Tag: music

  • Silence and Noise

    Silence and Noise

    There is a sense of thrill that comes from hearing a song for the very first time. The unexpectedness of the melody to follow can spark feelings such as joy and spontaneity. Combine this with live instruments played by passionate musicians and the sheer awe of an audience – and you’ll find that you feel very alive. The awareness that you are listening to something that is filled with so much desire, and perhaps the pride in discovering that up-and-coming band which so few know of, toys with an element of satisfaction. Today however, these emotions evoked through music come not only from live instruments and vocals, but through laptops, tablets, phones, and also headphones. This modern way of listening to music transmits the sound directly from the device to your ears. From an objective perspective at this shift, music has become physically none-existent in the way that instruments are no longer producing the sound directly to the listener.

    The positive energy delivered by live music, although uniquely special as it is suppressed by new age technology. With this suggestion you may think, “Yeah, technology is taking over the world”. I am also not surprised by this notion, but rather, I ponder the idea that this new increase in technology has in fact led to a major loss. Through the use of iTunes, YouTube, SoundCloud, Spotify, and much more, we, as modern people, becoming distant from the original works of art. The artist, regardless of genre, creates their piece of music with a strong intent. Their passion, while conveyed through their music, can be further understood through their actions, movements, and their artistic expression. It is this knowledge that makes me question technology’s affect on music. Based on this perception, it could be argued that the loss of a live and direct connection to music devalues the art.

    Of course, I recognize the power of live music playing out loud, as it is natural and unrehearsed. Nonetheless, I also find the idea of listening to music alone through the use of a medium like headphones very appealing. While headphones and other technologies may only provide a single person with musical pleasure, I feel that they offer an entirely new and interesting sensation. Having music come anonymously and directly to one’s mind evokes a strong sense of intimacy. I cannot express the amount of people I know that feel closest to music when they are listening to it privately. Listening to a composition in solitude allows freedom from judgement, deep contemplation, and a more of a personal connection. This privacy may just be the thing that allows a song to become “your” song. From this power of intimacy, one is able to recognize that while headphones may be silencing the noise of music, the art itself remains loud.

  • 5 mins Into Netflix And Chill and He Gives You His Mixtape

    5 mins Into Netflix And Chill and He Gives You His Mixtape

    The summer came and passed, akin to a crop burning. Did you pay too much attention to Drake and Meek Mill? Probably. Catch up with this list of music that is good. Moving forward, listen to Hotline Bling and the newest track by Partner from Sackville, NS (on You’ve Changed Records).

    Mauno – Rough Master

    maunoHere comes Mauno bopping along, bonny and blessed. A wee bit of sound, growing undeniable, emitting from a babby (like a baby, but possessing many more of the better qualities of an infant) carriage, snaps to a point and crashes only to be rebuilt into a tower of babel. The mastery in craft is not lost on those who build for joy, not for monotony. And like a phoenix rising from the ashes, they make a Rough Master and people really like it so they make more and that is cool too.

    Top Track – Champs

    Listen to Rough Master

    Tasseomancy – Palm Wine Revisitedtasspalmwine

    Holding candles and praying to the god that holds in its hands a lipid pool of purple lust. Induces a trance, flipping back white hoods to reveal a face swirling with suggestions born of the hallucinations of night. More synth than person they waltz suggestively, Tasseomancy, born tasseomancers, cast forward to the future calling on the soon-to-be-consumed jugs of wine to be now consumed. Shoulders sway, hips gyrate, standing in a circle as the drums are hit close to home. The Palm Wine Revisited, the trance forever.

    Top Tracks – Apophenia, Braid. Wind is Coming

    Listen to Palm Wine Revisited

    Klarka Weinwurm – Huddle

    huddle

    Two lovers grasp hands for the first time and feel the bliss of conjoinment. Klarka Weinwurm holds the voice, conjoining with the guitar, becomes an embrace of love. There is some heat here, some nervous sweat, and a lot of joy. Get a little bit closer for warmth, a little Huddle if you will. Sway and hum to a tune in your head. Think about where you are going and where you have been. Be at peace and grasp with the intention of love.

    Top Track – Deathrow Tull

    Listen to Huddle

    i hate sex – Circle Thinkingcirclethinking

    Through static, erected by our own sense of comfort, i hate sex screams. We get lost in a mire, bogged down by feelings, doubts, and sadness trying to swim to a surface. But up is not the only way out and Circle Thinking proves that. Swinging through we hit stone walls that turn to dust at our touch, say some things that we should have said a long time ago, and feel some static replaced by contentment.

    Top Tracks – One by Metallica, I Fucking Hate Sports

    Listen to Circle Thinking

    Harley Alexander & The Universal Lovers – Gold Shirt

    goldshirt

     

    A little breeze tickles your fancy, rustling through the laundry hanging on the line. The air manifests, a swaying, swinging breeze person. The boogie is here to stay, never go away, never let these nights end. A love song to Halifax sung by Harley Alexander, supported by The Universal Lovers, and do they ever make love. Hips, lips, and tips, all over the Gold Shirt. It dances with the wind all night long, laying to rest in a bed of clouds.

    Top Tracks – Trust, Runnin Thangz

    Listen to Gold Shirt

    Crosss – Lolo

    A court jester, poison in the ear of the king, whispers in riffs as heavy as the weight of duty. Crosss holds scepters and passes judgement in a voice long and droning, stiffened by history and cemented in melody. The weight of Lo is immense like a nail forced through a barren mountain, driven by a hammer of godly might. It fails to tug at the heart strings but instead ties weights and spreads the most catastrophically serene aural defilement.

    Top Track – Interlocutor

    Listen to Lo

    Scott Nicks – String of Dreamsscotnicks

    Like a crooner in an undersea lounge, Scott Nicks warbles and floats between the safety of air and the dangers of drowning. It is damp, and Nicks bobs and weaves, both a navigator and instigator. String of Dreams is a remnant of sleep, it is peering outside of a window at the rise of the sun and remembering it all. All the joy, bliss, and confusion. A perfect marriage of pop-rock sensibilities and melodies with the vast space of psychedelia.

    Top Track – Mumble

    Listen to String of Dreams

  • Harley & Me (HPX Redux)

    Harley & Me (HPX Redux)

    Harley Alexander is a man’s best friend. He is toilet trained, he fetches and reads the paper, he gives off a pleasant odour and sometimes he cracks out a melody without wearing his shoes. A stressful drunk is a productive drunk, and while I tossed back pint after pint of amber ale last Saturday night I realized one thing: nothing is as sweet as the fruits of thy own labor. A year after Harley Alexander played at Acadia Universities’ Axe Lounge I had the wicked pleasure of seeing my Harry Potter-esque friend at Halifax’s own Octopi computer shop. Oftentimes, Harley is accompanied by his friendly-friends Robert Loveless (aka Loveland), the Everywhere’s, and the lovely Brian Askew, and this is the line-up that graced us last November. This time he donned his sassy tall toque and belted out some tunes all by himself (with a little help from his friends, of course). Here’s what I think of the man.

    One thing can be said about the dozen or so fellows that occupy these three conjoined but surely individual bands is that they live, breath, and play as sort-of musical stir-fry. They (used to, at least) all live in the same household, they all possess their own unique flair on life, and they mix-and-match with each other musically like a Lego play set. Brian Askew, Harley Alexander, Samuel Hill all work together but also separately in the space of their own bands, and each artist has their own repertoire of skills to offer. This ranges from drums, bass, vocals, bongos, maracas, lead guitars, songbirds, amped triangles, whatever pleases you.

    There is little emptiness or vanity in Harley’s music, with it at times even poking fun at recent politics, popular culture, mortality, outer space, and the mundane. An example of this being his bravely robotic song “Digital Citizens” with the line “the mayor smokes crack, Stephen huffs the glue”, echoing our infamous and lampooned yet strangely loved Torontonian ex-major Rob Ford. Stephen Harper gets a less than honorable mention because huffing glue is reserved for idiots. Good thing we voted in a handsome man this time around.

    It takes a house to make a home and it takes soul to make a band. Home is where the heart is, the heart is in the soul, yeah whatever feelin’ good. Soul, in this case, is Harley’s specialty. He possess the beautiful ability to make a crowd feel like a family, and speaking mango-eh-mango with the guy leaves you feeling warm and refreshed. As he busted out his modus operandi of spacey groove-rock Harley made it a priority that his audience had fun, something that has become somewhat of a commodity in our factory-printed Cheese Wiz and Dewitos flavoured society.

    In all of the times I have had the pleasure of seeing Harley Alexander perform live I have been motivated by his attitude towards life and the energy he brings to his music. Universal Love, his debut album, is as warm and accepting as he is, along with the keen lyrics, bass rifts, and funky-fun times that have become essential to his playlists. Gold Shirt, his newest ditty, is another diamond among the rough of our dirty-socks, dirty-laundry society. What’s up, haters?

     

    Give this man some coffee money @

    http://harleyalexander.bandcamp.com/

  • A Heart of Soul

    A Heart of Soul

    Imagine you’re as free as you possibly could be – feeling as much rapturous emotion as you could ever feel – while simultaneously making others feel that way too… September 9th marked what would’ve been Otis Redding’s 74th birthday. He was a man who could make people feel those things just by stepping into a room. The entity of soul music is Otis. No one else can quite embody soul the way he did. His presence on a stage is even thrilling to see now, captured and played back on TV or a computer screen. His emotional delivery makes every last one of your bones tremble with delight from his achy ballads, and his voice is an absolute pleasure for ears with a sound one can ever forget.

    Born in Dawson, Georgia and raised in Macon, Redding – also known as “The Big O” – grew up listening to the works of Little Richard and Sam Cooke. He was the son of a minister and thus ended up singing in the choir at his father’s church. At age fifteen, Redding dropped out of school to take care of his family’s financial needs. His father had fallen ill with tuberculosis. He first worked as a well digger and then an attendant at a gas station. Soon, he started working for The Upsetters (Little Richard’s band) which kick-started his realization that music was what he loved.

    Mr. Redding’s first recorded song was “These Arms of Mine” in 1962. He was one of the first soul artists with a large Caucasian audience, which was pretty groundbreaking at the time. His big hit “Sittin’ On the Dock of the Bay” was the first ever #1 hit single released posthumously in the United States. It was recorded just three days before Redding tragically died on December 10th, 1967 in Madison, WI. He died in a plane crash that killed him and all but one of his
    band members.

    Redding had a memorable career. He changed the way people look at music and how deeply it can affect them. Although his music wasn’t overtly about racial discrimination, he firmly believed that changes were going to come at a time when changes were desperately needed. But to connect to all audiences, he knew he had to sing about something more relatable; something that individuals could interpret however they wished: love and relationships. Redding sang soul music the way a seed sprouts into a tree – naturally, and that is why he captured the attention of a large audience.

    Redding got his big break at Stax Records, a recording studio that was friendly to those who were black and those who were white. It was the one place where everyone was considered a person and was treated like one. There, people could create music together in the otherwise bitterly divided south. Stax knew that they had hit a gold mine when Redding casually strolled in and politely asked to sing a song. He blew them away.

    Jim Stewart (founder of Stax Records) immediately wanted Redding to record. No one could get enough of him. Redding was spreading through Memphis like an illness – impossible to contain – and although he was at first just playing in the small clubs and bars of Memphis, to him it was the real deal. Something was different about Redding and his performances. His audience was more than just one ethnic group. He was well loved, and without even really knowing it he was slowly bringing together two worlds that were once so fiercely isolated from each other. He was bringing people together like opposite ends of a magnet.

    The genre of southern soul came about in the 1960s, and I believe Otis Redding was a mainly responsible for its creation. Of course, Blues, Rock and Roll, and Gospel genres all existed long before Redding, but soul was still a fresh concept when he began his career. Redding changed allowed the genre to flourish by letting his soul escape him and wander amongst the ears of eager listeners waiting to hear his emotions, feel his words, and understand that love can equally mend all wounds and tear you apart.

    I absolutely love Otis Redding. As soon as I came across his voice I knew I had found someone sincerely beautiful, and it’s not often that something really feels that way anymore. We live in a world where new artists are singing new songs on the radio each day. They are without passion or purpose, just hoping to make a buck. When reading through articles and interviews with those who knew Redding, one can see a trend in how people viewed him; a gentle and happy man, who gave it his all every time he stepped out onto a stage. He truly was the King of Soul. You don’t call someone The King of anything if they haven’t practically created that something. Without Otis Redding would there be soul? Maybe. But it would have never been as satisfying or alluring.

    Art is the quality, production, expression, or realm according to aesthetic principles of what is beautiful, appealing, or of more than ordinary significance. That is Otis.

  • Making A Case For Yeezy

    Making A Case For Yeezy

    When talk of oft-hated mythical figures arises, people either think about the Loch Ness Monster or Kanye West. West receives undue hate from puritanical elitists as they dismiss him as irrelevant, painting him as an untalented peasant – an outsider violating the sanctity of a sterling industry. Why do these elitists despise him with such self-righteous fervor? What has he done that offends the general public? Well, at the risk of sounding condescending, let me repudiate the same old ranting tirade I hear about his lack of talent every time he is brought up in a discussion:

    He’s not a musically untalented peasant. The guy’s actually a very talented producer who has made highly innovative music. His sonic metamorphosis has been one of unrelenting undulation. Kanye started it off with a sound marked by Soul and R&B inspired beats, drizzled with a lush and silky string accompaniment i.e. his first two albums: The College Dropout (2004) and Late Registration (2005).

    The sound subsequently rocketed to the other end of the spectrum – ending up somewhere between pop superstar and chauvinist rapper. His next album, Graduation (2007) – the sonic equivalent of him coming to terms with the newfound fame, was characterized by an increased amount of electronic and synthesizer influenced backing.

    Perhaps his most introspective album came next. 808s and Heartbreak (2008) was an attempt to reconcile his musical career with the death of his mother. The sound was something ineffable – not quite pop, not quite melancholia, and not quite rap. It was an experiment, and it worked. It bares soul; it has a unique depressive stripped down aesthetic marked by a heavy use of auto-tune to convey unusually solemn lyrical content.

    We arrive then at his magnum opus, My Beautiful Dark Twisted Fantasy (2010). The album is a castle built on foundations of musical maximalism and hip-hop. It’s a constant outcry against modern day capitalistic culture, while at the same time it celebrates it. The dichotomy is at first is hard to understand, but Kanye has always had a polarizing relationship with late-stage capitalism. He sees the worth in the ability of the every-man to achieve something great, while hating the ability of the system to mold you into something that you despise. In a nutshell, it’s an album about capitalism saving him and killing him at the same time. It was critically acclaimed by nearly every musical publication, and also lauded to be one of the best albums of the decade.

    His most recent release was perhaps his most abrasive, reductionist, and minimalist work. The album Yeezus (2013) favored a grungier, acid house, and industrial influenced tonality. I see it as the natural succession of 808s and Heartbreak, but this time, Kanye is happy. He has a beautiful girlfriend, a burgeoning musical career, and boatloads of money. The lyrical content focuses around this, and also eschewing modern day racism (he sees it as a byproduct of the capitalist structure, still having a salient presence in his life). The album is probably his happiest album since Graduation, and yet it sounds corrosive. But it did win its due accolades, placing itself on many “Best of The Year” lists.

    If by this point the sonic experimentation fails to impress you, then you should know that he’s garnered over 350 nominations for different musical awards shows, won twenty-one Grammies, and every one of his album’s has been critically lauded in various different publications spanning every platform possible. Blind luck for six albums in a row spanning over eleven years? If people have to resort to such paradoxical conspiracies to defend the vestigial view that he is an untalented imbecile, then we might just have to admit that his music does hold merit and relevance.

  • Stay Gold at the Axe Lounge

    Stay Gold at the Axe Lounge

    WHO: Pony Girl (Ottawa) – www.ponygirl.bandcamp.com
    Old Cabin (Yukon) – www.oldcabin.bandcamp.com
    Keith Stratton (Wolfville) – www.keithstratton.bandcamp.com
    DUANE!!! (Wolfville) – www.duane111.bandcamp.com
    WHEN: Thursday, September 17th, doors at 8pm, show at 8:30
    WHERE: The Axe Lounge in the SUB

    HOW MUCH: $7.00

    Come out to the Axe for a fun night of hip music with two bands from afar and two from just down the road! Music genres range from indie folk, to classical-infused dream-pop, to drone music. It is sure to be a unique experience that you won’t want to miss.
    If you would rather sit down in a nice building, or happen to fall in love with singer from Pony Girl or Old Cabin at the Axe, don’t worry, there will be a more intimate afternoon acoustic concert on the Sunday following this show. It takes place at the Manning Memorial Chapel, on Sunday, September 20th at 2pm. Suggested donation is $10, and the accompanying act will be local heartthrob Pat Lepoidevin (www.patlepoidevin.bandcamp.com).

    PGTOUR2015-WOLFVILLE17

    Here’s a word from Pony Girl about their new album:

    We’re Pony Girl. Because of our six members’ various musical backgrounds, our music is somewhat difficult to pin down to one genre. To give you an idea, some of us have classical degrees, some have played in big band jazz ensembles, and others simply have the love for folk story-telling. All of this combined together creates something I’m proud to call quite unique.
    We’ve just finished the production of our sophomore record “Foreign Life” which comes out on November 7th. Our sound and approach to song-writing has definitely evolved since our previous record. We took from all our favorite styles and combined them in a digestible way. We were going for the “Radiohead effect,” where the songs are catchy enough to enjoy in the first listen, but have a second level to them that keeps them interesting in repeated listens.
    We’re starting an Ontario-Quebec-Maritimes tour this Saturday, 12th of September. We will be playing almost exclusively material from the new record and will incorporate its imagery and visual themes on stage around us. I’m very excited to start the tour, it’s a passion for me to be both traveling and sharing my art with as many people as possible. Our tour dates as well as our newly released music video for our song “Candy” can be found in this article: http://exclaim.ca/music/article/pony_girl-candy_video

  • Oh Wonder: Album Review

    Oh Wonder: Album Review

    London based duo Oh Wonder released their self-titled debut album on September 4th. And in short: it is exquisite. From the stripped down tonal approach to the sound production, the lush allure of Josephine Vander Gucht’s voice, and the hazy dream-pop feel that accompanies most of its content. It’s the type of music you listen to as you hold someone and dance lazily as the night wanes into day. Oh Wonder adopts the mien of someone very idealistically and unequivocally in love – rhythmic poetry in motion whilst ruminating on the failures of romance. An apt example would be in the song Dazzle: “Golden grill of sadness / smell like wasting youth / Always end up like this / Always gonna lose,” they talk about love as if it were a casino game – a deceit of youth, and it’s willful inability to accept the shortcomings of the fantasy that is love. It is this reality that the album tries to strike a chord with; idealism and reality – the duality of romance. And it does so quite successfully.

    That is not to say that it is not bogged down by a strict adherence to this idea. The songs tend to stay rigidly formulaic within the domain of this duality, foregoing the exploration of facets that also accompany the tumultuous modern day relationship. Ironically: they try to create something highly eclectic while producing their music, and yet it is the same formulaic quasi-eclecticism that prohibits them from achieving something truly exceptional. The duo (Josephine and Anthony) have the formula for a luscious synth-pop album locked down, but they do not vary it. They derive too much of their music from their own music. The only variance we get is the change of the duality, from something ethereal to something discarded in the gutter. The discord between the way the band feels: they are either wholly in love or and an engaging in idealistic drudgery about love (in songs like Livewire, Shark, or Body Gold), or cynical iconoclasts swimming against the fervent tide of idealism that they created.

    I do applaud them on the inventive method they used to release the album (and it may also act as a justification for the jagged flux of the songs), as they released a song every month for the preceding year as a build-up to this album. Out of the fifteen songs in this album, thirteen of them had been released over the preceding year. This could be the pivotal reason the album does not meld together into a beautiful flow.

    In summation, Oh Wonder’s debut is an apt musical description of love: marred with melancholia and lifted with glee. It is an eclectic work of art, although at times it tends to borrow heavily from itself and remain rigidly formulaic. But in the end, its peaks exalt this album, and this is enough to overcome the nadirs. I would highly recommend giving this album a listen. Rejoice in the idealism, and wallow in the cynicism.

  • 12th Annual Deep Roots Music Festival in Wolfville

    12th Annual Deep Roots Music Festival in Wolfville

    In less than two weeks, the 12th annual Deep Roots Music Festival will be taking place in downtown Wolfville. The Deep Roots Music Cooperative’s mantra is to foster “an enduring community, celebrating and enriching our culture through music.” The festival features primarily folk and blues musicians, as well as dancers, visual artists, and children’s music. It runs from September 24th to 27th.deeprotsschedu
    As the former Summer Student Assistant Coordinator, I’ve been lucky enough to be a part of the preparation for this year’s festival. The most amazing thing about Deep Roots is the unwavering and passionate dedication of the Festival Committee and festival volunteers. The Festival Committee is made up entirely of volunteers, many of whom have full-time jobs and families. Yet, they have the energy and talent to organize the festival year after year. It takes months of preparation. To see their love of music manifest itself in the beautiful production of the Deep Roots Music Festival is completely inspirational.
    Last year I went to only the free events during the festival. The experience of being surrounded by music for an entire day was incredibly fulfilling and memorable. Wolfville becomes filled with musicians and performers and artists who all really care about connecting with their audience and the community. The Farmer’s Market has outdoor music, a parade that takes place in the town around noon (featuring gorgeous giant puppets!), and Paddy’s hosts evening concerts. Even if you can’t make it to or afford the priced events, there’s still many events to take part in that are free.
    Additionally, the Deep Roots offers student pricing on tickets and passes. The festival schedule has more details on performers, events, workshops, and pricing.
    Two exciting highlight concerts of this year’s festival feature maritime-based Old Man Luedecke and Matt Andersen on Sept 24th, and Canadian folk legend Sylvia Tyson on Sept 26th.
    For more details about the festival, or to volunteer, refer to their website or email [email protected].

  • The Evangeline Court Music Collective

    The Evangeline Court Music Collective

    If you are interested in being a part of creative things involving contemporary classical music and ways of connecting music to other mediums of art, this collective is something you should be a part of. If you are excited to see new music concerts, attend coffee-house style events with string quartets, and in general support upcoming artists on campus, watch out for posters and updates online! Join the Facebook group (named: Evangeline Court Musician’s Collective) for the dates of meetings and events – we will be scheduling our introductory meeting within the next couple weeks.

    Typically, the collective meets every two weeks to share ideas, new works, and discuss ideas for events. This provides an opportunity for creators to gain insight and constructive criticism on the things they’re working on, and allows other members to get an idea of what their peers are focusing on. Additionally, through group discussion we decide what kind of events to put on – we are open to ANY new idea. We would like to put on different events than what is already happening around town, so that we can discover new ways of sharing and experiencing art with the public. Among activities we could put on for this year:

    • A concert in the woods (weather permitting)
    • A concert featuring the world premiere of “Uncharted Worlds” our first collaborative work for String Quintet
    • An open recital/social for performers, composers, fans, and friends to relax, share ideas, and consume coffee and cookies
    • A collaborative event with visual and/or literary arts

    What makes the ECMC different than a regular musical ensemble is the open-ended nature of ideas, and the focus on reaching out to other artistic disciplines. The group is intentionally separate from the academia of the School of Music so that the projects and events are shaped by the individuals in the collective, and the nature of the art itself. The School of Music tends to stay within its own four walls, and breaking from this allows us to branch out and meet artists of other fields in this area. This gives members an opportunity to hear another perspective on art as a whole, and to create something larger than themselves with the help of others in the community.

    Our Mission Statement: The Evangeline Court Music Collective (ECMC) supports the coming together and communication between music creators and performers collaborating outside of an academic setting in order to promote interdisciplinary artistic innovation. ECMC supports musicians interested in new music (based around contemporary classical), those invested in expanding their compositional, performance, and collaborative abilities in a welcoming and open-minded environment. We strive to interact often with the broader artistic community, regardless of medium.

    Our Goals: To bring together musicians outside of our academic environment, but in an organized setting with set aims, meetings, and projects. Run by the students, for the students.

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