The Athenaeum

Tag: music

  • How COVID-19 Has Influenced Music

    How COVID-19 Has Influenced Music

    There’s no doubt that 2020 was a weird year. Death, sickness, isolation, fear, uncertainty, and boredom are just a few of the effects of the pandemic that have plagued nearly everyone in the world in the past year. This has carried over into 2021, with the effects of COVID-19 still drastically changing the way we live our day-to-day lives. But with vaccines and other changes just around the corner, things seem to be looking up. Along with these positives, music has been influenced by the pandemic, and Nick Jonas’ recently-released album, Spaceman, aims to inspire listeners about some of the positives.

    The pop album consists of 11 songs. Some of the titles include Death Do Us Part, If I Fall, and Don’t Give Up On Us. Clearly, there’s an air of fear and isolation within the album, as Jonas addressed in an interview after releasing the album. He said that this pandemic forced him to question what had changed in his life because of COVID, and to look at how isolated we had all become. This is where he drew inspiration for his album. While discussing his title track in an interview, he said, “I thought about what I was going through: I was away from my person, there was this crazy election, we’d all been wearing masks for almost a year. I wanted to speak about that in a poetic way”.

    Jonas says that his first song on the album, Don’t Give Up On Us, was created when he was forced to be away from his wife for months at a time. He explains that after writing that first song, he realized what he wanted his themes to be for the entire album: “distance, indulgence, euphoria, and commitment”. While these four topics may not initially seem related to COVID-19, I think Jonas’ ideas were actually spot-on. It’s evident how distance has played a part in our past year, with the obvious inability to visit loved ones, self-isolation, and limited gatherings. But where do the other three ideas come into play?

    Another song on the album sings about getting too drunk, hence the title, 2Drunk. Jonas jokes that he thinks this is something all of us can relate to lately, with the difficulties of the pandemic leading to some drinking. This is how we’ve indulged this year. The lyrics of the song say, “Nothing good happens after four in the morning but it’s another day guess I’m keeping it going”. Jonas says that he hoped his funny approach to such a serious and difficult year would help lift people’s spirits, and listening to the album definitely does just that.

    Euphoria is another element that Jonas thinks has been important in the past year. His song This is Heaven is definitely euphoric, both through the music and the lyrics. He connects the idea of love to religion, two things that were obviously important to him in a difficult year. On another one of his tracks, he says that “there were certain limitations we had because of COVID, whether it be doing sessions over Zoom of having to keep bodies in the studio to a minimum”. Despite all this, his album came out even better than imagined, he says, showing the power of euphoria this year.

    The last part of the album that Jonas made sure to include was the concept of commitment. Through a year of isolation, this became so much more important to him. Songs like Deeper Love, Sexual, and Death Do Us Part reflect this commitment to love Jonas made to his wife, even in difficult times like COVID-19. While some critics say the album is way too bland for Nick Jonas’ usually intense personality, he definitely achieves his goal of incorporating each of the four elements he thinks best reflect this past year. 

  • The Tribe Projects: Unity for Change

    The Tribe Projects: Unity for Change

    The Syrian conflict has created one of the worst humanitarian crises of modern times. It is estimated that more than half of the country’s pre-war population have been killed or forced to flee their homes. Due to the whereabouts of Syrian and Turkish borders, many refugees have fled to Turkey. Turkey currently has the largest population of Syrian refugees, with an estimated 4 million Syrian refugees currently living there. Statistics show that one in every twenty people living in Turkey are registered refugees. Millions of people have left their homes, livelihoods, and even their families. Most did not have the choice to leave, their options were either leaving their countries or staying and threatening their lives.  

    The Syrian civil war began in 2011 and since then, the Syrian refugee crisis has been an ongoing problem. The civil war was influenced by the Arab Spring, which was a series of anti-government protests and uprisings throughout the middle east. The current president of Syria, Bashar al-Assad, met the protests with harsh security measures and military operations. From there, the violence escalated and the country soon found themselves engulfed in a full-scale civil war. As a result of this war, an estimated 6 million people have fled the country, and approximately 500,000 people have died or gone missing.

    The Tribe Projects is a small group of volunteers living in Izmir, Turkey, supporting the Syrian refugees living there. According to the United Nations, the vast majority of refugees live below the poverty line. The Tribe Projects are committed to empowering and bettering the lives of the Syrian Refugees living in Turkey. This organization helps Syrian refugees by working to improve their living conditions, providing children with the education and skills they need to reach their future dreams, and enhancing livelihoods by providing refugees with small projects as an opportunity to earn a dignified living. The Tribe Projects’ efforted have resulted in 300 families gaining access to proper sanitation facilities, physiotherapy treatment for 25 children with spinal damage, and an average of 40 bags of firewood distributed to families in the winter. Overall, 550 refugee families are benefiting from their support.

    As a project for the course Playing and Hearing Music 3 (MUSI 2793, instructed by Jeff Torbert, at Acadia University), the Acadia music students are putting on a fundraising concert for the Tribe Projects. To fundraise for the concert, the class is hosting a few events, including a coffee house at Charts Cafe on Thursday, March 14, at 6:00 pm, and we invite you all to attend. As well, you can keep up with the class’ preparation for the concert, and get information for all upcoming events on Facebook, Twitter, and Instagram (@playinghearing3 on Facebook and Twitter, and @playingandhearing3 on Instagram).

    The final concert, Unity for Change, will take place on Wednesday, March 27, 2019, at Acadia University’s Festival Theatre Building, at 7:00 pm. We hope to see you there!

  • One of the Best Musical Events I Have Ever Attended.

    One of the Best Musical Events I Have Ever Attended.

    We moved to Wolfville last November, so this is the first time my wife and I have attended Deep Roots Music Festival. We both love music and had seen some of the entertainers before, so as soon as we heard about this event we immediately purchased 3-day passes. We went to the first concert on Thursday night where the Melgita”t Women opened the concert with The Honour Song of the Mi’kmaq, followed by performances from First Nations singer-songwriter William Prince and Canadian icon Jim Cuddy, and closed the weekend on Sunday at 5 PM following The Northwest Passage in Story and Song (which was a musical and spoken word presentation of the Canadian Arctic), with The Gilberts and Kim Barlow. As a singer-songwriter myself, we had to attend all 3 of the songwriters’ circles.

    The artists were all incredibly talented and I loved the stories behind the songs, their style and creativity in their lyrics and melodies, and what artists influenced their writing and singing. I was really impressed with the young kids who make up The Gilberts; their ages are 15, 17 and 19. Their professionalism, harmonies and songwriting were memorable and very appreciated by the audience.

    I loved the variety and the high caliber of all the performers. Many of them were either working on new CDs or had completed their latest CDs, and shared their new songs during their performances, which they of course also then made available to the audiences. I mentioned the high caliber of the performers: many of them were either nominees or winners of music awards such as ECMA, JUNO, Canadian Folk Music, etc. These artists were all incredible and their songwriting, vocals, guitar, fiddle, washboard, keyboard, banjo playing and humour were showcased this weekend. Many of the performers continued entertaining late in the evening at various venues where you could just listen or dance the night away.

    Although we only attended events in Wolfville there were other concerts, etc. held in Kentville, Grand Pre and Windsor. Fortunately, most of these entertainers also performed in Wolfville so we didn’t miss a whole lot. The other thing about the Festival is that there was something for all ages. There was the Fresh Beat Rhythm parade which is the heart of the festival on Saturday at noon. Besides the parade, kids and adults enjoyed a puppet show with Maritime Marionettes and kids 7 years and younger attended a fun session of singing, dancing and playing rhythm instruments.

    It was great to see all the different venues in Wolfville that hosted the individual acts such as Al Whittle Theatre, Farmer’s Market, Convocation Hall, Wolfville Baptist Church, Festival Theatre, Wolfville Memorial Library, Acadia Art Gallery (where a photography workshop was conducted), Acadia’s KCIC Garden Room, Tangled Garden in Grand Pre, and the Festival Tent set up at Clock Park. I was also impressed with how well the event was organized and all the support it received at the federal, provincial, and municipal levels, as well as from individuals, businesses, the 175+ volunteers, and of course the attendees.

    Needless to say, this was the best music event I have ever attended and we look forward to next year.

    Frank Hartman is a newcomer to Wolfville

  • Heave Way

    As a born and raised Nova Scotian, nothing completes a room more than some authentic Maritime music.  This past weekend at Acadia, Signal Hill, the band, played at a school event.  The atmosphere in the room was incredible.  The pride everyone had while singing Maritime classics accurately represents why so many come to Acadia and stay here.

    When people first come to Acadia, bands like Great Big Sea, The Rankins, and Signal Hill may be foreign to them, this isn’t the case for long.  Signal Hill brought over 600 students together.  School events unfortunately can be considered lame or not cool, however Signal Hill changed everything.  I truly had never been so excited for a school function.  People from across the province, from every university, travelled to Wolfville to enjoy this event.

    One thing I can guarantee is once people leave Acadia, hearing songs like “Heave Way” brings back the most joyous memories.  The way music brings people together in our Maritime culture is a rare find.  The music never gets old, the good times never die, and the pride one feels never lessens.  Singing in the kitchen with two or three generations to bands like the Rankins our truly my fondest memories.

    The way music speaks to people here in the Maritimes is our universal language. The culture this creates is one that is inclusive.  It is so interesting to see such a small area of the world so connected by these artists and songs.  When people think of the Maritimes and time they have spent in the Maritimes, I’m sure that time spent in a local pub listening to local artists’ surfaces.  Maritime music has a way of bringing people together that nothing else does.  The pure essence of our culture and community here in the Maritimes is defined by the love and pride we hear through our music.

  • 2018 Grammy Predictions

    2018 Grammy Predictions

    With 84 trophies up for grabs, the 60th annual Grammy Awards is already giving fans a lot to talk about. From the questionable nominations to the ones that are not-so-surprising, I am here to offer my predictions for the 2018 Grammy general categories.

    Record of the Year Nominees:
    Redbone-Childish Gambino
    Despacito-Luis Fonsi & Daddy Yankee Featuring Justin Bieber
    The Story Of O.J.-Jay-Z
    HUMBLE.-Kendrick Lamar
    24K Magic-Bruno Mars

    Who I want to see win: Kendrick Lamar’s HUMBLE.
    Who is more likely to win: Bruno Mars’ 24K Magic… possibly Despacito

    The Record of the Year is awarded to the performer and production team of a song. While I believe that Kendrick Lamar deserves this award for HUMBLE., we all know that the Grammy Awards are far from fair and rarely are the winners the ones who are most deserving. The Grammy’s tend to favour the records which had a large amount of radio time, as well as those who have won in the past (for the specific category). See where I’m going with this?

    Album of the Year Nominees:
    Awaken, My Love! – Childish Gambino
    4:44 -Jay-Z
    DAMN. -Kendrick Lamar
    Melodrama by Lorde
    24K Magic by Bruno Mars

    Who I want to see win: Kendrick Lamar’s DAMN.
    Who is more likely to win: Kendrick Lamar’s DAMN…. but possibly Lorde’s Melodrama

    This award is given to the performer and production team of an entire album. Lyrically speaking, Kendrick Lamar has always been a top contender, but his recent work has been blowing minds. I really think he has a good shot at winning this, mainly because I can’t even think of a weak point in the album. The entire album is so perfectly intricate that I can’t see any of the other nominees beating it. In the 2017 end of year countdown of best albums, DAMN. was included as number 1 of 50 in the Rolling Stone countdown, the Billboard top 50 Picks, the Pitchfork countdown, number 2 for The Guardian, and number 3 for NME. If anyone stood a chance at beating Kendrick it would be Lorde, since Melodrama was also wildly popular, both critically and in popularity. In each of the countdowns I just mentioned, Lorde was not far behind. The only one she managed to beat Kendrick in, however, was the NME countdown.

     

    Song of the Year Nominees:
    “Despacito”- Luis Fonsi & Daddy Yankee ft. Justin Bieber
     “4:44” – Jay-Z
    “Issues” – Julia Michaels
     “1-800-273-8255” – Logic ft. Alessia Cara & Khalid
    “That’s What I Like” -Bruno Mars

    Who I want to see win: …meh.
    Who is more likely to win: Luis Fonsi & Daddy Yankee ft. Justin Bieber…. possibly Logic ft. Alessia Cara & Khalid

    Song of the Year is awarded to the songwriters and composers of the song. I truly believe that “Despacito” has a strong chance of winning this category (as much as I wouldn’t like to admit it). However, as popular and well received as “Despacito” was, we shouldn’t forget that Logic’s suicide prevention song lead to the National Suicide Prevention Lifeline receiving the second-highest daily call volume ever at that time on the day of the song’s release-over 4,573 calls. After the song was performed at the VMA’s, where suicide survivors joined the artists on stage, the Lifeline received over 5,000 calls. Website and social media traffic also reached all time highs, including general Google searches for suicide prevention helpline numbers. Were all of the calls and searches legitimate? Probably not, I’m guessing there was a lot of curiosity and a lot of prank calling. But most of the calls probably were legitimate, and this is the kind of thing that the Grammy’s will be taking into consideration when making final decisions. The impact of a song may hold more importance than the likeability or popularity in this instance.

    Best New Artist Nominees:
    Alessia Cara
    Khalid
    Lil Uzi Vert
    Julia Michaels
    SZA

    Who I want to see win: Alessia Cara
    Who is more likely to win: Alessia Cara… possibly Khalid

     I was hooked as soon as Alessia dropped her debut single “Here”. She is also Canadian, which makes me a little biased, but I digress. She really does have a strong chance of winning this category since she has already won 6 Breakout Artist of the Year awards (or variations thereof) since 2015. Additionally, she had a ton of radio play for being so new to the scene and is also featured on 2 other Grammy nominated songs (Logic’s “1-800” and Zedd’s “Stay”). In short, Alessia Cara has really created a name for herself in only a few short years. The only thing that may hurt her is that her album came out in 2015 and as of most recently has only been featured on songs. Khalid, on the other hand, is a little newer and a little more popular in terms of radio play and fan choice.

    The 2018 Grammy Awards is probably one of the most diverse in recent years and for the first time in a while I am actually looking forward to watching! If you’re equally as excited, tune in on January 28th to see which (if any) of these predictions come true.



  • Fully and Completely: Gord Downie’s Legacy

    Fully and Completely: Gord Downie’s Legacy

    My love for The Tragically Hip started at a young age thanks to the influence of my family. If you would have asked me back when I was 7 what it was about The Hip that I liked, I wouldn’t have been able to tell you. But now, 17 years later and learning about the death of Canada’s beloved Gord Downie, I can tell you exactly why I adore this band. It isn’t the poetic lyrics, the intricate melodies, or Gord Downie’s rad dance moves. It is the way that The Tragically Hip connects with their audience and makes them feel. The Hip has given me some of the most cherished memories in my short life, and I am forever grateful for that.

    First thing we’d climb a tree and maybe then we’d talk…or sit silently and listen to our thoughts

    Now that I am older, I find myself cherishing the memories where not much was happening, as odd as that sounds. I remember sitting on the front porch of my Nana and Papa’s house in Cambridge, Ontario. It was just me, my Papa, and my Uncle Greg (shout out to Uncle Greg for constantly playing The Hip!). The summer sun was setting, The Hip was quietly keeping time in the background, and my Papa was smiling while my Uncle Greg joked about something or another. The specifics aren’t important. The topics of conversation weren’t important. What was important is that we were together soaking in every bit of happiness we possibly could in that moment. After my Papa passed away in 2016, I obsessed over the details of my memories. I often grew angry at myself if I couldn’t remember every specificity of every memory I had of him. When recalling this memory of us in Cambridge, I don’t remember much. I wish I knew what was so funny, but I was young back then and it would have probably gone right over my head. What I do remember, though, is that at one point there was a lull in the conversation and The Hip’s Ahead by a Century started to play…and for a moment it was quiet between us while Gord Downie’s voice rang out over the silence. He had that affect on people. He demanded that you be in the present. He willed his listeners to find joy in the little things, even in the silence. Now every time I hear that song, I see my Papa’s smile and I am reminded that sometimes the details don’t matter. It’s the little things. 

    You gotta do what you feel is real

    If my family loves one thing, it is dancing. Dancing to live music is even better. There isn’t one specific memory I have associated with The Hip’s song New Orleans is Sinking, but rather a concoction of memories that play through my head in bursts and flashes. The opening guitar riff plays and flash: my mom is taking off her shoes and dancing barefoot at my Uncle Dwayne’s wedding. Gord Downie’s low vibrato rings out and flash: I’m dancing with a beer in one hand and my Dad’s hand in the other in our front yard. The second verse begins and flash: everyone in the Coboconk Lion’s Hall yells along with perfect synchronicity. The chorus comes back around and flash: I’m in second year, realizing I can listen to Barrie’s Rock 95 online and I feel a little closer to home… and I will always feel a little closer to home whenever I hear this song.

     I saw the constellations reveal themselves one star at a time 

    2011 was not a good year. In short, I was a mess and had a knack for creating a mess out of everything else as well. My relationship with my family faltered, but some good did come out of that year. Even though I didn’t deserve it, my mom took me to one of the most exciting things to happen in our area. I hail from the Kawartha Lakes in Ontario, specifically a small rural community called Norland. Norland is about 40 kilometres from the infamous Bobcaygeon….yes, that Bobcaygeon. The one from the song. When it was announced that The Tragically Hip (plus Sam Roberts and The Trews) would be coming to the small town, the town that most people think is a Tragically Hip myth, everyone raced to buy their tickets. Located in a farmer’s field, around 25,000 people gathered for this special piece of history. 25,000 people gathered in a community where the population is only 3,000 to begin with. People came by the bus load, literally. My mom and myself, with a bunch of other people from the Coboconk and Norland area, rode in on a school bus. Trust me, we weren’t the only ones. The actual show, from all the quintessential Canadian bands, was amazing. Pure energy and passion radiated off the stage and into the crowd. I wish I knew back then what I do now, that on June 25, 2011, it would be the first and last time I would ever see The Tragically Hip. I would have made more of an effort to soak it all in as much as I could. I don’t remember much from the show itself as much as I remember the feeling. I remember feeing free. I remember feeling, even though my personal life was in shambles, complete somehow. I specifically remember that on this night, even though I didn’t deserve it, my mom extended to me the greatest gift she could have possibly given me at that point in my life: unconditional love. It was the first night in a long time where I felt like myself. That night, in the middle of a farmer’s field in Bobcaygeon, surrounded by thousands of people and some of the greatest bands of our time, I realized that there was more to life than what I had chosen and what I had made for myself. Experiencing something like that sticks with you for life, and even though it didn’t make a difference right away it certainly did in the long run. There is also something deeply special about seeing The Tragically Hip sing “Bobcaygeon” in Bobcaygeon, and only 25,000 of us in the world experienced that.

    Armed with will and determination, and grace, too… 

    August 20, 2016: Canada shuts down. The final show of The Tragically Hip’s farewell Man Machine Poem tour was emotional, to say the least. We all heard the news of Gord’s diagnosis a few months prior, and the word “terminal” hung in the air, suffocating us. This final show was important. It still is important. It was one of those once-in-a-lifetime moments that Canadians will inevitably tell their children and their children’s children. Only around 7,000 people were able to cram themselves into the K-Rock Centre to see the show, but the entire nation was watching the broadcast on CBC….when CBC was supposed to be broadcasting the Rio Olympics. Yes, this show was that important. It was more than just another concert: it was a cultural event. We could not miss the final time seeing Gord and the rest of the band. We could not miss the dramatic dance moves, the screaming into the void, or the well-placed rants. So, we tuned in and shut off the rest of the world because what else can you do when you know it’s the end of an era? It was a bittersweet 3 hours. We all united amid knowing that, soon, a piece of that would be gone. Gord stumbled through lyrics, shed a few tears, and put on the best damn Hip show with all the passion he could summon within him. He left his audience feeling hopeful, even when we all knew that in this situation, there wasn’t any. We knew what was going to happen, but we still hoped. He struck a match and lit the darkest parts of us, and that light recently flickered. It flickered, but I don’t think anything can put it out permanently.  

    There’s no simple explanation for anything important any of us do… 

    Gord Downie: February 6, 1964- October 17, 2017. Most of Canada is now mourning the loss of one of the most influential cultural icons of our time. I do not state this lightly. Some of you may be thinking that I am too invested in just a band. Well, my friends, it isn’t just a band. It isn’t even about the music (even though it is really good music), it isn’t just about the songs (even though Gord Downie’s lyrics are brilliant poetic reflections of Canadiana), and it isn’t even about the entertainment value (even though The Tragically Hip has one of the best stage presences I have ever seen). It is about identity and unity. Gord Downie once said “music brings people together. So, my function in anything I do is to help bring people closer in”. Looking back on the memories I have, it is safe to say that Gord and the rest of the band has done just that. The Tragically Hip has provided me, and I imagine thousands of other Canadians, a soundtrack to my life. Because of this, the band will always be part of my identity. They will always remind me of forgiveness, love, hope, and what it means it be a part of a country that is so passionate and beautiful that we shut down the nation for a night, gather in our homes, bars, and streets, and watch history being made on stage. So, thank-you, Gord Downie, for the years you have shared with me and the lessons your songs have bestowed on me. You have made an impression on the country that you loved; on the country that loved you….fully and completely.  

  • Bottlekids Headline Axe

    Bottlekids Headline Axe

    Acadia’s favourite long haired rodents, The Bottlekids, headlined the grand re-opening of the Axe Bar & Grill this Homecoming Weekend. Playing for a full house they rocked out to crowd favourites like Tennessee Whisky, Drift Away, and Brown Eyed Girl as both current students and alumni cheered.

    The Bottlekids are a new band. “It was about this time last year a member of the swim team came to [War Memorial House and said] ‘Dude, do you want to start a band?” vocalist, guitarist, and trumpet Nathan Cann said. They roped vocalist and guitarist Tom O’Learly into a group chat shortly after, followed by Cutten House President Ryan Tilley on the bass, Eaton-Cristofer Resident Assistant Rachel Field on the piano and keys, and Alec Bloch on the drums and percussion.

    The name of the band proved to be a point of contention. “Our original name was going to be Thomas O’Leary and the Merchant Men,” Bloch said. “We were just sitting in the lobby of the Festival Theatre and shouting out terrible names. We weren’t taking it seriously at all. I remembered a name that came up when I was thinking about the Trailer Park Boys: The Bottlekids. It fit nicely with being an east coast band and it’s stuck ever since.”

    Since then The Bottlekids have performed nearly a dozen shows across campus. Several have been in the Axe Bar & Grill (formerly the Axe Lounge), with a special private show in Cutten. The band members agree that performing at Acadia is an honour.

    Getting the band together is part of giving back to the community, which is especially important to Cann. “Every show I do, personally, I go up in hopes that one person in the crowd can come away feeling like they can do something like that.” It’s that drive to go on to please a crowd and change somebody’s life through one great show that unites him with the rest of the band.

    Cann has been involved in the music scene for a long time. Growing up in a musical family has influenced him substantially, with much of his time over the summer dedicated to performing at bars and writing original songs in his native Charlottetown, Prince Edward Island. “I’ve never cared about the money” he claimed. “I’ve always known that a musician’s life pays a bar tab, but it doesn’t put a roof over your head unless you’re touring the world.”

    Field was about 4 years old when she wanted to play piano. She started and nearly gave up, but her saving grace was a milk commercial. “It played Ode to Joy and it pumped me up so much. It showed me how music is part of something else.” Music was her outlet throughout elementary and high school. Her choice of Music Therapy as her major has made the transition to The Bottlekids far more seamless, skillfully blending personal and professional life.

    Tilley got his start in music in Grade 11 as a bass player. “They told me they had a bass and asked if I wanted to play it.” He proceeded to learn two songs, and then by Christmas of Grade 12 he decided to take it more seriously. After joining The Bottlekids he “put in more growth and commitment than [he] ever had before”.

    Bloch grew up playing the drums. He was inspired by his father, who was also a drummer. “It was a really casual hobby of mine. I’m from Florida and I had a girlfriend from here. That’s how I ended up here, and I didn’t know I what I wanted to study. I was a terrible student in high school, but I loved music.” From there his path was fairly obvious after joining the band.

    O’Leary tried the whole guitar scene when he was younger. Initially he wasn’t captivated to stick with it, but it was right before Grade 11 that he started playing again. He taught himself more chords, and after that he decided it was time to learn to read and write music. “After that I took a year off and then came [to Acadia], where I met all of these guys.”

    As of now The Bottlekids are still looking to find their way as a band. “We’re seeing where it takes us,” Cann said. “If we decide that the direction we’re going in isn’t the direction we want to go we’ll change it, but right now we’re riding it out and seeing where it takes us.”

    Each member of the band is a student first and foremost. Balancing school and the band has proved more difficult as each year passes, but they are confident that they are working towards something great.

    They’ve also learned from bad shows. The Bottlekids are no exception, suffering from faulty equipment to bad lighting, to little-to-no turnout. “One of our worst shows was at The Axe last year,” Tilley commented. “We didn’t prepare for it, we didn’t put our all into it, and that really stuck with a lot of us.”

    O’Leary emphasized that the biggest thing for the band this year was to not overplay themselves and burn out. They suffered serious burnout in April of 2017 when they were in high demand after placing second at Battle of the Bands, hosted at the Axe Lounge. At one show O’Leary had a cold and was barely able to sing. “I didn’t know if I could physically do it,” he said. “I had to do it anyways, and it was hard.”

    Their status as Acadia’s go-to student band has driven The Bottlekids to improve their own skills. Since the start of the 2017-18 school year they have dedicated far more time to rehearsals, perfecting their crowd pleasers like Nowhere with You but also spending time on their original songs.

    It’s been the original songs that bring crowds to Bottlekids shows. O’Leary was the first to bring in a few originals. “I’d shown [Rachel] a few I had sitting on my guitar case, so I figured I’d bring it to the first rehearsal. After that we all came together and nailed it after the first run through.” The band messages each other at least once every week looking for inspiration to write those original songs. One band member may come in with a few chords, but at the end of the rehearsal it becomes a product of the group’s natural cohesion.

    Homecoming at The Axe has proven to be their biggest show yet. The venue maxed out capacity at 9:00 with The Bottlekids taking the stage at 10:30. With more original songs on the way and their reputation hitting new heights, The Bottlekids are carving out a name for themselves at Acadia.

  • Deep Roots: Kaia Kater’s Magic and Corin Raymond’s Fever

    Deep Roots: Kaia Kater’s Magic and Corin Raymond’s Fever

    When deciding on which main stage show to attend at the 2017 Deep Roots Music Festival, I had two choices: stick with what I know, or choose the unknown. I ended up deciding on the latter, and I am overjoyed that I did because it meant that I got to experience a variety of musical stylings that I would have otherwise never been exposed to. On Friday, September 22, I was sung to in Spanish by the 4-time Latin Grammy winner Alex Cuba, I was serenaded to in French by the charismatic Yves Lambert Trio, and got a little taste of the south with Jonathon Byrd & The Pickup Cowboy. All the artists were entertaining, and all impressed me. But it was performances by Kaia Kater and Corin Raymond that touched my soul and left a mark.  
     
    Kaia Kater 
     
    Hailing from Toronto with Montreal roots, this young banjo wielding African-Canadian sings with the authenticity and tradition that folk music fans have come to adore. Standing alone on stage with just her passion and banjo to accompany her, Kaia’s voice rang out into the Deep Roots crowd and sent vibrations through all of us. Her personal lyrics give you a taste of the struggles faced by people of colour everyday. Her honesty is unflinching and raw, but mesmerizing at the same time making it so you couldn’t look away even if you wanted to. Having the privilege of seeing Kaia Kater live affected everyone who was sitting in Festival Theatre that night. I know this to be true because it was the first time I have been at a live performance where you could hear a pin drop between songs. The audience was completely and utterly devoted to Kaia, giving her every modicum of attention they could. Her magic was felt by everyone. The most memorable songs that Kaia Kater performed that night include titles such as “Paradise Fell”, touching on the Black Lives Matter movement, as well as the personal journey of “Nine Pin”. These songs, with their hard-hitting lyrics and haunting melodies, showcased Kaia’s tenor voice perfectly and reminded all of us of the important relationship that politics and music share. Though it was her song “Saint Elizabeth” that sent shivers through every inch of me. One of her less political songs, “Saint Elizabeth” explores the connection between the sinner and the saint and what that kind of relationship looks like. It is gritty, it is sinister, and it is oddly beautiful. Although Kaia’s songs are enough to get her messages across, it was perhaps her stage presence and pained facial expressions while she sang that truly resonated with her audience. Even with a stripped-down sound, Kaia took command of the room. This artist has a lot to say, and her voice couldn’t have come at a better time; a time where we need musicians to use their platform to stand up and speak out. For that, I thank her.  
     
    Corin Raymond  
     
    Corin Raymond has said that “good songs are like burrs…they will attach themselves to you”. After seeing Corin’s performance, I can personally verify this. Performing songs off his album Hobo Fever Jungle Dreams, Corin took his audience on a lyrical journey. What is wonderful about his heart-wrenching songs is that they are more than an auditory experience. The images that Corin’s lyrics paint in the minds of his audience somehow make sense of the album title. After listening to his swooning and often eerie melodies, I am left with an idea of what a hobo fever jungle dream is, as weird as that may sound. If the album title is any indication, Corin Raymond doesn’t take himself too seriously…even though the content of his songs is often serious. In between songs, Corin loves to make his audience laugh. Which is a welcomed tension breaker during some of his darker lyrics. His song “Hard On Things”, for example, is a piece of self-reflective prose over music that describes the ways in which everything that Corin touches carries collateral damage. This deeply personal and raw song makes his audience feel just the right amount of discomfort. Perhaps it is because we as listeners resonate with his words, and it was the first time hearing somebody else speak of such things on such a blunt level. One of my personal favourite songs to see Corin perform live, “Under the Belly of the Night”, is a melodic masterpiece that gives the listener a strong sense of….what, exactly? I still can’t find the words to describe the emotional impact that this song has. The only word that can describe the ache associated with this song is anemoia, which is defined as nostalgia for a time, place, or thing that you’ve never actually known. Corin left his impression on me. I exited the festival theatre craving more of the obscure feelings I had while watching Corin Raymond perform…so I went back the next night for seconds. This time, though, at a little bit of a more intimate setting that we are all familiar with: Paddy’s. Corin’s performance at Paddy’s only solidified my impression of him which is that his entire demeanour is an oxymoron. His dark and mysterious Johnny Cash-esque persona contradicts the vulnerability we hear and see through his songs. His humorous quips between songs full of imagery of self-destruction seem out of place, but they oddly work. Corin Raymond gave everyone who attended his shows a fever that cannot be broken. I spent Corin’s entire set standing on my seat so that I wouldn’t miss a single beat.  
     
    Kaia Kater and Corin Raymond restored my faith in honesty and in music. One of the best decisions I ever made was choosing to go to a show where I did not know any of the acts, because I left not only with a new appreciation for folk music but with a deeper understanding and appreciation for the human experience. If you ever get a chance to see either of these fantastic artists perform live, I urge you to jump on the opportunity.  

  • Punk’s Not Dead: Top 3 Punk Bands of 2017

    Punk’s Not Dead: Top 3 Punk Bands of 2017

    Let’s face it. In the past few years, the world has given us a lot to be bummed about, nay, angry about. This means, though, that the world has also given us a lot of great material for music. Specifically, there has been a surge of punk bands entering (or re-entering) the scene. Some say the punk genre died out in the 80’s. To that I say: punk’s not dead. If there is political turmoil, punk will be there. If there are people living life on the margin of society needing a voice, punk will be there.  Here are the top 3 punk bands to watch for in 2017.  

    Dead Cross
    Formed in 2016, Dead Cross is uncompromising and straight to the point. If you’re picturing a bunch of 20-somethings who barely know how to play their instruments, you couldn’t be more wrong (even though that has been the start of a lot of successful punk bands….but that’s an article for another time). You might even recognize some of the band members from Dead Cross as the band is comprised of musical veterans such as Mike Crain (Retox), Justin Pearson (Retox, Head Wound City), Mike Patton (Faith No More), and one of the biggest names in punk music Dave Lombardo (Suicidal Tendencies, Misfits, Slayer). What makes this group great is that they have accomplished the nearly impossible: they have taken the decades of experience and sub-genres and have compiled it into a sound full of the vigour, passion, and energy of a young band just entering the scene.

    Style: Although this is a list of Punk bands, Dead Cross has also been described as thrash metal and hardcore. If you’re looking for bands to compare Dead Cross to, think of Siege and Deep Wound. Their sound is visceral, organic, and in your face.

    Signature Songs: We’ll Sleep When They’re Dead, Seizure and Desist, Idiopathic

    Downtown Boys

    This band reminds us what punk music started as: a rejection of the mainstream and a platform for political and social issues. After receiving criticism from punk elitists (don’t laugh, it’s a thing), this band has been questioned on if they can even be called a punk band due to their unique instrument choices for the genre (some of the songs rock a mean sax). Front woman Ruiz commented to Noisey “We don’t think we really need to challenge anyone’s definition of punk right now. That is not really a priority. We are trying to make what is going on in the world around us relevant”. Indeed, Downtown Boys leave no topic untouched from systemic racism to Donald Trump, from police brutality to trans rights.

    Style: Thrash with a little bit of ska thrown in. Think Streetlight Manifesto meets Bikini Kill. But with a lot more anger. And for good reason, because this world is going to shit recently. But I digress.

    Signature Songs: Wave of History, A Wall, Monstro

    Low Culture

    If you’re looking for that gritty classic sound of the 70’s punk scene but with a modern flare, look no further than Low Culture. With less focus on instrumentation and more focus on lyrics and messages, the sometimes sloppy and often catchy songs will give you some intense nostalgia for some of your favourite bands. At the same time, though, the vocals are crisp and precise giving Low Culture a modern feel. The songs are short and to the point, leaving you wanting more.

    Style: garage punk.
    Signature Songs: I Feel You Ghost, Pills, Nightmare

     

  • Oh Wonder: A Review of the Sophomore Album ‘Ultralife’

    Oh Wonder: A Review of the Sophomore Album ‘Ultralife’

    Based out of London, the alt-pop duo of Josephine Vander Gucht and Anthony West, known as Oh Wonder, has quickly risen to success after an interesting start in the music world. After releasing one song per month online in 2014, Oh Wonder compiled the DIY songs for their self-titled first album. After reaching #26 on the UK Album Chart and #16 on the Canadian Album Chart, the duo toured internationally and gained a loyal following. Now, released July 14, 2017, Oh Wonder brings us their second album titled Ultralife.  

    Staying true to their roots, Ultralife was written, composed, recorded, and produced entirely by them and them alone. With meaningful lyrics and heartfelt melodies, Oh Wonder’s second album can be described as personal, raw, and liberating. Gucht and West leave everything on the table for their listeners and leave no emotion untouched. Ultralife takes listeners on a journey through self-discovery and all the heartache that comes with it. It is interesting to note that listening to the album is like an auditory timeline. It begins with song “Solo”, and the titled speaks for itself. As the album continues it is clear there is a shift of emotion, from melancholy to hopefulness. The listener then hears upbeat songs about love and happiness just to be taken down a morose path at the end again with “Waste”. The timeline, while predictable, is comforting and explores what it means to be human. Let’s look at the Oh Wonder human condition bit by bit.

    Lyrics and melody: 3.5/5

    Oh Wonder’s humble yet vibrant lyrics, while full of potential, sometimes fall short in their simplicity. But who says simplicity is a bad thing? If you find the lyrics too simple, Gucht and West make up for it with complex themes such as isolation, new relationships, lost loves, and lost selves. The same can be said of the melodies within the album. The intricate music compliments the simplicity of the melodies. This perfect blend of simple complexity gives Oh Wonder a score of 3.5/5 for lyrics and melody. Check out the opening track “Solo” and the closing song “Waste” for a lyrical journey. Bonus song: give “My Friends” a listen and try to not catch the feels.  

    Instrumentation and production: 4/5

    This dynamic duo isn’t in the business of producing pop bangers, and that suits them just fine. While their sound is a bit quirky, Oh Wonder’s Ultralife refuses to derail from their DIY style. The perfect blend of piano and digital sounds over the upbeat tempo of songs such as “High on Humans” and the title song “Ultralife” creates a catchy, yet distinct, sound that will have you dancing around your kitchen at 1:00 in the morning (or is that just me?). The only downfall of the Oh Wonder sound is that sometimes, such as with “Lifetimes”, it sounds as though that the song was created using a sub-par mic in the basement of your parent’s house. However, this is the exception and not the rule. For this reason, Oh Wonder scores a solid 4/5 for instrumentation and production. 

    Originality: 3/5

    Remember when I said that the Oh Wonder sound was quirky? Unfortunately, that doesn’t make them too unique. While the Ultralife album is different from most of the albums coming out of the Pop genre, there is still a definite familiarity to the sound. The Oh Wonder quirk factor can also be seen in artists such as Of Monsters and Men, Amber Run, and The Head and the Heart. Listen to “Bigger than Love” and “Ultralife” to hear exactly what I mean. This certain quirky sound has been done before. It isn’t original, but it sure does work for this album. Ultralife scores a 3/5 on the uniqueness scale.

    Play on repeat: High on Humans and Heavy
    Press skip: Lifetimes and Heartstrings
    Overall score: 3.5/5
     

  • 4 Albums You Have Probably Already Heard (But They Deserve Another Listen)

     

    Stop Making Sense – Talking Heads

     

    To start this list, let us begin in 1983 with Talking Heads and their movie/live album Stop Making Sense. In my opinion, this is one of the best performances and live albums of all time. Stop Making Sense includes many of their popular songs, such as “Burning Down the House,” “Psycho Killer” and “This Must Be The Place (Naïve Melody),” with an energetic twist. Talking Heads’ originality is epitomised not only through their creative visual performance, but as well as the musical elaboration of their songs. For example, the song “Slippery People” (my personal favourite of Talking Heads) is completely different on Stop Making Sense than its album version on Speaking in Tongues; the “rigidity” of the album version completely transforms and enlivens during the performance (and even has a bongo feature) visually and audibly. As a side note, the female background singers were included in the documentary 20 Feet from Stardom, and it features clips from this performance! Moreover, Stop Making Sense is an album that should not be shelved anytime soon.

     

    Matangi – M.I.A.

     

    Fast forward thirty years, and we arrive at M.I.A.’s fourth album Matangi. This is a wild ride from start to finish, as its lyrics and music explore the limits of electronic music, theology and western thought. M.I.A. incorporates her traditional eastern roots into every song while using modern electronic loop techniques and strange samples. “Bad Girls” is the takeaway and most well-known hit from Matangi. The main messages in her songs typically are liberally politicized (not so much on Matangi as her latest album, AIM, however) and discuss the ridiculous nature of pop culture today. Also, there is a massive Drake diss track called “Y.A.L.A.” toward the end, but take that as you will! This is why I see Matangi as listen-worthy.

     

    Reflektor – Arcade Fire

     

    Third on the list is Arcade Fire’s Reflektor, released in late 2013. Right off the bat, listeners are immersed in the spacey title track tune “Reflektor” that discusses the societal narcissism “reflected” in social media and the like (and it features David Bowie!!). The rest of Reflektor follows suit with existentialist and nostalgic thoughts and addresses the issues apparent in popular culture. Listening to Reflektor is an experience; you travel through experimental and complex music and delve into deep topics with Arcade Fire’s careful word choice. The relevancy of their arguments against this narcissistic behaviour in society continually applies in 2017: why this definitely should be an album on your playlist.

     

    Frank – Amy Winehouse

     

    Finally, we have Amy Winehouse’s debut album, Frank. There are so many amazing things to discuss regarding this album, from its complex chord progressions, beautiful lyrics and elaborate orchestration. All written and recorded at age 19, Frank explores love and life beyond her years; songs such as “Stronger than Me” and “Take the Box” reflect on the results of a relationship gone sour, whereas “F*** Me Pumps” criticises people twice her age. The instrumental arrangements reinforce the complexity of Frank and comment on the sheer artistry of the late Amy Winehouse. Personally, Amy is an idol for me, and though I prefer 2007’s Back to Black, Frank demonstrates her undeniable talent. This is the final album that I would recommend not putting on the back burner for now (or ever, frankly).

  • Google Play Radio Stations You Should Be Listening To

    This article is for us peasants that are only able to afford to avail the services of Google Play. Sure, it’s no Spotify with its sleek UI and massive catalogue, or Apple Music with its exclusive artist releases. Google Play does earn some merit in the radio station departments–not only is it free to listen to, but it’s also incredibly well structured, and fittingly tailored towards your mood.

    So, here are some radio stations you should be listening to (and can listen to for absolutely free) on Google Play Music.

     

    Café Sway

    ‘Ever find yourself gently swaying in your booth at your favourite neighbourhood coffee shop? One of these mellow tunes is probably the culprit’

     

    When to listen to it:

    • When drinking a cup of coffee in the solace of your room as rain batters outside
    • When watering your plants
    • When you’ve drunkenly wandered into Paris and can’t find your way out

     

     

    Chillwave

    ‘Some call it chillwave, others call it glo-fi. Whatever the name, this laid-back blend of modern lo-fi recording techniques and vintage synth noises is one of today’s most addictive sounds.’

     

    When to listen to it:

    • You miss the 80’s
    • You realize synth-pop really gets you in the mood
    • You wish that life was more like an indie rom-com

     

     

    Shhh, Don’t Wake the Baby

    ‘You’ve finally managed to get the little one to sleep and you’re ready to relax. From hushed alt-rock to gentle Brazilian croons, this collection of exquisitely delicate tunes is quiet enough to keep from waking even the lightest sleeper.’

     

    When to listen to it:

    • It’s late at night and you just can’t seem to inch closer to sleep
    • Introspecting on the quieter things of the night
    • Reading that book for the fiftieth time

     

     

    Beyond The After Party

    ‘This is the the sound of a late night urban romance: a mix of downtempo, R&B and forgotten pop from the ’90s through today.’

     

    When to listen to it:

    • You’re walking back from a loft party somewhere uptown, and the sounds of the city just don’t seem to feed the groove you seek.
    • A downtempo feel to pop
    • Pissing away your money on a third tequila shot

     

     

    For A Rainy Summer Day

    (Perhaps my personal favorite)

    ‘Listen to this warm mix of acoustic songs while relaxing inside on a rainy summer afternoon.’

     

    When to listen to it:

    • Holding someone in bed and not worrying about the hours fading away
    • Before/After/During sex
    • Drinking wine in the heat of a summer night

     

    Since this is the ‘sex issue’, here are a couple of radio stations to lay down with a loved one and horizontally yankee doodle to:

     

    Date Night City Soundscape

    ‘A beautifully eclectic and mellow backdrop to dinner in the city. Perfect for setting the mood on the first date without being too suggestive.’

     

    Indie Dinner For Two

    ‘Did you first bond with your significant other over a shared love of indie music? Let these gentle indie love songs soundtrack your home-cooked dinner for two.

     

    Sleepytime Indie

    ‘If you’re ready for some soothing sounds to lull you softly into slumberland, but your tastes run toward the alternative, here’s a heaping helping of hushed tunes by indie favourites of yesterday and today.’

  • Echos of Jazz

    He was a Jazz player at a glance
    A family man in context
    He was cool, not as a description
    That was his definition
    His voice was bold, proud
    Echoing the music
    That didn’t play out loud
    “Better get it while it’s hot brother”
    I thanked him for the experience
  • The Statue’s Song

    The Statue’s Song

    Let me tell you about the saddest song in the world.

    I have heard many songs in my time, from opera houses to cheap taverns. From soaring angelic chorus, to the chitter-chant of demons.

    But none are quite so sad or beautiful as this.

    It was in a dive bar, the kind of place with neon signs, sticky tables, folks in trench coats, and at least one murder within the last year.

    It was my kind of place. But on this day, I had not been planning to stop by. On this day, everything was far too much and I was far too little and all the world sounded like it was being played through cheap speakers.

    All I wanted was to sit at the bottom of the river for a few hours to get my breath back.

    But on the way to the river, I heard it. A sound like the sky was wailing. A sound like the feeling of mascara running down your face. A sound like if diamonds had a voice.

    The singer stood tall in front of the piano, a marble statue carved slowly by the wind.

    I’m not being poetic: she was literally a weather-worn statue. She was beautiful.

    The audience tastefully averted their eyes as she sang, to preserve the modesty of her stone lips moving. I sat down and placed my hat over my eyes.

    By the time the song was done, the tears were ankle deep on the floor.

    I approached her at the end. She stood perfectly still as the audience began to move towards the exit sign. No applause. No praise. Just tears.

    “Thank you”, I whispered to her. As I spoke, the rest of the crowd collapsed, clutching their bleeding ears.

    The room went still and eerily quiet. I peered at the statue one final time before turning to leave, and without lifting her eyes to meet mine, she echoed a whisper across the room.

    “You’re welcome.”

  • Production Notes: DJ Khaled’s “Major Key”

    “Major Key” is DJ Khaled’s ninth studio album, and the first DJ Khaled album that I haven’t rolled my eyes and turned off within the initial period of listening.

     

    There’s a lot of interesting things happening in this album…. No, really. This album’s production is on point: The loudness of the percussion rivals Dr.Dre’s “2001, The Chronic”, the autotune isn’t abused, and the album actually has theme, rather than just a slew of club bangers. Which is 500% more than I would ever expect from the living meme himself.

     

    The third track on the album, “Nas Album Done” features Nas (duh), with Khaled, and Cool & Dre on production. If you’re a fan of Lauryn Hill (you should be), then you’ll love this track. The pitched-up sample of “Fu-gee-la” isn’t abused at all—surprisingly. Hill’s voice mixed with the 808 bass and stuttering hi-hats works so well that I’m inclined to feel that I traveled to another dimension where The Fugees were a Chicago drill group.

    The DJ Khaled ad-lib alert starts in the intro of the track (“Classic shit”, “timeless”, “iconic”), but once

    you realize that Khaled is talking about the much-respected Nas, and not himself for once, you realize these adlibs aren’t the most corny thing in the world. In fact, they actually compliment the instrumental, along with Nas’ lyrical murder.

     

    Another highlight is “Holy Key”, featuring Big Sean, Kendrick, and Betty Wright. The instrumental begins with the main horn sample under enough DAW effects to make it sound like an excerpt from a post-rock album. This quickly transitions into the main base of the beat.

    The cymbal crashes from the original sample are adopted to keep the high intensity of the track moving. The beat repeats every 2 bars, you would think that it becomes monotonous rather quickly. It doesn’t. The horn/synth line is catchy enough to warrant repeated listens, and the track remains extremely dense with a busy sample, sliding 808’s, and panned choir voices. The hook of this track is the type you don’t want to sing along with, because your voice will never match the powerful pipes of 70’s soul star Betty Wright. This was done well enough to make me think that this wasn’t just recorded in a booth. Surprisingly, DJ Khaled’s voice is also in here, and actually works as an aid to this unforgettable track.

     

    Other key tracks include: Jermaine’s Interlude, Work for It, Don’t Ever Play Yourself.

     

    DJ Khaled has heavy involvement on almost every track on this album, compared to his last album that he was only involved on a handful of tracks. This album surely surpasses his previous efforts, but does this mean that Khaled actually has some studio chops? Eh, maybe. I can at the very least say that the next Khaled album will have me listening, even if it is only for the memes.

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