Sadé Awele Time Love Journey Self-Released Vancouver, BC RIYL: Jamila Woods; Aquakultre; Natalie Slade
Self-care takes time and love. For some people, it’s a journey. Nigerian-born singer Sadé Awele maps her path to self-preservation on her groovy, nocturnal EP, Time Love Journey. “You have to walk that road on your own / … / Are you even willing to try?” she asks on “Care.” Along with committing your own emotional labour, you have to be open to critical reflection: “How can you be so guarded? / I don’t understand it,” her interrogation continues.
Awele commands a breathless cool on the self-assured “No Love Lost.” Faint background horns mingle with pattering percussive brushes, creating a restrained energy on “Peak.” “These are my emotions,” she sings on this humid song, baring her vulnerability as she tries to conquer her anxiety and stay on top of her game.
“Take it easy, take it slow / We’ve got so far to go,” she repeats as thick bass, overhanging brass, and warm, smooth keys propel “Take It Easy” towards a crescendo. Sadé Awele proves self-care is worth the labour. She’s playing the long game, and I have a feeling she’s going to stick it out.
SBDC The Feeling of Winning Kingfisher Bluez Vancouver, BC RIYL: Best Coast; WUT; pre-Warning Green Day
Booze and regrets flow on SBDC’s rollicking new album, The Feeling of Winning. Multi-voice choruses slam you like waves, knocking you under surfing riffs and rolling rhythms, before bungee basslines pull you back up. Getting back on your feet is what The Feeling of Winning is all about.
“How did I make it through the night?” they ask on “Acid Brains,” after declaring “I don’t want to live this life anymore” on “Every Drunk in the World.” Small victories like shedding your vices and dropping the dead weight of underachievers and directionless, troublemaking boyfriends from your life fill the album’s 21-and-a-half minutes. But doing so comes with mixed emotions: SBDC want zero commitment on “Casual Friends,” yet they seek validation on “Date Me.”
Such conflicts make for a crashing emotional mess, but they also make The Feeling of Winning one of the year’s best garage pop gems, and that’s no small victory.
Basic Instinct Late Bloom Independent Vancouver, BC RIYL: HÄG; Divide and Dissolve; languid riffs
Basic Instinct’s Late Bloom arrived on 4/20 like any self-respecting sludge album should. With this release the Vancouver-based duo do more than just adhere to genre standards or cliché – when the smoke clears, Late Bloom is one of the year’s best metal releases.
Featuring former members of Hard Bitch and Joyce Collingwood, Basic Instinct takes the raw energy of those punkier beginnings to split sludge metal wide open across this record’s six tracks. No one song sounds alike. With a wealth of confident ideas, the band keeps their material consistently sharp. Album opener “Fresh” begins with marching drums and a slow, creeping riff that flips into a churning, black metal ferocity on a whim. Vocalist Carly Glanzberg is just as versatile as the band’s instrumentals: summoning a deep bellow that sounds at ease alongside the low-end her guitar provides, or a quiet coo on the restrained “Dark Turn.” That song revels in the ghostly, urgent tension invoked by percussionist Joy Mullen before turning into a magnificent slow burn.
On Late Bloom, the brand of metal Basic Instinct offer up is molten and malleable in their capable, creative hands.
Tommy Tone Finally Punk Trashtronix Vancouver, BC RIYL: The Queen Haters; The Village People’s “Food Fight”; Pink Panther Punk
Tommy Tone has achieved the final state of subcultural metamorphosis, but its spirit was inside him all along. Decked out in his trademark neon windbreaker and shiny black mop, he pushes back against the punk police who want to dress him up in their costumes and pose him like a doll. Anyone who’s been sucked into the Tone Zone knows his forms of artistic expression are far less rigidly defined than the liberty spike brigade. On Finally Punk, his glittering synths and pumping drum machines have more in common with the genre-agnostic innovations that arrived after 1977, poking fun at the rock star mythos while reveling in theatrical performance.
Those RIYLs at the top of this review share Tommy Tone’s belief that punk is a movement worth satirizing and celebrating in equal measure, yet he shares more sonic traits with Tuxedomoon or maybe even Chainmale. “They Tried To Make Me A Punk” is the album’s rallying cry, before he lets his guard down on the new wave love song, “She’s So Cool,” letting us know there is a sweetness behind the facade. He closes with an acquiescence to the power of caveman rock and roll, as ripping guitars and pounding drums propel “How Does The Mountain Die.” Near its conclusion, Tommy deadpans “I never wanted to have fun.” It’s hard to believe him with this level of commitment to the bit.
HOW SHE FOUND COMFORT THROUGH MOZART ON REQUIEM AETERNAM
By Leslie Ken Chu | Photo by Taylor Geddes
If you’re a fan of experimental music in Vancouver, you’ve likely seen Anju Singh perform in one of her numerous musical projects or been to an event she’s organized. One of those projects, powerhouse death metal quartet AHNA, are self-proclaimed worshippers of death. In her solo work as the Nausea, she confronts mortality from a place of not only fascination but also fear.
As a teen in Toronto, Singh began organizing her own shows because no one would book her bands. She admits those bands were young and terrible, and thus opportunities were scarce. “Ever since I’ve been really young, I haven’t really waited for people to give me a chance. I just start doing things. I wanted to play a show, and I put on a show.”
She carried that determined spirit with her when she moved to Vancouver in the early 2000s. Since then, Singh has organized a lot more shows with a lot more success. In 2011, she resurrected Shitstorm Vancouver Noisefest as Vancouver Noise Fest, to facilitate experimentation that places a high focus on texture and volume. She’s given rise to A Night of Death and Doom, the banner under which she promotes death metal shows. And along with Bill Batt and Jeremy van Wyck, she curated Fake Jazz, a night of experimental music that occurred weekly, then later monthly, depending on which of the decade-and-a-half-old series’ various iterations was active at the time. (Due to other commitments, Singh has not been involved in Fake Jazz’s latest revival in 2018, though she gave her blessings for it to continue without her.)
There is no doubt that these shows shaped young minds, but Singh’s formative musical experiences came from sneaking downstairs after her bedtime as a teenager and seeing bands on TV. She remembers seeing Black Sabbath, GWAR, Venom, Kreator, Megadeth, and Corrosion of Conformity on Beavis and Butt-Head and MuchMusic’s hard rock and heavy metal show The Pepsi Power Hour, which was later shortened to The Power 30. She wasn’t a fan of GWAR’s music, but appreciated how outlandish their music and costumes were. And she was drawn to Ozzy Osbourne because he was like a cartoon character. “I’d look at his record covers, and I’d go, ‘Oh my god, it’s a monster! This is so cool!’”
GWAR and Ozzy in particular served as jumping-off points for her: she wanted to create something similarly far out but less cartoonish. “Even when I was younger, I wanted to play serious music. I’ve always loved classical music.” She worshipped B.B. King and jazz greats including Miles Davis and John Coltrane. And the thing she loved most about Ozzy, she clarifies, was his classically trained guitarist Randy Rhoads. Despite her gravitation towards the experimental, challenging, and loud, she describes her position in music firmly: “I always correct people whenever they decide they want to call me a metal musician or noise artist or this or that. I am a musician first. It doesn’t matter what I’m doing. I come from a musician perspective.”
Although trailblazers like B.B. King, Miles Davis, and John Coltrane set Singh on an exploratory path, she has set boundaries. “I realized what I didn’t like was being weird for weird’s sake, being good at guitar for the sake of being good at guitar, being experimental for the sake of experimentation […] I want to create things that are good experiences and/or musical.” Striking that balance has been a struggle throughout her artistic practice, but when in doubt, she always returns to the central question: “What is the goal?”
One of her goals is to strip classical instruments of their cultural cachet. She’s perhaps best known as a drummer, in AHNA and other death metal bands including Ceremonial Bloodbath, and Grave Infestation, but she began playing violin at least a decade before she picked up a pair of sticks. Unable to devote enough time to it, she plateaued. “Other than fiddling, like in the culture of bluegrass or Celtic music, the idea of having your own way of playing [any given instrument] is accepted,” she observes. “But the violin, typically, people expect you to have a certain level of skill in order to play it, whereas the guitar or drums, you can have very little skill and play and have fun.”
Frustrated by that double standard, she formed the band i/i in the late 2000s, to dismantle assumptions about what instruments musicians can engage with and how. The four-piece, which also featured drums, guitar, and bass, served as an outlet for her to explore the darker, rawer possibilities of the violin through pedal distortion and delay. “The reason that I really wanted to do that band was I wanted the violin to be able to have the life that a guitar would. It was beautiful sometimes, and other times it wasn’t.” Citing one of her favourite composers, she points out an approach that inspired her. “Mozart wanted to write for everybody, and when you write for everybody, you’re also telling everybody that they can write […] I didn’t want to have these particular instruments behind a piece of glass. I wanted to break that glass.”
Singh has done plenty of schooling. On top of a philosophy degree, her background includes art history – “I had to learn the Bible to understand paintings” – contemporary music, performance, music theory, and electroacoustic music. She’s also taken several Latin classes. “I went really far with it, and I was like, ‘Why the hell am I studying Latin?’” she says with a laugh. “It was so ridiculous. I just loved the class and so I kept going. And then one day I was like, ‘This makes no sense.’”
However, it ended up being more useful than she could have expected. Singh’s love of Latin was one of three key influences behind her album Requiem Aeternam, which she released as the Nausea via Montréal label Absurd Exposition in 2017. Across six tracks, she uses her violin to explore medieval Roman Catholic funeral music. The phrase “requiem aeternam” is a prayer used to hasten departed souls’ ascension to Heaven.
Another influence was Singh’s long standing fascination with death, specifically how we engage with it. “I’ve always been super interested in the concept of death. Ever since I was really, really young, I was afraid of death.” Her curiosity is partially rooted in her experiences at funerals as a child. “I didn’t know what to do. I didn’t want to cry. And I didn’t understand why I didn’t want to cry […] I was always really confused. And I think I still have that. I’m not entirely sure what is supposed to happen at a funeral.”
She was particularly concerned about laughing at funerals, even out of nervousness or awkwardness. “As a kid, I was really badly behaved. I was so afraid of laughing at a funeral.” As she says, they are a weird experience of being forced and trapped into ideas of how to celebrate someone’s life. “So what I really liked about requiems is they start to open up the subject […] [T]here are rules around requiems, and so I can start to work with death in that context.”
The most important influence was Singh’s grandmother. The two shared a very close, special bond: She grew up with her grandmother in the same house and was basically raised by her when Singh’s parents were at work. She wrote Requiem Aeternam while her grandmother was on her death bed with a lung infection. For two to three weeks, Singh spent every possible moment in the hospital until her grandmother died.
During that period, Singh was also listening to one of her favourite pieces of music, Mozart’s “Dies Irae.” The composition was based on a 13th century Latin hymn of the same name, originally sung as a Gregorian chant during requiems. Its title, “The Day of Wrath,” refers to the day Catholics believe God judges the living and the dead and decides whether they go to Heaven or Hell. Interpretations of the musical sequence have since appeared in an ever-expanding list of popular films including Star Wars, The Lion King, The Shining, Lord of the Rings, It’s a Wonderful Life, and even Groundhog Day. The titles of Requiem Aeternam’s songs “Nil Inultum Remanebit” (“Nothing Will Remain Unpunished”) and “Per Sepulchra” (“Through the Sepulchres”) are phrases from the hymn.
Singh’s spin on “Dies Irae” was purely based on mood, because her favourite aspect of Mozart’s composition was that he, too, played with the requiem’s mood; unlike standard interpretations, his was vivacious and playful. “I was really confused by that, but that was the confusion that felt familiar since I was a child, whenever it had to do with funerals or someone’s sick or someone’s dying.” She tried to bring some of Mozart’s playfulness into her interpretation, but she ended up in a wholly ashen, doom-laden place. Regardless of how her version ended up, though, listening to “Dies Irae” during her family’s difficult time brought her comfort. “I really felt like I could make sense of what was happening to her and what was happening everywhere.”
Requiem Aeternam is a bit of a cultural mash-up between Roman Catholicism and Sikhism, Singh explains. “In the Sikh temple, you say ‘God,’ ‘Lord,’ over and over again.” Her grandmother did so in praying for mercy. That’s why the album track “Elaison” (“Have Mercy”) has a reprise. “She would do this several times in a day, so I felt it was appropriate for it to come up twice, but to be different because she didn’t chant in the same way all the time.” The piece emphasizes repetition and drone, because religious music is often very droning. “In the temple, it all feels like a giant drone.”
Without knowing any Latin, one can likely guess “De Morte Transire” connotes transition, passage, crossing over. “The idea of being stuck in a state of death is really horrifying to me, not passing into something else, not going anywhere else, not being released from it. I’m a little bit claustrophobic, and the idea of being trapped in a state of death is really scary to me. So that piece was written to tell her to move from death, to whatever, I don’t know.”
A moment of passage comes two thirds of the way into the song, when a storm of static and pummeling distortion swallow her lamenting violin. “‘De Morte Transire’ is probably the most difficult piece for me to listen to because it was the main piece that I was speaking to my grandmother through.”
No one knows what comes after death, or even what happens the moment we pass. But like Anju Singh, maybe we can all learn to accept death or navigate its rituals with less fear and confusion.
Mi’ens Future Child Kill Rock Stars Vancouver, BC RIYL: Sonic Youth; Lightning Bolt; Yonatan Gat
Climbing into the future on a mathy spiral of guitar and drum rushes, Vancouver based duo Mi’ens tap into their surroundings and go widescreen on their third proper release. The guitar squalls of tracks like “French Disko” recall the towering density of Daydream Nation and Sonic Youth’s New York, but Vancouver is no such place – it’s a city where glassy towers and concrete are only minor intrusions on big skies and mountain vistas. Mi’ens swirl that energy into bigger picture perspective here, glancing to Iceland’s Rift Valley (a meeting place between tectonic plates and the site of early parliament) to mark seismic geological and political shifts (“Rifft Valley”) while “Charge Dodger” chugs along a doomier path, only to corrode and collapse as if too corrupt for its own good.