - Belaganas
6. “Static” - Steve Lacy
7. “i'm not gonna kill you” - nemahsis
8. “BREAK MY SOUL” - Beyonce
9. "HOME" - Mike Dimes
10.“Come Back” - Jex Nwalor
11. “INTIMIDATED” - Kaytranada ft. H.E.R.
12. “READY OR NOT” - Kalisway
13. “Sticky" by Drake
14. “Diana" by Armani Caesar ft. Kodak Black
15. "Deep (Interlude)" by Namir Blade
ALEX VIGER-COLLINS, HOST OF ASHES TO ASHES
BEST ALBUMBS OF 2022
1. Extreme - Molly Nilsson
2. Marci - Marci
3. Blue Rev - Alvvays
4. Future is Now - Sheena Ko
5. Anxious Avoidant - Sophia Bel
6. Avec les yeux - Fisbach
7. Dawn FM - The Weeknd
8. Ideas of Space - Tess Roby
9. Giving the World Away - Hatchie
10. MUNA - MUNA
Honourable mention: 8 - Marzye
ANDREW WIELER, CJLO'S METAL MUSIC DIRECTOR AND HOST OF GRADE A EXPLOSIVES
BEST ALBUMS OF 2022
1. Sunrise on Slaughter Beach - Clutch
Clutch has done some pretty great records in the past, but a lot of them had some tracks that didn't hit me nearly as hard as this whole thing did. Could this be the best Clutch album? No, Blast Tyrant exists. Is it the best Clutch album since then? No, Robot Hive / Exodus exists, but is it the best since then? Maybe.
2. Zeal & Ardor - Zeal & Ardor
It's good when a band has a signature sound and manages to incorporate other genres into it. For instance, this Zeal & Ardor has a good amount of quasi-industrial laced in it, but in such a way that it doesn't detract from their southern slave spiritual meets black metal ness. A really good record, that if you haven't listened to yet you should.
3. Heavy Rocks 2022 - Boris
I must admit Boris is never a go to band for me, and I barely know any of their back catalogue, but this record oscillates between metal, pop influences, blaring saxophone, and at times straight industrial that I got musical whiplash in the best way possible.
4. Otherness - Alexisonfire
A return from the Canadian whatever-core band, and its a bit more mellow than I'd care for, but still catchy and full of endlessly melodic portions that you can yell along to. They still got it, even if Dallas continues to make the band more City and Colour than what they should be.
5. Deathrattle Sing For Me - Norma Jean
A disjointed weirdo record that does have a bit of filler, but Norma Jean has been engaging in "atmosphere building" since Meridional, so I can let it slide.
6. We're Not Here to Be Loved - Fleshwater
... and then I was like, "What if the Deftones had a female lead singer and also picked up a couple other genres?" and then this album, featuring members of Vein.FM comes along and I get all my post-grunge dreams.
7. Rakshak - Bloodywood
I am always happy when a band comes along and does something ACTUALLY innovative in metal (see Zeal & Ardor from above), so naturally I love this mix of Bhangra and metal, and this album has been a long time coming, so its no wonder its as good as it is.
8. The Exile - Mares of Thrace
It is tragic when a band you loved comes back after a long hiatus and doesn't deliver a great followup to their previous work. Luckily Mares of Thrace more than lived up to the task and crafted this heavy masterclass.
9. Chasing Ghosts - Stabbing Westward
I have to level with you, this record isn't very exciting. It's sort of samey and it doesn't exactly evolve over its run time, but it is a Stabbing Westward album, and so much better than the pure boredom that was their last self-titled slog that I am genuinely looking forward to them producing more stuff like this.
10. Skin & Sorrow - Frayle
I listened to a lot of witchy doom stuff this year, but this record is probably the stand out among them. Dropping a bit of the Portishead influence from past records, but not enough for it to be absent, this record is really capturing a feel that I think has been hanging over us since the weariness of COVID really set in, and why not wallow in it some more since the pandemic is still happening... despite what everyone is acting like. Also, I
Honorable Mentions:
Of Kingdom and Crown - Machine Head
Apparently I'm in the minority saying that Bloodstone & Diamonds wasn't great, but this record... it is some good return to Blackening / Unto the Locust era.
All The Truth That I Can Tell - Dashboard Confessional
This a strange album that has songs that are both deeply relatable to me and not relatable at all. Feels a bit less polished than some of the mid Dashboard work.
Atum - Act I - Smashing Pumpkins
I have been waiting for The Smashing Pumpkins to be something enjoyable for some time, and they finally seem to have done that... even though it doesn't sound like a Smashing Pumpkins album in any way.
Heavy Pendulum - Cave In
A really good album that overstays its welcome but just a tad bit.
Krüller - Author and Punisher
A sharp musical direction turn for these guys that I can understand why some won't like it, but I enjoy it just fine, so either way this band goes, I'm okay with it.
Burn - Messora
A step in a different direction from the previous work, but with a very dirg-esque tone without feeling incredibly bleak.
Forget Your Own Face - Black Dresses
Every time I hear a Black Dresses album, I always think, "Why am I so late getting to this? It is a master work of complete insanity." This record is more of that, and I'm in.
Judgement - The Silverblack
Fear Factory should really watch out, because these Italians are coming for their title.
Magic - Ol' Time Moonshine
Damn this is some good stoner stuff. And, as a bonus, it features
Null - Ken Mode
... now with even more saxophone
Somebody's Closer - Bleed
Haven't you heard? The 90s are back, and Bleed is here to give it to us.
ANGELICA CALlCAGNILE, CJLO'S ART DIRECTOR AND HOST OF BVST
BEST ALBUMS OF 2022
Lullabies for Eternal Sleep - Apes
1. When Apes dropped this EP a few days into 2022, I knew it would likely end up on my top 10 list, and I was right. Four tracks of pumelling, unforgiving audio extremism blend black metal, hardcore and grindcore into a bleak, yet fiery, juggernaut. The only thing wrong with this release is that it's too short, and I hope to hear more from them soon. I'm especially partial to "Devour", which plods and creeps and consumes, at once oppressive and liberating.
2. S/T - Zeal & Ardor
Two years after the release of the flawless Wake of a Nation EP, Manuel Gagneux and friends are back with their third full-length, a monstrous brick of an album that is arguably their most complete, meticulous effort yet. The territory travelled across the previous two records is fully explored here, yet there is nothing tired about it. If anything, the individual tracks on this record are too good, the record too complete, it's almost a surfeit of genius. Though somewhat of an outlier on this record, I come back to "Götterdämmerung" again and again, but if you've been sleeping on this band, you should pretty much start anywhere.
3. Creatures - Drumcorps
In 2006, an album called Grist, which splintered metal and hardcore elements into extremely heavy electronic music, absolutely blew my mind and that of many other CJLO DJs. It took Drumcorps another 9 years to release again, and then more silence until 2021, when a couple of EPs trickled into existence. I missed them all. Now, Drumcorps is back with an absolutely terrifying record. The heaviest band you've ever listened to cannot prepare you for the absolute maniacal sonic violence of this release. Familiar elements of extreme music are ripped apart and reassembled into the most glitched, unhinged breakcore barrage your mind can conceive, and yet tracks like "Style Transfer" still bring a sexy, sultry stomp.
4. Malocchio - Bonnie Trash
Deeply moody, this drone-y, doom-y, post-everything record surprised me with its synthesis of heavy guitars and beautiful melodies and vocals. A late entry to this list, the gothy quality of this album is unmistakable, but darkly sweet and nostalgic, never campy or self-indulgent. Spooky spoken word elements in Italian and English open and close the record, but I'm particularly drawn to the lushly-layered menace of "Lashes On Fire".
5. 1% - The Milk Faction
Easily the strangest release on this list, I couldn't resist this 15-minute hardcore noise punk mess that travels from wildly angry to vaguely jammy before swinging back to hyper aggressive once again. It's a weird, arty concept record with a political message, but you don't need to care about any of that in order to enjoy it. Try the vaguely Tomahawk-y track "Work" on for size, you'll know I'm right.
BEST SONGS OF 2022
1. "Back to Black" - Junkowl
My favorite thing about Junkowl is the undercurrent of implied danger and cruelty that threads through their songs, and they bring that energy to great effect on this Amy Winehouse cover.
2. "Bad Blood" from Black Box - BRKN LOVE
While this song, and the record as a whole, flirts dangerously close to an uncrossable dance rock line for me, I somehow can't shake its hooks or big rock vocals.
3. "Southern Comfort" from Blood Harmony - Larkin Poe
This song immediately caught me, and its bluesy, southern-fried country roots-rock stomp and lilting vocals get stuck in my head for days with every listen, with no complaints.
4. Don't Let The Outside Win" from Revenge - The Anix
Reminiscent of Playing the Angel-era Depeche Mode, this broody, intimate track wraps me in its warm electronic arms and promises to never let me go.
5. "Gaddaar" from Rakshak - Bloodywood
Nu metal and bhangra might be an unholy union, but it feels just right in this explosive party banger with a political message (delivered via rap feature, of course).
GIGI BROWN, HOST OF THE GIGI BROWN EXPERIENCE
TOP 10 ALBUMS OF 2022 (IN NO PARTICULAR ORDER)
1. Watin by Aysanabee
2. The Loneliest Time by Carly Rae Jepsen
3. All I Know About Love by Laufey
4. Michael Rault by Michael Rault
5. Blink Twice by the Arkells
6. Expert In A Dying Field by The Beths
7. Fleur de l'Âge by Mon Doux Saigneur
8. Crybaby by Tegan and Sara
9. Harry's House by Harry Styles
10. All Blue by Juliana Riolino
TOP EP/SINGLES
1. A Bientôt/ Le Bois by Vanille
2. Night Terrors by Mully & Sculder
3. Allo Fantome by Allo Fantome
4. Hurt By The Words/ So In Need by Leather Rose
5. I'm Not in Luv by MBG
Best Live Shows:
1. Aysanabee @ Jazz Festival
This was the first time I went to a show with my friends. I dragged them out to come see him play because I had fallen in love with his music, and they all loved it. My friend, Diego, who plays the guitar was blown away by Aysanabee's playing and everyone was dancing. It was an excellent way to end the school year and spend some time together before we all went our separate ways for the summer.
2. Mort Rose @ Francos
My dad, Prince Palu (one half of The GoGo Radio Magic Show), brought me down to this show and it was so great! I got a soda and we chilled on the grass and got to watch this great band, AND bonus points, I was introduced to some Montreal artists, Tommy from Choses Sauvages and Alexandre from Larynx, both who I really love!
3. Marilyne Léonard at Francos
After Mort Rose, we saw a HUGE crowd around the big stage in front of the metro, so we stopped to watch and it was amazing. Marilyne was wearing this awesome pink jumper with paint splotches on it and her band was incredible. When she started playing Baby One More Time by Britney Spears everyone was dancing and singing along! It was just a really great way to discover her music and end the night!
4. Vanile at Rialto Theatre (roof top)
I got to go to this concert with my dad and my boyfriend, and it was such an awesome experience! I mean for one thing we were on a rooftop with an amazing view of our city, and we were serenaded with Vanille's amazingly sweet voice. That night there was also an amazing sunset which just paired perfectly with her music and her beautiful voice!
5. The Linda Lindas + Sophia Bel + MBG at Rialto Theatre
The definition of an amazing girls night out. I went with my awesome mom and it was so fun! I was introduced to the music of MBG and Sophia Bel and I actually got to meet MBG too after the show as well! When The Linda Lindas came on... I mean, they are just kick ass! I was dancing like crazy, and was exhausted the next day at school, but oh it was so worth it!
6. Arkells at MTELUS
The Arkells with Joel Plaskett as an opener was such an amazing concert! I mean the crowd was so engaged and everyone was dancing and singing along and it was just an amazing atmosphere. I think I danced almost the entire time! My feet were killing me by the end of the show, because with both the Arkells amazing dancing music and Joel Plaskett's dance moves on stage, the room was just filled with an energy that you couldnt NOT dance to!
Top Five Movies
1. Uncharted
I loved this movie and I am not ashamed to admit that Tom Holland is my celebrity crush, so getting to see him mixed with my other love, History, was just amazing. I saw this in the theatre with my friend and then rewatched it with my family and loved it just as much the second time!
2. Turning Red
Turning Red was the perfect mix of adorable pandas, Disney magic and girls growing up and dealing with change. It was funny and cute and definitely made me tear up in some parts.
3. DC League of Super Pets
I dragged a group of my friends to come see this movie with me, and while I will always be a Marvel girl at heart, this movie was GOOD. I loved it so much. I mean it's adorable animals paired with amazing humor and a sweet moral story. I fell in love with the animals and laughed super hard... and I also cried.
4. Lightyear
This movie made me cry... SO HARD. It was so bittersweet, but also had an amazing script. It wasn't my favourite 2022 movie but it's still up there, primarily because the idea behind it was so sweet and I just wanted to give Buzz a big hug.
5. Thor Love and Thunder
Ragnarok is still my favourite Thor movie ever, but this one was a great one to see in the theatre with my dad. I definitely cried at the end and while there were some things I didn't love, it was still fun to watch in the theatre!
Top Five TV Shows
1. Ms Marvel
It was such an amazing show, the style was so cool with its super colourful comic parts and the story was absolutely amazing.
2. Severance
This show was really fun to watch with my parents. It really messes with your mind and really makes you think about what the characters are going through.
3. The Cuphead show
Just watching this show with my brother makes me so happy. They are super short episodes, but super cute and funny and have this vintage feel to it that is really fun!
4. Is it Cake?
Such a creative baking show, that was equal parts funny and mind blowing skills. Trying to guess with my family which item was cake and making it a sort of competition between us was sooo fun!
5. She Hulk
She Hulk was so interesting because I didn't love it at first but it definitely grew on me. It balanced the very real and difficult topic of sexism with humor and awesome outfits.
REMI CARON, CJLO'S EQUIPMENT MANAGER AND CO-HOST OF AT THE MOVIES
BEST ALBUMS OF 2022
1. After Hours - The Weekend
2. The 7th Hand - Immanuel Wilkins
3. Beatopia - Beabadoobee
4. Mr Moral And The Big Steppers - Kendrick Lamar
5. Renaissance - Beyonce
6. Labyrinthitis - Destroyer
7. Blue Rev - Alvvays
8. José Louis and the Paradox of Love - Pierre Kwenders
9. Once Twice Melody - Beach House
10. Asphalt Meadows - Death Cab For Cutie
TOP SCORES AND SOUNDTRACKS FOR VISUAL MEDIA (NO PARTICULAR ORDER)
1. The Menu - Colin Stetson
2. Bodies, Bodies, Bodies - Disasterpeace
3. The Batman - Michael Giacchino
4. Blonde - Nick Cave & Warren Ellis
5. Tar & Women Talking - Hildur Guðnadóttir
6. Men - Ben Salisbury and Geoff Barrow
7. The Fabelmans - John Williams
8. The Northman - Robin Carolan and Sebastian Gainsborough
9. Bones and All & Empire of Light - Trent Reznor and Atticus Ross
10. Black Panther 2 Wakanda Forever - ludwig göransson
Top 10 films of The Year for 2022 (In Order)
10. The Batman dir. Matt Reeves
9. Nope dir. Jordan Peele
8. Aftersun dir. Charlotte Wells
7. Glass Onion: A Knives Out Mystery dir. Rian Johnson
6. The Banshees of Inisherin dir. Martin McDonagh
5. TÁR dir. Todd Field
4. The Fabelmans dir. Steven Spielberg
3. The Northman dir. Robert Eggers
2. Vortex dir. Gaspar Noé (*Note that this was a 2021 release that came to theatres here in 2022)
1. Everything Everywhere All at Once dir. Daniel Scheinert, Daniel Kwan
KAITLYN DIBARTOLO, MAGAZINE EDITOR
BEST ASSORTED DISCOVERIES AND MOMENTS OF 2022 IN NO HIERARCHICAL ORDER
1. Parallelograms - Linda Perhacs
Perhacs is among the folk artists of the '70s whose music didn't take off when initially released, but became discovered again and reissued decades later; this time around with a cult status. Several songs on this album center around the disillusionment of housewifery, which seems to be a popular motif within folk songs from female artists of the era, and sadly part of the reason why Perhacs' music wasn't given any press. Perhacs' catalogue is a spiritual experience, a reflection and meditation on living out in nature in 1970's Topanga Canyon, California; a time which Perhacs empshasizes in interviews, couldn't have happened with modern-day interruptions of social media and cellphones. My advice is to start with the album's titular, haunting track.
2. "Having a Coke With You" - Frank O’Hara
O’Hara’s value of writing poetry that is communal and personable is best exemplified in this poem and explains why it’s his most famous. Written in 1960, O’Hara takes the unassuming Coke and literally puts sharing one with his lover, above all works of art. I don’t know why it took me so long to get to his poetry, but nevertheless the fact that I finally have is what’s most important!
A more contemporary, dreamy poem. Literally, it’s about a recurring dream the speaker’s mother has of their old beloved dog. The brevity of the poem and it's whimsical diction manages to make readers also miss Ivy. This poem is a poignant look into the peace of acceptance and letting go after holding onto memories for so long.
4. "Back to Freedom" - bellylove
Watching ‘90s sitcoms during your covid convalescence pays off in the form of forgotten tracks. Evocative, swaying, forlorn, but comforting. Ever-so slightly western-laced, this track paints the image of one roaming deserted lands with nothing but a guitar on your back walking away from the past and into an uncertain, but more hopeful future. Reminiscent of Mazzy Star.
5. Buffy the Vampire Slayer dir. Joss Whedon
The aforementioned ‘90s sitcom in question. Can we please bring back such grandiloquent set and costume designs, and themes that explore deep existential dread to TV? Also, Spike is more righteous than Angel despite everyone thinking otherwise. Angel is naturally “moral” and therefore requires no effort to be a decent person, whereas Spike actually makes the effort and tries, thus making him more genuine.
6. Rumskib - Rumskib
I was pleasantly shocked when I found out Rumskib’s self-titled LP was released in 2007 and not 1997. This dream-pop record is truly up there alongside the rest of the big names of the ‘90s. It’s clear that Rumskib takes inspiration from the likes of Slowdive, MBV, Pale Saints, etc., but their songs are still fresh and uncontrived.
7. Bows - Blush
I didn’t find this album, it found me. Entrancing trip-hop is what you’ll find in this album. If you like Squarepusher, you will enjoy Blush’s mellow and textural tracks too.
8. "Sugar Water" - Cibo Matto
Another song I've gleaned from Buffy the Vampire Slayer, and yet another trip-hop track. This song sounds like those hot and hazy August nights, and running down Parc Avenue in my cowgirl boots; what would be my last freedom of summer after my two week covid convalescence and before I'd be bedridden for another few weeks again with a foot injury. Don’t run down Parc Avenue in cowgirl boots.
9. Geek Love - Bang Bang Machine
Cocteau Twins-esque, but with decipherable lyrics that will get you where it hurts.
10. Vashti Bunyan’s discography
I’m certainly no stranger to the whimsy that is Vashti Bunyan’s music. In 2022, however, I found an immeasurable amount of solace in listening to her music out in nature while crocheting. Listening to her music makes me feel like I'm in a fairy tale. Her 1970 release, Just Another Diamond Day is quaint yet extremely, subtly and ineffably hard-core for a folk album at some points. You're just going to have to listen for yourself.
11. Big Bunny - Alaska Reid
Gosh. A phenomenal album from such a heartfelt artist. Tracks “Pilot” and “Oblivion” are among my favourites. Alaska Reid just gets it. Reminiscent of Soccer Mommy, but with A.G. Cook’s production. Will hopefully get to see her live soon.
12. Cécile McLorin Salvant’s performance at the Montreal’s 2022 Jazz Festival
Selecting shows to include in this list is a stressful endeavour, because I cannot possibly remember all the shows I did see. Jazz artist Cécile McLorin Salvant stands out among the rest, for her gentle feminist-rage laden lyrics, the infections of her vocals, her fashion choices, and her flooring rendition of Kate Bush’s Wuthering Heights. Please, check her music out!
13. Discreet Music - Brian Eno
Listening to this album in the midst of winter, granted me such reprieve from the winter blues that putting this record on and then deep cleaning my space is now a ritual. The title track of the ambient record sounds like the snow and ice thawing, the residual water making the grass the most vivid green one ever did see. It sounds like beavers exiting their dams, the squirrels leaving their alcoves. It sounds like fresh spring air. Best listened to on those few occasions when the winter sun peers through the windows, and onto your bed sheets.
14. Sex Revolts: Gender, Rebellion, and Rock ‘N’ Roll - Joy Press and Simon Reynolds
Honestly, I was tempted to gatekeep this one but that’s not very rock ‘n’ roll. This book looks at all the rock and post-punk icons you can think of from Bjork, Cranes, Aphex Twin, Kate Bush, MBV, the Rolling Stones, etc., and analyses their works and subcultures from a psychoanalytic lens and then through a feminist lens. The first half of the book does require some understanding about key psychoanalytic tenets from the likes of Lacan and Freud, but it still will make for an interesting read even without. I found this book at the Loyola library, and I admit, I was ~that~ person that had it taken out for months, because I was always reading it an re-reading it. I will be buying the book to add to my permanent library.
15. Becoming Editor here at CJLO!
It's been such a nifty privilege and oppurtunity, I am grateful for it. I hope to keep working with and meeting folks who are just as nifty!
Happy New Years to all, and here's to another year of great music, films, art, and moments!
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