Musical Memories: The Good, the Bad and the Ugly

Music is inseparable from memory, so you better hope it’s good music you’re listening to!

By Sam Santos   

Human memory works in strange ways, none more intriguing than how music can impact it. There are certain moments in our lives that we attach to a song, even if insignificant or seemingly mundane. 

As I write this intro while waiting for my international literature lecture to start, a girl I don’t know got up and played Ghost by Justin Bieber on the piano, much to everyone’s surprise. I’m not the biggest “Belieber,“ but I know the next time I hear the song I’ll remember this particular moment.

Music has the power to transcend time and space. It manifests itself in our memory, sometimes subconsciously. For me personally, there are certain moments in my life that are inseparable from a particular song or artist. 

Imagine a collection of songs you despise greatly. Now imagine listening to them on repeat during the course of a 10-hour shift at the Canadian National Exhibition (CNE), a fair that takes place over 18 days in August and September every year in Toronto, in the sweltering heat of August. Unfortunately, I don’t have to imagine!. 

I ran a carnival game by myself with no coworkers nearby, so taking in the sights and sounds was the majority of the job. There were rare positives in this regard, like when an Amy Winehouse tribute concert was held within earshot. Most of the time though, I was subject to a loop of the same songs over and over. I don’t remember all of them, but here are some notable examples. 

Girls Like You (feat. Cardi B) by Maroon 5 

Some people like it when a Maroon 5 song includes a random rap verse for help on the Billboard charts. I am not one of those people. I thought I didn’t like Cardi B before, but after hearing this track on repeat, that disdain has grown to heights I didn’t think were possible. 

I Gotta Feeling by Black Eyed Peas 

I admit I am biased enough to give this song a pass. One of my earliest memories of music is dancing to I Gotta Feeling at my friend’s 4th birthday party in 2010. No complaints here. 

bad guy by Billie Eilish 

Eilish’s vocal technique is very unique and I happen to really enjoy some of her stuff. When it comes to bad guy, something about the xylophone-like refrain throughout the song just makes me want to fill my ears with cement. 

Cha Cha Slide by Mr. C The Slide Man

This is another musical memory within a musical memory, because most Ontario Gen-Z kids will recall hearing this song at some point in their journey through the public school system.

However, by no means do I ever want to listen to it on repeat again, no matter how sweet it was to hear as a kid. Hearing this song upwards of 10 times a day was truly akin to being waterboarded with Kool-Aid. 

Cold Heart - PNAU Remix by Elton John, Dua Lipa, PNAU 

I will not stand for this crude bastardization of Rocketman... enough said. 

Baby Shark by Pinkfong 

The most egregious inclusion on this list by a wide margin has to be this children’s hit. There are very few songs that could even dream of competing with the repetitive abhorrence of Baby Shark. The fact that it was even included in the playlist boggles my mind. 

Sonic Boom Records is basically a candy store for someone like me (Sam Santos/CanCulture)

I have much more positive memories of songs that I listened to willingly. The Morning by The Weeknd, from his 2011 mixtape House Of Balloons, has an ironically misleading title. The dark synths and cold lyrics are more reminiscent of a drunken Friday night bleeding into Saturday, certainly not anything bright or cheery. At some point during the summer of 2022 though, I began listening to The Morning to start my day. 

I’m not sure if someone put the idea in my head or not, but that was my wake-up soundtrack for quite a while. That song, and by extension, the entire mixtape, contains themes of heavy partying, self-destruction and regret. I think that in addition to those main themes, it symbolizes the breaking down of walls and having to confront reality eventually. Something about the brutal honesty of that has always been appealing to me. 

I bought a House Of Balloons vinyl from Sonic Boom Records on Spadina Avenue that same summer. It was the only copy in the bin and I felt like I had just won the lottery. The two friends who were with me that day didn’t quite grasp the magnitude of me randomly finding that record, but it was one of the highlights of my summer. That day was extremely hot, into the high 30s, and we explored the dimly-lit malls of Chinatown to escape the heat. 

Record collecting is an expensive but rewarding hobby. Not only do you get to physically own music you love, but you get to tell the stories associated with acquiring that music. 

The folks at Sonic Boom Records were kind enough to let me take some pictures in the store for the thumbnail of this story. While I was there, I found a signed copy of Kendrick Lamar’s Untitled Unmastered. Turns out, even writing about musical memories can lead to making more of them. 

The last memory I want to share also relates to the CNE (and Kendrick Lamar), but thankfully is more positive than the previous story. Before the fair itself, my job interview took place at the Exhibition grounds. I was, admittedly, quite nervous. 

The interview went well and I was hired on the spot. I remember walking away with a silent fist pump before popping in my AirPods and shuffling my playlist. No More Parties In LA by Kanye

West and Kendrick Lamar was the song that came up first. An unconventional celebratory song? Absolutely. But sometimes unconventional is exactly what you’re in the mood for. 

When it comes down to it, you can’t avoid some less-favourable songs from seeping into your mental hard drive every once in a while. I’m thankful for that, though. It makes the good musical memories all the more enjoyable.

New XO Record's Chxrry22 releases debut EP The Other Side

Embodying the old sounds of The Weeknd, Chxrry22 drops her debut 7-track EP, The Other Side

By: Bana Yirgalem

(XO Records/Republic)

Chxrry22 (pronounced ‘Cherry 22’) was born in Scarborough to Ethiopian immigrants and started releasing music online in 2017. Once she gained a listenership online, she then moved to Atlanta to further pursue her music career. 

After being signed to XO Records, founded by fellow Torontonian and singer The Weeknd, making her the first female artist signed to the label, Chxrry22 dropped her debut EP The Other Side—that alone gave her a huge jumpstart to her career. With The Weeknd providing her with leadership and guidance, Chxrry22 is on the path to great success.

For those unfamiliar with XO Records, the Canadian record label was founded by singer-songwriter The Weeknd, his managers Wassim Slaiby and Amir “Cash” Esmailian, and his creative director La Mar Taylor. They currently have four artists – The Weeknd, Nav, Belly and her – signed under the label, with Chxrry22 being their latest addition.

In a press release with Complex Canada, Chxrry22 said that “The Other Side is about coming to terms with duality – we all have two sides. We can be both the villain and the victim in some story and this is me owning that.”

That is indeed the case with the opening title track of the EP. Chxrry22 opens up in the song about the toxic relationship between her and her significant other.

“Let’s not act like I’m to blame
When you fucked up and I forgave”

She continues the song by explaining how she has prospered and exceeded for herself after leaving her lover, saying that she’s on the ‘other side’ and he is stuck where he is: “You're watchin' my dreams come to life (To life, to life)”

The Falls is more of a sultry track filled with toxic vibes and lyrics. She sings with passion in an alluring way, paired with the slowed-down guitar, drums, and melody, which makes the song so appealing. The opening lyrics insinuate that she fell into the temptation of cheating. The chorus lyrics explain that even though what she did was wrong, she’s not going to admit she’s sorry due to her pride.

As the track continues, she explains to her partner that you have to prioritize yourself because, at the end of the day, it’s only going to be you; “You bе in your feelings knowing you're a filler/I'm doing my thing, you should do the same.”

Call Me almost feels like a continuation of The Falls but the storyline is somewhat reversed like she’s calling her significant other after her infidelity to fix what’s been broken. But she simply wants to mend things more on the physical side, rather than the emotional side. The song’s haunting R&B sounds, enhanced by equally haunting lyrics and instrumentation, allow the listener to recall the similar sounds found in The Falls.

The other four tracks on the album tie in together with the above three songs. The EP’s storyline allows you to join Chxrry22 throughout her success, infidelity and toxic and remorseful lifestyles that often feel inevitable in relationships. She admitted in an Instagram caption, “I don’t write about anything I haven’t done or been through so when you hear these songs just know it’s coming from my heart.”

View this post on Instagram

A post shared by Chxrry22💋 (@chxrry)

Her ability to be emotionally open in her lyrics shows that she has a gift for songwriting. The incapacity of some artists to open themselves up wholly to their audiences seldom goes unnoticed by fans– this isn’t the case with Chxrry22 who shares her rights and wrongs with us.  She’s showing herself musically, and this lyrical maturity is what draws others to her music.

Although this is her first EP, the way her voice is evocative yet angelic makes Chxrry22 stand out. Her sound is different and fresh, and her EP was released just in time for the cold fall nights. 

Check out the fill album here:

Retro Review: Justin Bieber’s My World. 2.0 is a harrowing, cliché trip down middle school memory lane

Bieber’s overproduced debut studio album is 90 per cent begging over synthesizers, but it’s an iconic Canadian music moment nonetheless 

By: Rochelle Raveendran

Early 2010s middle-school crushes exist in a distinctly ephemeral vacuum. It’s a vacuum in the shape of a yellowing, squeaky gymnasium, filled with nervy tweens decked out like cast-off mannequins from the Gap and enough AXE body-spray fumes to be a lethal fire hazard with one errant spark. Capturing the rollercoaster of prepubescent puppy love and the hearts of those undergoing them is no easy task. In March 2010, then sixteen-year-old Justin Bieber rose to the challenge with My World 2.0, a bubblegum pop record that debuted at number one on the US Billboard 200 albums chart. 

Bieber’s first studio album stubbornly averts reinventing the wheel. Few tracks emerge memorable as he attempts to traverse the boundary between banal and timeless, often falling into the pitfalls of genre cliches and overproduction in the process. Ironically, My World 2.0 opens with its lead single, which is catchy almost to a fault. From its first staccato chords to Bieber’s opening warbles, “Baby” triggers the instant recognition in unsuspecting listeners’ minds today that music producers crave. 

The song is fuelled by post-break-up disbelief; all five stages of grief are on display as Bieber tries to wrap his mind around the cruel reality of his first love breaking his heart for the first time. He even tries bargaining with her, offering her a diamond ring, before he finally accepts the loss at the song’s conclusion, mournfully singing that “[he’s] all gone.” Genres and generations of heartbreak collide when Ludacris pops in for a feature, fondly rap-reminiscing about his own first love, who he compares to caffeine for his thirteen-year old brain. Whirring disco synthesizers drive “Baby” forward at a mindlessly steady pace as Bieber's youthful voice ventures into nasal with his repetitive whining pleas. When he hits peak piercing, it’s as if he’s zesting your ear canal with a kitchen box grater.

“Baby” highlights a recurring theme throughout My World 2.0: Bieber begging. He’s desperate for love and commitment, and once he finally gets it, he sure as hell isn’t going to let go without begging his girl to stay. On “Somebody to Love,” the album’s strongest dance track, he belts out a universal plea to a harsh world. Bieber’s not asking for a lot — he just wants a soulmate. Complex lyrics aren’t needed for an upbeat song that wouldn’t be out of place in a nightclub in 2010; it isn’t surprising that “Somebody to Love” was originally written for Usher, who provides backing vocals on the track. 

Elsewhere, however, My World 2.0 terminally suffers from cliched lyricism that plunges about as deep as a Dollarama greeting card. Bieber guides his love through dancing in front of the haters on “Never Let You Go,” crooning: “Take my hand, let’s just dance / Watch my feet.” Similes are employed excessively as Bieber prattles through all the hackneyed platitudes of middle-school romances, until he sounds suspiciously disingenuous. When he repeatedly assures his girlfriend that their love has nowhere to go but up, in the aptly named “Up,” it’s so continually cloying that you get the sense that Bieber must be hiding something. 

Formula strikes gold with the album’s sunny highlight, “U Smile.” Synths are thankfully absent and piano takes center stage as Bieber goes as Motown as possible for a teenage white boy born in 1990s Stratford, Ont. The song is earnestly sweet without being saccharine, working within convention to create a timeless declaration of young love that’s bolstered by Bieber’s infatuated delivery. It’s no surprise that “U Smile” was chosen as the B-side for “Baby” in his patented electric singing toothbrush.

In a moment of true poetry, the stand-out on My World 2.0 is followed by a track that encompasses all the worst aspects the album has to offer. Synths are back with a vengeance on “Runaway Love,” pulsing and buzzing in a manner totally discordant with Bieber’s vocal melody. The song is overproduced to a disjointed, migraine-inducing extreme; layers upon layers of Bieber harmonizing with himself echo and swirl together. Everytime you think all the vocal lines are there, another layer of Bieber is added to the mix. When “Runaway Love” finally ends in a lazy, slurring grind reminiscent of an animatronic Disneyland ride being powered off, it’s only a relief.

More often than not, first loves end on a bitter note. My World 2.0’s orchestral final track recognizes this reality with one of its stronger songs. “That Should be Me,” ties into the album’s opener, cycling through pain, spite, disbelief, betrayal, and sadness all in under four minutes. Bieber can’t accept that his ex-girlfriend has moved on from him so quickly. “Does he love you the way I can?” he asks, before poignantly noting that “This is so sad.” Warm backing vocals that are not sung by Bieber provides a refreshing respite from excessive layering and combines with the orchestral instrumentation for a soaring finale. 

Though lyrically limited, “That Should be Me” ties up the arc of young love with yearning regret. Bieber’s singing is at its most expressive as his voice trembles and strains with hurt. He brings real emotional weight to the ballad, making a convincing case for the thoughtful pop music that middle schoolers deserve, music that My World 2.0 provides far too infrequently. 

The top 10 Canadian albums of 2021

2021 was an exceptional year for Canadian music — here are my picks for the 10 best albums of the year from Canadian artists 

By: Isaac Fontes

2021 was a year full of ups and downs, as COVID-19 continued to plague all of our lives for yet another year. One thing that always helps me to stay sane is music, and I know I’m not alone in that sentiment. I was able to listen to a lot of albums this past year — many of which were created by Canadian artists.

Our representation in the music industry remained notable, as some of our biggest stars continued to dominate the airwaves with hits like Justin Bieber’s “Peaches” and Alessia Cara’s “Sweet Dreams.” However, some of the best Canadian music to come out this year was from some lesser-known artists. Edmonton-born Cadence Weapon took home the 2021 Polaris Music Prize for his political album, Parallel World, artists like Rochelle Jordan and Chiiild continued to shine in their respective lanes, and artists like Charlotte Day Wilson and Mustafa dropped their impressive debut albums. Here are my picks for the top 10 Canadian albums of 2021.

10. Certified Lover Boy — Drake

OVO, under exclusive license to Republic Records, a division of UMG Recordings, Inc., 2021

Drake’s highly-anticipated sixth studio album, Certified Lover Boy, wasn’t generally well-received upon its release in the early morning hours on Sept. 3. After months of delaying its completion, the hype for CLB was bigger than ever, especially after the release of Scary Hours 2, a 3-song EP that perfectly encapsulated Drake’s versatility as an artist. It seemed as though his legacy was on the line — his last universally loved project was 2015’s If You’re Reading This It’s Too Late. With that being said, Drake is at the point in his career where he’s so big that music critics and fans alike can’t help but look for flaws in his newest releases, which are certainly present on CLB. The tracklist is bloated and it does contain its fair share of rather corny moments (“Girls Want Girls.”)

But now that the hype has settled and we’ve had a few months to sit with the album, it’s time to admit that it’s a very solid offering from Canada’s biggest superstar, over a decade into his career. It was a safe and calculated release, sure — the main critique of the album being its lack of risk-taking, but he followed a similar formula as past albums, which has historically worked for him. All in all, CLB has all of the elements of classic Drake; hits (“Way 2 Sexy”), an introspective intro (“Champagne Poetry), underrated R&B cuts (“Pipe Down,” “N 2 Deep,” “Get Along Better”), and great bars (“7am On Bridle Path,” “You Only Live Twice”).

9. soft thing — LOONY

LOONY, 2021

Scarborough’s own LOONY is one of Canada’s best emerging voices. soft thing serves as her impressive debut project, showcasing her soothing voice and relatable lyrics. soft thing’s eight track, 24-minute runtime makes for an easy listening experience; her soulful vocals take listeners on a ride through candid relationship struggles and vulnerability. LOONY starts the project off being afraid of letting her guard down (“beg”) to accepting love (or lust) by the album’s close; “I could recognize you in a faceless place,” she gently sings on the outro. LOONY is candid, honest and relatable, as she shines on her second full-length release of her career.

8. TAO — Shad

Shad under exclusive license to Secret City Records Inc., 2021

If you’re a Canadian hip-hop fan, you know that Shad is one of our country’s greatest emcees. 16 years into his career as a rapper, he returned with his first album in three years. The album’s title, TAO, translates to “the way” in Chinese and also serves as an acronym for “the abolition of,” a nod to the C.S. Lewis book The Abolition of Man. “Each song on the album is about a different part (or parts) of our humanity/humanness we’ve slowly been losing touch with,” Shad wrote on the album’s Bandcamp page. Standout tracks like “GOD,” “Work” and “Black Averageness” are both thought-provoking and riveting. The entire album showcases Shad’s mature lyrical ability, as he further cements himself as one of the best Canadian rappers to ever touch a mic. 

7. Hope for Sale — Chiiild

Avant Garden/4th & Broadway (UMG Recordings, Inc.), 2021

Montreal-based band Chiiild’s 2021 album, Hope for Sale, is their second project in as many years. Throughout the album, they continue to be a genre-bending band, as they effectively blend elements of pop, indie, R&B and soul. On “Awake,” one of the project’s standouts, they link up with British Jamaican R&B singer Mahalia for a smooth, sensual track. A psychedelic instrumental, “13 Months of Sunshine,” serves as an interlude that’s perfectly placed in the middle of the album; breaking up the listening experience, and merging the band’s musical influences. xSDTRK’s calming vocals blend with the mostly upbeat production throughout the entirety of the album for a wonderfully balanced listen. 

6. Play With the Changes — Rochelle Jordan

Royal Mountain Records, 2021

Toronto’s Rochelle Jordan took a nearly seven-year hiatus from music, only releasing a few singles between 2014 and 2020. She returned this year with her first full-length release since 2014, with her familiar yet refreshing style of R&B. Simply put, Play With the Changes is 12 tracks of polished, moody and eclectic R&B music. The electronic-inspired production provides the perfect atmosphere for Jordan to shine through her silky vocals. The album opens with “LOVE U GOOD,” on which she connects with a lover on a personal level; “I know what you feel, so misunderstood / I know what you feel, when no one could.” The production will make you dance and her voice will make you melt — it’s a must-listen for any R&B fan. 

5. Parallel World — Cadence Weapon

eOne Music, 2021

Each year, the Polaris Music Prize is awarded to the best Canadian album of the year “based on artistic merit without regard to genre, sales history or label affirmation.” In 2021, the prize deservingly went to Cadence Weapon for the beautifully bold Parallel World. Political themes are at the forefront of the album, as he calls out politicians; “Mayor Tory doesn’t ride the bus / Or ride a bike or ride for us / So how can he understand what we want?“ Doug Ford is the target in the following bars on “Skyline” — “Ford Nation’s for the corporations / But he don’t care about the public / Whenever we ask for what we need / They say there’s no room in the budget.”

Weapon raps with immense purpose, as he uses his experiences as a Black Canadian to address themes of systemic racism, police profiling and even the internet’s evasiveness in our society. His lyrics are meaningful, his voice is powerful and the production is complex, experimenting with aspects of trap and grime, making for one of the year’s most powerful hip-hop releases.

4. I LIE HERE BURIED WITH MY RINGS AND MY DRESSES — Backxwash

Ugly Hag Records, 2021

On I LIE HERE BURIED, Backxwash unleashes her deepest thoughts and some of the most sincere rage you’ll ever hear. There are no boundaries in either her lyrics or the production she raps over. The album’s atmosphere and subject matter are dark, as she blends horrorcore, punk, metal and hip hop into her own unique sound. She raps and screams, on the verge of self-destruction, but there’s beauty in the madness. Her sometimes worrisome lyrics serve as her form of expressive rage, as she uses her personal experiences as a transgender Black person to express her frustration with society’s norms and transphobia from people in her life. 

She forces listeners to enter her world. On “WAIL OF THE BANSHEE,” it feels as though we’re a fly on the wall as she struggles internally; “My mind’s stuck in a torture chamber, it’s locked and dangered / Coats and hangers, ropes that dangle for all to witness.” Through the noise, explosive vocals and distorted production is an artist wanting to be heard, yet it never feels as though she’s interested in shock value. I LIE HERE BURIED is simply one of the best examples of music being used as an expressive outlet by an artist.

3. Phoenix — Charlotte Cardin

Cult Nation, 2021

One of the most underrated pop albums of the year belongs to Montreal’s Charlotte Cardin. The album begins with the title track, “Phoenix,” on which she immediately reinvents herself; “You told me you love me / I said it back, I didn’t mean it / I had to burn everything that I was / Just to come back like a phoenix.” This sets up what is to follow, which is Cardin’s personal journey navigating through relationships and finding herself as a person. She addresses love and heartbreak in empowering ways, resulting in an album that not only demands your attention, but deserves it. She closes out the album in French with “Je Quitte,” an optimistic ending; “Je quitte / Mais je ne te quitte pas.”

2. ALPHA — Charlotte Day Wilson

Stone Woman Music, 2021

2021 was a big year for Charlotte Day Wilson. Her 2019 track “Mountains” was sampled on Drake and Travis Scott’s “Fair Trade” on CLB, and she finally released her debut album. She’s been making music since 2016; her first release on streaming services was “Work,” her most streamed song to date. Since then, she has consistently but quietly been one of Canada’s most talented artists, releasing singles and two EPs over the years. 

The rollout for ALPHA began in 2020, when she dropped the album’s first two singles, “Take Care of You” and “Summertime.” The album showcases Charlotte’s incredible songwriting abilities, touching on themes of longing, relationships and finding her identity as a queer person. On “If I Could,” she sings to her past self; “I’d bathe you / Wash you of the sins that plague you.” It was a long lead-up to the release of ALPHA, but well worth the wait. It’s clear that Charlotte is here to stay.

1. When Smoke Rises — Mustafa

Regent Park Songs, 2021

The cover of Mustafa’s debut album, When Smoke Rises, is a photo of him alongside his late friend and fellow Halal Gang member Smoke Dawg, who was tragically murdered in 2018. The album was made in his honour, and expresses themes of loss and grief. These are themes that are all too familiar to Mustafa and his artistic expressions, dating back to his spoken word poems under the name Mustafa the Poet. In 2019, he directed “Remember Me, Toronto,” a film featuring artists from different neighbourhoods in Toronto talking about violence in the city and how they want to be remembered. Drake was even featured in the film, helping to highlight the Toronto hip-hop scene and the severity of the city’s violence. Mustafa’s message has always been the same, and he has always used his platform to educate and unite. 

On his debut solo project, he expresses his pain from losing friends to senseless violence, seamlessly transitioning his delivery from spoken word to singing. On the album’s opener, “Stay Alive,” he addresses his community in a sincerely heartwarming way; “Just put down that bottle, tell me your sorrows / I care about you, fam.” The album’s production is minimal, allowing for Mustafa’s struggles of dealing with violence to take centre stage; “I’m too young to feel this pain,” he sings on “Seperate.” When Smoke Rises was not only one of the best releases of 2021, but also one of the most impressive debuts in recent memory. His lyrics will stick with you — he makes it abundantly clear that he’ll do everything in his power to keep his brothers’ names alive; “I’ll be your empire.”

Artist Profile: Black$tar

Rap artist Black$tar’s music career is branching out of Alberta and into British Columbia, as he becomes more nationally known.

Music followed Black$tar for most of his life, but he discovered his passion for music as a little boy in the in his Church choir. From then to now, 21-year-old Black$tar is making his name known nationally alongside his brother DeSean and his friend The CORE.

Black$tar started pursuing his dreams at the age of 15 with the Solo Music Group, a group designed to encourage and support the solo careers of its members.

Since then, he has released three mixtapes, collaborating with around 20 different artists and has performed across Calgary. Now, he is making a name for himself in BC, and continues to grind in Calgary with a upcoming performance set for July 3rd.

Check out CanCulture’s exclusive interview with the Calgary based artist Black$tar.

How did your passion for music come about?

“I’ve been writing songs since I was a little kid. I started to listen to rock music really heavily before I got into rap. I use to listen to the Foo Fighters and really old bands.”

“Growing up listening to rock pushed me to like music. And then I heard rap music. The first guy that introduced me to rap music was T.I, so T.I had all the fancy cars, he had the girls and I was just a kid and I was like, “oh snap I thought that rock was cool but this guy has everything.” He was the one that pushed me to become a rapper. Then what really got me into the music industry was just family and friends [who] had connections to studios.”

“[The music industry] is just destiny for me to be honest. It’s just been around my entire life.”

How would you describe your music style?

“I like mixing melodies and rap into one song. I’ll sing a chorus, rap my verse, and then leading up to the chorus I’d sing again. That’s just how I go about any type of song.”

In November you dropped your mixtape called The Butterfly Effect, what’s the story behind the title?

“The reason why I titled my last mixtape The Butterfly Effect was because it’s a really hype mixtape, but there are certain sad songs that are place in to tell the story. The Butterfly Effect is like the beginning of a really good relationship [when] you get butterflies, but then, as it goes down and everything crumbles, you kind of lose those feelings and you lose the effect.”

What is the main message you want people to get from your mixtape?

“I go through the same problems as normal people. I have relationships that don't work out, the same as other people. I have times where I’m not feeling 100 [per cent]. If you look at my Facebook, Instagram and on all my social medias, people are just assuming that I’m always happy, but I get the same type of drama anybody else goes through. So that’s kind of what I wanted to put inside that mixtape.”

I’ve noticed you have many features on your mixtape, is collaborating an important part of your creative process?

“The reason why I have a lot of collaboration is, because I’m trying to build the Calgary scene more, so I’ll go out of my way to look for an artist that doesn’t know where he is going musically [and] put him on a song. [I’ll] tell him to write it, even. Get him out of the little box he is in and just develop him to try out different beats or try out different flows. So I can put different types of artists all around Calgary on my mixtapes. I’m trying to build a scene just like I’m trying to build myself in Calgary.”

Photo by: Vparenas

You’ve performed at the SoundOff Summit in Calgary and you’ve announced that you’re going to be performing at Marquee Beer & Stage. How does it feel to be getting all this attention from your community?

“It feels really good actually. I’m not used to getting all these shows. I’m usually the one that has to go out of my way to get shows, but now people are coming to me, so I know that that is a good feeling.”

On Instagram you expressed that the SoundOff Summit was like “a movie”. Could you describe what that feeling was like a little bit more and why it was an important moment for you?

“The SoundOff Summit was important to me because at the event there were these delegates that came from other countries that watched you perform, so people came from Germany, Toronto [and] the States. [Record labels, music agencies and booking managers] came to watch these performances.I guess the people from Germany and Toronto really liked my music, I got their contacts and I sent them my demo.”

Wow, congratulations!  Was it nerve racking to perform?

“Performing is the best feeling ever. Something about being on a stage and performing your own music and hearing the reaction is the best feeling. Because, when you get a good reaction you just like, ‘okay you’re doing something good.’”

Sometimes I find that the music industry can be discouraging, so what inspires you to keep going?

“I wanted to stop a lot of times, I can’t lie. The reason why I can’t is because there are so many people who are riding on this, that I can’t just stop. And I’ve put so much time and money into it that I just don't want it to go to waste. I can't just stop. And I just have faith in my abilities, I have faith in God and I have faith in my friends. It gets hard but you just gotta keep going. Another reason is, because people from my high school, my old friends are always saying that they wish they’re chasing their dreams. Because they were chasing their dreams but then they all went back to school now they just have normal jobs. Now, they’re all saying, ‘I wish I was you.’ So hearing them say that --- I don’t want to be like them. So I just keep pushing.”

Speaking of your high school friends who choose post-secondary over their dreams, how do you deal with that battle of school versus dreams?

“I’ve went back to school and I finished that year, but I have to go back for another year - I’m still debating, until this day, if I should go back or not. Because it just that I don't want to go back and school is in the way and I can’t go out. Because I have like crazy shows coming up this summer but like I’m still just debating. But hopefully something happens. Just keep praying.”

Do you have any advice for anyone who is trying to pursue their dreams?

“I would say, that if you’re really passionate about what you are doing then you wouldn’t stop. If you’re really passionate, you don’t have another option. You’ve got to keep getting back up, dust the dirt off your feet and keep pushing. Even when you make it, it’s still going to be worth wild.”

Black$tar has recently featured on a mixtape called Who’s Hungry Vol 1 in collaboration with Billy Bu$hop, Mino Ceaz, Jackie Art, Jardz F Star, Nate NvN, Deeper, Phatz, Chinx phase, JTXL, Banknotes, Noah J and Choppa. You can follow his music on SoundCloud or Spotify. For more updates about Black$tar and the Solo Music Group you can follow them on Instagram @TurrellBlack and @_solomg_ .

The Rise of the 6 God

By: Moosa Imran

“She say ‘do you love me?’ I tell her ‘only partly’, I only love my bed and my mom, I’m sorry.” These lyrics have probably been haunting your social media for a while, but love it or hate it, the song is really catchy. The video for Drake’s newest single “God’s Plan” features Canada’s hip-hop sweetheart travelling around Miami as he hands out nearly a million dollars to people in the form of scholarships, groceries and cash.  

Drake is arguably one of the biggest artists in the world. After a long career of certified hits and lengthy discography, it raises the question: Was this volcanic success planned by the 6 God himself?

Mixtape Drake 2006-2009

Aubrey Drake Graham was originally introduced to the world in 2001 as Jimmy Brooks in the Canadian teen soap opera Degrassi: The Next Generation. He played the role of a high school basketball star who was left paralyzed from the waist down after being shot, earning him the nickname “Wheelchair Jimmy.” Graham would portray the role of Brooks for the next seven years, but 2006 would be the year he released Room For Improvement, his first mixtape and the first time he professionally used the name Drake. His debut project featured the likes of artists such as Lupe Fiasco, Trey Songz and Toronto native producer Boi1da, a Jamaican-Canadian who has worked with artists such as Eminem, Dr. Dre, and has produced “Work” by Rihanna earning his first number one spot on the Billboard Hot 100.

The following year Drake would drop Comeback Season, his second mixtape, working with Trey Songz again to give the world one of his first classics, “Replacement Girl”. Other notable features on this project were fellow Canadian rapper Kardinal Offishall, and Drake’s self proclaimed mentor, Lil Wayne. Producers included Boi1da and Kanye West. So Far Gone, his first E.P. would be released two years later, releasing more classics such as “I’m Goin In” featuring Lil Wayne and Young Jeezy, and “Best I Ever Had”.

Emotional Drake 2010-2011

In 2010 Drake released Thank Me Later, his first official studio album. The features on this album are nothing short of spectacular: Alicia Keys, T.I., Lil Wayne, Jay-Z and the list goes on. Though the producers are also stars in their own right, this is the first album where we are introduced to Drake’s long-time friend and producer, Noah ‘40’ Shebib, a fellow Toronto native.

On this project Drake starts to progress as an artist. He moves away from his habit of putting exaggerated emphasis on the last few syllables of his bars on older songs like “Houstonatlanavegas”and “Best I Ever Had”. This flow gives Drake an emotionally unflattering tone. It sounds like a sad humming, and it’s very nasally. This nasally flow is complimented strongly by the melodies that are carried strongly by the piano and synthesizer, helping emphasize his emotional discomfort.    

This time, it’s different. It’s still Drake, but he’s matured. “Over”, “Up All Night” and “Fancy”, three of his most well-known songs, have one thing in common: the flow. Drake brings more of a respectable grit to his rap this time around. On this project, the production sounded more confident and direct, reducing the generic pop-music feel that he had in his older works. In addition, avid listeners can hear the emphasis in his rap on specific words or specific moments, rather than just loosely stretching out the words at the end of every sentence. On ‘Fancy’ Featuring Swizz Beatz and T.I., Drake says “Hit the gym, step on the scales, stare at the number, you say you dropping 10 pounds preparing for summer, and you don't do it for the man, men never notice, You just do it for yourself, you're the fucking coldest.” Drake’s developing edge is most apparent here. Younger Drake would’ve sounded like he was sulking, but on his new flow, it sounds celebratory, like he’s paying respect to an achievement by the person he’s rapping about.

Photo by: musicisentropy via Flickr

Drake’s second studio album would prove to be a pivotal moment for his growing career. In 2011, Drake dropped his sophomore record entitled Take Care, a seemingly R&B/Rap album that would make him a polarizing figure due to its uniqueness. He presented himself to hip-hop as a sensitive guy. He rapped and sang about his feelings throughout the album, showcasing his versatility and his originality as an artist, painting him as a either hero or a villain depending on how the listener perceives the piece.

Rap is a historically dark art. Since the beginning of the genre in the late 80s, it’s been used as an outlet for oppressed groups; mostly young black men to speak to their experiences in life, dealing with racism and the struggle in poor communities. With a song like “Doing It Wrong” and lyrics like “Cry if you need to, but I can't stay to watch you, that's the wrong thing to do,” there’s a bit of a mismatch here, an arguable historical disconnect. When Drake utilizes unusual lyrics like these, it gives fans an easy excuse to shoot him down and claim that he’s too soft to be a rapper, it also does the opposite in opening the doors of hip-hop to more sensitive souls. Luckily for Drake, the latter outweighs the prior when it comes to support for his music.

Drake primarily produced on this album, with the help of a few familiar faces. Its feature list was stacked with the likes of Rihanna, Kendrick Lamar , Rick Ross, The Weeknd and rap icon Andre 3000. The album contained hits such as “Take Care”, “Crew Love”, “Look at What You’ve Done” and the ultimate break-up song of a generation; “Marvin’s Room”. Drake opens up on this album, showing his feelings through the slower tracks such as “Shot For Me”, “The Real Her”, “Over My Dead Body”. On the flip side, this album definitely had a bite to it. “Headlines”, “We’ll Be Fine” and “Lord Knows”, would all be tracks where the heartbroken rapper shows off his ability becoming stronger than ever. His lyrical depth, multiple flows and his overall confidence are well complemented by the new set of beats that are less connected than his usual background and contain more bass movement, like occasional 808 and even some snare drum action, giving his music a head-bop type feel.

The whole project was an interesting and rich collection. It was a statement from Drake, a flexing of musical muscles; and a glimpse into the near future. To this day, many argue that Take Care was Drake’s best album.

Photo by The Come Up Show from Canada (Jorja Smith & Drake)/via Wikimedia Commons

Rapper Drake 2013-2015

Rap fans gather ‘round, for Drizzy has summoned you. Drake might not secure a spot in the top 10 of any genuine rap fan, but if there was ever a time where he made the argument to do so, it was with his 2013 project Nothing Was the Same. His third studio album featured Sampha, Jay-Z, Jhené Aiko and many more. The entire project is a collection of Drake putting his best rapping efforts out there, aside from the slower tracks  like ‘The Motion’ and ‘Hold On We’re Going Home’. To date, this is the most aggressive Drake has ever been, featuring back to back tracks with harder beats and mean, zealous, to-the-point lyrics. In what may be considered an Drake paying homage  to rap music, he used many samplings from older rap songs and dropped references to rap icons throughout the album.

Drake was not loved by all in the rap game. Drake’s problem is that he’s an artist before he is a rapper. His ability to create art, music of multiple genres (hip hop/rap and r&B), strongly supersedes his ability to just rap. This isn’t something that can really be quantified, as much as it is something that has to be felt. The easiest way to explain this would be a comparison between Take Care and Nothing Was the Same. The latter is indeed an excellent album, however Take Care has proved and will further prove to be the better album and a better reflection of Drake as he known to the world. A compilation of his art simply outweighs a complication of his rap. However, real rap fans will know your ability to rap must always be your strongest attribute. That’s just not the case for Drizzy, but lucky for him he is still a talented rapper.

Two years would go by before Drake would drop another project. In early 2015, like a holy miracle, Drake would bless the world with a surprise project, If You’re Reading This It’s Too Late, a mixtape that helped him officially proclaim himself as the “6 God”, the number six representing the six boroughs that make up Toronto. With tracks like ‘Legend’, ‘Know Yourself’, ‘6God’ and their bass-heavy and sporadic beats, it seemed like Drake was topping charts almost out of habit.   

By summer of 2015, the name of Drake’s next album was already known to the world, but there was no mention of a release date, despite fans expressing anticipation across many platforms. That same summer Drake was featured on Meek Mill’s “R.I.C.O.” The track blew up because it become would the last time the two would work together. Shortly after the track was released, Meek spread rumours about Drake using ghost writers that sparked a highly publicized beef between the two. Long story short, Drake won. During this time there was no mention of the album, expect for final line from Drake’s second diss track “Back To Back” Drizzy ends the song with “I took a break from Views, now it’s back to that.”  

Toronto Island Drake 2016-2017

After riding out the high from winning his battle with Meek Mill, Drake was silent other than occasional teasers and putting up an actual billboard in Toronto. But finally, in April 2016 Drake released Views. Originally titled Views From The Six, but later renamed Views, this was his fourth studio album and a rather potent piece from Drake. Rumours around the album suggested that the soundtrack that was supposed to simulate Toronto’s weather; most of the record was a fairly cohesive compilation of bass-heavy hip-hop and R&B tracks like ‘Hype’ and ‘Redemption’ (which at this point was nothing new from Drake), but there are a select few songs that were purposefully given a more upbeat tempo to give a slight dancehall vibe; much like how Toronto is usually cold throughout most of the year, with a few months of summer that are surprisingly warm. Boi1da is back on the producer list, along with Kanye West and 40, of course. The features on this album are sparse but still respectable, such as rap legend Pimp C, Rihanna, Future, and other Torontonians such as PARTYNEXTDOOR and Dvsn.

The issue with Views was that Drake seemed to have a bit of an identity crisis: Though the album was very true to his roots in the sense of its straightforward rap and soothing R&B, the dancehall touches were a bit awkward. Drake’s artistry is vast enough for him to pull off songs like “Controlla” and “One Dance”, but even then, it lacked a certain authenticity. In an ironic way, that might just add to how authentically Toronto the album is, because Toronto slang is based in roots of Jamaican accented English Given how diverse Toronto is, many things that are part of Toronto culture are actually just influenced by its massive immigrant population, thus making sense of Drake’s dancehall tracks.

Good Ol’ Drake 2017 - Present  

By The Come Up Show/ via Wikimedia Commons

Drake’s defined his 2017 project, More Life, as a playlist rather than a mixtape, however it was best described by rap fans as “just another Drake project”. The playlist is essentially a melting pot of hip-hop/rap and R&B with some dancehall in there. There was nothing special or unique about More Life, as the project sounded almost too familiar, to be short: there was nothing new about his new project. Up-tempo rap, catchy choruses, and smooth hooks, are all elements that we’ve seen before. To be clear, there was nothing bad about it, it was just… Drake. Good ol’ Drake giving out hits like “Fake Love” and “Portland” featuring Quavo from rap group Migos. Migos is arguably the world’s most popular rap group. The Atlanta-based trio recently hit one billion streams on their most recent project; Culture II, breaking countless streaming records on the way.  More Life also contained  R&B bangers like “Passionfruit” and “Lose You” to satisfy the more emotional Drake fans. Other talents like 2Chainz and Young Thug also make an appearance on the album, along with newcomers Travis Scott and Jorja Smith. With many of his usual producers working with him and a few new ones, the most notable one might be Murda Beatz, a fellow Canadian from Niagara Falls, whose career would later skyrocket after already having worked with Drake on Views and his future work with Migos.

Finally, at the beginning of 2018 Drake released another E.P., this one appropriately titled Scary Hours. This piece is short and simple, the first track, “God’s Plan”, is a fun little track with fun little video and a catchy chorus. The second track, “Diplomatic Immunity” an aggressive, wordplay-heavy track, letting rap fans know that he is still around and still capable of doing damage in the rap world.

So, to answer the original question; was all of this planned? Did Aubrey Graham know he was going to be Drake; billionaire, rapper, and icon, one day? Did sad Drake know he was going to shake up the rap game and cause a divide between his fan and his haters? Did anyone expect Drake to start making Dancehall tunes?  

Nope. No way. There is no way, that any of this was planned. It would take godly powers of vision to see into the future and predict any of this or even plan for it, there’s no logical way that Drake planned this.

But, it wasn’t a fluke, that’s for sure.     
 

This piece was edited by Valerie Dittrich. 

Album Review: Say Less by Roy Woods

By: Nour Al Saeid 

From free-styling every Saturday night at the YMCA to releasing his debut studio album, Roy Woods has excelled in his music career and is rising to become one of the major R&B icons for Toronto today.

After almost a year of waiting, the 21-year-old singer from Brampton released his album titled Say Less on Dec. 1st, 2017.

The album consists of 16 songs, including three collaborations with other well-known artists. “Take Time” features 24Hrs, a rapper who gained millions of Soundcloud plays and toured with Blackbear this year. “Back It Up” features PARTYNEXTDOOR, a famous Canadian artist who worked with Drake for multiple songs. “Balance” features both dvsn and PnB Rock. Dvsn consists of producer Paul Jefferies and singer Daniel Daley, whereas PnB Rock is a solo artist who released an album in January. Some of these artists are signed by OVO Sound as well.

“What Are You On?” was the first single that was released. It starts with a beautiful, choir-like synthesizer in the back and after a few seconds, the beat kicks in and showcases a perfect R&B vibe that Woods usually goes for. It’s a fast-paced song, not as dark and slow as his older tracks. His articulation grows and his vocals become stronger in the second verse, adding more intensity to the song.

“Back It Up” is a collaboration that starts with a very heavy, low bass. Woods takes the lead with the first verse, his voice is raw and passionate. With the echo-heavy beats and drums, the song has a PBR&B sound that is much appreciated. PBR&B is a sub-genre that mostly consists of strong beats and a lot of synthesizers. Many artists in this category tend to sing about sex and love, which is the main theme of this song.

One thing that couldn’t go unnoticed was how small Woods’ part is. This made the song imbalanced because PARTYNEXTDOOR’s voice dominated the rest of the track, making Woods’ contribution very small. PARTYNEXTDOOR sang the chorus four times and also had two verses, leaving Woods with only 45 seconds in the song.  

Despite that, the entire album is composed of different tracks, each having unique dynamic ranges. Songs like “Balance”, which features dvsn, compliments the OVO vibe that many Torontonians usually search for in music. “BB” and “The Way You Sex Me” have a slow and sexy rhythm with explicit and vivid lyrics.

A few tracks that don’t fit are “Little Bit Of Lovin” and “Something New”. They have an odd techno and pop vibe which doesn’t suit Woods’ sound at all, especially with their heavy use of autotune. Woods is known for having a dark and atmospheric energy in his music and these two tracks are the complete opposite. Compared to his older songs, these two were more pop-oriented, making them seem out of place in the album.

There’s a certain message that’s being portrayed in many of the tracks. Woods continuously mentions a woman in his life that only uses him for money and fame. In “Back It Up” he says, “You want me 'cause I'm in the limelight.” In “Medusa” he says, “All she like is gold” and in “Say Less” he says, “Money on sight now your eyes on gold.”

“What Are You On?” sets the tone of the entire album because the song is about a woman in his life who is only interested in his money and fame, which is most likely the reason why he released this one first.

The music video for “Say Less” was very symbolic as well. A rose is set on fire burns throughout the entire video, which is Woods’ way of showing how risky love is and how he’s not interested in committed relationships.

Overall, many fans are impressed with this project. Some songs should have never made it to the track list due to how pop-focused they were. The album could be better off without them, especially since they don’t fit Woods’ dark and atmospheric sound. However, the lyrics are bold and honest, sending a message to the girl who did him wrong. All in all, this is one of his best works.

Drake better keep his guard up, because Woods is slowly catching up to him.

This piece was edited by Valerie Dittrich

Top Six Canadian Albums to Look Out For in 2018

By: Manuela Vega

With albums like Arcade Fire’s eclectic Everything Now and Daniel Caesar’s gorgeous debut Freudian, there’s no doubt that Canadian musicians were standouts in 2017. While artists set the bar high last year, there’s plenty of reason to believe that 2018 will also introduce a multitude of memorable tracks. Be sure to look out for these six albums this year!

6) Ought: Room Inside the World

This Montreal band has released the singles ”These 3 Things” and “Disgraced in America” from their upcoming album, Room Inside the World. If their LP is anything like the singles, Feb. 16 is bound to bring a collection of reflective, existential anthems. Ought captures the essence of isolation and contemplation in their melancholy riffs, but they mix up their rhythms to the point that you can justify happily dancing to a sad song.

5) Born Ruffians: Uncle, Duke, & The Chief

Continuing their stream of passionate belting and upbeat rhythms, Born Ruffians introduces a sense of true candidness on what has been released from their fifth full-length album Uncle, Duke, & The Chief. Between touching on the inability to mask feelings of a longing heart in “Miss You,” accepting the inevitability of death in “Forget Me,” and regretting the vulnerability of an open heart in “Love Too Soon,” the Toronto band sets up an album of soft, jangly tunes to sing along to on Feb. 16.

4) Chromeo: TBA

Guitarist and lead-singer Dave 1 and multi-instrumentalist P-Thugg have been avidly sharing on Instagram and Twitter their dedication to perfecting the production of their electronic-funk album due in the spring. The first single “Juice” is an exuberant synthesized jam about a partner who gets shamelessly hit on in public because she’s “got the juice.” The light-energy, feel-good song continues to play on this double meaning. Dave 1 told Beats 1 that this will be their “most robust, conceptually tight album.”

3) Metric: TBA

Metric has a knack for creating lively hits that express liberation with every head-bob, sway, or strut. Combining synths, lush beats, and tight strums, paired with lead singer Emily Haines’ vibrant voice has worked especially well for the band on past highly regarded albums, such as Fantasies (2009) and Synthetica (2012). Although there’s still no new album title or release date, the quartet has been teasing fans on Instagram with pictures of studio visits since September. Since their last album Pagans in Vegas (2015), Haines has released a solo album in a style different from that of her band’s, with a distinct focus on vocals and reflection, raising the question of whether or not 2018 will be the year that Metric goes in a totally new direction.

2) Rhye: Blood

Former Canadian solo-artist Mike Milosh and Danish producer Robin Braun are the duo behind Rhye’s fusion sound. The 2018 pre-release of Blood showcases the steady electronic, folky jazz that backs delicate vocals on provocative works like “Taste” and soothing pieces like “Song for You.” Releasing the rest of their album on Feb. 2, Rhye will surely bring a diverse range of sounds to an increasingly contemporary form of R&B.

1) Charlotte Day Wilson: Stone Woman

The Toronto singer-songwriter and producer announced this month that her new EP Stone Woman will be released on Feb. 23. Since her melodious R&B EP CDW debuted in 2016, Wilson has been captivating listeners with her effortless elegance. Although tracks from CDW like “Work” and “Find You” are hypnotically mellow, the 2018 single “Nothing New” ripples with calculated power, rising and settling around the easy flow of Wilson’s formidable voice. It sets the stage for Stone Woman to be as enchanting as her previous release.

This piece was edited by Valerie Dittrich.